Lucknow, March 15, 2017: Some fisherman in Kaushambi discovered a 4.5 ft tall stone statue of 23rd Jain Teerthankar Parshavnath in the Yamuna which was assumed to be about 1000-year-old. The finding buttresses the evidence that the area was a pivotal hub for the Jains for eons. The statue has now been kept at the popular Jain temple in Kaushambi.
It was revealed that some fisherman at Gurbuj Ghat in Gadhwa Kosam Inam village cast their net to catch fish. When they pulled out the net, a large statue was discovered. Finding it irrelevant they left the statue at the ghat itself which was later noticed by local folks. The villagers notified priest of Prabhashgiri Jain temple Dinesh Jain who identified the statute, mentioned HT.
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Responding on the matter, historian Ranish Jain announced that Kaushambi was one of the most biblical Jain sites where the sixth Jain Teerthankar was born. Mahaveer Swami had also meditated here. A story in Jain text ‘Avashyak Sutra’ suggests that a Jain nun Chandanbala who was sold to a rich man of Kaushambi was later provided food to Mahaveer Swami and became a nun.
Prof of Ancient History at Allahabad University DP Dubey stated the statue may be of 12th century BC. A Large number of members of the Jain community once populated the Pali village in the area.
Jain religion has an important place in the history of Kaushambi. There is a small museum at Phabhosa village in the district where Jain statues belonging to 9th and 10th centuries are preserved. There may be a temple of Parshavnath on the banks of the Yamuna from where the statue was immersed in the river said the Director of Allahabad Museum Rajesh Purohit.
– Prepared by Naina Mishra of Newsgram, Twitter @Nainamishr94
India’s economic and political strata in today’s world have reached a great level, but that is still not what the country is known for. The country is known for its diversity and religions because the term ‘religion’ in India is not just a system of belief and worship, but a way of life too. Since ancient times, it has been an integral part of its culture. For the citizens of this country, religion pervades through all the activities of life- from cooking chores to working and politics. The religion we follow plays an important role in our upbringing as well. Our conditioning is done based on the principles of our religion. India is a home to many religions- Hinduism, Sikhism, Christianity, Jainism, Buddhism, Islam and others.
How old is the Indian civilization?
The Indian civilization is around 4000 years old, with the existing Indian religions growing in that period. The antiquity of the religions in India begins from the Harappan culture. It’s a secular country which respects all kinds of religion and culture, but during the ancient times, when the Human civilization was developing, there were three main religions native to India- Hinduism, Buddhism and Jainism. The predominant religion during this period was Hinduism, which is said have originated in the Northern India.
Religion wise Indian Population:
HINDUISM – about 82%
ISLAM – about 12%
CHRISTIANITY – about 2.5%
SIKHISM – about 2%
BUDDHISM – about 0.7%
JAINISM – about 0.5%
ZOROASTRIANISM – about 0.01%
JUDAISM – about 0.0005% (stated by adaniel.tripod)
Hinduism is a polytheistic religion. Its followers worship several deities. Unlike the other religions, this religion does not have one teacher. Its followers, the ‘Hindus’ believe in a supreme divine spirit called ‘Parama Brahma’. The concept of Parama Brahma states that Brahma is omnipresent.
Hindus believe in vasudhaiva kutumbakam, which means the whole world is a single family. They also believe in Sarva dharma Sama Bhava, which means all religions are equal. The practice follows the ideas of mercy, charity, compassion, benevolence, non-violence and mercy. It believes the concept of ‘Bhakti’ or devotion.
The sacred writings of Hinduism include the Vedas, Ramayana, Mahabharata and the Upanishads.
According to tradition, the founder of Jainism was first Tirthankara Adinatha. However, the religion was widely propagated by the 24th Tirthankara, Mahavira. He was born in Vaishali, Bihar, who belonged to the clan ‘Licchavi’. Mahavira was moved by the sufferings of people, and therefore, left his home at the age of 30 to seek the truth. He supported the teachings of the previous Tirthankaras, and added his own beliefs to the teachings.
He believed in the ideology of leading a good life and not doing any wrong. He did not encourage the practice of needing the help of God for everything.
Doctrines of Jainism:
Buddhism is a religion which consists of different kinds of beliefs and practices based on the teachings of Lord Buddha. Buddha’s name was Siddhartha. He was the son of the Shakya clan’s leader. It is believed that Siddhartha made three observations, which changed his life: a feeble old man; a person suffering from disease; and a dead body being taken for cremation. This propelled him in finding the true meaning of life. He left his home at an early age and attained ‘enlightenment’ in Bodhgaya.
He also prescribed the four noble truths and eight fold path.
