According to a report in The Times, the ancient remains discovered in Morocco, belong to a giant flying pterosaur and plant-eating sauropod.

Initial examinations suggest that both specimens are unknown to science.

They were unearthed during a month-long quest during which the research team braved floods and storms to reach the dig site and then preserve the fossils.

The scientists even feared that they would never get the bones out of the desert because they were so heavy that their Land Rover became stuck in sand.

“There was a point when we wondered if we would make it out of the desert with the (sauropod) bone, but we had worked so hard to find it there was no way I was leaving it behind. It took us five days to get the bone out of the ground and down the mountain,” said Nizar Ibrahim, of University College Dublin, a leader of the project.

The first fossil is the beak of a pterosaur, a giant flying reptile that lived about 100 million years ago.

Such discoveries are unusual because pterosaur bones were light and fragile, to be adapted to flight, and few fossilised well.

“Most pterosaur discoveries are just fragments of teeth and bone so it was thrilling to find a large part of a beak and this was enough to tell us we probably have a new species,” said Ibrahim, a doctoral student.

The second significant discovery was a leg bone more than a meter long that belonged to an unknown species of sauropod – the group of long-necked plant-eaters that includes the diplodocus.

The animal would have been almost 20m (65ft) long.

“Plant eaters are uncommon in this deposit, extremely rare in this region and to find one this large is very exciting. It’s a major discovery,” Dr Martill said.

“Finding two specimens in one expedition is remarkable, especially as both might well represent completely new species,” Ibrahim said.

http://in.news.yahoo.com/139/20081217/981/tsc-fossil-hunters-discover-two-new-dino.html

As the very embodiment of divine beauty and loveliness.

The king was so deeply infatuated with her graceful form

That he then and there requested her to be his wife for which

He offered her his kingdom, wealth and his very life, though

He did not even know who she was and whence she came.

She replied “Oh king, I shall be your wife; but there are

Some inviolable conditions: Neither you nor anyone else

Shall ask me who I am and whence I come. You shall not

Question any action of mine, good or bad, nor become angry

With me for any reason. You shall not also say anything

To displease me. If any of these conditions are violated

I shall leave you. Do you agree?” The king agreed. They

Lived as husband and wife in great happiness, and even

Forgot the passage of time. Ganga gave birth to many

Children. She carried each newborn child to the Ganges,

Cast it into the river and returned to the king with a smile!

Santanu was no doubt, horrified by her fiendish behavior but

He could not utter a word for fear of breaking the promise

And losing her. When the eighth newborn child was about

To be thrown into the river, the king lost control, burst out

In anger and restrained her. She told the king “O king, you

Have broken your promise. Your heart is now set on the

Child and you don’t need my presence any more. So, I go.

But before going I must tell you why I behaved as I did.

The eight Vasus were once cursed by sage Vasishta to be

Born as human beings and moved by their request and

Prayer, I had to agree to be their mother. I bore them to you.

For the service rendered by you to the Vasus, you have

Earned great merit. I shall not kill this child. But I shall

Bring it up for a time and then return it to you as a gift.

Saying thus, Ganga disappeared with the child. It was

This child who was later to became famous as Bhishma,

(Also as Devavrata), in the great epic of Mahabharata.

­­­­­­­­­­­­___________________________

Note: Vasus are a class of eight vedic deities.

http://kvakutty.sulekha.com/blog/post/2008/09/birth-of-bhishma-story-from-mahabharata.htm

[This is the second in the series of articles I would be posting on the art of painting in ancient India with particular reference to the Chitrasutra of Vhishnudharmottara purana

This article covers certain general aspects discussed in Chitrasutra. ]

1. The Text

1.1. The Vishnudharmottara Purana or the Vishnudharmottara (as it is usually referred)is a supplement or an appendix to the Vishnu-purana. It is generally believed to be a later insertion into Vishnu Purana. The part- three of the Vishnudharmottara gives an account of – then – hitherto known branches, theories, methods, practices and ideals of Indian painting, among other things. It deals not only with its religious aspects but also, and to a far greater extent, with its secular applications. It initiates the aspirant to a world of joy and delights that only the colors, forms and representation of things — seen and imagined– can bring forth.

1.2. The Vishnudharmottara asserts that it is but a compilation and is attempting to preserve the knowledge that was hidden in older sources. Sadly, all those older texts are lost to us. Vishnudharmottara is thus the earliest exhaustive treatise available to us on the theory and practice of temple construction, painting and image making in ancient India.

1.3. Chitrasutra is that part of the Vishnudharmottara which deals with the art of painting. It is a compilation of the then known theories and practices of the art. Its compiler described it as “the legacy of the collective wisdom of the finest minds’. Explaining why he took up the compilation, he said he was prompted by his concern for the future generations; for their enlightenment, delight and quality of life .He said it was his firm belief that paintings are the greatest treasures of mankind as they have the aura and power to beneficially influence the minds and lives of the viewers.

1.4. In that context Chitrasutra makes some amazing statements:

*. Great paintings are a balm on the troubled brow of mankind.

*.Of all arts, the best is chitra. It is conducive to dharma and has the virtue to liberate (emancipate) an individual from his limited confines

*. Wherever it is established- in home or elsewhere- a painting is harbinger of auspiciousness.

*. Art is the greatest treasure of mankind, far more valuable than gold or jewels.

*. The purpose of art is to show one the grace that underlies all of creation, to help one on the path towards reintegration with that which pervades the universe.

*.A painting cleanses and curbs anxiety, augments future good, causes unequalled and pure delight; banishes the evils of bad dreams and pleases the household -deity. The place decorated by a picture never looks dull or empty.

