Rig Ved 1.36.7

To do a Namaskaar or bow before someone means that you are humble or without pride and ego. This means that we politely bow before you since you are better than me. Pranipaat(प्राणीपात) also means the same that we respect you without any vanity.

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BRAHMA VAIVARTA PURAN: IMPORTANCE AND CHARACTERISTICS.

This Puran introduces us to way of Vedas. On the request of Narad Muni Bhagwan Saavarni had preached this Puran. It is a summary of Dharma, Arth, Moksha etc.

Listening to this Puran one gets automatically attached to Vishnu and Shiva and realize that there is no difference between them. Vyasji divided this book into four parts. It has eighteen thousand shlokas. This whole book is in the form of dialogue between Suutji and Maharishi's.

The first part Brahmkhand, consists of Shrishti description. Here Shri is known as Para Brahma and description of Gokul is also mentioned, It also narrates the argument between Brahma and Narad in which both were defeated, and then Narad went to Shiva to attain more gyan.

Shivji advised him to go to Bhagwan Saavarni for this. Narad goes to Saavarni ashram to seek Knowledge and is totally amazed by the sorroundings.

Next is Prakriti khand which consists of dialogue between Narad and Saavarni where they discuss the

Importance of Shri Krishna through various stories. Then there is the discussion of Prakriti and its various hues. Listening to this gets you wealth.
Next is Ganesh Khand which describes the Punyak vrat done by Parvati ji. After this it narrates the birth of Kartikeya and Ganesh.

IMPORTANCE AND CHARACTERISTICS OF GARUDA PURAN.

On the request of Garud, Bhagwan Vishnu, the rider of Garud, described this Puran based in Taksharya Kalp. It has ninteen thousand shlokas.
This book begins with a question and goes on to describe the Shrishti.

Then it describes the Surya puja vidhi, Diksha, Shradha, Nav vyuh puja, Vishnu sahastra naam kirtan and dhyan, Yog, Mrityunjay puja,Mala mantra, Shivarcha, Gopal puja, Trailikya mohan Shridhar puja, Vishnuarcha, Devpuja, Sandhya, Pancham tattva, Durga and Chakra Archana,

Maheshwar puja, Pavitra ropan puja, Murti dhyan, Vaastu maan, Prasaad, Sarvdev pratishtha, Ashtaang Yog, Daan dharm, Prayaschit, Narak description, Chakravyuh, Jyotish, Samudra shastra, Swar gyan, Tirth, Importance of Gaya, Different Manvantars, Pittra's, Varna dharma,

Dravya shudhhi, Samarpan, Vinayak puja, Grah yagya, Ashram, Shouch, Pret shudhi, Niti Shashtra, Vrat katha, Som and Surya vansh, Hari vansh, Bharat akhyan, Ayurveda, Medicine in Ayurveda, Rog nashak kavach, Garud Kavach, Traipur mantra, Prashna, difficulties in vyakaran,

Chhand shastra, Discipline, Snan Vidhi Tarpan, Bali Vaishvadev, Pavarna Karma, Sapindan, Dharmasar, Repentence of sins, Prati sankraman, Karmafal, Yug dharm, Vishnu bhakti, Method of Namaskaar to Hari, Narsingh strotras, Gyanamrit, Vishnuarchan strotras, Principles of Sankhya,

Marvels of Medical Science in Ancient India

ACHARYA SUSHRUTA and SUSHRUTA SAMHITA

Ancient Indians were pioneers in diverse fields of study and their genius was centuries ahead of their times. Feel the glory, basking in pride of their unparalleled achievements.

(Thread)

Sushruta (circa 7th or 6th century BC) was a surgeon who in present times is known as the “father of Indian medicine” and “father of plastic surgery” for inventing and developing surgical procedures. He lived in Kashi on the banks of river Ganga.(1)

His work documented in the Sushruta Samhita (compendium) is one of the oldest texts in the world on plastic surgery and regarded as one of the trilogies of Ayurveda. The other 2 being the Charaka Samhita and Astanga Hridaya.(2)

Sushruta compiled the Sushruta Samhita as an instruction manual for physicians to treat patients.(3)

The Samhita caters to surgical techniques listing over 300 surgical procedures and 120 surgical instruments. Additionally to 1,120 diseases, injuries and their treatments with over 700 medicinal herbs and their application.(4)

Here is a special thread introducing our series on “The Making of the Islamic World.” It offers 10 episodes about the transformation of Islamicate societies between the 7th and 17th centuries. You can find the series page here: https://t.co/7mL9eWmMmz

This is Chris Gratien posting. I created this series during Fall 2020 for my students as asynchronous material supported by readings and discussion. This is going to be a long thread, but it will be a great shortcut for those looking to make similar use of these materials.

There are two items worth pointing out: 1. This is an overview of the political, social, and cultural history of Islamicate societies. It does not deal with the origins of Islam or many theological questions. It does discuss Islam’s spread and the transformation of Islamic law.

2. This is the first part of a two-part sequence that takes the history of the Islamic world into the present. It emphasizes developments and themes that have particular relevance for later periods.

This is really a multivocal narrative of Islamic history. We feature over 20 scholars from almost as many institutions. Many of those who worked on it, myself included, study the early modern and modern era but have teaching obligations that take us further back in history.

Ever heard of a temple where the statue of the Goddess was found in a field in 1936 after spending almost a millenia under the soil?And is worshipped as the Tri-Sakthi-Swaroopini?
No?
I shall narrate the story of Nidadavole Kota Satthema temple in West Godavari district, Andhra

Nidadavole is a sleepy little town in the district of West Godavari, located a few kilometres from the Godavari. Among other things, it is famous for its Gramadevatha and Kshetrapalika, the Goddess Kota Satthema

In the tenth century, Nidadavole was known as Nirvadhyapuram, and was under the rule of the Eastern Chalukyas. They were nominal feudatories of the Kakatiyas of Warangal. The local Sthalapurana indicates that the original temple was built by one king called Virabhadra.

This Virabhadra has been identified as the husband and royal regent of the Kakatiya Empress, Rani Rudramadevi who ruled Central Deccan during the period. The original stone figure of the Goddess was built within a fort during his reign.

The goddess was worshipped as the Shakti of the Fort. Over time the name entered the vernacular parlance as Kota (the telugu word for Fort) and Satthema (a local vulgarisation of the word Shakti).