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	<title>Pagalz.com - Blog &#187; Traditions</title>
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		<title>Diwali festival of lights-</title>
		<link>http://www.pagalz.com/blog/2008/10/diwali-festival-of-lights/</link>
		<comments>http://www.pagalz.com/blog/2008/10/diwali-festival-of-lights/#comments</comments>
		<pubDate>Fri, 17 Oct 2008 09:11:35 +0000</pubDate>
		<dc:creator>preeti</dc:creator>
				<category><![CDATA[Beliefs & Causes]]></category>
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		<description><![CDATA[
Diwali is queen of festivals
diwali is celebrated as homecoming Of
Lord Rama to Ayodhya
The people of ayodhya decorated the whole city with diyas
Diwali can be dangerous to Nature
A safer Diwali
Take care of sick and little children
Look into many deprived
Many old people in old homes
Lord Rama went to excile for fourteen years
To fulfill the promise of his  <a href="http://www.pagalz.com/blog/2008/10/diwali-festival-of-lights/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p><img src="http://aroona.sulekha.com/mstore/aroona/albums/default/200534926-001.jpg" /></p>
<p>Diwali is queen of festivals<br />
diwali is celebrated as homecoming Of<br />
Lord Rama to Ayodhya<br />
The people of ayodhya decorated the whole city with diyas<br />
Diwali can be dangerous to Nature<br />
A safer Diwali<br />
Take care of sick and little children<br />
Look into many deprived<br />
Many old people in old homes<br />
Lord Rama went to excile for fourteen years<br />
To fulfill the promise of his father<br />
Many children sent their parents to excile<br />
Bring them back from such excile with vow not to sent back again<br />
It will be great diwali celebration and gift for them<br />
Visit an orphanage with your children to celebrate diwali<br />
so that your children know to share humanity<br />
And it will be great celebration for children<br />
who live in orphanages<br />
Visit the people who are alone in this world<br />
And  share diwali celebration<br />
Use mud diyas to go back to nature .<br />
In my house I celebrate diwali with simplicity<br />
Prayers  and gifts to people who work for me<br />
And share my recipes with them as my family members.</p>
<p>http://aroona.sulekha.com/blog/post/2008/10/diwali-festival-of-lights-sulekha-com.htm</p>


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		<title>Why Islam is Against Lending Money at Interest?</title>
		<link>http://www.pagalz.com/blog/2008/10/why-islam-is-against-lending-money-at-interest/</link>
		<comments>http://www.pagalz.com/blog/2008/10/why-islam-is-against-lending-money-at-interest/#comments</comments>
		<pubDate>Mon, 13 Oct 2008 13:07:28 +0000</pubDate>
		<dc:creator>preeti</dc:creator>
				<category><![CDATA[Beliefs & Causes]]></category>
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		<description><![CDATA[Why is interest evil?
Allah Forbade Interest
Allah says in the Qur&#8217;an:
Translation: Those who devour usury will not stand except as stand one whom the Evil one by his touch Hath driven to madness.
That is because they say: &#8220;Trade is like usury,&#8221; but Allah hath permitted trade and forbidden usury. [Surah Baqarah, 2:275]
A few verses later, Allah  <a href="http://www.pagalz.com/blog/2008/10/why-islam-is-against-lending-money-at-interest/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p>Why is interest evil?</p>
<p>Allah Forbade Interest</p>
<p>Allah says in the Qur&#8217;an:</p>
<p>Translation: Those who devour usury will not stand except as stand one whom the Evil one by his touch Hath driven to madness.<br />
That is because they say: &#8220;Trade is like usury,&#8221; but Allah hath permitted trade and forbidden usury. [Surah Baqarah, 2:275]</p>
<p>A few verses later, Allah says:</p>
<p>Translation: O you who believe! Observe your duty to Allah, and give up what remains (due to you) from usury, if you are really believers.<br />
And if you do not, then take notice of war from Allah and His Messenger. But if you repent, you shall have your capital (without interest).<br />
Deal not unjustly (by asking more than your capital), and you shall not be dealt with unjustly (by receiving less than your capital). [Surah Baqarah, 2:278-279]</p>
<p>Unfair and Unjust</p>
<p>Abdullah, who takes a $10,000 loan and then he goes out of business. He now has to pay interest on his loan even though he has lost all the funds.<br />
In 5 years he might still be suffering and paying back the loans. At 7% interest, he will end up paying $20,000 in total if he still has the loans in 10 years.</p>
<p>A more fair deal would be that the business person who makes a deal that he will lend brother Ahmed $10,000 loan and he will be a partial owner of the business.If Ahmed makes a huge profit, the business person will also get 25% of it, which will be much more than the measly 7% he could have got as interest,<br />
and Allah will bless it as well, whereas Allah has cursed the one who takes interest and pays it.</p>
<p>World-Scale Corruption</p>
<p>The international monetary fund (IMF) and World Bank, which gives interest loans to countries &#8211; for example Bangladesh might receive an interest loan,and the interest will be so much that they will never be able to pay back the loan.In fact, they may eventually forgive the interest on the loan, or they may not. If they do not, the country sometimes has to sell &#8220;cash crops&#8221;(goods which cannot be used by the country itself, but can only be sold for money, such as coffee for example &#8211; say rather than rice, which can be eaten by the local population)in order to simply maintain the loan. When I say maintain, I mean to keep it at the same amount, and just pay the interest.</p>
<p>Family Corruption</p>
<p>Families where the father loses his job and resort to riba, may end up maxing out their credit cards, and may end up paying hundreds of dollars in interest every month.This is equivalent to burning that cash, because, literally, it is wasted. Why do you think the banks are so rich, anyway? Because suckers like me and you fall for the itand upon us as well is the anger of Allah! This large loans at a 18% interest rate become very difficult to pay back. In fact, at the credit card rate, you will end up paying double the amount<br />
if you paid the minimum balance and paid it all in 4 years. An example of this is if you bought a laptop for $2000, and you paid off your full credit card in 4 years, you will have spent $4000 on this laptop.</p>
<p>Alternatives</p>
<p>Place your trust in Allah, and ask him to help you find a way out.</p>
<p>If you have student loans, get rid of the entire amount before you graduate, by asking around for interest free loans from your friends and family members(you can do the same thing even if you&#8217;re working). Even if you feel bad/embarrassed to ask for money, remember that the interest you took is extremely sinful<br />
and that its better for you to ask so that you can get out of it.</p>
<p>Is Riba Interest?</p>
<p>Often, riba will be translated as usury, no interest. Some times people will claim that interest is halal, but only in excessive amounts does it become usury.This is only their vain desires. Bring your proof if you are truthful.</p>
<p>The Prophet (peace and blessings of Allah be upon him) said, &#8220;The gold for the gold, the silver for the silver, wheat for wheat, barley for barley,date for date, salt for salt, similar for the like, and hand in hand. So whoever adds or seeks to add, then he has used riba. The recipient and the giver of the transaction are the same.&#8221; (Reported by Muslim, #1584)</p>
<p>Once Bilal (رضالله عنه) brought Barni (i.e. a kind of dates) to the Prophet (صلي الله عليه وسلم) and the Prophet (صلي الله عليه وسلم) asked him,&#8221;From where have you brought these?&#8221; Bilal (رضالله عنه) replied, &#8220;I had some inferior type of dates and exchanged two Sas of it for one Sa of Barni dates in order to give it to the Prophet; to eat.&#8221; Thereupon the Prophet (صلي الله عليه وسلم) said, &#8220;Beware! Beware! This is definitely Riba (usury)! This is definitely Riba(Usury)! Don&#8217;t do so, but if you want to buy (a superior kind of dates) sell the inferior dates for money and then buy the superior kind of dates with that money.&#8221;</p>
<p>(The facts about Usury: Why Islam is Against Lending Money at Interest)</p>
<p>Moral: Acceptance of Usury discourages people from doing good to one another and lend out of good will. A society which encourages interest on lending will require needy people to pay back more than he borrowed, which quite often is a source of huge burden.</p>
<p>Social: If interest is allowed, the rich (who are most likely to be lender) will exploit the poor (borrower).<br />
As a result, the rich becomes richer and the poor becomes poorer. This generates envy and hatred among the poor toward the rich, resulting in social disorders, conflicts and at times breeds revolutions &amp; movements.</p>
<p>To understand these economic, moral and social effects we Indians don’t have to look further than Vidarbha and the plight of farmers there which in recent time has received much publicity for unfortunate circumstances. And Vidarbha is a part of much larger problem area.</p>
<p>Between 2001 and 2006, over 14000 farmers have committed suicide in various regions including Vidarbha and Telangana. In almost each of these suicide cases the only recurring reason is debt-trap.</p>
<p>Jaideep Hardikar in his report Loan after Loan notes:</p>
<p>A farming family holding 27 acres in Vidarbha has become a marginal landholder in a span of few years,<br />
and a vicious cycle of usurious debt robbed their lands and hopes. There are hundreds of others in the lurch similarly.</p>
<p>These farmers who very often had to borrow from money-lenders at 60-120% interest, to sow seed, and toil every day from sunrise to sunset and if-and-only-if the harvest is good or saved from natural torments will they be able to pay out the interest and some principal. But seldom it happens as willed and for years after years they are still trying to come out of debt. And for many the only way out of these miseries was through death. Suicide is not an easy route as some would think. It is an end for those who see all hopes vanished. It is also thus no surprise that Vidarhba and Telangana are demanding separate States.</p>
<p>Thus, in a society which permits interest, the strong benefit from the suffering of the weak, resulting in conflicts, social-disorders, and revolutions.</p>
<p>http://indian200809.sulekha.com/blog/post/2008/10/why-islam-is-against-lending-money-at-interest.htm</p>


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		<title>BIRTH OF BHISHMA (story from Mahabharata)</title>
		<link>http://www.pagalz.com/blog/2008/09/birth-of-bhishma-story-from-mahabharata/</link>
		<comments>http://www.pagalz.com/blog/2008/09/birth-of-bhishma-story-from-mahabharata/#comments</comments>
		<pubDate>Tue, 16 Sep 2008 15:54:06 +0000</pubDate>
		<dc:creator>shivani</dc:creator>
				<category><![CDATA[History]]></category>
		<category><![CDATA[India]]></category>
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		<description><![CDATA[Goddess Ganga stood before King Santanu, in human form,
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  <a href="http://www.pagalz.com/blog/2008/09/birth-of-bhishma-story-from-mahabharata/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Goddess Ganga stood before King Santanu, in human form,</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">As the very embodiment of divine beauty and loveliness.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">The king was so deeply infatuated with her graceful form</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">That he then and there requested her to be his wife for which</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">He offered her his kingdom, wealth and his very life, though</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">He did not even know who she was and whence she came.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">She replied “Oh king, I shall be your wife; but there are </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Some inviolable conditions: Neither you nor anyone else</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Shall ask me who I am and whence I come. You shall not </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Question any action of mine, good or bad, nor become angry</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">With me for any reason. You shall not also say anything </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">To displease me. If any of these conditions are violated</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">I shall leave you. Do you agree?” The king agreed. They</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Lived as husband and wife in great happiness, and even</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Forgot the passage of time. Ganga gave birth to many</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Children. She carried each newborn child to the Ganges,</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Cast it into the river and returned to the king with a smile!</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4"> </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Santanu was no doubt, horrified by her fiendish behavior but</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">He could not utter a word for fear of breaking the promise</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">And losing her. When the eighth newborn child was about</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">To be thrown into the river, the king lost control, burst out</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">In anger and restrained her. She told the king “O king, you</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Have broken your promise. Your heart is now set on the</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Child and you don’t need my presence any more. So, I go.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">But before going I must tell you why I behaved as I did.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4"> </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">The eight Vasus were once cursed by sage Vasishta to be </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Born as human beings and moved by their request and</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Prayer, I had to agree to be their mother. I bore them to you.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">For the service rendered by you to the Vasus, you have</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Earned great merit. I shall not kill this child. But I shall </font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Bring it up for a time and then return it to you as a gift.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Saying thus, Ganga disappeared with the child. It was</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">This child who was later to became famous as Bhishma,</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">(Also as Devavrata), in the great epic of Mahabharata.</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">             ­­­­­­­­­­­­___________________________</font></p>
<p style="margin: 0in 0in 0pt"><font color="#000000" size="4">Note: Vasus are a class of eight vedic deities.</font></p>
<p style="margin: 0in 0in 0pt">&nbsp;</p>
<p style="margin: 0in 0in 0pt">http://kvakutty.sulekha.com/blog/post/2008/09/birth-of-bhishma-story-from-mahabharata.htm</p>


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		<title>My daughter Divya&#8217;s wedding</title>
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		<pubDate>Mon, 15 Sep 2008 14:54:04 +0000</pubDate>
		<dc:creator>shivani</dc:creator>
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		<description><![CDATA[I am happy to inform you that my daughter Divya&#8217;s wedding with her long time friend Deepak went off well on 11 September 2008 in the presence of close relatives of both the bride and the groom.
