ஓம் KirhMuru ஓம்

Creating an Altar And Worshipping at Your Altar

2012-01-25T07:50:00.000-08:00

By Mary Kurus

Introduction

Vibrant and energetic health can be achieved and maintainedonly when we are healthy in all major aspects of our being, including physical,emotional, mental and spiritual. This requires integrating time and practicesfor developing and maintaining a high level of physical, mental, emotional andspiritual health into our everyday lives. If these various aspects of ourselvesare not nourished on a very regular basis, difficulties will often be foundwith the physical well-being of the individual and illness can occur.

This article deals primarily with spiritual health and willidentify one approach to help us connect with the God within us and with theUniversal Power in the external Cosmos. It's important to separate the conceptsof organized religion and spirituality. This article deals with spiritualitythat includes a direct and personal relationship or connection between a humanand that Power which created and influences how the Universe evolves. Creatinga personal altar and worshipping at this altar provides us with a simple actwhich we can perform on a regular basis, to fit in with any schedule, and whichcan form a major cornerstone of an individual's spiritual health.

What Is an Altar

An altar is a sacred space where we go to connect the DivineSpirit within us with the Divine Spirit and the Gods in the Universe. It isthat special place that an individual has chosen to help them withdraw from thebusyness of life for connection, rejuvenation and energy. It can be a smallspace, it can be an entire room or it can be outdoors. An altar helps you topersonally connect the Holy within you with the external Divine Spirits whichyou consider to be Holy. An altar is that place to which one goes toconcentrate their energies for many purposes. An altar can change with theseasons or it can change to reflect the changes in you as you experiencepersonal growth.

Altars are part of ancient traditions and have been used asplaces of worship for thousands of years. Every civilization around the worldhas worshipped at altars as an integral part of their spiritual or religiouspractice. Asian, European, Latin American, African, and various North Americancultures have integrated altars into their practices of worship. Many greatreligions including Buddhism, Christianity, Islam, Hinduism, Judaism, and theancient religions, have used altars for many purposes in worshipping theUniversal Deity.

Why Do You Need Your Own Altar

Human beings have always had a deep need to pay homage, orjust to connect at a deep and personal level with that power which theyconsider to be their God. I call this the need the need to worship. Worshippingis an essential element in every individuals spiritual journey in life. Altarshelp to remind us that there is a God or Gods much more powerful than any humanpower. It provides us with a focus to think, pray, meditate and listen. Ithelps us connect the God within us with the Gods of the Universe.

Worshipping is essential for humans since it renews ourspirit. Worshipping feeds our souls in the similar way we nourish our bodieswith food and water and our emotional selves with love and caring. An altarhelps to remind us to stop during our hectic and busy lives, to take time tobe, to listen, and to talk with the God of our understanding. It helps us tostop with our everyday tasks and to take time to nourish our souls. It is anoasis of silence and peace, a place of spiritual comfort and inspiration.

We can go to a temple or church on a regular basis andworship, but daily worship is most easily conducted at an altar at home. A homealtar is a more personal place of worship including those elements thatrepresent the sacred to each one of us. A deeper connection is possible when weworship alone in the quiet of our altar, with our Creator. An altar at homeconnects the God within with where we live, eat and sleep with the UniversalPower. It reinforces spirituality into our everyday lives.

What Is Worship

For those reared in North American religions worshipnormally consists of ritualistic ceremonies and repetitive prayers. Normally,we are observers in this type of worship. This type of worship does notencourage a personal and close connection with something Holy. A personal altardoes just that, bringing you to that sacred place for that personal connectionwith a Universal Power. This type of worship is intimate and individual.

Worship can include many elements, but essentially it meansconnecting the Holy within you with what you consider Holy. It can be simpleand consist of being present with God. It can include asking for yourself orothers, sharing your hopes, dreams, fears or anxieties. It can be used as atime to listen, to thank, to praise, to recite affirmations, or to remembersomeone for a variety of reasons. It can be used to experience a time of peace.It can be used as a support when experiencing transformations at emotional,mental, physical or spiritual levels.

This Holy Power is called many things including the Creator,the Universe, the Universal Power, God, Buddha, Allah. It doesn't matter whatyou call this Power. What matters is that there is a spiritual belief and thatthis belief is integrated into your everyday life.