Four noble truths are:
Dukkha (truth of suffering)
Samudāya (truth of the suffering’s origin)
Nirodha (the truth of suffering’s cessation.)
Magga (Direction to eight-fold path)
The eight fold path are- Right aims, Right beliefs, Right conduct, Right speech, Right effort, Right occupation, Right meditation and Right thinking.
-by Megha Acharya of NewsGram. Megha can be reached at twitter @ImMeghaacharya.
On Mahalaya, people throng to the holy river Ganges in order to pay homage to their ancestors and forefathers; which is called ‘Torpon’
Mahalaya remains incomplete without the magical chanting of the scriptural verses from the ‘Chandi Kavya’ that is broadcasted in All India Radio
The magic is induced by the popular Birendra Krishna Bhadra whose voice makes the recitation of the “Chandi Kavya” even more magnificent
Sept 19, 2017: Autumn is the season of the year that sees the Hindus, all geared up to celebrate some of the biggest festivals of India. The festive spirit in the Bengalis all enthused to prepare for the greatest of the festivals, the ‘Durga Puja’.
Mahalaya is the auspicious occasion that marks the beginning of “Devipaksha” and the ending of “Pitripaksha,” and this year it is celebrated on September 19.
Observed exactly a week before the ‘Durga Puja’, Mahalaya is the harbinger of the arrival of Goddess Durga. It is celebrated to invoke the goddess possessing supreme power! The goddess is invited to descend on earth and she is welcomed with devotional songs and holy chants of mantras. On this day, the eye is drawn in the idols of the Goddess by the artisans marking the initiation of “Devipaksha”. Mahalaya arrives and the countdown to the Durga Puja begins!
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The day of Mahalaya bears supreme significance to the Bengalis. The day is immensely important because on this day people throng to the holy river Ganges in order to pay homage to their ancestors and forefathers. Clad in white dhotis, people offer prayers and take dips in the river while praying for their demised dear ones. The ritual is popular as “Torpon”.
As per Hindu myth, on “Devipaksha”, the Gods and the Goddesses began their preparations to celebrate “Mahamaya” or Goddess Durga, who was brought upon by the trinity- Brahma, Vishnu, and Maheshwara; to annihilate the fierce demon king named Mahishasura. The captivating story of the Goddess defeating the demon got popularized with the goddess being revered as “Durgatinashini” or the one who banishes all the evils and miseries of the world. The victory of the Goddess is celebrated as ‘Durga Puja’.
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Mahalaya remains incomplete without the magical chanting of the scriptural verses from the ‘Chandi Kavya’ that is broadcasted at dawn in All India Radio in the form of a marvelous audio montage enthralling the souls of the Bengalis. Presented with wonderful devotional music, acoustic drama, and classical songs- the program is also translated to Hindi and played for the whole pan-Indian listeners.
The program is inseparable from Mahalaya and has been going on for over six decades till date. The magic is induced by the popular Birendra Krishna Bhadra whose voice makes the recitation of the “Chandi Kavya” even more magnificent! He has been a legend and the dawn of Mahalaya turns insipid without the reverberating and enchanting voice of the legendary man.
Mahalaya will keep spreading the magic and setting the vigor of the greatest festival of the Bengalis- the Durga Puja, to worship the supreme Goddess, eternally.
Hafeez Jalandhari weaved a poem that has a political and devotional angle to it
Hinduism uses sight as a way to connect with the almighty
The poet doesn’t refer to Krishna as a God but he says that Krishna represents glory and majesty of God
New Delhi, August 31, 2017: This year, Pakistan’s 70th Independence Day coincided with Hindu Festival Janmashtami (a festival to celebrate Krishna’s birth). Both were on 14th August. The famous Urdu poet Hafeez Jalandhari wrote the Qaumi Taranah, Pakistan’s national anthem. But not many people know that the same poet penned Krishn Kanhaiya, a unique Urdu poem beautifully describes the greatness of the Hindu Deity.
The idea of a Muslim poet in today’s time writing on a Hindu God raises all sorts of reactions (some of which are negative) coming from different ethnic groups in South Asia: suspicion, anger, surprise, joy or mere curiosity.
There is much more nuance to the poem Krishn Kanhaiya than what the reader thinks on its first reading. This is not just a devotional poem. Jalandhari had a political bend of mind be it him as a thinker or a writer. So, even this poem of his is not an ordinary one, it talks about Krishna’s grand persona, Hindu idol worship, what makes him different, his righteousness, describing the role he played in a Hindu epic Mahabharata.