The marriage conducted according to Kannadiga rituals, was a solemn affair consisting of a simple Kasi Yatra, Kanya Dhan,  <a href="http://www.pagalz.com/blog/2008/09/my-daughter-divyas-wedding/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p>I am happy to inform you that my daughter Divya&#8217;s wedding with her long time friend Deepak went off well on 11 September 2008 in the presence of close relatives of both the bride and the groom.</p>
<p>The marriage conducted according to Kannadiga rituals, was a solemn affair consisting of a simple Kasi Yatra, Kanya Dhan, tying the mangal sutra and the sapthapathi.</p>
<p>The lunch was of udupi style , with an array of dishes , the aroma and flavor still lingering on my taste buds. Evening 7pm there was a simple reception followed by a buffet dinner.</p>
<p>Though it is customary for the bride&#8217;s party to conduct the marriage and be responsible for the happenings of the day both physically and financially , the magnanimous groom&#8217;s parents, took up the obligation of conducting the marriage, with a smile and treated us like royal guests!</p>
<p>With no questions or even enquiriies regarding the bride&#8217;s gold jewellery, silver articles or the wedding gifts which usually accompany the bride coming from the grooms side, it was an out of the world experience for us..Comfortable rooms booked in hotels for two days saw the relatives in good spirits and there are no words to describe the camederie between the cousins, nieces and nephews meeting after a long time , coming from different parts of India.</p>
<p>With no Janavasam, Nitchaythartham ,Nalangu festival which usually accompanies a Hindu wedding, the marriage was a relaxed affair,  more of mirth and less of stress.</p>
<p>The marriage expenses was shared equally between the bride and the groom and we the parents were free from all the financial worries.</p>
<p>Special thanks to bloggers Annaswamy Natarajan, raju-indore, Kala BN, spk100, uropinion, unikrishnandr,DSampath, Rahim Bahrain, Anjolika, Sreenivasarao s, priyasivan and pure friendship for their best wishes and blessings.</p>
<p>http://geethamanian.sulekha.com/blog/post/2008/09/my-daughter-divya-s-wedding.htm</p>


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		<title>The Art of Painting in Ancient India – Chitrasutra (2)</title>
		<link>http://www.pagalz.com/blog/2008/09/the-art-of-painting-in-ancient-india-%e2%80%93-chitrasutra-2/</link>
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		<pubDate>Wed, 10 Sep 2008 15:18:34 +0000</pubDate>
		<dc:creator>shivani</dc:creator>
				<category><![CDATA[Art & Artists]]></category>
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		<description><![CDATA[The Art of Painting in Ancient India – Chitrasutra (2)
 
[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  <a href="http://www.pagalz.com/blog/2008/09/the-art-of-painting-in-ancient-india-%e2%80%93-chitrasutra-2/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p style="margin: 10pt 0in 0pt"><strong><span style="color: #c00000"><font face="Cambria" size="3">The Art of Painting in Ancient India – Chitrasutra (2)</font></span></strong></p>
<p style="margin: 0in 0in 10pt"><font size="3"> </font></p>
<p style="margin: 0in 0in 10pt"><font face="Calibri">[<font size="3">This</font></font><em><span style="font-size: 12pt; line-height: 115%; font-family: 'Times New Roman','serif'"> is the second in the</span></em><span style="font-size: 12pt; line-height: 115%; font-family: 'Times New Roman','serif'"> <em><span style="color: black">series of articles I would be posting on the art of painting in ancient India with particular reference to the Chitrasutra of Vhishnudharmottara purana</span></em></span></p>
<p><em><span style="font-size: 12pt; color: black; line-height: 115%; font-family: 'Times New Roman','serif'">This article covers certain general aspects discussed in Chitrasutra</span></em><em><span style="font-size: 12pt; color: black; line-height: 115%; font-style: normal; font-family: 'Times New Roman','serif'">. ]</p>
<p></span></em></p>
<p style="margin: 0in 0in 10pt" align="center"><img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image032.jpg" align="middle" height="417" width="290" /></p>
<p style="margin: 0in 0in 10pt"><em><strong><span style="color: black; font-style: normal; font-family: 'Arial Unicode MS','sans-serif'"><font size="3"></p>
<p>1. The Text</font></span></strong></em></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">1.1. The Vishnudharmottara Purana or the <em>Vishnudharmottara (</em>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 &#8211; then &#8211; 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 &#8212; seen and imagined&#8211; can bring forth.<br />
</font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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</font>.</p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">1.4. In that context Chitrasutra makes some amazing statements</font></span></strong><span style="font-family: 'Arial Unicode MS','sans-serif'">:</p>
<p></span></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*. Great paintings are a balm on the troubled brow of mankind.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.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<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*. Wherever it is established- in home or elsewhere- a painting is harbinger of auspiciousness.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*. Art is the greatest treasure of mankind, far more valuable than gold or jewels.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*. 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.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">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.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt"><strong> </strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">1.5. Vishnudharmottara is dated around sixth century AD, following the age of the Guptas, <span style="color: black">often</span> 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).</p>
<p><img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/dws-S008-b67.jpg" align="middle" height="417" width="290" /></font></span></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"></p>
<p>2. Concepts</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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.”</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">2.3. The Chitrasutra commences with a request by king Vajra to sage Markandeya seeking knowledge about image-making.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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)”.</p>
<p><img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image007.jpg" align="middle" height="417" width="290" /></font></span></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"><br />
3. Chitra and Natya</font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"><br />
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”.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="color: #29303b; font-family: 'Arial Unicode MS','sans-serif'"><font size="3">The Chitrasutra recognized the value and the significance of the spatial perspective</font></span></strong><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">.</p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.“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”</p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; color: #29303b; line-height: 115%; font-family: 'Verdana','sans-serif'">*.“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 “</span></strong></p>
<p style="margin: 0in 0in 10pt"><strong> </strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">3.2. The Shilpa (sculpture) and Chitra (painting) are closely related to Natya (dance) in another way too. The rules of the iconography (<em>prathima lakshana</em>), 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 (<em>caaris</em> and <em>karanas</em>) described in Natya-sastra. The Shilpa and chitra (just as the Natya) are based on a system of medians (<em>sutras</em>), measures (<em>maanas</em>), postures of symmetry (<em>bhangas</em>)   and asymmetry (<em>abhanga, dvibhanga</em> and <em>tribhanga</em>); and on the <em>sthanas </em>(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 <em>Sama</em>. </font></span></strong></p>
<p style="margin: 0in 0in 10pt"><strong><br />
<img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/indienabb1.jpg" align="middle" height="242" width="500" /></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"><br />
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.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt; line-height: 11.25pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">3.4. Another aspect of the issue is that painting as a two-dimensional form, can communicate and articulate space, distance, time and more complex ideas in way that is easier than in sculpture. That is because the inconvenient realities of the three dimensional existence restrict the fluidity and eloquence of the sculpture. The argument here appears to be that making a sculpture is infinitely harder than making a painting.</p>
<p></font></span></strong></p>
<p></span></strong><strong><font size="3"> <img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image01100.jpg" align="middle" height="417" width="290" /></font></strong></p>
<p style="line-height: 16.5pt"><strong><span style="font-size: 11pt; font-family: 'Arial Unicode MS','sans-serif'"><font size="3"><br />
4. Painting in ancient society</p>
<p></font></span></strong></p>
<p><strong><span style="font-size: 11pt; font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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.<br />
</font><br />
</span></strong> <font size="3"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">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 (<span style="color: #29303b">vartika or tulikas</span></span></strong><span style="font-size: 12pt; color: #29303b; line-height: 115%; font-family: 'Georgia','serif'">)</span></font><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">. 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”.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">4.3. While on the subject I may mention that Chitrasutra observes:  the pictures which decorate the homes<span style="color: #29303b"> (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.</p>
<p></span></font></span></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">But, the text says, the pictures of all types of depictions and rasas could be displayed at court-hall, public galleries and temples.</p>
<p></font></span></strong></p>
<p><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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 .</p>
<p></font></span></strong></p>
<p style="line-height: 16.5pt" align="justify"><strong><span style="font-size: 11pt; font-family: 'Arial Unicode MS','sans-serif'"><font size="3">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- &#8211; lettered and unlettered alike.</p>
<p></font></span></strong></p>
<p style="line-height: 16.5pt" align="justify"><strong><span style="font-size: 11pt; font-family: 'Arial Unicode MS','sans-serif'"><font size="3">The art, thus, entertained educated and enlivened common people.</p>
<p><img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image0137.jpg" align="middle" height="417" width="290" /><br />
</font></span></strong></p>
<p><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"></p>
<p>5. Appreciation of art<br />
</font><br />
</span></strong><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"></p>
<p align="justify">
<font size="3">5.1. As regards the deities depicted in art, it is explained; in the Indian tradition a deity is a Bimba, the reflection or Prathima, the image of god, but not the god itself. Bimba is reflection, like the reflection of the distant moon in a tranquil pool. That reflection is not the moon but is a suggestion (prathima) of the moon. In other words, a deity is an idea, a conception or his/her mental image of god, translated to a form in lines, color, stone, metal or wood; but, it is not the god itself. Chitrasutra says, those qualities that we admire in a divine being are within us. When we respond to those images brought to us in art, we awaken those finer aspects that are latent in us. When we are filled by that grace, there is no space left for base desires and pain: we have become that deity.</p>