Why Do You Need to Worship

I firmly believe that the emotional stability of anyindividual is a direct reflection of the relationship of that person with aUniversal Power. We need to honor the God of our beliefs and doing so brings usemotional stability. In life we act from one of two sources, either the sourceof love or the source of fear. When we worship and place in God's hands whatbelongs there, we treat ourselves and others in a relatively loving manner.When we try to control and manipulate life to provide us with what we considerimportant, we are filled with fear and its many manifestations. Regardless ofthe materialistic success, individuals whose behavior is driven by fear, arenot content with life, or at peace with themselves or others.

Long-term and sustainable health can only be achieved whenwe are connected to the inner and outer sacred essence that underlies everyaspect of every human life. Spiritual health is equally important to physical,emotional and mental health.

Worshipping puts life and life's experiences in a differentperspective, helping us to come more fully from a place of love. It helps youfocus your intentions, become more centered, and puts you on the path of lifethat your heart is crying to travel. It helps you to stop and just be withyourself, your thoughts and feelings. It helps you to know you.

Where Should You Establish Your Altar

An altar can be anywhere that you can go to for your privatemoments with a Sacred Deity. This can be a small corner of a room, one shelf orthree shelves of a bookcase, a desk, a cabinet, a room, a corner in yourgarden, or a sacred place outdoors. What's important about the space is that ishas to be private for those times of worship, a place you can withdraw to, fromthe hectic moments of life, to quiet the mind and to spend time in prayer ormeditation, or to be quiet just to hear oneself.

What Should You Place On Your Altar

Anything that represents to you the sacred power of theUniverse should be placed on your altar. The following are some ideas to helpstimulate your imagination. These are just ideas since the things you place onyour altar should represent you, your life, your beliefs and your family.

Intention

The intention, or the aim or the purpose of what you placeon your altar and what it represents is more important than what you actuallyplace on your altar. Intention can be put into any object and therefore it isreally important to concentrate your aim or purpose of placing a particularitem on your altar. Think into these objects your intention for what theyrepresent. We do not comprehend the enormous power of thoughts and intention.

Sacred Representations from Different Religions

Many different Gods from a variety of religions can berepresented on an altar. You could have a large brass figure of the laughingBuddha to remind you that laughter is so important in living a healthy life,and to remind you of Gods wonderful sense of humor. You could have a woodencarving of a Meditating Buddha for those times when you need to strengthen yourtimes of meditation and prayer. You could include a small carving of Horus, theEgyptian God, which is half eagle and half man. It represents the mysteries ofthe Gods that are beyond human comprehension. You could include a carving ofthe Blessed Virgin Mary, who helps so much in special requests for children.She has such a special love for children.

There are so many other icons, figurines and carvings thatcould be included. The Black Madonnas, Ganesh the Hindu god, Kwan Yin, theChinese Goddess of Compassion, St. Francis of Assisi or many other Catholicsaints, Krishna, another Hindu god, are just a few more examples of sacreddeities.

The Spirit World

Certain carvings and figures represent differentmetaphysical spirits who are ever present in our everyday lives. You can havecarvings that represent your guides or counselors who work with you and helpyou daily. You can have special representations for angels or guardian angelsthat protect you and look after you. You can be quite specific and have figuresof specific angels, e.g. the archangel Michael, the powerful protector of usall or the Goddess of Mother Earth to represent the healing power of the Earth.

You can also place photographs or images that representthose who have left this earth and now belong in the spirit world. These imagescan reconnect us to these spirits, which are still part of our lives, eventhough on a different dimension.

Plants, Flowers, Trees

Nature is a powerful force in our lives and should be animportant element of any altar. Plants, flowers, herbs and trees are greathealers in nature and can represent different qualities that can support yourpersonal development. You can use fresh or dried flowers, a branch of a tree,or you can place a picture of the plant, flower or tree that means so much toyou. A flower, tree or gem vibrational essence can also represent that naturalelement which means something special to you. Choming Essences are the naturalvibrations of flowers, trees and gems and can easily represent your favoriteflower on your altar.

Crystals and Gems

There are so many different crystals and gems from which tochoose that you can easily fill and entire room with small specimens of each.The healing powers of gems and crystals are powerful and as a result they needto be treated with care. Often crystals cannot be kept by many in the same roomin which they sleep so you many have to experiment to find those, which arecompatible with your vibrating energy. As with flowers, Choming Gem Essencescan be placed on your altar to represent the specific crystal or gem which youwant to place on your altar.