1.5. Vishnudharmottara is dated around sixth century AD, following the age of the Guptas, often described as the Golden Age of Indian Arts. It is perhaps the world’s oldest known treatise on art. However, not much is known of its author, as is the case with most other Indian texts too. Vishnudharmottara follows the traditional pattern of exploring the various dimensions of a subject through conversations that take place between a learned Master and an ardent seeker eager to learn and understand. Chitrasutra too employs the pretext of a conversation between the sage Markandeya and king Vajra who seeks knowledge about image making (shilpa).

2.1. King Vajra questions “How could one make a representation , in painting or image, of a Supreme being who is devoid of form, smell and emotion ; and destitute of sound and touch?”. Markandeya explains” The entire universe should be understood as the modification (vikriti) of the formless (prakriti).The worship and meditation of the supreme is possible for an ordinary being when the formless is endowed with a form; and that form is full of significance. The best worship of the supreme is, of course, contemplation of the formless with eyes closed in meditation.”

2.2. With that, the life in its entirety becomes a source of inspiration for artistic expressions. In another passage, Chitrasutra cites the nature that envelops the artist as the source of his inspiration. And, in order to express those emotions in a visible form, an understanding of natya is essential.

2.3. The Chitrasutra commences with a request by king Vajra to sage Markandeya seeking knowledge about image-making.

The sage then instructs, without the knowledge of music one cannot understand natya. And, without the knowledge of natya one can scarcely understand the technique of painting. “He who does not know properly the rules of chitra (painting)” declares the sage “can scarcely discern the essentials of the images (shilpa)”.

3. Chitra and Natya

3.1. That does not mean, the positions of the dancers have to be copied on murals or scrolls. What it meant was that the rhythm, fluidity and grace of the natya have to be transported to painting. The Chitrasutra says “it (natya) guides the hand of the artist, who knows how to paint figures, as if breathing, the wind as blowing, the fire as blazing, and the streamers as fluttering. The moving force, the vital breath, the life-movement (chetania) ; that is what is expected to be seen in the work of a painter, to make it alive with rhythm and expression. Imagination, observation and the expressive force of rhythm are the essential features of painting”.

The Chitrasutra recognized the value and the significance of the spatial perspective.

*.“He who paints waves, flames, smoke and streamers fluttering in the air, according to the movement of the wind, should be considered a great painter”

*.“He who knows how to show the difference between a sleeping and a dead man ; or who can portray the visual gradations of a highland and a low land is a great artist “

3.2. The Shilpa (sculpture) and Chitra (painting) are closely related to Natya (dance) in another way too. The rules of the iconography (prathima lakshana), in particular, appear to have been derived from the Natya-sastra. The Indian sculptures are often the frozen versions or representations of the gestures and poses of dance (caaris and karanas) described in Natya-sastra. The Shilpa and chitra (just as the Natya) are based on a system of medians (sutras), measures (maanas), postures of symmetry (bhangas) and asymmetry (abhanga, dvibhanga and tribhanga); and on the sthanas (positions of standing, sitting, and reclining). The concept of perfect symmetry is present in Shilpa and chitra as in Nrittya; and that is indicated by the term Sama.

3.3. The Natya and Shilpa shastras developed a remarkable approach to the structure of the human body; and delineated the relation between its central point (navel), the verticals and horizontals. It then coordinated them, first with the positions and movements of the principal joints of neck, pelvis, knees and ankles; and then with the emotive states, the expressions. Based on these principles, Natya-sastra enumerated many standing and sitting positions. These, demonstrated the principles of stasis, balance, repose and perfect symmetry; And, they are of fundamental importance in Indian arts, say, dance, drama, painting or sculpture.

4. Painting in ancient society

4.1. According to Chitrasutra, all works of art including paintings played an important role in the life of its society. The text mentions about the presence of paintings as permanent or temporary decorations on walls of private houses, palaces and of public places. Apart from wall paintings, the floors of the rich homes and palaces were decorated with attractive patterns and designs inlaid with precious stones.

4.2. Paintings had relevance in the private lives too. It is said; every cultured man had at his home a drawing board(phalaka) and a vessel to store brushes (vartika or tulikas). He painted for pleasure or in earnestness. The young lovers exchanged paintings as loving gifts. Painting – chitra kala- was recognized as an essential part of the curriculum in the upbringing of children of “good families”.

4.3. While on the subject I may mention that Chitrasutra observes: the pictures which decorate the homes (including the residential quarters of the king) should display sringara, hasya and shantha rasa. They should exude joy, peace and happiness; and brighten up the homes and lives of its residents. Pictures depicting horror, sorrow and cruelty should never be displayed at homes where children dwell. For instance the text mentions the pictures which show a bull with its horns immersed in the sea; men with ugly features or those fighting or inflicted with sorrow due to death or injury; as also the pictures of war, burning grounds; as being inauspicious and not suitable for display at homes.

But, the text says, the pictures of all types of depictions and rasas could be displayed at court-hall, public galleries and temples.

4.4. Hallow figures (sushira) of gods, demons, yaks has, horses, elephants, etc, were placed on the verandas of hoses, on stages and in public squares etc. as pieces of decoration . Such hallow images were usually made of clay, cloth, wood or leather .

4.5. The patas (poster like paintings) were commonly displayed in public squares. It is mentioned, such paintings were employed as a means and method of communicating with the towns people. The messages displayed picturesquely on the patas could be understood by all- – lettered and unlettered alike.

The art, thus, entertained educated and enlivened common people.

5. Appreciation of art

Following my post the state of music in Ramayana, there was some discussion about Sama and its relation to music. I was asked to say a little more about the music in Sama Veda; hence this post.

1. Sama Veda samhita

1.1. Sama Veda is linked to music through yajna. It was customary to invoke and invite deities by singing their hymns; and to recite the mantras while the rituals were being performed. Those who sang were designated: Udgatru .They selected those riks (mantras) from Rig Veda that could be sung. And, they compiled such selection into a collection; and that collection came to be known as Sama Veda Samhita. Out of the 1,549 mantras in Sama Veda, as many as 1,474 mantras are taken from Rig Veda. It is explained, SA stands for rik, while AMA stands for various notes (Brihad Up: 1-3-22). Sama Veda is thus, virtually, a musical rendering of the selected mantras from Rig Veda. In other words, Sama took maathu (words) from Rig Veda; and provided dhathu the musical substance to those words.