<p></font></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">5.2. When we view  sunrise or a great work of art, Chitrasutra says, we experience beauty (ananda) as we let dissolve our identities and attachments; and become one with the object of beauty. It is a moment that bestows on us the grace that underlies the whole creation. Art, it said, is a liberating experience.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">5.3. Incidentally, one of the criticisms leveled against the paintings of Raja Ravi Varma is that he resorted to .photographic reproductions and with that his pictures were stiff and static, bereft of the dynamism and fluidity of the traditional Indian art. More importantly, by reducing the deities to the level of ordinary humans and by rejecting the concepts of Chitrasutra, Ravi Varma denied the viewer, the sense of suggestion, imagination and association with the ideal.</font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><font size="3"><br />
<img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image0144.jpg" align="middle" height="417" width="290" /></font></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"></p>
<p>6. Elements of painting</font></p>
<p></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">6.1. While discussing the elements of a painting, the Chitrasutra says “&#8221; The masters praise the rekha&#8217;s –lines (delineation and articulation of form), the connoisseurs praise the display of light and shade, women like the display of ornaments,; and , the richness of colors appeals  to common folks. The artists, therefore, should take great care to ensure that the painting is appreciated by every one&#8221;.<br />
</font></p>
<p></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">Talking about lines, Chitrasutra favors graceful, steady, smooth and freeflowing lines; but not the crooked and uneven lines. Its masters valued the effects best captured by least number of lines. Simplicity of expression symbolized the maturity of the artist.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"> <font size="3">The text appears to hold the view, while delianation<span style="color: #29303b">, shading, ornamentation and coloring are the decorative aspects (visual) of a painting, the rekha, the lines that articulate the forms are its real substance.</span></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify">&nbsp;</p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">6.2. The text says , in another context, when a learned and skilled artist paints with golden color, with articulate and yet very soft lines with distinct and well arranged garments; and graced with beauty, proportion , rhythm and inspiration, then the painting would truly be beautiful.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">6.3. The text at various places airs its clear opinions on what it considers auspicious and “bad “ pictures. For instance</font>:</p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">Sweetness, variety, spaciousness of the background (bhulamba) that is proportionate to the position (sthana) of the figure, resemblance to what is seen in nature and minute and delicate execution are the good aspects of a chitra.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">A painting drawn with care pleasing to the eye, thought out with great intelligence and ingenuity and remarkable by its execution, beauty and charm and refined taste and such other qualities yield great joy and delight.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">Chitrasutra mentions: proper position, proportion and spacing; gracefulness and articulation; resemblances; increasing or decreasing (foreshortening) as the eight good qualities of a painting.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">A picture in which all aspects are drawn in acceptable forms in their proper positions, in proper time is excellent.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">A painting without proper positon, devoid of appropriate rasa, blank look, hazy with darkness and devoid of life movements or energy (chetana) is inauspicious.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*. In a picture one should carefully avoid placing one figure in front of another.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*.</span></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">A painter who does not know how to show the difference between a sleeping and a dead man or who cannot portray the visual gradations of a highland and a low land is no artist at all.<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; line-height: 115%; font-family: 'Verdana','sans-serif'">*. A picture</span></strong><strong><span style="font-size: 10pt; color: #29303b; line-height: 115%; font-family: 'Verdana','sans-serif'"> shaded only in some parts and other parts remaining un-shaded is bad (adhama)<br />
</span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-size: 10pt; color: #29303b; line-height: 115%; font-family: 'Verdana','sans-serif'">*. </span></strong><strong><span style="font-size: 10pt; color: #29303b; line-height: 115%; font-family: 'Verdana','sans-serif'">Representation of human figures with too thick lips, too big eyes and testicles and unrestrained movement are defects.</span></strong></p>
<p style="margin: 0in 0in 10pt"><strong> </strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">6.4. Chitrasutra cautions that an inconvenient painting stance or a bad seat , thirst, restlessness, sloppiness and bad temper would spoil the picture</font>.</p>
<p></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">6.5. Chitrasutra also mentions six limbs (anga) of painting as: rupa-bheda (variety of form); pramana (proportion); Bhava (infusion of emotions); lavanya-yojanam (creation of luster and having rainbow colors that appear to move and change as the angle at which they are seen change); sadreya (portrayal of likeness); and varnika-bhanga (color mixing and brushwork to produce the desired effect)</font></p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">(<font size="3">i). Rupa-bheda consists in the knowledge of special characteristics of things – natural or manmade. Say, the differences in appearances among many types of men , women or natural objects or other subject matter of the painting</font>.</p>
<p></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">(II). Pramana: correct spatial perception of the objects painted and maintaining a sense of harmony, balance and a sense of proportion within the figure and also in its relation to other figures; and to the painting as a whole. The sense of proportion also extended to the way major figures are depicted by placing at the centre and surrounding them with lesser figures in smaller size symbolizing their status Vis a Vis the main figure. The Indian artists were guided more by the proportions than by absolute measurements. The proportions were often symbolic and suggestive</font>.</p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">(<font size="3">iii). Bhava: consists in drawing out the inner world of the subject; to help it express its inner feelings. It takes a combination of many factors to articulate the Bhava of a painting; say , through eyes, facial expression, stance , gestures by hands and limbs, surrounding nature, animals , birds and other human figures. Even the rocks, water places and plants (dead or dying or blooming or laden) are employed to bring out the Bhava. In narrative paintings, the depiction of dramatic effects and reactions of the characters from frame to frame demands special skill</font>.</p>
<p></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">Since color is a major medium in painting, the emotions and moods are expressed through manipulating colors, their density, tones, lines, light, shades etc. The ingenuity, imagination and skill of the artist discover their limitations here..</p>
<p></font></p>
<p></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">(<font size="3">iv). Lavanya –yojanam: Creation of grace, beauty, charm, tenderness and illuminating the painting and the hearts of the viewer. It aims to uplift and brighten the mood of the figures, the viewers and the surroundings.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">(v). Sadrushya: Achieving credible resemblance to objects of the world around and to the persons. The resemblances are not mere general but extend to details too. And ,</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">(<font size="3">vi). Varnika-bhanga: Artistic manner of improvising color combinations, tones and shades. It also involves delicate and skillful use of brushes and other aids. It represents the maturity of the artist’s techniques and fruitfulness of his experience.<br />
</font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><font size="3"><br />
<img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image0160.jpg" align="middle" height="417" width="290" /></font></strong></p>
<p style="margin: 0in 0in 10pt"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3"></p>
<p>7. Types of presentations<br />
</font></p>
<p></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">7.1. The paintings were executed on various surfaces: wall paintings (bitthi), pictures on board (phalaka), on canvas (pata), on scrolls (dussa-pata) and on palm leaf- mascripts (patra). The last mentioned, i.e. the scrolls were often in the shape of lengthy rolls facilitating continuous representations. The Chitrasutra instructed that the surface chosen should suit the purpose of the proposed painting; and, in any case, it should be smooth and well coated (anointed). That would help achieve a better presentation of the painting.</p>
<p></font></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">7.2. As regards the shapes of the boards and scrolls, Chitrasutra mentions four types: sathya- realistic pictures in oblong frames; vainika-lyrical or imaginative pictures in square frames; naagara-pictures of citizens in round frames; and misra – mixed types.</p>
<p></font></span></strong></p>
<p align="justify"><font size="3"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'">7.3. It is explained in the text , a painting which bears resemblance</span></strong><span style="font-size: 12pt; color: #29303b; line-height: 115%; font-family: 'Georgia','serif'"> (</span></font><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">Sadrishya) to the to things on earth with their proper proportions in terms of their  height, their  volume (gatra),  appearance etc. is the “true to life”(satya) category of painting.<span style="color: #29303b"> The resemblance should not be mere general; but, it should extend to details, such as all parts of the tree, creeper, mountains or the animals.</span>While a painting that is rich in details, in display of postures and maintaining strict proportions; and when placed in a well finished square format is called vainika. It obviously is the delight of the connoisseurs. The nagara depicts common folks with well developed limbs with scanty garlands and ornaments. And, misra is the compound of the other three.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">The text again cautions that an artist should not aim to copy.  He may depict the resemblance but, more importantly, he should aim to bring out the essence or the soul of the object.</p>
<p></font></span></strong></p>
<p align="justify"><strong><span style="font-family: 'Arial Unicode MS','sans-serif'"><font size="3">7.4. The concern of the artist should not be to just faithfully reproduce the forms around him. The Chitrasutra was referring to what is now termed as the “photographic reproduction”. It suggested ,the artist should try to look beyond the tangible world, the beauty of form that meets the eye. He should lift that veil and look within. The Chitrasutra suggested to him to look beyond “The phenomenal world of separated beings and objects that blind the reality beyond”.</p>
<p></font></span></strong></p>
<p style="margin: 0in 0in 10pt" align="center"><img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/clip_image0146.jpg" align="middle" height="417" width="290" /></p>
<p style="margin: 0in 0in 10pt" align="justify"><strong><font size="3"> </font></strong></p>
<p style="margin: 0in 0in 10pt" align="center"><strong><u><span style="font-family: 'Arial Unicode MS','sans-serif'"><span style="font-family: 'Arial Unicode MS','sans-serif'"><img src="http://ssubbanna.sulekha.com/mstore/ssubbanna/albums/default/divider.jpg" align="middle" height="68" width="438" /></span></span></u></strong></p>
<p style="margin: 0in 0in 10pt" align="center">&nbsp;</p>
<p style="margin: 0in 0in 10pt" align="center">http://ssubbanna.sulekha.com/blog/post/2008/09/the-art-of-painting-in-ancient-india-chitrasutra-1.htm</p>
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		<dc:creator>preeti</dc:creator>
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		<description><![CDATA[VAKRATUNDA      MAHAKAYA      SURYAKOTI       SAMAPRABHA
NIRVIGNAM     KURUMEDEV      SARVA KARYASHU KADACHINA !!