Animals

In the Native North American Indian culture, animals arerepresentative of guides, teachers, counselors and protectors. A brass bearcarving could represent your protector who goes everywhere with you to protectyou and give you that overall sense of safety. He can be so ferocious and sopowerful. And he just lives and loves to protect you. A carved elephant canremind you of the ancient wisdom in nature, and within you, if you'll just stopand listen to hear it. A dolphin can represent the rhythm of life, breathingnew creativity into your life.

Birds

I have special relationship with birds and have a woodencarving of the Bird God of Nepal on my altar to remind me of that specialrelationship. Birds bring together elements of earth and the wider Universe andare often viewed as spiritual messengers. They can bring us messages andcommunications from the Universe.

You could choose a raven or crow that represents themystical and magical; the Canada goose that represents travel and the naturalmysteries of migration; the vulture which represents rebirth; the robin thatrepresents new beginnings; the owl that represents magic, omens, and silentwisdom; the red cardinal that represents finding your soul song and renewingyour vitality; the blue jay that represents the proper use of power; the heronwhich represents self-reliance; the hummingbird which represents joy fromdrinking of the sweet nectar of life; the loon which represents new states ofconsciousness; or the blue heron representing independence and strength.

These are just a few examples. The possibilities areendless. Place the bird on your altar that represents the quality you want toconcentrate on and develop.

Incense

Customs in many ancient traditions throughout the world haveused incense as an integral element of worshipping. Incense is made bycompacting a number of herbs and spices. There is a special Tibetan Incensemade in monasteries in Nepal from 35 different herbs and spices including nagi,red and white sandalwood, and saffron. The smell is gentle and beautiful andthis essence will dissolve all negative energies that exist in around the areaof your altar. This essence is prepared in accordance with Tibetan traditions,preserved through the centuries within the monastic orders of Tibet. Thisincense is special not only from the purity of the ingredients but also fromthe manner in which it is made.

The smell that is generated from burning essence helps tostill your active mind as you are preparing to worship and to slowly bring allyour senses to focus on why you are worshipping at that moment. You can usevarious scents including jasmine, juniper, or myrrh. Incense increases thevibrational intensity of your thoughts and purpose for worship helping to senda stronger message to the Universe.

White Sage

White sage is used by many cultures, most especially NativeAmericans, to smudge and cleanse your sacred space for worshipping. It is saidthat white sage has special powerful properties for drawing wisdom as well asthose of purification. Like incense, white sage will help you concentrate yourenergies as well as concentrate the energies that are being sent to the Deityduring your worshipping ceremony.

Candles

Candles are another spiritual tool to help you focus andstrengthen your energies of prayer and worship. Lighting a candle can be likean announcement to the Universe of your intention to worship. The flame of thecandle can send a spiritual message that you are honoring the Creator andpresenting to the God(s) of your understanding, and the reason for yourworship.

The colors of the candles you use can be representative ofthe changes or intent of your worship. White can represent purity or spiritualintent; black can signify the release of the negative in your life; yellow canrepresent the sun, joy, or it can represent the mental aspects of your worship;orange can represent the release of resentment or it can represent the requestfor increased creativity; green can represent issues of the heart or it canrepresent healing; blue can represent increasing your ability to speak yourtruth. The intent around the choice of color is important for your altar.

What Represents You

Place on your altar the photographs or images that representthose for whom you pray and have special intentions. Place your own photographon your altar. An altar should be a very personal place representing you, yourfamily and various aspects of your life. Make your altar as personal as you canfor you and those who worship there with you.

How to Use Your Altar

In Preparation for Your Worshipping Ceremony

We have not been taught how to use an altar as part ofworshipping and we need to develop certain practices. The majority of NorthAmericans and Europeans have been exposed to prayers of repetition, which aresaid in a formal religious setting, a church, mosque, or temple. We are nottaught to develop our own ceremonies and customs of worship.

The first step in worshipping is to decide why you want toworship and focus on one simple area. It might be to simply quiet the mind andto become more calm and peaceful for that day or night. If one is experiencingpainful emotions, it might be used to tell the Universal Power of the pain andsuffering a person is experiencing. It eases the pain. Worshipping can be usedto seek help in developing new qualities. The opportunities are endless.

