Thursday May 24, 2018
Home India Here is what ...

Here is what Hindu Religious Text Agni Purana says in its 9 Chapters!

"If the physical body is alive, that is no reason for rejoicing. Just as, if the physical body is dead, that is no reason for mourning. The atman (soul) does not die"

0
//
380
A Hindu Temple, (representative image) ,Wikimedia
Republish
Reprint

Nov 29, 2016: A Purana is a Hindu religious text and is a part of the Vedas. According to the Hindu Mythology, Agni Purana is a preaching by Lord Agni to sage Vashishth. Vashishth narrated the text to Vyasaji, who later narrated it to Sutji. Finally, it was narrated by Sutji in Naiminsharanya to a gathering of sages.

The initial chapters of this text talk about the different incarnations of Lord Vishnu. On proceeding, we see descriptions of rituals especially those performed for Lord Shiva. Many chapters are also dedicated to earth, stars and constellations and the duties of kings.

The Agni Purana consists of 9 chapters:

The Avatars

The first chapter containing seven sections says about the avatars of Lord Vishnu. An avatar is an incarnation or a human form a deity assumes to be born on earth. Lord Vishnu being the preserver of the universe has the most of incarnations and is believed to be already taken up nine forms and the tenth avatar is due in the future.

Harivamsha and Mahabharata

The second chapter tells us about the Harivamsha and Hindu Epic Mahabharata. The Harivamsha section of this chapter is dedicated to the lineage of Krishna which is also its literal translation (Hari means Krishna and vamsha means lineage). This section summarises all the exploits of Krishna but some of them spill over to the next section dedicated to the Mahabharata. The Hindu Epic tells us about the war between the Pandavas and the Kauravas over their kingdom with its capital in Hastinapura. Krishna with the help of the Pandavas gets rid of the world’s evil through war.

Buddha, Kalki and Creation

The following chapter consists the tales of Lord Vishnu’s eighth and ninth avatar, namely Buddha and Kalki. It says how towards the end of the Kali era, everyone will abandon their values and the value of people will be measured only by their wealth. It says that people will start robbing each other. It will be at that time when the tenth avatar, the Kalki avatar will be born to establish order again and bring the dawn of a new ‘Satya Yuga’, a fresh era of righteousness.

The next chapter has the narration by ‘Agni’ about the history of creation. It says how Vishnu is the lord of creation, preservation and destruction. It narrates how Lord Brahma was born and how he created the universe as we know it.

Praying, Temples and Deities

The next chapter has four sections and gives the believers directions on how to pray, build temples and idols of deities. This chapter mentions the different forms the various incarnations appear as and what their idols are supposed to look like. This section lists the different pilgrimages and sacred places where deities visit often and people go to get rid of all the sins they have committed.

This holy text also has extended narrations and instructions related to geography and astrology.

Manvataras, Varnashrama and Vratas

The next chapter has four sections. The first being about Manvantaras (eras), each of these are ruled over by a Manu. The next section gives us an overview of the hierarchy of classes (varna) and the precepts of Dharma or righteousness. This section consists of instructions of living people belonging to each class should follow. It also tells us the different stages of life, namely, brahmacharya, garhathya, vanaprastha, sannyasa.

The next chapter reveals the different sins committed by a person and ways for the atonement of their sins. The following sections talk about ‘vratas’ (religious rituals) and ceremonies that are performed according to specific occasions.

Narakas, Charity, Gayatri Mantra and the Duties of a king

The next chapter has four sections where the first one explains the different hellish planets or Narakas. The following sections describe the importance of charity, the power of the Gayatri Mantra, and the duties of a king.

Dreams, Omens and Battle

The following chapter has four sections. The first two talk about dreams and omens or signs. These chapters describe what different dreams and omens mean and how can they be treated with rituals. The third chapter lists the rituals and preparations needed before a king heads out to war. The last section compares these precepts to the teachings of Rama who taught Lakshmana about a king’s duties.

Dhanurveda, Property, Dynasties

The succeeding chapter containing six sections imparts knowledge on weapons, property and the benefits of donating the Puranas. The following chapters describe vamsha (dynasties), medicine and literature.

Pralaya, Yama and Hell, The Gita

The next chapter has five sections which talk about Pralaya (destruction), Yama and Hell, Yoga, the knowledge of a Brahmin and the Holy Text Gita. This text is believed to be the lessons that Lord Krishna taught Arjun when he was unwilling to wage war against the elderly in the opposition.

The Agni Purana is not only a part of Hindu mythology but also a part of the rich Hindu culture. The followers of this religion have been following the teachings of the Hindu text Vedas and the Puranas for ages now and it has become a part of their belief.