Shurpakarna, Lambodara,Dhumra varna, Ekdanta
The enlightened soul of Upanishads and Vedanta
Let me pray and pledge
To spread and seek knowledge
From the worlds greatest epic,
That  <a href="http://www.pagalz.com/blog/2008/09/ganpati-bappa-morya/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p><strong><font size="3">VAKRATUNDA      MAHAKAYA      SURYAKOTI       SAMAPRABHA<br />
NIRVIGNAM     KURUMEDEV      SARVA KARYASHU KADACHINA !!</font></strong><br />
<img src="http://designflute.files.wordpress.com/2007/09/dancing-ganesha.gif" style="width: 224px; height: 267px" height="267" width="350" /></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><font size="4"><font face="Comic Sans MS"><br />
<font size="2">Shurpakarna, Lambodara,Dhumra varna, Ekdanta<o:p></o:p></font></font></font></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">The enlightened soul of Upanishads and Vedanta</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Let me pray and pledge</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">To spread and seek knowledge</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">From the worlds greatest epic,</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">That truth wins, every dawn and dusk </font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Which you wrote with your broken tusk.</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">When kartikeya rode on the peacock</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Travelling the universe in a flick</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">You with intelligence and trick</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Encircled your parents thrice</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Spell-bound the scholars and the wise</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Neither hymns, gospels nor the verses</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Could challenge your brainpower in the universe<br />
</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><font face="Comic Sans MS"><font size="2"><span> </span>Vakratunda, vinayaka, Vignaharta, Vigneshwara<o:p></o:p></font></font></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Through mischief taught Kubera</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Never to vigorously ride</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">On the horse of never ending pride</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Your body is a message to mankind</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">For thousand of devotees to find</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2"> Carry the strength of an elephant</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">But never to harm even and ant</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Be calm and humble</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">For wealth and power do crumble<br />
</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><font face="Comic Sans MS"><font size="2">O Ganesha, Gananayak, Ganaraj, Ganapathy<o:p></o:p></font></font></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">In this hi tech world of communication</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Please do not ignore this telepathy</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">O <strong>Gauriputra</strong>, O mighty son of Parvati</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">From desires and greed set me free</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Let through your conch, virtue flow</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Passing through my mind and blow</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">Into the thousand heart and soul </font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">And like lamp each face glow</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">With love, peace and fun</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">With radiance of a million sun,</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Comic Sans MS" size="2">May your blessing shower on us,</font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><font face="Comic Sans MS"><font size="2">O Gajamukh, Gajaraj, Gajabadan, Gajannan !<o:p></o:p></font></font></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><o:p><font face="Times New Roman" size="3"> <strong><font size="5">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..<br />
</font></strong></font></o:p></span><span lang="EN-GB"><o:p><font face="Times New Roman" size="3"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><span> </span>Importance of Lord Ganesha can be known very easily, for you will never find a single temple without a Ganesha idol , a prayer without lord Ganeshas name in the beginning <span> </span>and add to it, <span> </span>‘Grah pravesh’ ( house warming ) without </span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Prayer to Ganapathy is impossible.</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">In southern part of <st1:place w:st="on"><st1:country-region w:st="on">India</st1:country-region></st1:place>, a child never goes to school, till a ritual to pray Ganapati and followed by Saraswati (Goddesses of learning) is performed.</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Lord Ganapathy is the representative of good luck or the ‘luck factor’ which we mortals needs for our wishes and actions to bear fruits.</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Though there are several mythological stories connected to Lord Ganesh, I would like summarize and inform a few required for my poem.</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB">Ekdanta – the name means ‘one with a single tusk’<o:p></o:p></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><o:p> </o:p></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB">Lord Ganesh lost his tusk for several reasons –<o:p></o:p></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">1. He fought a battle with Parshuram (an incarnation of Mahavishnu)<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">2. Chandra (moon –god) was cursed by Lord Ganesha for teasing and <o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><span>     </span>In anger he broke his tusk and threw it on the moon, which they say resulted<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><span>    </span>In waxing and waning.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">3. When the great sage Vyasa wanted someone to write the greatest epic <span>      </span>Mahabarathta non stop and with due understanding of the story, Lord Brahma the creator of the universe suggested Ganeshas name.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">When Ganapati started writing the greatest epic with the pen-stick, the tip of the stick broke, and then he broke his tusk to continue writing without breaking the sequence and kept his promise to sage Vyasa.<br />
</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">4. Once Kuber (treasurer of heaven) in his pride to flaunt the wealth he owns invited all the gods and goddesses for a meal. Young Ganesha was also invited. It’s said that <o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">All the guest had filled up the stomach and walked happy rejoicing, but Ganesha demand for the more and more food left Kubera with nothing as, <span> </span>later Ganesha started eating up everything that Kuber offered the plate , utensils and then ready to eat up his wealth and finally the host himself . Poor Kuber had to find shelter in kailasa.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Thus Ganesha emptied up kuber’s pride! <o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><o:p> </o:p></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">5. Once Narada the sage entered kailasa with a mango (different fruits and food products are found to be mentioned) and there he found two tiny claimers for the gift,<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><span> </span>Ganapathy and his elder brother Kartikeya<o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Narada kept a condition that the one, who could travel the universe three times and reach first deserves the gift. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Kartikeya jumped on his vehicle (peacock) and started moving <o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">When he had covered two times and ready for the third time, Ganapathy got up and encircled around his parents thrice <o:p></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><span> </span>Narada gave the mango to Ganapathy without any argument<br />
Thus Lord Ganesha is the master of all logic and  reasons </span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span lang="EN-GB"><o:p> </o:p></span></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><o:p><strong> </strong></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><strong><font size="4">ASHTAVINAYAK TEMPLES</font></strong></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">This is a set of eight Ganesha temples in situated in various districts of Maharshtra state in <st1:country-region w:st="on"><st1:place w:st="on">India</st1:place></st1:country-region>. The word ‘ashta’ means eight and Vinayak is one of the names of Lord Ganesha</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">The journey of these temples can be completed in two days and comfortably in three days</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">These Ganesh idols are believed to be ‘Swayambu’ i.e. arise by accident or with a purpose as mentioned in Hindu mythology.</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Though this journey can start from any of the points the most comfortable one which I found to be was as follows</span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Starting from Kalyan or<span>   </span>Panvel district </span></p>
<ol style="margin-top: 0in" type="1">
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Pali ( Shri Ballaleshwar )</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Mahad <span> </span>( Shri Varad vinayak )</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Theur<span>  </span>( Shri Chintamani )</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Morgav ( Shri Mayureshwar )</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Siddhetek<span>  </span>( Shri Siddhi vinayak)</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Ranjan gav ( Shri Maha ganapathy)</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Ozhar ( Shri Vigneshwar )</span></li>
<li class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Lenyadri ( Shri Girijatmaj)</span></li>
</ol>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB">Please note – the names of the villages, and in bracket, names of the Ganesh idols in various forms.</span></p>
<p><img src="http://designflute.files.wordpress.com/2007/09/dancing-ganesha.gif" style="width: 224px; height: 267px" height="267" width="350" /></p>
<p><img src="http://newsimg.bbc.co.uk/media/images/44136000/jpg/_44136940_ganesh_416_ap.jpg" style="width: 227px; height: 161px" height="300" width="250" /></p>
<p><img src="http://www.indianetzone.com/4/images/Ganesh%20Chaturthi%20_1808.jpg" height="179" width="225" /></p>
<p><img src="http://in.ygoy.com/wp-content/uploads/2008/04/326_ganesh-visarjan.jpg" /></p>
<p><img src="http://www.tribuneindia.com/2007/20070926/delhi1.jpg" height="300" width="228" /></p>
<p><img src="http://www.surfindia.com/festivals/pgifs/ganesh-chaturthi.jpg" height="130" width="230" /></p>
<p><img src="http://cdn.news.aol.com/aolnews_photos/01/01/20060907130109990018" style="width: 237px; height: 305px" height="305" width="268" /></p>
<p><strong><font size="4"><font style="background-color: #00ff00"><font color="#339966">dear friends &#8230;&#8230;&#8230;.I arranged this pics from the net in a sequence &#8230;&#8230;..so that &#8230;&#8230;&#8230;there are many who DO NOT understand in words &#8230;&#8230;&#8230;&#8230;..our festivals , our culture , our tradition is important &#8230;&#8230;&#8230;but equally, it is our responsibility to save the world , save the sacredness of our planet&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<br />
So let us change for better stop using themocol, plastic, clay and let us use decomposable items  such as papers and cardbords , colors which are eco friendly &#8230;&#8230;&#8230;&#8230;&#8230;.on this ganesh festivals let us avoid noise pollution and maha arti&#8230;&#8230;&#8230;..<br />
let us pray that all such destructive set of people attain &#8217;satbuddhi&#8217;.</font></font></font></strong></p>
<p><strong><font size="4"><font style="background-color: #00ff00"><font color="#339966">GANAPATI BAPPA MORYA !</font></font></font></strong></p>
<p>http://ajitnambiar.sulekha.com/blog/post/2008/09/ganpati-bappa-morya.htm</p>


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		<title>BHAGAVAD GITA &#8211; CHAPTER 2: A commentary assisted by some insights from the brain sciences</title>
		<link>http://www.pagalz.com/blog/2008/08/bhagavad-gita-chapter-2-a-commentary-assisted-by-some-insights-from-the-brain-sciences/</link>
		<comments>http://www.pagalz.com/blog/2008/08/bhagavad-gita-chapter-2-a-commentary-assisted-by-some-insights-from-the-brain-sciences/#comments</comments>
		<pubDate>Sat, 23 Aug 2008 15:59:59 +0000</pubDate>
		<dc:creator>shivani</dc:creator>
				<category><![CDATA[Religion]]></category>
		<category><![CDATA[Traditions]]></category>

		<guid isPermaLink="false">http://www.pagalz.com/blog/2008/08/23/bhagavad-gita-chapter-2-a-commentary-assisted-by-some-insights-from-the-brain-sciences/</guid>
		<description><![CDATA[I express my sincere thanks to Emilios Bouratinos, philosopher of science, Ekali, Greece whose originality of thought in the field of consciousness has been a source of enduring inspiration.
I have translated the verses from the original with valuable assistance from the Malayalam translation by Swami Chidananda Saraswathy (Guruvayur Devaswom publication).