It helps to choose a specific time of the day to conductworshipping ceremonies. This helps us to put a structure around our worship andto develop the habit of worshipping. Some prefer to begin their day with aceremony while others prefer to worship in the evening. You may need toexperiment before you find your best time. It's best to choose that time of daywhere you can find some private time of about one half hour period.

Make certain you will not be disturbed. Sit or stand in away that you are relaxed and comfortable. If possible, do some deep breathingor other relaxing exercises to help you prepare for your worship.

Opening Your Worship

It's important to have a formal beginning for eachworshiping ceremony. I use the burning of incense or white sage to formallyopen my worshipping. This helps to still the busy mind and to focus allenergies on the purpose of the worship. The smell of incense burning reminds meimmediately to quiet my mind. For example, if you are having a special worshipfor a child, burning incense as you begin the ceremony will help to still themind, concentrate your thoughts, emotions and all vibrational energy on thechild for whom you pray. Burning incense or white sage will also dissolve anynegative energies in the area where you are worshipping, clearing the space forpositive energies.

Giving Thanks for Your Blessings

Once you have focussed your energies on the purpose of yourworship, then begin your ceremony. It's important to honor God and to givethanks for the blessings one is receiving in today. Saying thank-you for theblessings you have puts you into a proper frame of mind for worshipping. Thereare always blessings regardless of the difficulties being experienced. Forexample, someone may be grieving the loss of a loved partner but is fortunateenough to have sufficient money for all their needs and material comforts.There are always blessings in every individual's life if we will only look forthem.

The Heart and Soul of the Worshipping Ceremony

Then proceed to ask, discuss, or present the intention ofyour worship. This is the most personal part of any worshipping ceremony. Thepower of prayer is immense and you can realize many blessings simply by askingfor yourself or others. The asking needs to be done in humility and love forself and others. Make certain you spend sufficient time discussing what is soprivate and so important to you, and above all feeling your prayer as if itexists in today. God listens to you. Listen to God.

Another important element of worshipping is to listen. Wetend to have such busy minds we need to learn to stop and be quiet with the Godof our understanding. If you have sufficient time, meditate, quiet your busymind so you can be more open to the messages of the Universe. This gives theUniverse the opportunity to send us messages. But we need to be sufficientlyquiet to hear these messages.

If we are intent upon receiving a certain answer and aredetermined to have our own way, we are not open to an answer from the Universe.Sometimes the answer is no because in the long-run what we want may not be bestfor us. We need to put aside our will, desires, fears and hopes to be able tolisten with a truly open mind.

If one has a favorite prayer, for example the Prayer ofFrancis of Assisi, it is helpful to recite this prayer with perhaps a specialintention as part of your worshipping ceremony. For those who read the bible,scriptures, the Torah or other sacred literature, reading from these writingscan be an important element of a worshipping ceremony.

You will find that the content of your worship changes asyou grow and change. The beauty of an altar and worship at home is that you canchange it to accommodate whatever needs you have at any point and time in yourlife.

Music

Music is an effective way to open or close a worshippingceremony and to help calm the mind and emotions. It puts one in the right frameof mind for worshipping. But I do find music distracting during worship whenone is connecting with the Universal Power.

If you decide to use music choose that which you associatewith sacred music. This could include bells, chimes, singing bowls, flutemusic, the horn of Tibet, chanting, Gregorian music, or Cappella. Many types ofmusic can be powerful ingredients of worshipping which help you express youremotions and needs.

Closing Your Worship

Close your worship any way, but I suggest that youexperiment until you find a way that you can repeat at the end of eachworshipping ceremony. This can include playing a piece of music, reciting aprayer, giving a simple thank-you and/or amen, or whatever represents an endingfor you. The closing should leave you with the feeling that you have reinforcedthe God in you, expanding your ability to love and care for yourself andothers, and other God-like qualities such as compassion, understanding orgenerosity.

Is It Prayer or Meditation

Prayer is defined as a solemn request or thanksgiving to Godor an object of worship. A religious service consists mostly of prayer.Meditation is defined as an exercise of the mind in contemplation,concentrating on a particular object or sound, so that your mind can becomequiet and empty of chatter and noise. Meditation consists of emptying the mindso that subconscious and superconscious messages can come to the surface.Prayer involves speaking, discussing, and is an active exercise. Meditationinvolves relaxing, and quieting the mind and is a passive exercise.