1.2. The Sama Veda Samhita was two segments. The first segment is called Sama – Yoni (adhara) mantra Samhita, meaning that it is the basic text. This segment contains the selected mantras as they appear in the Rig Veda .This, virtually, is the source book. The second segment called Sama –gana text, details how the selected mantras are to be sung. This is the text for singing; expanding each mantra of the first segment with notations. This is the Sama Veda as it is generally understood and sung.

2. Sama-gana

2. 1. As regards the styles of singing, Patanjali says that there were a thousand ways of singing of Sama “sahasravartma samvedah“. That might be just a poetic way of saying there were many styles of singing Sama. Of these, only three recensions Viz. Kauthumiya, Ranayaniya and Jaiminiya have survived. The Kauthumiya and Ranayaniya carry the same set of mantras; but they are grouped differently and there are variations in svaras (accent) too. The Jaiminiya is said to be different from the other two, in both the aspects.

2.2. Udgathrus , the singers at the yajna , for whose guidance the Sama Veda came to be compiled , are usually a group of three singers; and the group together renderers the mantras in five stages:

Prasthava: The initial portion of the mantra is sung by an Udgathru designated Prasthothru. He starts with Huuum sound (Hoon Kara).

Udgita: He is followed by the chef Ritwik (designated the chief Udgathru) who sings his portion of the rik. He commences with an Om Kara.

Prathihara: the mid-portion is sung loudly by Prathiharthra.

Upadrava: The chief Udgathru sings again; and

Nidhana: the final portion is sung by all the three together.

When a mantra, as per the above format, is sung three times, it is then a stoma.

3. Elements of chanting

3.1. The shiksha branch of Veda deals with elements of chanting and phonetics. According to Taittereya Upanishad (1. 2) , the elements of chanting includes six factors : Varna (syllable);svara(accent);maatra(duration);balam(time-duration);sama(even tone ) ; and Santana (continuity).The first four deal with correct pronunciation of individual syllables; and the last two with the pronunciation of the entire line or the verse.

3.2. Briefly, Varna is the correct pronunciation of every isolated syllable, combination of consonants and ovals and compound letters. Svara is how a syllable has to be pronounced in one of the three accents (udatta, anudatta and svarita).Maatra is the time duration for pronouncing a syllable. There are four types: hrasva- a short one-duration for short ovals; dhirga- two unit-duration for long vowels; plutam- longer than two –unit duration; and, the fourth is ardha- maatra, half unit, meant for consonants not accompanied by vowels.

4. Sama music

4.1. The music, based on Sama mantras was classified into:

(i). Grama_geya gana: was sung amidst people of the society. It was a natural way of singing.

(ii).Aranya gana: Sung in contemplation, in the woods and groves. This was also a natural singing.

(iii).Uhaa gana: Sung during the Soma yajna. The singing here followed a rather complicated pattern. And,

(iv).Uhya gana: secrect or singing within oneself.

4.2. In the beginning, Sama-gana employed only three notes called Udatta, Anudatta and Svarita. The lyre (Vana-Veena) accompanying the singing had only three strings, one for each note.The songs were perhaps like Ga Ga -Re Re -Sa Sa Sa. This kind of singing might have suited for chanting hymns.

The three notes were differentiated depending on whether it was produced mfrom above or below the palate (taalu).

Udatta refers to sound produced from above the palate; and is acutely accented (uchchaih) .

Anudatta was gravely accented (nichaih); produced from below the palate.

Svarita is a combination of udatta and anudatta, with udatta in the first-half. It is called a circumflexed accent.

In the written/printed texts of the Rig Veda, Udatta is not indicated by any symbol; Anudatta is indicated by underlining the syllable; and Svarita is indicated by a vertical line above the syllable.

The Sama –gana texts, however, indicate udatta by writing the Sanskrit numeral –one above the letter; anudatta by writing the numeral –three above the letter; and svarita by writing the numeral –two above the letter. In sama text , the syllables that have symbols are called prachaya.

5. Sama svaras

5.1 .But, the scale, gradually, over a period of time, expanded from three to seven notes Narada Shiksha explaining the Sama music states: there were: seven notes (svaras); three gramas; 21 moorchanas; and 49 taanas in Sama music. It also gives the relation between the Sama notes (Sama svara) and notes on the flute (Venu svara):

In the later Sama texts, it became customary to write the numerals (one to seven) on top of the Sama mantras to indicate their note- delineations (Sama vikara).

5.2. Naradiya Shiksha (1.5.3; 1.5.4) explains that each sama-svara was derived from the sounds made by a bird or an animal in its appropriate season. For instance, bulls roar was Rishabha; kraunchaka’s (heron) cry was Madhyama; elephant’s trumpet was Nishadha; and koel’s (cuckoo) melodious whistle was Panchama and so on. Please see the table below.

Mathura, Almighty Lord Krishna’s birthplace is unique to the mundane world and beyond earthly attachments. Ayodhya, Mathura, Maya, Kanchi, Kashi Avanti and Dwaravati are acclaimed as the saptpuris or seven prime pilgrimage sites on earth. Mathura abounds in spiritual bliss. Claiming to enjoy divine protection, cradled in the spectrum of 84 kos it is unaffected by natural calamities and evil influences because Lord Sri Krishna, Lord Sri Vishnu Incarnate was born here. Mathura is the most fortunate of towns because Lord Krishna manifested in the prison to display His loving tenderness by spreading joy and delight.The Lord and Balramji have been wandering in the environs, forests and big market-places of this town. Its Gopi folk completely absorbed in Lord Krishna’s lyrical softness, innocent pranks beautiful adornments, serene divinity which all add up to His madhurya type=”text/javascript”> or sweet love, have been savouring His divine play. Aware of His arrival in Mathura these townswomen eagerly desirous for a glimpse of Him, clumsily decking themselves, abandoned their household chores and rushed to stand on their balconies. Gazing at the dark-hued Krishna they found that HE existed intensely in their hearts when they sang His praise and dwelt in their longing for Him.