The Bhagavad Gita has no authority.  <a href="http://www.pagalz.com/blog/2008/08/bhagavad-gita-chapter-2-a-commentary-assisted-by-some-insights-from-the-brain-sciences/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><em><font color="#800080">I express my sincere thanks to Emilios Bouratinos, philosopher of science, Ekali, Greece whose originality of thought in the field of consciousness has been a source of enduring inspiration.</p>
<p>I have translated the verses from the original with valuable assistance from the Malayalam translation by Swami Chidananda Saraswathy (Guruvayur Devaswom publication).<br />
</font></em></p>
<p><font color="#000080">The Bhagavad Gita has no authority.<span>  </span>Belief is not an issue here.<span>  </span>Insight is &#8211; not into the meanings of any<span> scriptural dogma in which belief is insisted  &#8211; b</span>ut into the immediate phenomena that we are made of.  The Gita takes us to confront what is nearest to us &#8211; our thoughts, choice, desire, sorrow and so on.</p>
<p>What I have attempted here is to discuss the Gita in a way that is not dependent on faith in any belief system.  What emerges is a heuristic philosophical discussion that includes some attempts to relate the postulates in the Gita to contemporary insights of the brain sciences.</p>
<p>I will start my journey from verse 12.</p>
<p></font></span></p>
<p><strong><font color="#000080">I was never non-existent – neither were you nor all these kings.<span>  </span>Nor would we all cease to exist in future.<span>  </span>(2.12)<o:p></o:p></font></strong></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">Existence is primary and elementary. <span>  </span>Time is a notion created by change and memory.<span>  </span>Existence therefore cannot have a limit in time.<o:p></o:p></font></span></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080"><span> </span><strong><o:p></o:p></strong></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">For the embodied, attaining another body is in the same nature as its passage in this body through childhood, youth and old age.<span>  </span>On this matter, the brave are not deluded. (2.13)<o:p></o:p></font></span></strong></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><strong><font color="#000080" face="Verdana">The contact of the senses with the sense objects bring heat and cold,<span>  </span>pain and pleasure that come and go and are impermanent.<span>  </span>Just observe them. (2.14)</font></strong></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">Often this (<em>titikshasva</em>) is translated as &#8216;endure them&#8217;.<span>  </span>I think this is more accurately translated as &#8216;observe&#8217; or &#8216;be aware passively&#8217;.<span>  </span>Endurance implies suffering.<span>  </span>In observation, there is no suffering.<o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><strong><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">He who has the courage to be untroubled by the consequences of sense perception (heat, cold, pain, pleasure) and is even minded in pleasure and pain is fit for immortality (2.15)<o:p></o:p></font></span></strong></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">He who treats the pleasures and sorrows &#8211; success and failure – of this world with indifference is in yoga.<span>  </span>He lives not in time and mortality does not bother him.<span><br />
</span></font></span><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><font color="#000080"><strong><span style="font-size: 10pt; font-family: Verdana">The nature (bhaava:) of non-existence (what it is like not to exist) (asata:) has never been known.<span>   </span>The absence (abhaava:) of existence (sata:) has also never been known.<span>  </span>Seers have insight into both these conditions.</span></strong><span style="font-size: 10pt; font-family: Verdana"> <strong>(2.16)<o:p></o:p></strong></span></font></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><font color="#000080"><em><span style="font-size: 10pt; font-family: Verdana">Nobody has ever known what it is not to exist.</span></em><span style="font-size: 10pt; font-family: Verdana"><span>  </span>By existence is meant the subjective experience of &#8216;being&#8217;.<span>  </span>Non-existence has not been experienced by any conscious being.<span>   </span>If the existence of<span>  </span>non-existence should be proven, someone has to be made conscious of it.<span>      </span>This is impossible because consciousness cannot be dissociated from existence – they are the same.<span>  </span>Knowing, consciousness and existence are facets of a unitary, indivisible phenomenon.<o:p></o:p></span></font></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">Also, there has been no knowledge under any circumstance of existence not being there.<span>  </span>The subjective experience of existence has never ended for any conscious being.<span>  </span>Existence cannot cease – for ceasing to be, there must be knowing.<span>  </span>And knowing cannot be dissociated from existence.<span>  </span><o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">Time is a cognitive construct and therefore the notions of beginning and ending are a product of consciousness.<span>  </span>Without consciousness there can be no time, no beginning, no end.<span>  </span>As the ending of time cannot be manifested, consciousness extends to fill the whole of known Time.<span>  </span>In this way consciousness can be said to be immortal.<span>  </span>I or you will never <em>know</em> death.<span>  </span>Therefore we are immortal.<span>  </span>Yes, we die to other people.<span>  </span>Others die to us too.<span>  </span>But for ourselves our immortality is an incontrovertible fact.<span>  </span>Our life fills psychological eternity.<o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><font color="#000080"><strong><span style="font-size: 10pt; font-family: Verdana">What all this (that are manifested) is made up of is indestructible.<span>  </span>No one can destroy this.</span></strong><strong><span style="font-size: 10pt; font-family: Verdana"> (2.17)<o:p></o:p></span></strong></font></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">Consciousness that makes up the manifested reality is immortal.<span>  </span>This is a different expression of verse 2.16.<o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>The soul is indestructible, immeasurable and eternal.<span>  </span>Bodies are perishable.<span>  </span>Therefore fight, Oh Bhaarata!<span>  </span>(2.18)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>He who thinks this as the slayer or the slain does not know.<span>  </span>This neither slays nor is slain. (2.19)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>This neither is born nor does this die.<span>  </span>This is birthless, eternal, permanent and ancient.<span>  </span>This does not killed when the body is killed. (2.20)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>He who knows this as indestructible, eternal, unborn and unwaning cannot kill or cause to kill (2.21)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>Just as a man discards worn out clothes and accepts new ones, the embodied one discards worn out bodies and attains newer ones (2.22)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>This does no weapon cut, fire burn, water dissolve or wind dry (2.23)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>Incapable of being cut, burnt, dissolved or dried, <span> </span>this is permanent, immanent, constant, still and perennial (2.24)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>This is said to be indefinable, imponderable and invulnerable to emotion.<span>   </span>Having understood this way, this does not deserve to be condoled (2.25)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>On the other hand, even if you reckon this to be constantly being born and dying, there is no need to grieve. (2.27)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080" face="Verdana"><strong> </strong></font></o:p></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><font color="#000080" face="Verdana"><strong>For, the born are certain to die.<span>  </span>Also, the dead are certain to be born again.<span>  </span>Therefore do not lament over what is irremediable. (2.28)</strong></font></p>
<p class="MsoBodyText3" style="margin: 0in 0in 0pt"><o:p><font color="#000080"><strong><font face="Verdana"> </font></strong><span style="font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">That consciousness is primary and causeless is the most fundamental and essential postulate in the Gita – and indeed in the whole of Indian thought.<span>  </span>Consciousness is the primary phenomenon and everything else – matter, energy, memory, thought – is manifest as vibrations in consciousness.<o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">From a physiological standpoint, we find that the sense organs are transducers of engery-forms such as light and sound into neural energy.<span>  </span>In transduction, the pattern or configuration is preserved.<span>  </span>Sensory pathways end in the cerebral cortex – occipital cortex in the case of vision and temporal cortex in the case of hearing.<span>  </span>What happens in these &#8216;end-of –the-road areas of the cerebral cortex&#8217;?<span>  </span>Nothing extraordinary except that when these cortical neurons &#8216;light up&#8217; in a consistent pattern, we see objects and hear music. <span> </span>Of course, this is an oversimplification.<span>  </span>Sensory perception is based on a complex orchestra involving different parts of the nervous system, with impulses traveling to and fro through afferent and efferent pathways.<span>  </span>But it is certain that stimulation and participation of the cortical neurons in the orchestra are essential for subjective experience. <span> </span>What&#8217;s so special about the cortical neurons that enable &#8216;experience&#8217; when they are stimulated?<span>  </span>Is it that the cortical neurons transduce the neural energy into a form that affects the medium of consciousness, while the lower order sensory neurons that reside in the sense organs or en route in the neural pathways do not?<span><br />
</span></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">At the risk of oversimplification,  it may be argued that experience is analogous to a picture being manifested on a screen.<span>  </span>Pictures and music can be manifested only in media.<span>  </span>What is the medium of experience?<span>  </span>The medium of a painting is not the paint but the canvas.<span>  </span>The medium of an audio cassette is the magnetic tape, which is distinct from the configuration of the magnetic elements on the tape.<span>  </span>The medium of a movie is the white cinema screen and not the light that is projected.<span>  </span>Similarly the medium of experience is not the nervous tissue that transduce external stimuli, but the consciousness screen on which the sensory cortical neurons project on to.<o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><font color="#000080">Consciousness does not exist in the matrix of space-time.<span>  </span>Indeed space-time is fabricated by thought while thought is just a vibration in the medium of consciousness.<span>  </span>Consciousness therefore cannot be apprehended by the senses – it is not measurable or describable.<span>  </span>It is indestructible by the phenomena of matter and energy.<span>  </span>Matter and energy are vibrations of consciousness having specific patterns.<span>  </span>Depending on the patterns of vibration, different forms of energy and matter are manifested in consciousness.<o:p></o:p></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><font color="#000080"><strong><span style="font-size: 10pt; font-family: Verdana">Some see this (atman or consciousness) as a wonder.<span>  </span>Another speaks of it as a wonder or listens to it as a wonder.<span>  </span>In spite of all these, none among them knows what it is.</span></strong><strong><span style="font-size: 10pt; font-family: Verdana"> (2.29)<o:p></o:p></span></strong></font></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The following seems to describe the hypothesis presented by the Gita that forms a heuristic basis of the practice of yoga.</p>
<p>Consciousness is not an object open to perception, expression or description.<span>  </span>Anyone who attempts to do so is on an erroneous path.<span>   </span>Is consciousness knowable?<span>  </span>Consciousness can be aware of itself – but without any attributes of space, time or sense perception.<span>  </span>Through silence, through quiet observation, consciousness is apprehended by itself.<span>   </span>The state of consciousness being self-aware is meditation.<span>  </span>For this to happen, consciousness has to be sensitive to thought activity in its minute form.<span>  </span>When thought stills, sensations become acute and breathing deep and relaxed.<span>  </span>Observe your thoughts.<span>  </span>Thoughts describe past experiences, but they happen in the present and leaves imprints on our present moment awareness.<span>  </span>Be aware of them.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The alternative to the state of meditation is when thoughts take off in a chain reaction.<span>  </span>One thought triggers another, and another in rapid fire succession.<span>  </span>Each thought has an accompaniment in terms of activation of the limbic-autonomic nervous system – the neurological organ of emotion.<span>  </span>The rapid fire sequence of thoughts soon lead to a state of autonomic arousal – increased adrenaline and other neurotransmitters, changes in heart rate, blood pressure, breathing rate and amplitude, dilatation of blood vessels, sweating, changes in bowel function.<span>  </span>This process of continuous thought activation and secondary autonomic arousal makes up our existence in samsara (the mundane world).<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Meditation therefore starts with observing thoughts.<span>  </span>Thoughts are so delicately nimble and agile and great alertness is needed to observe them as they arise and pass through our minds.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Thoughts create objects of imagination and attention is focused on these objects.<span>  </span>When attention is focused on the thoughts themselves, there is a sudden relaxation of the autonomic nervous system and the breath becomes deep<span>  </span>and relaxed.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Bharata! This embodied one that is in all bodies is unslayable.<span>  </span>Therefore there is no requirement for you to grieve over any creature. (2.30)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Even if you look at this from the standpoint of your duty, retreat is not an option.