Both prayer and meditation are important elements ofworshipping. They can be done individually or in a group. They can be done in ashort or long period of time. There are many different forms of prayer andmeditation and both should eventually be integrated into daily worship.

The Art of Praying

In his book The Isaiah Effect, Gregg Braden speaks soeloquently about the inner workings of prayer forgotten by our culture. Hedescribes how we must feel our prayer rather than keep reminding ourselves andthe Universe of what we don't have. He states that the secret is that when weask for something, we acknowledge what we do not have. But he says continuingto ask for what we don't have only gives power to what has never come to pass.He provides many examples of how we must "feel" what we are askingfor as if it is now - and feel it in its every detail and in its broadestdimensions.

He provides the example of praying for rain and feeling whatrain feels like, of rain upon your body, being barefoot in the rain, the smellof rain, the mud oozing between your toes. You have to smell your prayer, tasteyour prayer, and feel what it's like. Then you give thanks for what you mayhave created with your prayer.

Meditation

The subject and methods of meditation are so varied that Iwill not address it in this article, but sometime soon will write anotherarticle on meditation.

In Summary

The development and use of an altar can be a personal orprivate time or it can be used to bring a family together for many specialtimes. It can be used to teach children about God and the power of prayer andmeditation. Prayers said by groups can be even more powerful than those said byindividuals. The development and use of an altar in your home can enrich yourlife and bring you many blessings. I wish you many occasions of powerful andfulfilling being, praying and meditating before your personal altar.

For additional information about Choming Essences,Vibrational Assessments or information contained in this article, please contact Mary Kurus orvisit her website at www.mkprojects.com to read many other articles relating toholistic health and Vibrational Healing.

Source: http://www.mkprojects.com/fa_altar.htm

WHY WE OFFER FLOWERS TO GOD?

2012-01-18T21:48:00.000-08:00

God has given us everything for human in the form of lifewhich consists of unpredictable moments but we tend to ask for more from thealmighty after He had given us so much. At the same time, He always answers ourprayers and gives away boons for His devotees. In returns what have we givenhim? As a appreciation for His giving for us in this life? Does He accept orask for money, golden jewelers or temple like a palace for Him? He did notasked for anything in returns from humans.

He just told humans and aspect humans for humanity, heartthat consist love towards Him and the thoughts of Him inside us truly andfaithfully but humans offering flowers as sign of appreciation towards Hiskindness to grant our wishes and giving us the path of His always in our life. Whyoffer flowers to Him? Why not other valuable stuff? If we offer camphor and etcnot accepted? He would accept everything that we gave to Him in the name oflove but these things will be disappear after a while and it’s not the same asflowers which will leave something that will help others after itsdisappearances by producing some food.

What’s inside of a flower? Flowers have nectars that producesweet honey which is taken only by bees. In such state, how humans going topresent the honey direct to the God himself? Its impossible to humans to takethe honey from the nectar to start producing the honey, it’s not their job, it’sthe job of mother nature. This is the reason, why we are offering flowers assign of love to the almighty in the state of garland and any decorationstowards Him using varieties colors of flowers. God loves honey? Who said so?

In Lalitha Sahasranaama Stothiram, there’s a name for MotherGoddess sounds as ‘Mathu Priyaayai Namaha’ Mathu: Honey, Priyaayai: Favourite,Namaha: I am praying towards you. This lalitha sahasranaaman was written by nonhumans but the Lord Vishnu himself in the form of Hayagrivar. In the worship ofGoddess, the most favourite drink of Her, honey is mixed the most as the recipewritten by ‘SittaVaitthiya Agasthiya Munivar. Thus, it is the reasons why weare offering flowers to the almighty.

This was clearly explained by Shankarachariyar during his visit to Kanchipuram Kamakshi Temple once upon a time.
Soon when malays trying to adapt the word 'Mathu' thus they change that word as 'Madu' stands for Honey.