Every site is marked by Lord Krishna’s feet. One aspect of Lord Krishna’s enigmatic persona and manifestation which distinguishes HIM from all other deities is HIS leela.This divine play which makes HIM only divine .Delighting in play He endears Himself and brings joy to all His devotees.

History:

The city is extremely ancient; existing since Vedic times. According to the ‘Varah Purana’ Shri Vajranabhji, great-grandson of Lord Krishna got the birthplace of the Lord built. Initially Mahmud Ghaznavi invaded Mathura, demolishing several sites. Gradually peace was restored and King Vijayendra of Kanauj rebuilt the Lord Vasudev temple in the year 1207. Once again it was ravaged by Sikander Lodhi in 1573. French and Italian travelers acclaimed its beauty and fine art of painting in 1669. Aurangzeb had it scrapped in1669 and erected a mosque instead. Raja Patnimal of Banaras bought Keshav Dev, eager to restore it. Finally Shri Hanuman Prasad Poddarji, editor of ‘Kalyan’, motivated many devotees who pitched in with financial aid for building a magnificently huge temple.

The Puranas (a class of voluminous work in Sanskrit dealing with aspects of ancient Indian history, legend and mythology) equate Mathura to a pool of lotuses. Shri Keshavdevji resides in its centre, Hardevji on its west, Govind Devji to its north (Vrindavan), Lord Vishranti in the east and Varah Dev to its south.

Significance:

Bathing at important pilgrimage sites in this town expiates all our sins as we attain the blessings of Ashwamegh Yagya ( a Vedic horse-sacrifice performed chiefly by kings: often in assertion of a king’s dominion over his territory) at every step.

The word Mathura can be likened to Omkar with the syllable Ma standing for Maha Rudra, thu for Lord Vishnu and ra for Lord Brahma.

Along with Lord Krishna his entire parikar or attendants were born in Braj, resulting in several sites being constructed in their memory. We strive to give you a summarized version of the main pilgrimage centres below:–>

Lord Krishna’s Birthplace:

The main purpose of the Lord’s incarnation, lucidly explained in the ‘Bhagwad Gita’.is for the salvation of saints, destruction of evil and installation of righteousness. Towards the end of the Dwapar Era, on Krishan Ashtami in the Hindu month of Bhadra, Mathura had the great fortune of witnessing Lord Krishna’s birth. Atrocities were on the rise, religion had become a mere farce and all deities were in great pain. King Kansa had imprisoned Vasudev and Devkiji, terrified as he was of his own death, having killed six of their earlier children. The seventh child was to be the Lord Himself. The nakshatra was Rohini, the planets were at peace with the stars twinkling. Precisely at that moment the Lord Vishnuji was born resplendent with a conch, discus, club and a lotus. Vasudev and Devkiji made obeisance to HIM . Vasudevji instantly shifted HIM to Nandraiji’s house to hide the truth from Kansa. Simultaneously Yashodaji gave birth to Yogmaya. Miraculously the prison guards fell asleep, Vasudev and Devkiji were unshackled and the doors opened on their own. The clouds drizzled, Lord Sheshnaag protected the infant with His hood and torrential Yamunaji or Krishna’s beloved Kalindi embraced His feet, calming her heart’s desire. Soon enough she gave way to enter Gokul. Everyone was deep asleep. The infants were swapped with Krishna safely cradled on Yashodaji’s bed and baby Yogmaya being taken to Devkiji’s arms. Since ages Lord Krishna’s birth is celebrated in Gokul with much fanfare.

Shri Keshav Devji:

One who circumambulates this site is said to have revolved around the seven continents of the world. Shri Vallabhacharyaji and Shri Chaitanya Mahaprabhu came here and were enlightened.

Vishram Ghat:

We find respite from sufferings on earth and the next world. Bathing here leads one to Vaikuntha, the abode of Lord Vishnu. Sikander Lodhi’s anti-Hindu views had impaired Hindu worship. Acharya Keshav Bhatt Kashmiri and Shri Vallabhacharyaji with their devotion and self confidence got rid of the obstacles hounding Vishram Ghat.

Shri Vallabhacharyaji’s Baithak:

When Vallabhacharyaji visited this site it was like a cremation ground of Hindus. No religious rites could be performed and barbers were ordered not to shave beards. Appalled at the situation he strongly requested Sikander Lodhi to revoke his stand. Impressed by his courage, the emperor complied making Vallabhacharyaji famous overnight. Shri Chaitanya Mahaprabhu visited Braj and stayed over at Vishram Ghat.

Gat Shramdev:

On visiting this spot one attains the blessings of bathing at all the pilgrimages. The Shri Ramanuja Sect is located here.

Bhuteshwar Mahadev:

Considered to guard the western direction, Lord Shiva came to Braj and resided in Mathura as Bhuteshwar Mahadev.

Potra Kund:

Embellished with beautiful stairs and shaded by dense foliage, the child play and pranks of Lord Krishna are woven around this site.

Sri Yamunaji:

Adorned with infinite virtues, praised by Lord Shiva, Brahma and other deities, fulfilling the desires of Dhruv and Parashar, with the pristine town of Mathura situated on its banks and inhabited by cowherds of Braj is Shri Yamunaji. Dissolving people’s sins it offers the loving worship of Lord Krishna. On one hand it is manifest as a river and on the other it resides as Kalindi, the beloved of Lord Krishna. Helping us tide over the toughest of worldly attachments, fears and difficulties the sacred river is highly revered by all.