<span>  </span>For the kshatriya, there is no greater honour than a righteous war. (2.31)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Blissful are the Kshatriyas who have the the opportunity to a war such as this that has confronted them by chance and that open the gate to heaven. (2.32)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Therefore, if you don’t wage this righteous war, you will forsake your own duty and honour and will incur sin. (2.33)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">People will talk about your dishonour and for the respectable, dishonour is worse than death. (2.34)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The great warriors will consider you as having retreated from war out of fear.<span>  </span>You, who have earned their respect, will become insignificant in their eyes. (2.35)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Your enemies will insult your competence and will speak unspeakable words.<span>  </span>What could be more painful than that? (2.36)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Slain, you will attain heaven.<span>  </span>Victorious, you will be able to enjoy the kingdom.<span>  </span>Therefore, rise, Kaunteya, determined to fight! (2.37)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Here <st1:place w:st="on">Krishna</st1:place> counsels from a human, egoistic (Rajasic) standpoint.<span>  </span>He knows Arjuna is concerned about his image.<span>   </span>War and conquest are Rajasic actions and the feudal society owes itself to these.<span>  </span><st1:place w:st="on">Krishna</st1:place> here argues that death is not the end of the world and it is a trivial event in this endless journey of the atman through successive generations of life.<span>  </span>Death of the individual ends nothing, but is only a milestone in the journey of the embodied one (atman).<span>  </span>The fiercely aggressive mindset of the kings who wish to conquer and subjugate others is the Rajasic behaviour and it is natural.<span>  </span>Aggressive ‘dog-eat-dog’ behaviour is prevalent throughout the biological world.<span>   </span>This aids survival in the initial stages of evolution, but not beyond a certain point.<span>  </span>What survives in the end is not Rajasic behaviour, but co-operative Saatvic behaviour that co-ordinates and supports the organism.<span>  </span>The Pandavas represent the transition from the Rajasic to the Satvic mode.<span>  </span>The Pandavas are fighters, but they follow the rules of Dharma (Law that sustains society and the living world as a whole), so they fight for defence and to defeat the aggressive egoism of their cousins.<span>  </span>Their aim is not to submit to egoism (Rajas).<span>  </span>They fight the Kauravas not to defeat and destroy them, but to defend dharma.<span>  </span>The Pandavas’ success is not their individual success, but that of the society and the world.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><font color="#000080"><st1:place w:st="on"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana">Krishna</span></st1:place><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"> points out to Arjuna that his duty is to fight this war that he has not sought, but forced upon him by his fiercely aggressive and egoistic (Rajasic) cousins.<span>  </span>Bheeshma and Drona, although keenly aware of who is right, has decided to fight for the Kaurvas fully knowing that they will be defeated.<span>  </span>This battle is a step<span>  </span>in the evolution of human society from the feudal aggressiveness to a cohesive<span>  </span>harmonious society that will be humanity’s future.<span>  </span>For this to happen, war cannot be avoided.<span>  </span>War should be in defence of the Law of Harmony of Life (Dharma).<o:p></o:p></span></font></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Arjuna is paralyzed by ‘nerves’ and the fear of death and is rationalizing the situation invoking ‘noble’ worries about killing his teachers and kin.<span>  </span><st1:place w:st="on">Krishna</st1:place> knows it is not possible to convince him by a pure discourse in philosophy to which he will not be receptive in his state of mind.<span>  </span>Rather, he needs to be shown that even from the Rajasic state of mind that he is in, the option of retreat will not help him to salvage his pride and ego.<span>  </span>On the other hand, retreat will result in a fatal blow to his pride and honour as a brave soldier in the eyes of the society.<span>  </span>So the retreat, far from being a noble Satvic gesture, is actually an escape of cowardice that will be utterly catastrophic even from the Rajasic standpoint.<span>  </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Thus <st1:place w:st="on">Krishna</st1:place>, seeing that Arjuna is slipping from a state of egoistic crisis to Tamasic stupor and confusion that he tries to camouflage as Satvic righteousness, tries to expose his position as untenable and disastrous from even a Rajasic standpoint. <o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Even minded in comfort and sorrow, gain and loss, victory and defeat, get ready for battle.<span>  </span>In this way sin will not be incurred. (2.38)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">When you do anything (including battle) with equanimity, without craving for results, attachment is not produced.<span>  </span>Attachment leads to tension and sorrow.<span>  </span>Tension is when you struggle to maintain the attachment.<span>  </span>Sorrow is when the forces of nature make you lose the object of attachment.<span>  </span>Adam craved for the apple when his life was complete and there was no need for anything more.<span>  </span>The craving produced the void and this void was the sorrow.<span>  </span>Craving was the sin that gave birth to sorrow.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">What I have elucidated to you so far is insight into the nature of consciousness.<span>  </span>Now listen to the insights that make you renounce the bondage of action (karma). (2.39)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><font color="#000080"><st1:place w:st="on"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana">Krishna</span></st1:place><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"> first dealt with the nature of consciousness – how it is different from the patterns within consciousness.<span>   </span>Paint is different from the canvas.<span>  </span>Music is different from the air which is the medium that supports the sound of music.<span>  </span>The paper and the ink are different from the poetry that appears on paper in ink.<span>  </span>The human form is the medium of dance and it is different from the choreography of dance.<span>   </span>In the same way, consciousness is different from perceptions and thoughts.<span>  </span>The pattern manifests in the medium, but the medium is unaffected by what happens to the pattern.<span>  </span>In the same way, thoughts, memories and perceptions that are part of neural programming in the<span>  </span>brain are destroyed at death, but the consciousness that is the medium is not affected at all.<o:p></o:p></span></font></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Now he is about to impart insights that free the listener from the attachment caused by action.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">In this, there is no danger of not completing what has been started and no obstacle.<span>  </span>Even a little of this approach delivers one from great fear. (2.40)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The art of action (karma yoga) does not involve time.<span>  </span>Hence there is no danger of not completing this when started.<span>  </span>The art of action is to do things for the moment, for the sake of only doing it, not for any return.<span>  </span>The art of action is to set a goal and act aiming towards the goal, but not with a desire to attain the goal.<span>  </span>There is a clear-cut difference between acting towards a goal and being attached to (desiring) the goal.<span>  </span>Aiming is different from craving.<span>  </span>It is possible to aim accurately without any desire at all.<span>  </span>This means that there is no disappointment or sorrow if what one does fails to attain its goal.<span>  </span>Once the action is over, the goal is no longer relevant for the artist of action.<span>   </span>For the artist of action, the perception of the goal serves the present-moment act of aiming.<span>  </span>Aiming is part of action.<span>  </span>Every action has its aim.<span>  </span>For the artist, the goal is useful only insofar as it enables aiming.<span>  </span>The goal is not for consumption or pleasurable enjoyment.<span>  </span>The object and the aim are intrinsic to action.<span>  </span>An action sets a goal that may be in the future, but the future goal translates as the aim in the present moment.<span>  </span>Aiming is part of the present moment action.<span>  </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The art of action instantaneously kills the psychological dimension of time.<span>  </span>There is no accumulation of achievement in the practice of this art.<span>  </span>Action that is skilled and that is precisely aimed makes up this art.<span>  </span>Even a little of this art delivers one from the great fear that dwells in our psychological past and future.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Those who are following the vedic prescriptions with their multiple aims of heaven, riches, pleasures and the fruits of action will never arrive at that one-pointed intelligence that is the outcome of a resolute mind. (2.42- 44)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">It is important to be clear in your thinking.<span>  </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Instead of pursuing multiple objects of desire for satisfaction, <st1:place w:st="on">Krishna</st1:place> indicates that it is more rational to gain a clear understanding of desire itself.<span>  </span>Clear thinking will reveal that happiness comes out of extinguishing desire – the joy of fulfilling a desire is because the desire is no longer there.<span>   </span><em>Eliminating desire does not mean renouncing the object of desire.</em><span>  </span>If one does that when the desire is still active, it can only aggravate sorrow.<span>  </span>Sorrow is the pain of unfulfilled desire.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The many pointed (materialistic) approach to happiness is through the fulfillment of multiple desires.<span>  </span>The one-pointed and intelligent approach to happiness is, on the other hand, is to understand the process of<span>  </span>desire at its very source so that it does not take off.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The Vedas deal with the three gunas.<span>  </span>Be steadfast in awareness freed from the three gunas, the opposites and materialistic pursuits. (2.45)<o:p></o:p></font></strong></span></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The Vedas have as much use for the seer of the Brahman, as a small pond has in the presence of a lake that collects water from all around. (2.46)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><span> </span><o:p></o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The Vedas deal with propitiating gods for the fulfillment of various materialistic desires. The Vedas are worldly sciences.<span>  </span>The modern Vedas are the various technological sciences such as engineering, medicine, business management and so on.<span>  </span>The aim is to solve problems and fulfill various desires – innate as well as those acquired with civilization.<span>  </span>Atma vidya is different.<span>  </span>Atma vidya goes one step deeper and probes the source of happiness itself<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080"><span> </span>– this is the elimination of the process of desire.<span>  </span>Once the skill of happiness is mastered, there is no need for the mastery of the specific domains of fulfillment.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">What is most irrational about human behaviour?<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">It is our tendency to yearn for constant growth despite all the evidence around us that tells us that decline in our powers with time is our inevitable destiny.<span>  </span>The higher the relative position that you achieve, the steeper will be the fall as you approach senescence and death.<span>  </span>Still we are so absorbed in the pursuit of success throughout our lives.<span>  </span>Work and success are natural events of life.<span>   </span>But one should not lose sight of the ephemeral nature of success.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">You have control only over your action, never over its fruits.<span>  </span>Do not act for the sake of the fruits.<span>  </span>Nor should you desist from action. (2.47)<o:p></o:p></font></strong></span></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Action is its own joy.<span>  </span>The art of action is to act with your whole being.<span>  </span>The joy of action is not in the recovery of its fruits.<span>  </span>The joy of ploughing the land and sowing seeds is not in the harvest that follows, but in the work of ploughing and sowing itself.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Whatever you do, do well.<span>  </span>Take good aim and shoot.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Nothing that you do or do not do is going to be very critical in this world.<span>  </span>The world will go on regardless of what you do or do not do.<span>  </span>Yet take good aim and execute your job with artistry and accuracy. <span> </span>Your dharma is to exercise your abilities, intelligence and creativity.<span>  </span>Blind obedience, being a passive cog in the wheel is equivalent to inaction. Nature has endowed you with a brain that is essentially no different from the brains of any other creative human being who ever lived in the past.<span>  </span>Take stock of your resources, your brain&#8217;s abilities and cultivate the world around you.<span>  </span>Organize, co-ordinate and create around you.<span>  </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">There is no need to act half heartedly, when you can act full heartedly and with artistic exuberance.<span>  </span>Being passive and overly compliant only reflects fear – and there is no one and nothing to fear.<span>  </span>You are the consciousness that gives birth to the whole of this manifested world.<span>  </span>Therefore act creatively and wholeheartedly, but don&#8217;t let ahankara take over.<span>  </span>Your creative action, that is without desire, is done by Satvaguna of Prakriti.<span>  </span>If you do karma with egoistic desire for achievement, possession and arrival, again that is Rajoguna in action.