-by Shivam Thaker of NewsGram. Twitter: @Shivam_Thaker

Click here for reuse options!
Copyright 2016 NewsGram

Next Story

Buddhist Monk Losang Samten Uses Colors to Spread Message of Peace

Samten was born in Tibet. When he was a young boy, his family escaped to Nepal fleeing Chinese Communist control of his homeland. They lived in a refugee camp for years.

0
//
14
Samten
Former Buddhist monk and Tibetan scholar Losang Samten uses colored sand to build mandalas, circular images filled with complex iconography, which have great meaning in Hinduism and Buddhism. VOA

According to one estimate, there are a 5 quintillion, 5 hundred quadrillion grains of sand on earth, a number so large it must be approaching infinity. This makes sand an appropriate medium for the construction of spiritual images of the universe.

Former Buddhist monk and Tibetan scholar Losang Samten does just that, using colored sand to build mandalas, circular images filled with complex iconography, which have great meaning in Hinduism and Buddhism.

Tibetan monks have created mandalas over the centuries from a variety of materials. Before sand, they used crushed colored stone. Now Samten travels around the world to find sand in various colors. He also dyes sand in watercolors.

Now Samten travels around the world to find sand in various colors. He also dyes sand in watercolors.
Tibetan monks have created mandalas over the centuries from a variety of materials. Before sand, they used crushed colored stone. VOA

Decades of mandalas

Samten, in his mid-60s, learned the craft at the feet of the Dalai Lama.

“When I was a teenager, age of 17,” he told VOA, “I had a privilege to enter His Holiness Dalai Lama’s monastery … in India. I have been studying sand mandalas ever since then. So it’s a long time.”

VOA found Samten painstakingly layering grains of colored sand at the gallery of the Philadelphia Folklore Project. The particular mandala he was working on was the mandala of compassion, or unconditional love.

Far from random designs, mandalas have been perfected over centuries.

“These are uniquely designed many, many, many, many, many years passing to an artist to another artist to another artist to another artist,” Samten said. “The color has a meaning, the shape has different meanings. Not my design; it didn’t come out of my own idea.”

When Samten created a sand mandala at the American Museum of History in New York in 1988 at the request of the Dalai Lama, it was the first time the 2,600-years-old ancient ritual art was seen outside of monasteries. Since then, Samten has made sand mandalas in museums, galleries and universities across the U.S. and many parts of the world.

“They are used to enhance the spiritual practice through image and meditation, to overcome suffering. Mandalas represent enlightened qualities and methods which explain this path, making them very important for the spiritual journey,” Samten wrote on his web site.

Nothing is permanent

Samten was born in Tibet. When he was a young boy, his family escaped to Nepal fleeing Chinese Communist control of his homeland. They lived in a refugee camp for years.

Now Samten travels around the world to find sand in various colors. He also dyes sand in watercolors.
Samten, in his mid-60s, learned the craft at the feet of the Dalai Lama. VOA

“In the winter of 1959, [we] crossed Mount Everest, it took us two months to cross,” he told VOA. “You cannot travel during the day and so scared and not enough food not enough clothes. I was age of 5. I saw, I mean unbelievable dead bodies, people dying without food. I became a monk at age 11 when I was in school, refugee school.”

Samten left monastic life in 1995 and became the spiritual director at the Tibetan Buddhist Center of Philadelphia. He says the patience of the creative process, can lead observers to find calm determination within themselves.

“When I am doing this mandala at universities and schools, many kids came to me, (saying) ‘when I saw you doing the sand mandala, that help me so much to finish my education, patience …’ I have a lot of stories,” he said.

Monk Samten
Samten was born in Tibet. When he was a young boy, his family escaped to Nepal fleeing Chinese Communist control of his homeland. VOA

Beauty comes and goes

After a sand mandala is completed, it is dismantled ceremoniously.

“Dismantle has many different reasons,” Samten said. “… One thing is, dismantle is a beauty, whatever we see as a beauty on the earth, never be everlasting as a beauty and impermanent, impermanent, comes and goes. It’s like a season.”

Cats And The Goddess: Cats And The Goddess: Mapping Pagan Iconography Of The Divine Feminine

Or like sand, ever changing in the wind.

Samten often invites children to participate in the ceremony.

To gallery visitor Traci Chiodress that was part of the charm of the event.

“I think it’s powerful to see something so beautiful created, and then taken apart, and to be done in a community with a group of people of different ages,” she said. “I just think it’s an important type of practice.” (VOA)