Yam Dvitya:

Lord Krishna enlightened Yudhistarji about the importance of this day. Shri Yamunaji invited her brother Yamraj to a feast. Contented with the lavish spread, he gave a boon for mankind’s well-being, thus fulfilling her wish. Till date when a brother and his sister bathe at Vishranth on the day of Yam Dvitya they get rid of Yamraj’s fear.

Avimukth Pilgrimage:

Undoubtedly bathing at this site leads one to mukti or salvation.

Gumbh Pilgrimage:

Freed from all bonds in this world, one who bathes here is revered in Vaikuntha, the abode of Lord Vishnu.

Surya Pilgrimage:

Bali, son of Virochan, prayed to the Sun God at this spot. Bathing here on sankranti (entry of the sun or planet into a new sign of the zodiac) and on solar and lunar eclipse one attains the blessings of the Rajsuya Yagya or sacrifice.

Dhruv Teerth:

Young Dhruv, motivated by mother Suniti, came to Mathura for spiritual bliss. His austere penance moved the entire universe and Lord Narayana appeared to fulfill his heart’s desire. Shri Hari Vyasdevji, a great saint and disciple of Shri Bhathji lived here. The pilgrimage sites of Rishi, Moksha, Koti, Bodhi, Asikund and Nav are close by.

Sanyaman Pilgrimage:

A belief endorses that Lord Krishna bathed in the Yamuna at this spot after killing Kansa. A dip here certainly transports one to the Lord’s abode.

Dharapatan and Ghanta Bharnak Pilgrimages:

One attains heavenly joys by a dip at Dharapatan and death at this site leads one to God’s dwelling. Ghanta Bharnak expiates all sins. By bathing here one is revered in Surya Lok. Near by are Naag and Brahma Pilgrimages.

Somteerth (Gau Ghat) Vaikunth Ghat and KrishanGanga Ghat:

Maharishi Vyasji did austere penance at Krishan Ganga. Bathing here, one achieves ten-fold more blessings than a dip in Naimi Sharanya, Prayag and Pushkar.

A dip at Som Pilgrimage showers one with infinite happiness.

A bath in Vaikunth Pilgrimage frees all bonds and leads one to Vishnu Lok.

Chakra Pilgrimage:

After fasting for three nights when one bathes here, he is pardoned for killing a Brahman.

Saraswati Patan is nearby where there is a confluence of rivers Saraswati and Yamuna.

Dash Ashwamegha Pilgrimage:

It is believed that Naag kings performed several Ashvamegha sacrifices here. Ascetics have been worshipping this site since ancient times.

Gaukaran Pilgrimage:

Extremely dear to Lord Vishnu is the world renowned Gaukaran Pilgrimage, said to guard the northern wing of Mathura. Vighan Raj and Koti sites are close by.

Asikund Pilgrimage:

After visiting the shrines of Lords Varaha, Narayana, Vaman and Mangalmay Langli when one bathes here, it is overly believed that he circumambulates the earth four times coupled with blessings of all pilgrimages.

Shri Dwarkadeeshji:

A great attraction for distant travellers, the site is tended with great fondness. Located in the market-place of Asi Kunda, it is renowned as Sethji’s or Raja Dheeraj’s Temple. Shri Gokul Das of Gwalior inaugurated it in1871, presenting it to the Goswamis. Swings of the Shravan Month and its dense clouds are particularly inviting.

Kansa Fort:

Ruins of Kansa Fort are located on the banks of the Yamuna. Idols found here reveal that it was once the residential station of Kansa.

Shri Amba Reesh Teela or Hillock:

Built in the memory of Amba Reesh’s unique devotion, it exhibits the righteous path to us.

Shri Ganesha Ghat:

A resplendent SWAROOP of Lord Ganesha adorns the site. When Baji Rao Peshwa freed Mathura from the rule of the Mughals he performed religious ablutions to omnipresent Ganeshji. Soon enough he handed over this task to the fore-fathers of Pandit Dinanath and Kalicharanji, present day priests. Several miracles woven around this idol have taken place from time to time.

Malhapura:

Musclemen of Kansa used to live in this settlement, located between Potra Kund and Keshavdevji.

The Ashram of Durvasa Muni:

This ancient site is situated across the Yamuna opposite Vishram Ghat.

Shri Dauji Madan Mohanji:

Close to Ram Ghat, on the banks of the Yamuna are temples of the religious Vallabha Sect

Rang Bhoomi:

Kansa got the Rang Bhoomi constructed for displaying it to Lord Krishna and Balramji.

Rang Shala:

Invited by King Kansa, Lord Krishna along with Balrmaji and Braj denizens came to Mathura, entering the Rang Shala for the bow sacrifice. Conspiring towards the Lord, Kansa had got the arena constructed. Instantly Krishna lifted the rainbow like bow with His left hand and broke it effortlessly. Diplomatically , Lord Krishna instigated Chanoor and Mushtik for a duel. The Braj folks were overawed as Shri Krishna-Balram killed them along with Koot, Shal and Toshal. Infuriated now, Kansa ordered for the imprisonment of the brothers and cow herds. Soon enough Lord Krishna caught hold of Kansa very much like a vulture strangles a snake and killed him. Since Kansa was petrified, his continual obsession with Lord Krishna led him to salvation. Though now in ruins, the Rang Shala, a historical site, speaks volumes about Lord Krishna and Balramji’s valour.

Shri Rangeshwar Mahadev:

Shri Rangeshwar Mahadev is considered the protector of the southern zone of Mathura.

Sapt Samudri Koop:

In ancient times traders returning from abroad donated gold at this spot. Newly wed brides of Mathura gather around an old well located here for prayers on Naag Panchami (a Hindu festival falling on the fifth day of the light half of the month Savan when women worship snakes to obtain blessings on their children.)