<span>  </span>If you do karma with a craving to drown in stimulation, that is tamoguna in action.<span>  </span>There is no you here that acts.<span>  </span>To think that you are acting is delusional.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Do your job shedding all attachment with equanimity towards gain and loss.<span>  </span>Equanimity is yoga.<span>  </span>(2.48)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Worldly action (action for the sake of gaining objects) is so trivial compared to &#8216;intelligent action&#8217; or buddhiyoga (with equanimity, steadfast in pure consciousness (and not in any objects that arise from its modification)).<span>  </span>Therefore seek refuge in intelligent action.<span>  </span>Pathetic are those who work for the fruits of action. (2.49)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Equanimity (samadarsana, seeing everything as equal) is yoga.<span>  </span>Seeing everything equal doesn&#8217;t mean that one cannot distinguish between things in terms of their size, shape, colour and other attributes.<span>  </span>Samatvam means there is no preference or desire.<span>  </span>If you desire one object over other objects, then samatvam or equanimity goes out of the window.<span>  </span>Equanimity (syn. Samatvam, samabhavana, samadarshana, choiceless awareness)<span>  </span>is attachment to nothing – or attachment to the nothingness that resides in everything.<span>  </span>Everything manifests out of nothingness.<span>   </span>There cannot be something without the substrate of nothingness.<span>  </span>Nothingness cannot be perceived.<span>  </span>Nothingness and impermanence are the same. <span> </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The impermanence of an object is the understanding that whatever one has perceived as attributes of the object is reducible to nothingness at some stage or other.<span>  </span>Impermanence implies that there is nothing permanent.<span>  </span>The only thing that is permanent is impermanence itself (the constant flux).<span>  </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Impermanence is an attribute of the world.<span>  </span>Nothingness is only a concept and is not an attribute of the world.<span>   </span>Nothingness implies that there is a state of nothingness or the &#8216;unmanifested state&#8217;<span>  </span>for every object in this world.<span>  </span>We see the world as a segment of space-time.<span>  </span>We don&#8217;t see the dimension of time in its fullness.<span>  </span>If we do, we will perceive the unmanifest nature or nothingness of all objects that ever existed.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The intelligent discard good and bad actions.<span>  </span>Therefore work for yoga.<span>  </span>Yoga is skill in action. (2.50)<o:p></o:p></font></strong></span></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Action without attachment and in constant awareness of impermanence of everything is yoga.<span>   </span>The absence of attachment will ensure that there is total attention to whatever is now.<span>  </span>The awareness of impermanence will enable total<span>  </span>attention to the present moment. Such total<span>  </span>attention to the &#8216;here and now&#8217; with awareness of the impermanence of every momentary manifestation will make one very skilled in whatever that one does. Yoga is this skillful action.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The intelligent, relinquishing the fruits of their action, become enlightened and liberated from the bondages associated with birth, attain happiness.<span>  </span>(2.51)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Liberated from all attachment, firmly ensconced in the awareness of the impermanence of all that is manifested, the yogi lives in happiness, not bound by the compulsion to work for the fulfillment of desires and the commitment to keep what one has acquired.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">When your mind confused by intellectual chatter is motionless and firmly ensconced in consciousness, you would attain yoga. (2.53)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-size: 10pt; font-family: Verdana"><strong>He Arjuna, he who has relinquished all desires and who is fully contented in unmodified and pure existence is called a man of secure understanding (2.55)<o:p></o:p></strong></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The sage who is unperturbed in adversity and dispassionate in comfort and who has been able to ward off desire, fear and anger is called a man of secure understanding. (2.56)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">His understanding is secure who is dispassionate towards all and who neither exults in good fortune nor bemoan adversity. (2.57)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">He who withdraws his sense organs from the meaning of sense modalities &#8212; like a tortoise withdrawing its limbs &#8212; is of secure understanding (2.58)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The man of secure understanding withdraws his sense organs from the meaning of sensory modalties (indriyaartthaebhya:) and not from the sensory modalities themselves. He continues to see, hear, feel, smell and taste, but does not react to the sensations with meaning.<span>   </span>Meaning is not contained in the sensations that one receives, but consists in the reaction of the brain to the sensation.<span>  </span>We see or hear something.<span>  </span>The meaning is not instrinsic to what we see or hear, but is attributed to what we see or hear by our response to them.<span>  </span>Thus we respond to the sensations with images from memory and with words and these responses carry with them affective associations.<span>   </span>The words wrap up the stream of sensations into packages and these packages are the objects. The objects trigger conditioned affective associations of like and dislike.<span>  </span>It is these likes and dislikes that imbue meaning to our sensory experiences.<span>  </span>The man of secure understanding withdraws his thoughts and thus his sensory experiences will be uncontaminated with meaning.<span>   </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">What the man of secure understanding withdraws is his thoughts that lend meaning to the sensations and not the sense organs.<span>  </span>The man of secure understanding continues to receive all sensations through all the sense portals, but does not react with any images or words from memory.<span>  </span>What the man of secure understanding experiences is therefore the real, pristine, fresh sensations and not a conditioned samsara full of worldly meanings and interpretations.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Kaunteya, even the mind of the learned seer is agitated powerfully by the senses. (2.60)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Keeping in control all the senses, remain connected (yukta:)<span>  </span>to the Self (matpara:).<span>  </span>His understanding is secure whose senses are in control. (2.61)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><o:p><strong><font color="#000080"> </font></strong></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Controlling the senses do not mean shutting down the senses or disconnecting the senses from its natural stimuli – light, sound, touch, smell and taste.<span>  </span>Ingenious methods such as blindfolding, ear-plugging and suspending oneself in zero gravity (so as to eliminate tactile stimulation) is not the way of yoga.<span>  </span>Controlling the senses does not mean suppressing senses at all.<span>  </span>What it means is to stop reacting to the sensations.<span>  </span>Indeed it is the responses of thought in the form of memory images and subliminal chatter that divide the stream of experience into meaningful objects<span>  </span>that form the basis of<span>  </span>reasoning as well as fantasy. <span> </span><o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The yogi withdraws his reaction – and not his senses<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The yogi remains fully alert and receptive to stimuli that are conveyed by his senses, but does not respond.<span>  </span>There is total reception but no broadcast.<span>  </span>In this way the phenomenal stream of consciousness is not broken up into meaningful objects.<span>  </span>The meaningfulness of the world created by the interjection of thought on the phenomenal stream is illusory (maya).<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The man who thinks of objects, develops attachment to them.<span>  </span>From attachment arises desire and from desire arises anger. (2.62)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">From anger arises delusion that leads to confusion.<span>  </span>Confusion results in loss of intelligence that in turn leads to defeat. (2.63)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">Objectification is caused by the chatter of the brain – or the response of the memory areas of the temporal cortex to the sensory stream received in the sensory cortex of the parieto-occipital cerebrum.<span>  </span>In the yogi&#8217;s brain, the temporal cortex ceases to respond to what the parieto-occipital cortex receives.<span>  </span>Memory and emotion are closely linked phenomenologically as well as neurologically – both are situated in the temporal lobe.<span>  </span>The response of memory in the form of recognition by juxtaposing the sensory input with stored images and the constant chatter of naming activity gives rise to persistence of objects.<span>  </span>Attachment arises as the limbic system is stimulated in association with perpetuated objects.<span>  </span>Desire takes over and the nervous system tries to chase the source of the sensations that make up the objects of attachment (like).<span>  </span>Desire, frustration, anger, confusion, stupefaction and defeat follow in sequence.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">He who is free of desire and anger and who travels through the world without noise attains tranquility. (2.64)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">When the mind is (silent and) tranquil, all sorrows cease. <span>  </span>The intellect of such a mind is secure. (2.65)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-size: 10pt; font-family: Verdana"><strong>He whose mind pursues sense objects has his intelligence swept away by those sense objects as a boat is swept away by wind. (2.67)<o:p></o:p></strong></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The loss of intelligence happens when one confuses happiness as originating in objects, situations, conditions, relationships or<span>  </span>any of the particular fragments made up by thought.<span>  </span>Happiness is not contained in thought, but is intrinsic to consciousness.<span>  </span>Happiness of success is only due to the pausing of desire at the point of arrival at success – when there is no more need to pursue, to chase – when objects do not matter and one can afford to relax and be aware of what is happening around.<span>  </span>Adulation is the society&#8217;s granting allowance that there is no need to act – as <em>&#8216;we recognize that you have arrived, and we, the judges of society, do not ask any more of you this moment.&#8221;<o:p></o:p></em></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">However, this is what the impermanent stream of consciousness tells you all the time.<span>  </span>&#8216;You have arrived completely and you are allowed to be for ever and you don&#8217;t have to do anything&#8217;.<span>  </span>This is what the stream of consciousness, the atman, God tells you.<span>  </span>The stream of consciousness or Atman or God – that permanent impermanence, the eternal flux of joy accepts you unconditionally and<span>  </span>tells you that it is all right to stop everything – no you don&#8217;t have to do anything.<span>   </span>Love is when you say – you don&#8217;t have to do anything.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Therefore he, whose senses are withdrawn <em>from their meanings</em> (indriyaartthaebhya:), has secure understanding. (2.68)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The man of secure understanding does not withdraw all his sense organs from their respective sensations.<span>  </span>What he withdraws is his thought-responses to the sensations, that provide meaning to the latter.<span>  </span>In other words, his mind becomes silent and without chatter – in a state of meditation.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The flow of sensation that is received through the sense portals is continuous and ever changing.<span>  </span>There is the quality of total flux and impermanence to the flow of sensation.<span>  </span>What fragments this continual flow into objects is the subliminal verbal and imaginatory activity of the memory parts of the brain in response to it.<span>  </span>And it is these objects, which give meaning to the stream of sensation.<span>  </span>The world (samsara) is made up of these objects created by the recognition and naming activity of thought.<span>  </span>Samsara is thought and it is thought that makes up this world.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The sensory stream that flows through the five sense portals is responded to by the incessant flow of thought in the form of recognition and naming.<span>  </span>Recognition and naming trigger the emotions of like and dislike.<span>  </span>It is these emotions of like and dislike that make the world &#8216;meaningful&#8217; in a worldly sense.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">So long as there is this incessant flow of thought in response to the sensory stream, the mind is caught in the turbulent activity that involves the temporal (subserving memory) and limbic (subserving emotions) lobes of the brain that consist of fragmenting the sensory stream into the complicated mosaic &#8211; manifested in space and time &#8211; of meaningful objects, making up this world (samsara).<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The man of secure understanding is one whose brain (temporal-limbic lobes) does not chatter in response to the sensory stream and therefore does not weave a world of objects (<em>samsara</em>) using thought constructs, labels and judgements (likes and dislikes).<span>  </span>Samsara is this world and the process by which samsara is created is <em>maya.<span>  </span></em>Samsara is a complex world in which the objects are inextricably intertwined with their names and the judging emotions of like and dislike.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The withdrawal is meditation.<span>  </span>The withdrawal is not turning away from the world.<span>  </span>But it involves seeing the world without the conditioned response of recognition and naming<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">The seer is awake to what is night to all beings.