Photos: Diwali 2011: Across India, A Hindu Festival of Lights

2012-01-18T17:51:00.000-08:00

By Melanie Jones | Oct 25, 2011 08:19 PM

Diwali, the Hindu festival of lights, stretches beyond India, a five-day holiday encompassing multiple stories from around the world, involving Hindus, some Buddhists, Sikhs and Jains. For India, however, where roughly 80 percent of the population practices Hinduism, Diwali 2011 is and will be a massive and deeply Hindu affair, one involving dancing, shows, religious worship and lots of fireworks.
Diwali, or Divali, means "row of lights," and is a celebration of the Hindu New Year according to the lunisolar calendar. Typically, Diwali also falls near the end of harvest season, from mid-October to mid-November, meaning the goddess Lakshmi, who brings wealth and prosperity, is honored by the holiday with candle offerings and bright, festive decorations.
It is also, however, a more general celebration of good over evil, especially that of Rama's victory over the 10-headed demon Ravana in the Hindu epic "The Ramayana." Rama, an incarnation of the Hindu god Vishnu, returns home during Diwali (Oct. 26, in 2011) after fourteen years of banishment, and Hindus lay out lamps, set off fireworks, and hang paper lanterns to help light his way home.
All these traditions combine to make Diwali a true "festival of lights," from those dedicated to Lakshmi and celebrating Rama to Hindus honoring Ganesh, the God of good beginnings, on this gorgeous holiday. While the story behind Diwali and how people celebrate may vary from region to region, the holiday's essence remains the same: rejoicing at the victory of goodness, light, and atman (the soul) over falseness, darkness, and reality.

A NASA Satellite photo over India, as the festival of lights begins.

Source: Creative Commons

Diyas, or small clay lamps, are an integral part of Diwali festivals. The lamps are filled with oil before being lit, signifying the inevitable but seemingly invisible way good triumphs over evil.

Source: Creative Commons

Fireworks are one of the most popular aspects of the Hindu holiday. Here, a view from a balcony in Mumbai, the center of India's Bollywood empire.

Source: Ashwin John/Flickr

Devout Hindus crowd the marketplace in preparation for Diwali. The streets will be packed through tomorrow, Oct. 26, the apex of the festival.

Source: REUTERS/Amit Dave

A young girl sends streams of bubbles past a Hindu temple festooned with lights for the Diwali celebrations.

Source: REUTERS/Darren Staples

A female worker on the outskirts of Ahmedabad packs massive amounts of firecrackers for the upcoming Diwali festival. Firecrackers match fireworks in demand during the Hindu holiday.

Source: REUTERS/Amit Dave

A vendor in Jammu displays hundreds of artificial garlands at his stall. Diwali is as much a celebration of life and of color as it is of life, and flowers are often offered to Hindu gods and goddesses.

Source: REUTERS/Mukesh Gupta

Beauty and grace are important traits of the Hindu goddess Lakshmi, one of the deities honored in the "festival of lights." Here, a potter in Kolkata paints the lamps in a variety of intricate designs.

Source: REUTERS/Rupak De Chowdhuri

Rangolis, or murals made of colored powders, are very common in Hindu holidays and especially during Diwali. Here, students complete a portrait of the god Vishnu and his consort, the goddess Lakshmi.

Source: REUTERS/Amit Dave

A crowd of people in Chandigarh, a city in northern India, use their clay lamps to form a message of peace on the eve of Diwali.

Source: REUTERS/Ajay Verma

From India's capital, New Delhi, to southern states like Kerala, fireworks will cover the skies all through Diwali on Oct. 26

Source:http://www.ibtimes.com/articles/237581/20111025/diwali-2011-hindu-festival-lights-photos-holiday.htm

Indian Arts Web add

2012-01-11T19:51:00.000-08:00

Click here for Indian Contemporary Art
Click here for Indian Oil Painting on Canvas
Click here for Indian Art Galleries
Click here for The Art Of Graham Brown
Click here for The Miniature Painting of Indian
Click here for Asian Art
Click here for Hinduisme Art 1/ Click here for Hinduisme Art 2
Click here for Devi Art
Click here for Patchatthira Art