Mahura Township Shaped like a Lotus:

The Varah Purana describes Mathura as a lotus with Keshav Devji as its central stalk, Govind Devji to its north, Hardevji seated on its western petal, Vishranti in its eastern and Shri Varah Dev in its southern .

New pilgrimage sites:

Shri Dwarka Deeshji, Shri Govind Devji’s temple, Goverdhan Nathji, Shri Bihariji, Madan Mohanji, Shri Radhe Shyamji, Shri Mathura Nathji, Shri Radha Krishanji, Shri Dauji, Shri Ramji,Swami Keelji’s Cave, Tulsi’s Platform and Shari Nathji’s Baithak all fall under this segment.

Madhu Van:

Lord Vishnu killed demons Madhu and Kaitabh at this location. Young Dhruv did austere penance at the Madhu Van. Shatrughanji put an end to Lavana, the son of demon Madhu. Adorable Lord Krishna, a well-wisher of HIS devotees, grazed cattle in this forest. Shri Mahaprabhu Vallabhacharyaji also visited this site.

Tal Van (Taarsi Village):

This is the sacred forest where Lord Krishna and Balramji killed the demon Dhenukasur for the welfare of Yadhus. Once while grazing cattle the cowherds were famished and eagerly desirous to savour the ripe fruits of its trees. Scared of the demon they dared not but soon enough Balramji put an end to the fiend much to the delight of HIS sakhas.

Kumud Van:

Kumud Van is a forest Lord Krishna frequented for amusement. The Lord and Balramji grazed cattle at this venue and all the cowherds scrambled for their midday meal, ecstatic to eat the Lord’s leftovers. Often playing the flute, the breath of love in this forest, Lord Krishna attracted cowherdesses with His melodies.

Ambica Van:

An incident narrates how Nand Raiji along with other cowherds went to this forest and was almost strangled by a python residing there. Lord Krishna with the touch of His toe nail freed Nand Raiji, soon enough transforming the snake to a radiant handsome man who recounted the tale of how He had been born as a python. Shri Ambica Devi and Gaukaran Mahadevji reside at this site.

Datiya is about six miles from Mathura.

Gandheshwar Pilgrimage:

Situated about a mile from Shantanu Kund is Gandeshwar. Fragrant flowers blossomed here and Lord Krishna with His cowherds enjoyed the ethereal environs. Pootna’s village Khechri is close by.

Satoha (Shantanu Kund):

King Shantanu prayed to the Sun God for a son and had His wish fulfilled. Several Braj denizens come here asking for a son in the month of Bhadra (the sixth month of the Indian lunar calendar).

Baati Village (Bahulavan):

Lord Krishna’s wife, Bahula, is said to permanently reside in the Baati Village. By feasting and bathing in Padamvan located here, one is invariable rewarded because Lord Vishnu along with His wife Laxmiji lives here. The story of Bahula, the cow, spared by a lion impressed by her true promise of returning after having fed Her calf, has been immortalized in a temple.

Madhuri Kund:

Situated in Agnikone about two miles from Arheeg village, it is the place of Madhuri, a

close friend of Shri Radhaji.

http://arbhatnagar.sulekha.com/blog/post/2008/08/mathura-the-prison-where-lord-sri-krishna-was-born.htm

SCIENTIFIC EXPERTS from around the world are predicting that five years from now, all life on Earth could well come to an end. Some are saying it’ll be humans that would set it off. Others believe that a natural phenomenon will be the cause. And the religious folks are saying it’ll be God himself who would press the stop button. The following are some likely arguments as to why the world would end by the year 2012.

Reason one: Mayan calendarThe first to predict 2012 as the end of the world were the Mayans, a bloodthirsty race that were good at two things — building highly accurate astrological equipment out of stone and sacrificing virgins.

Thousands of years ago they managed to calculate the length of the lunar moon as 329.53020 days, only 34 seconds out. The Mayan calendar predicts that the earth will end on December 21, 2012. Given that they were pretty close to the mark with the lunar cycle, it’s likely they’ve got the end of the world right as well.
Reason two: Sun storms

Solar experts from around the world monitoring the sun have made a startling discovery. Our sun is in a bit of strife. The energy output of the sun is, like most things in nature, cyclic and it’s supposed to be in the middle of a period of relative stability. However, recent solar storms have been bombarding the earth with lot of radiation energy. It’s been knocking out power grids and destroying satellites. This activity is predicted to get worse and calculations suggest it’ll reach its deadly peak sometime in 2012.
Reason three: The atom smasher

Scientists in Europe have been building the world’s largest particle accelerator. Basically, its a 27 km tunnel designed to smash atoms together to find out what makes the universe tick. However, the mega-gadget has caused serious concern, with some scientists suggesting that it’s properly even a bad idea to turn it on in the first place. They’re predicting all manner of deadly results, including mini black holes. So when this machine is fired up for its first serious experiment in 2012, the world could be crushed into a super-dense blob the size of a basketball.

Reason four: The Bible says it

If having scientists warning us about the end of the world isn’t bad enough, religious folks are getting in on the act as well. Interpretations of the Christian Bible reveal that the date for Armageddon, the final battle between good an evil, has been set for 2012. The I Ching, also known as the Chinese Book of Changes, says the same thing, as do various sections of the Hindu teachings.

Reason five: Super volcano

Yellowstone National Park in United States is famous for its thermal springs and old faithful geyser. The reason for this is simple — it’s sitting on top of the world’s biggest volcano and geological experts are beginning to get nervous sweats. The Yellowstone volcano has a pattern of erupting every 650,000 years or so, and we’re many years overdue for an explosion that will fill the atmosphere with ash, blocking the sun and plunging the earth into a frozen winter that could last up to 15,000 years. The pressure under the Yellowstone is building steadily, and geologists have set 2012 as a likely date for the big bang.