<span>  </span>And what is the awake state to beings is night to the seer. (2.69)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The awareness of the stream of consciousness without the chatter of recognition and naming is a state of meditation that seems like night or darkness to beings who are living in the world of thought-objects.<span>  </span>The world of objects in which social beings dwell created by the thought-activity of recognition and naming is full of worldly meanings, but is meaningless for the seer who savours the stillness of consciousness.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">He attains peace, whose desires are absorbed into consciousness just as rivers are absorbed into the silent fullness of the ocean.<span>  </span>Not he who is full of desires. (2.70)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">The neural energy of desire is absorbed into the stillness of awareness of consciousness. The same neural energy that is expended in the thought-mediated perpetuation of worldly objects of desire and their active pursuit by the organs of activity is channeled towards consciousness that is impermanent, devoid of objects, recognitions and names.<span>  </span>Like the ocean, consciousness does not have any particularities within it.<span>  </span>There is boundless tranquility and happiness in this awareness.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> <span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">He, who has eschewed all craving and moves without desire or the sense of me and mine, attains peace. (2.71)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><font color="#000080">He who has overcome the delusion that objects are permanent and that it is irrational to pursue and acquire objects and who understands that the height of happiness that success gives is nothing but the happiness that is intrinsic to the unmodified flux of consciousness (sat-chit-ananda), will no longer chase objects and will remain in the awareness of consciousness – that is, atman.<o:p></o:p></font></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p><font color="#000080"> </font></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p></o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-size: 10pt; font-family: Verdana"><strong><font color="#000080">Paarttha! This is what it is to be secure in consciousness.<span>  </span>Once this is attained, there is no more delusion.<span>   </span>He, who remains in this state at the time of death, merges with unmodified consciousness. (2.72)<o:p></o:p></font></strong></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"><span style="font-weight: normal; font-size: 10pt; font-family: Verdana"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt"> http://marshmark.sulekha.com/blog/post/2008/08/bhagavad-gita-chapter-2-a-study-aided-by-insights.htm</p>
<p class="MsoBodyText" style="margin: 0in 0in 0pt">&nbsp;</p>


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		<title>Sentiments Related With Wedding Anniversary</title>
		<link>http://www.pagalz.com/blog/2008/08/sentiments-related-with-wedding-anniversary/</link>
		<comments>http://www.pagalz.com/blog/2008/08/sentiments-related-with-wedding-anniversary/#comments</comments>
		<pubDate>Wed, 13 Aug 2008 15:16:35 +0000</pubDate>
		<dc:creator>shivani</dc:creator>
				<category><![CDATA[Humor]]></category>
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		<description><![CDATA[&#160;
Wedding in itself is a very special aspect of human life. It&#8217;s a life time relationship that everyone wishes to have at least once in one&#8217;s life. Marriage is an institution in itself that allows two people of opposite sexes together under one roof and within same four walls. This relationship is authorized by the  <a href="http://www.pagalz.com/blog/2008/08/sentiments-related-with-wedding-anniversary/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p class="editorcontent">&nbsp;</p>
<p style="margin: 0in 0in 0pt"><span style="font-size: 10pt">Wedding in itself is a very special aspect of human life. It&#8217;s a life time relationship that everyone wishes to have at least once in one&#8217;s life. Marriage is an institution in itself that allows two people of opposite sexes together under one roof and within same four walls. This relationship is authorized by the law of the state, the society and other religious authorities. It gives birth to many new relationships in its trail. This relationship is entirely based upon trust. faith, cooperation and above all love. The more the couple stay together, more intense their love and understanding grows. This love and understanding are the ultimate base of the success of their relationship which bring them closer and closer. As the couple come closer and closer to each other, they have the feeling of &#8216;Two bodies but one soul&#8217; and they become the soul mate and complementary of each other.</span></p>
<p style="margin: 0in 0in 0pt">&nbsp;</p>
<p style="margin: 0in 0in 0pt"><span style="font-size: 10pt">The date of their Marriage becomes an unforgettable milestone of their life which they don&#8217;t seem to forget till they breathe. Every year they celebrate their wedding anniversary without fail. It&#8217;s the day and date on which they reconfirm their love, faith, dedication, devotion and faith in each other.</span> <span style="font-size: 10pt">Wedding anniversaries have special personal significance. Each additional year is a milestone in the life a couple. The couple waits for the date for the whole year and as it comes closer, they plan to celebrate it in their own way. That day makes them to forget their daily struggles and fills them with the joy and happiness of being together. The husband and wife make their own planning for that very special day of their life. </span></p>
<p style="margin: 0in 0in 0pt">&nbsp;</p>
<p style="margin: 0in 0in 0pt"><span style="font-size: 10pt">The exchange of anniversary gifts has its own importance and significance. Both the husband and the wife try their level best to buy something for each other that can make them happy and satisfied. This exchange of gifts also give the couple enormous happiness and their love in each other is once again redefined. In the story ‘The Gift of Magi’, the couple sacrificed their most desired belongings for buying gifts for their soul mates. This strong sense of sacrifice for the life partners comes only when it touches the height of selflessness and when the married couple gets the feeling of selflessness for each other, their love becomes true and eternal. These gifts are nothing but the tokens of love for them.</span></p>
<p style="margin: 0in 0in 0pt">&nbsp;</p>
<p style="margin: 0in 0in 0pt"><span style="font-size: 10pt">A gift’s idea is not to follow traditions or show lavishness. The encoded message of love is communicated successfully when it is chosen and sealed with love for each other. A handmade scrapbook or an album with photos of the most memorable moments in the couple’s marriage may not be an expensive exhibit of love, but there is perhaps nothing more precious than such personal thoughtful gifts. It displays the effort, time and energy one has spent in. It also displays the depth of their love and their care for each other. That’s what makes those moments more and more memorable as well as unforgettable. Both the husband and the wife love and respect the sentiment behind the anniversary gift and treasure it more than anything else. </span></p>
<p style="margin: 0in 0in 0pt">&nbsp;</p>
<p style="margin: 0in 0in 0pt"><span style="font-size: 10pt">That’s how the love between the two alleys of life gets intensified and becomes the base of their existence on this planet of ours.</span></p>
<p style="margin: 0in 0in 0pt">&nbsp;</p>
<p style="margin: 0in 0in 0pt">http://shaadibiye1.sulekha.com/blog/post/2008/08/sentiments-related-with-wedding-anniversary.htm</p>


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		<title>India gold sales heavy after fall below 12,000</title>
		<link>http://www.pagalz.com/blog/2008/08/india-gold-sales-heavy-after-fall-below-12000/</link>
		<comments>http://www.pagalz.com/blog/2008/08/india-gold-sales-heavy-after-fall-below-12000/#comments</comments>
		<pubDate>Fri, 08 Aug 2008 09:30:26 +0000</pubDate>
		<dc:creator>preeti</dc:creator>
				<category><![CDATA[Business]]></category>
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		<description><![CDATA[ MUMBAI (Reuters) &#8211; Indian gold prices fell below a psychological mark on Friday, tracking foreign markets, leading to heavy sales and a shortage in supply, dealers said.
&#8220;There is very good demand from all those who had waited,&#8221; said Harshad Ajmera, proprietor of JJ Gold House, a large wholesaler in Kolkata. &#8220;Investors and jewellers, all  <a href="http://www.pagalz.com/blog/2008/08/india-gold-sales-heavy-after-fall-below-12000/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p class="first"><span style="float: left; width: 190px; font-size: 10px; padding-bottom: 10px"><a href="http://in.news.yahoo.com/137/20080808/img/pbs-india-gold-sales-heavy-ba48139a22010.html" onclick="openSS(this.href)" target="ss"><img src="http://l.yimg.com/t/ng/in/reuters_ids_new/20080808/14/2301160447-india-gold-sales-heavy-after-fall-below-12-000.jpg?x=180&amp;y=114&amp;sig=sQ8oFhqIcSMMEYi9AeD96Q--" alt="File photo of a shopkeeper arranging gold ornaments at his shop in Chennai April 11,..." border="0" height="114" width="180" /></a> <span class="source"></span></span>MUMBAI (Reuters) &#8211; Indian gold prices fell below a psychological mark on Friday, tracking foreign markets, leading to heavy sales and a shortage in supply, dealers said.</p>
<p>&#8220;There is very good demand from all those who had waited,&#8221; said Harshad Ajmera, proprietor of JJ Gold House, a large wholesaler in Kolkata. &#8220;Investors and jewellers, all are buying in bulk.&#8221;</p>
<p>Gold fell below 12,000 rupees per 10 grams for the first time in eight weeks as foreign markets slid on a stronger dollar against the euro after the European Central Bank&#8217;s caution on the growth outlook.</p>
<p>Gold generally has an inverse relation with the dollar as the two compete for funds.</p>
<p>Retailers said demand had picked up even before the festivals had kicked in and the break of the psychological mark would bring more consumers to shops.</p>
<p>&#8220;Marriage-related buying has already started,&#8221; said Princeson Jose, director of Prince Jewellery in Chennai.</p>
<p>Many Hindu marriages are likely to be held between September and November in stretches of auspicious periods.</p>
<p>&#8220;We will have a very good weekend,&#8221; said Rahul Gupta, director of P P Jewellers in New Delhi.</p>
<p>A dealer in a large bank said supplies were short with delays of several days for delivery that had spiked up premiums.</p>
<p>Following was the price of .995 gold in the spot market in rupees per 10 grams at 1:20 p.m. :</p>
<p>Bank Friday Thursday</p>
<p>http://in.news.yahoo.com/137/20080808/371/tbs-india-gold-sales-heavy-after-fall-be.html</p>


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		<title>HONOURING NATIONAL FLAG AND NATIONAL ANTHEM</title>
		<link>http://www.pagalz.com/blog/2008/07/honouring-national-flag-and-national-anthem/</link>
		<comments>http://www.pagalz.com/blog/2008/07/honouring-national-flag-and-national-anthem/#comments</comments>
		<pubDate>Tue, 29 Jul 2008 10:39:10 +0000</pubDate>
		<dc:creator>preeti</dc:creator>
				<category><![CDATA[India]]></category>
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		<description><![CDATA[AUGUST 15&#8211; WE CELEBRATE OUR 61ST INDEPENDENCE DAY AND STILL I FOUND DISRESPECT BEING MADE TO OUR NATIONAL FLAG AND NATIONAL ANTHEM.  THERE ARE PROCEDURES TO BE FOLLOWED WHILE SINGING NATIONAL ANTHEM AND HOISTING OUR NATIONAL FLAG.
Every individual is taught as to how to respect the country’s NATIONAL ANTHEM.  The basic method of  <a href="http://www.pagalz.com/blog/2008/07/honouring-national-flag-and-national-anthem/" class="more-link">More &#62;</a>]]></description>
			<content:encoded><![CDATA[<p>AUGUST 15&#8211; WE CELEBRATE OUR 61ST INDEPENDENCE DAY AND STILL I FOUND DISRESPECT BEING MADE TO OUR NATIONAL FLAG AND NATIONAL ANTHEM.  THERE ARE PROCEDURES TO BE FOLLOWED WHILE SINGING NATIONAL ANTHEM AND HOISTING OUR NATIONAL FLAG.</p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Times New Roman" size="3">Every individual is taught as to how to respect the country’s NATIONAL ANTHEM.<span>  </span>The basic method of respecting the National Anthem is taught from the school level.<span>  </span>But, many people either forget it safely OR start giving a new look to the basic method of respecting the National Anthem. </font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font size="3"><font face="Times New Roman">First, one should stand at attention, keeping both the hands along the body as also the legs side-by-side, while standing.<span>  </span>Keeping the chest forward, looking straight to hold the head straight. <span> </span>The eyes cannot be closed.<span>  </span>The National flag should be hoisted at the top of the post, with the tricolour in its’ correct format. i.e. Saffron at the top, white at the middle and the green below and the Ashoka Chakra occupying the centre of the flag (i.e. on the white space). The National flag should not be with any other colours.<span>  </span></font></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Times New Roman" size="3">In these modern days, the Cell phones/Pagers have to be switched-off or kept in silent mode so that the sounds from these electronic instruments neither disturb the self nor other people around us. </font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font size="3"><font face="Times New Roman">A few minutes of silent attention to the National Anthem is a must.<span>  </span>Singing of National Anthem by self in tune with others is very important.<span>  </span></font></font></span></p>
<p class="MsoNormal" style="margin: 0in 0in 0pt"><span lang="EN-GB"><font face="Times New Roman" size="3">Keeping the hands inside the pant pockets, looking at others and speaking to them with the eye language, murmuring, smiling, showing other signs, etc. must be avoided strictly.</font></span></p>
<p> <span style="font-size: 12pt; font-family: 'Times New Roman'" lang="EN-GB">After completion of the National Anthem, many people do not salute the National Flag, which is a wrong move.<span>   </span>Instead of keeping folded hands or the hand at the heart, etc.<span>  </span>one should salute the National Flag.<span>  </span>The National Anthem is sung, after hoisting the National Flag and after the end of a programme only.</span></p>
<p>http://kvpeswaran.sulekha.com/blog/post/2008/07/honouring-national-flag-and-national-anthem.htm</p>


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