2012-01-10T20:33:00.000-08:00

Sri Devi Khadga Mala Stotram

Om Asya Sri Suddha Sakti málá mahá mantrasya

Upasthendriya adhisthayi Varunaditya Rishih

Daivi Gayatri Chandah

Satvika Kakára bhattaraka pithasthita

Sri mat Kámesveranka nilaiaya

Sri mat Kámesvari devatá

Aim Bijam, Klim Saktihi, Souh kilakam

Sri Devi prityarthe Khadga siddthyarthe jape viniyogah

Of this, Devi's sword, the Seer is the Sun rising from the ocean; the ocean being the Divine Mother; Gayatri is the meter; passionate Kameshwari, sitting on the lap of joyous Kameswara is the deity; Aim is the seed; Klim is the power; Souh is the pivot; it is purpose is for worship of the Divine Mother. This worship of the Divine Mother (of Kameshwari ) which is the ocean's embrace with the Sun, gives the devotee a Sword, a power supreme, that Heavens of the remotest galaxies. When the devotee thinks of such a sword, he or her become the protector and enjoyer of eighteen lands of jewels ( Sakti peetams ), and five continents.
Dhyanam
Tadrisam Khadgam apnoti
Yena hasta sthitena vai
Astadasa Mahadvipa
Samrad bhokta bhavisyati
Hrimkrasana Garbhitanala Sikham
Souh Klim kalam bibhratim dhautam trinetrojvalam
I meditate on Sri Devi glowing with red, yellow, and blue flames of passion fanning the erotic sentiment of Kameshwara, in the meddle of a triangle called Hrim, whose three points are the light of Hari, Hara Virinchi, the three gurus; Sri Devi is wearing the full moon on her crown ( Souh ), Her body is full of desire for union ( Klim ) with Kameshwara, the controller of lust;
Vande pustaka pasam ankusadharam
Sragbhusitam ujvalam
Tvam Gourim Tripuram Paratparakalam
Sri Cakra Sancarinim
She is wearing a sari made of golden threads; She is fair as nectarine milk and the moonlight; She has three eyes; in Her four hands she is wearing a book of knowledge, a noose, a goad, and a garland of letters; She is a personification of all that is beautiful, aesthetic, harmonius, joyful, vibrant; she moves in Sri Chakra, a mandala consisting of all the deities worshipping their consorts named here after.

Om Aim Hrim Srim Aim Klim Souh
om (in the name of God), may you grant us benediction of knowledge, power and grace; and the power over creation, nourishment and destruction.

Om Namah Tripura Sundari
Hridayadevi         - Compassionate heart
Sirodevi                 - princely diadem
Sikhadevi              - flowing hair
Kavaca Devi       - protective hands
Netra Devi            - graceful look
Astra Devi          - protective weapons
Om, we bow to you, the most beautiful in all the waking, dreaming, or sleeping worlds. Oh Tripura Sundari. We bow to the compassionate heart of your highness princely diadem, flowing hair, protective hands, graceful look, protective weapons.
( Keep offering kumkum at Her feet with every name below )
Kamesvari            - Controller of lust
Bhagamalini,         - Garland of Suns
Nityaklinne,         - Oozing wet
Bherunde,            - Terrific
Vahnivasini,         - Residing in fire
Mahavajresvari, - Jewel in lotus
Sivaduti,              - Llarbinger of joy
Tvarite,               - Speed
Kulasundari,       - beautiful lotus on a lake
Nitya,                 - Eternal
Nilapatake,         - Blue flag with red tip
Vijaye,                 - Dominat
Sarvamangale,     - All auspicious
Jvalamalini,         - Flames
Citre,                   - Kaleidoscope
Mahanitye,         - Truth eternal
Paramesvara      - Goddess of God
Paramesvari       - Friendly
Mitresamayi,     - Sexy
Sasthisamayi,     - Erect
Uddisamayi,     - Stroking
Caryanathamayi - Happiness
( Follow the names of the saints who have worshipped the Deviine Mother and attained liberation thereby;)
Lopamudramayi,              - Lopamudra - She offered herself for worship
Agastyamayi,                   - Agastya - he drank the water of the oceans, drying them up
Kalatapanamayi,             - Kalatana - he set time on fire
Dharmacharyamayi,        - Dharmacharya - he preached the nature of good and evil
Muktakesisvaramayi,      - Muktakaleisvara - not worrying about his appearace he let the hair flow loose
Dipakalanathamayi,        - Depakalanada - he gazed on eternal light
Visnudevamayi,              - Vishnudeva - he expanded himself, took up the whole of space
Prabhakara devamayi,     - Prabhaharadeva - he became a star called the sun
Tejodevamayi,                - Tejodeva - he became the light witch was speeding over all space creating space itself
Manojadevamayi,            - Manojadeva - he was desire
Kalyanadevamayi,            - Kalyanadeva - he was ever auspicious
Vasudevamayi,               - Vasudeva - the world grew out of his memory
Ratnadevamayi,              - Ratnadeva - concentrated like jewels
Sri Ramanandamayi       - Sri Ramananda - he enjoyed the Goddess Sri Rama Blissfully