Reason six: The physicists

This one’s case of bog — simple maths mathematics. Physicists at Berkely University have been crunching the numbers. They’ve determined that the earth is well overdue for a major catastrophic event. Even worse, they’re claiming that their calculations prove that we’re all going to die, very soon. They are also saying that their prediction comes with a certainty of 99 per cent; and 2012 just happens to be the best guess as to when it occurs.

Reason seven: Earth’s magnetic field

We all know the Earth is surrounded by a magnetic field that shields us from most of the sun’s radiation. What you might not know is that the magnetic poles we call North and South have a nasty habit of swapping places every 750,000 years or so — and right now we’re about 30,000 years overdue. Scientists have noted that the poles are drifting apart roughly 20-30 kms each year, much faster than ever before, which points to a pole-shift being right around the corner. While the pole shift is under way, the magnetic field is disrupted and will eventually disappear, sometimes for up to 100 years. The result is enough UV outdoors to crisp your skin in seconds, killing everything it touches.

http://www.merinews.com/catFull.jsp?articleID=139440

In the rule of Musharaff there were total 4 War between India and Pakistan.And he was the main to start this war.

General Pervez Musharaf was born on 11 August 1943 at Naherwali Haveli at Delhi.At the time of partition of India Musharaf’s father decided to settle at Karachi.Musharaf studied there in a convent schooland took Degree from Lahore’s Formen Christain College.

Army life of Musharaf started at an very early age of 18.He took admission in Pakistan Military Academy.And after 3 years of studies at the age of 21 he got posting in Pakistan Artilary Regiment.He also studied in different Army Schools of Pakistan.
When there was a war between India and Pakistan in 1965 Musharaf was second leftenent.In the war after 6 years in 1971 he was the Special Service Group Commander of Commando Bitalion.
Later on Musharaf became perfect for starting war.
Musharaf was that much talent that became very persoanl among Pakistani Politicians.When Benzir Bhutto was Prime Minister Musharaf got Military Operations Director Level.After the Prime Minister Nawaz Sharif was so much impressed by Musharaf that he gave Musharaf the Head charge of Army.In true sense Nawaz Sharif though as Musharaf do not know Punjabi he will soon go out from here but this was proved as wrong.Musharaf also done Kargil War with India.This war was last till 3 months but atlast Pakistanis have to go back.
Between this Nawaz Sharif commented that Musharaf have done all Kargil operations in secret.In return Musharaf also commented against him and told Nawaz Sharif have taken back the army from Kargil due to pressure of America.Now relations between Musharaf and Nawaz Sharif were bad.
When Musharf became Prime Minister of Pakistan he ordered to arrest Nawaz Sharif under case of Fraud.When Nawaz Sharif came from Jail Musharaf putted banned on him for 10 years.And Nawaz Sharif spend his life at Saudia Arabia.
Now in between there was a terrorist attack on World Trade Center and America was in search of Terrorists.Now Musharaf became tensed because Musharaf was the main in helping all terrorists in Pakistan.Pressure of America came on Musharaf to find all terrorists while he was also one of them.At this he have to do fake behave to find terrorist.

Now all Severe Political Change came in Pakistan due to pressure of America and Musharaf have to cancel the ban of Benzir Bhutto and Nawaz Sharif.
First Benzir Bhutto came to Pakitan and she was killed in a Blast.And after that in election the husband of Benzir Bhutto Won and the side of Nawaz Sharif also won.Both Zardari the husband of Benzir Bhutto and Nawaz Sharif were enemies but both want to fight against Musharaf so they both became one.Now both this people forced Musharaf to Resign as Politician or else they will do severe case on him.

At last Musharaf leaved his life as Politician but he is still a Commando.
Now the question is Will Musharaf be allowed to live in Pakistan or he have to leave Pakistan?

http://www.groundreport.com/Lifestyle/THE-HISTORY-OF-MUSHARRAF

Source
The “Indianised” New Community Bible has raised the hackles of some Catholics, with calls for its boycott and halt of sales and further printing.

The Bible has drawings of a sari-clad Mary with Joseph in a dhoti and turban; symbols of mandir, masjid, and gurdwara along with the church, and quotes from the Upanishads. The commentary on Psalm 5 (Prayer at Daybreak — A Psalm of David) reads like this: “In Hinduism, the dawn is personified as a deity by the name Ushas. The traditional morning prayer of a Hindu consists of reciting the famous Gayatri mantra (Rig Veda 3.62.10) at day break, facing the rising sun: Om bhur bhuvgah svah, tat savitur varenyam, bhargo devasy dhiman, dhiyo yo nah pracodayat (may we meditate on the most excellent lustre of the sun god that he may illumine our intellect).”

The Catholic Bishops’ Conference of India (CBCI) has decided to examine the objections raised by protesting Catholics. Its deputy secretary general Father Thomas D’Aquino Seqeira said on Wednesday: “We will take up the matter at the CBCI standing committee meeting next month.”

But spokesperson Babu Joseph said, “Individual bishops can give permission for publication and necessary clearance has been taken as required from two bishops.”

The protesters, in a memorandum, have called for a Catholic boycott of the Indianised Bible, and a halt to sales of the first edition and further printing. If they aren’t satisfied with the CBCI’s response, they intend to move the Vatican.

Among those critical of the new Bible is Michael Prabhu of the Metamorphose Catholic Ministries, Chennai. He says: “Would one want to consume food contaminated by excrement? Will not one apply the same criterion to spiritual nourishment?” He says the commentaries don’t make a single reference to the great missionaries and saints of India, St Thomas and St Francis Xavier among others while talking about Gandhi, Kabir, Adi Shankara,Vinoba Bhave, etc.

http://tootiefairy.sulekha.com/blog/post/2008/08/catholics-protest-indianised-bible.htm

The seven oldest gods to whom the Rig Vedic hymns are addressed are Dyaus, Varuna, Mitra, Agni, Soma, Yama, and Vayu. All these gods are different aspects/elements of nature in their mythological personifications. Zenaide A. Ragozin defines myth simply as a phenomenon of nature presented not as a result of a law, but as the act of divine or at least superhuman persons, good or evil. Ancient human beings gave a name to every natural phenomenon/element that astonished them to indicate it. In course of time that name became the name of the god of that phenomenon. Dyaus was the word for the sky, the firmament, which ultimately became the name of the sky-god. Later the Heaven-Earth combination gave birth to Dyaus-Prithvi conjugation. The earth was seen as infinite, eternal so Prithvi became “Aditi” (boundless). The earth gives birth to all things and hence Aditi became symbolic of mother. Thereby Dyaus with Aditi, the mother, became symbolic of the father. This is how mythology grows through a complex process.