He weaved a poem that has a political and devotional angle to it. The hidden meaning of it, when compared with Qaumi Taranah, is that it tells about the cultural politics of South Asia- in the 20th Century and has relevance today.
Decoding the poem:
In the first line of the poem, the poet says “O, onlooker”- he might be saying this as he’s talking about a Hindu God and Hinduism gives importance to seeing a God, they believe in Idol worshipping, Hindu Gods have a form, a face. Thus, Hinduism uses sight as a way to connect with the almighty. The poet wants the readers to have mental darshan of Lord Krishna by saying, onlookers. Jalandhari wants the readers to have a mental image of Krishna in their minds.
Krishna is a form of light
The opening lines of the poem are a bit abstract and don’t talk of Krishna; in further lines, the poet asks whether Krishna is a reality or a representation. He refers to him as a “form of light” and then asks is he fire or light. Referring to Krishna as light might indicate to Islamic scholars who said that “Krishna was a righteous prophet sent to the people of the subcontinent.”
Jalandhari finally gives a description of Krishna that we are more familiar with- him being a “flute player” and a “cowherd of Gokul.” The poet doesn’t refer to Krishna as a God but he says that Krishna represents glory and majesty of God.
In the tenth stanza, the poet says that – “Inside the temple / the sculptor of beauty himself / entered and became the idol”. He is talking about Idol Worship done by Hindus who pray to their God in a temple, having a belief that the deity resides in the temple in the idol itself.
Then we get a glimpse of ‘Krishna Leela’ as the poet talks of Krishna’s playing and dancing around with gopis (cowherd girls), on Yamuna river bank that he describes as a “rare happenings”. He is youthful and charming, to set the tone of the scene, phrases like “intoxicated winds” and “waves of love” are used that there was something heavenly in the atmosphere.
The sound of Krishna’s flute is described as “neither intoxication nor wine / it’s something beyond.” Such phrases transport the readers into Braj (Krishna spent his childhood and adolescence years here) and they get blissfully lost in the divine sound of Krishna’s flute.
Cheer-Haran of Draupadi and Krishna being her savior
The poem from here takes a serious transition into a serious mood. Here the poet talks of a famous Cheer-Haran (disrobing) scene from Mahabharata as the five Pandavas have lost their kingdom and Draupadi in the dice game. Draupadi is dragged into the court by Duryodhana, the eldest Kaurava, she prays to Krishna to help her.
It is said that Lord Krishna came to her rescue and due to God’s grace, her sari turned into a never ending piece of cloth as when the Kauravas tried pulling it off, more fabric draped her body and saved her dignity.
With this scene, Jalandhari begins to bring a political angle to the poem as Draupadi says, “These beloved princes (her husbands), have all become cowards!” It seems that Jalandhari is accusing India’s rulers, monarchs who behaved like cowards at the time of British Rule.
Some even argue that the poet is referring to all Indians who worked under British Rule as cowards. The poet uses the phrase “the light of India” for Krishna, this seems more of a political symbolism.
Preparations for the Mahabharata war
In the next scene, the poet takes us to the preparations for the great Mahabharata war, where he writes worryingly, “Duryodhana seems victorious.” Duryodhana (eldest kaurava) symbolizes British Rule over India which continued for a pretty long time, like the Mahabharata war.
The irony is that Kaurava army was much larger in number than Pandavas whereas Britishers were very less in number than Indians. But with Krishna’s arrival on the battlefield (from Pandavas side) and how he preached Bhagavad Gita to Arjuna, changes the anxiety and sorrow to much-needed enthusiasm: “the divine decree has been pronounced, the sword has been swung!”
This Krishna is very different from the young playful one which the poet has described earlier. Here, he symbolizes great strength and power: on his “face shines a bright gaze” also his “virtues burn enemies.” He is so powerful that when he is angry, he can shower lightning. Thus, this Krishna can easily be an icon used for anti-colonial nationalism.
After this, Jalandhari paints a picture of India suffering under colonial rule, using Vrindavan as a symbol for India. He says that once the joyful Yamuna is now silent, the waves are weak now. The gardens which were earlier beautiful are now ruined and the gopis symbolizing people of India are feeling helpless without their Krishna, their savior.
So, Jalandhari makes a personal plea to Krishna: “Oh king of India, come just once more.” He begs Krishna to return to Mathura (Mathura symbolizes India) and become the King again: “If you come, glory will come, if you come, life will come” With his plea to Krishna asking him to liberate India from British rule, Jalandhari ends his nazm.
If we compare Krishn Kanhaiya to Jalandhari’s more famous work (Pakistan’s National Anthem), we can learn a lot about the cultural politics which has influenced South Asia over the 20th century and continues to do so even today.
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