Ancient people also noticed that Dyaus, the sky entire sky, has two aspects – the serene sky, Varuna, and the stormy sky, Rudra. The general characteristic of the sky was serene and only sometimes unusually the sky becomes stormy. Thaus what is usual became Right, Truth – the “Rita”. Rita became the laws of Varuna, now personified as the god of righteousness. In course of time Varuna became the king of gods. Rudra, the dark, stormy sky, which often brings destruction, became personified as the god of destruction. Again the sere sky is associated with light – the sky and the light are like friends or “Mitra”. Mitra became the god of light. Similarly, other old gods of the Rig Veda were personified – Agni (Fire), Soma (Plants), Yama (Death), Vayu (Wind). Once this mythological background was created a number of lesser Vedic gods came into being like Indra (Rain), Pusan (Nourishment), Vishnu (Creation), etc.

As ancient people started settling down they found that the two elements of nature that crucial for cultivation were the rain and the sun. The rain-god Indra gained in prominence and soon replaced Varuna as the king of the gods. Often rain was accompanied by storms, now called Maruts. Maruts became the followers of Indra. The sun was seen rising from the horizon where the sky and earth seemed to meet. This promulgated the myth of the sun-god Vivasvat born of Dyaus-Aditi. Later the sun-god began to be identified in its two aspects – Tvastar-Savitar. Savitar stood for the beneficent sun and Tvastar its opposite. Still later Tvastar started to represent the stern, baleful, threatening aspects of heaven in general. Savitar in due course of time became very important and the Gayatri Mantra of the Rig Veda is addressed to him. But there was further multiplication of the sun-god because the sun as an object was already represented by the common noun “surya” and addressed in the feminine gender. So, when “Savitar” and “Surya” began to be used interchangeably overlooking the gender disparity, it produced two gods out of one and a complicated situation. Gradually with the advent of creation myths the lesser gods Vishnu, Rudra (once identified with the non-Aryan Shiva-Pashupati) and Brahmanaspati (originally Priest, Lord of Prayer) gained importance as the supreme trident of Vedic gods. It is interesting to note that Vedic religion in its most ancient form was not idolatrous – there was no image worship.

A few observations will show that the Vedic nature myths were not exclusive to an isolated group of population but spanned across the Mediterranean coast to the Indian subcontinent if not further. The Vedic Dyaus or Dyaushpitar (Heaven, the Father) has Greek equivalent Zeus or Zeus-Pater, Latin Dies-Piter, subsequently modified to Jupiter. The Christian “Deus” is “God” and the modern Dios, Dieu have Aryan root “divus” or “divine”. The Vedic Parjanya has equivalence with Perkunas or Perkons of Slavo-Lithuanian. The story of the Great Flood of Shatapatha Brahmanas has its versions in the Chaldean Deluge Tablet (Manu=Hasisadra), and Genesis (Manu=Noah). The Vedic Matsya-avatar can be equated with Ea-Han (Oannes), the fish-god of Chaldea. The mythical Mount Meru, the abode of the Vedic gods, is also referred to as Sumeru which has echoes in the name Sumeria of Mesopotamia. The gods of the Mitanni civilization also corresponds to Vedic gods – Mitrasil (Mitra), Arunasil (Varuna), Indar (Indra).

The Zoroastrian Avesta has Manthras just like the Mantras of Vedas. Also the Vedic Soma and Mitra have Parsee equivalence of Haoma and Mithra. It is noteworthy that Asura in the oldest Rig Vedic hymns means beneficent being and it is an epithet of the older Vedic gods – Asura-Dyaus, Asura-Varuna just like Ahura-Mazda of Avesta. But later as Indra became the king of gods and triumphed over the older gods, the word Asura became corrupted to mean an evil being. Deva started to imply for good powers (contrarily Daevas in Avesta imply servants of the Evil One). The Vedic Dasyu also can be compared to Avestan Dahyu. Originally Dasyu simply meant people, but as the Vedic people began to call themselves Arya, Dasyu began to be used for non-Aryans. Later it got transformed to Dasa (slave/servant). The Vedic people called themselves “Arya” which meant originally “the people who plough” (from root “ar” which means “plough” as in arable). But subsequently it took the meaning of “noble birth”. That is why even the Persian King Darius I in his states in his inscription: “I am an Arya, the son of an Arya.”

The Aryans domesticated cows, which were unsuitable for leading a nomadic life. The Vedic word for cow is “Go”. The derivative Sanskrit word “gotra” literally means “the enclosure which protects a herd” and gradually came to denote a family and a tribe. From this root comes the word Gopa to mean herdsmen and later chieftain or king. In Greek and Hebrew tradition too kings are often referred to as shepherd or pastor. What the birth of myths and their commonness across civilizations show is that origin of all religions is basically the same and so are human beings all over the world. Perhaps we have an important lesson to learn from our ancient ancestors whom we often dismiss as uncouth or sometimes do not even remember.

Reference:

The Story of the Nations: Vedic India by Zenaide A. Ragozin, London: T. Fisher-Unwin, 1895.

http://amitss6.sulekha.com/blog/post/2008/08/the-birth-of-myths-and-commonness-across-civilizations.htm

http://ravi-kumri.sulekha.com/blog/post/2008/08/amarnath-shrine-board.htm