( Follow the Gods of the nine enclosures of Sri Chakra / the first enclosure)
Anima Siddhe, Laghima Siddhe, Garima Siddhe, Mahima Siddhe, Isitva Siddhe, Vasitva Siddhe, Prakamya
Siddhe, Bhukti Siddhe, Iccha Siddhe, Prapti Siddhe, Sarvakama Siddhe, Brahmi, Mahesvari, Koumari,
Vaisnavi, Varahi, Mahendri, Camunde, Mahalaksmi, Sarva Samksobhini, Sarva Vidravini, Sarva karsini, Sarva
Vasamkari, Sarvonmadini, Sarva Mahankuse, Sarva Khecari, Sarva Bije, Sarva Yone, Sarva Trikhande
( The passions called : lust, anger, possessiveness, obsession, pride, jealousy, good, and evil. The procedure to control these passions and obtain the powers of: agiting all, liquifying all(orgasmically), attracting all controlling all, maddening all, directing all, moving in all space, be the information of all, be the source of all ( womb), be tri-fold division of all ( the knower, the knowing, and the know)
Trilokya mohana cakra swamini Prakata yogini
The wheel of the three worlds of waking, dreaming, and sleeping, expressing Herself openly without inhibitions.
( Follow the sixteen attractive powers identified with the sixteen days of the lunar calender; according to the Hindu art of love, the erotic zone moves up from feet to head in the bright half of the lunar month and comes down to the dark half of the lunar month; the expression of the eros os through the various power of the mind described bellow: - the Gods of the second enclosure )
Kamakarsini,                 - Attractive powers of lust
Buddhyakarsini,             - Attractive powers of discrimination
Ahamkarakarsini,           - Attractive powers of ego
Sabdhakarsini,                - Attractive powers of sound
Sparsakarsini,                 - Attractive powers of touch
Rupakarsini,                   - Attractive powers of form
Rasakarsini,                    - Attractive powers of taste
Gandhakarsini,               - Attractive powers of odor
Cittakarsini,                    - Attractive powers of mind
Dharyakarsini,                - Attractive powers of valour
Smrityikarsini,                - Attractive powers of memory
Namakarsini,                 - Attractive powers of name
Bijakarsini,                    - Attractive powers of semen
Atmakarsini                  - Attractive powers of self
Amrtakarsini,               - Attractive powers of immortality
Sarirakarsini,               - Attractive powers of morality
Sarvasa paripuraka cakra svamini Gupta yogini
The wheel which fulfills all directions and all desires, the secret yogini - female yogini

( Follow the eight erotic sentiments: - the third encloure: )
Ananga Kusume,          - The sentiment of flowering
Ananga Mekhale,          - The sentiment of girdling
Ananga Madane,           - The sentiment of love
Ananga Madananture, - The sentiment of lust
Ananga Redhe,             - The sentiment of outlining
Ananga Vegini              - The sentiment of the disire of sex
Ananga Kusume,          - The sentiment of the insistence on sex
Ananga Malini,             - The sentiment of orgy
Sarva sanksoghana sadhak a cakra swamini Gupta tara yogini
The wheel that agitates everyone, the esoteric yogini

( Follow the descriptions of the fourteen worlds of the fourth encloure: )
Sarva Samksobhini, - Agitating all
Sarva Vidravini, - Liquifying all
Sarva Karsini, - Attracting all
Sarva Hladini, - Pleaseing all
Sarva Sammohini, - Deluding all
Sarva Stambini- Obstructing all
Sarva Jrumbhini, - Expanding all
Sarva Vasamkari, - Controlling all
Sarva Ranjani, - Enjoying all
Sarvonmadini, - Maddening all
Sarvarthasadhini, -  all properous
Sarva Sampattipurani - All fullfilling riches
Sarva Mantra Mayi, - All mantras
Sarva Dvandva Ksayamkari, - Eliminating all dualiities
Sarva Soubhagya Dayaka Cakra Swamini
Sampradaya yogini
The wheel of all kinds of union, traditional yogini:

( Follow the Gods of the fifth Chakra: )
Sarva Siddhiprade, - Giver of all achievments
Sarva Sampatprade, - Giver of all wealth
Sarva Priyamkari, - Giver of all that one like to have
Sarva Mangalakarini, -  Harbinger of all auspiciousness
Sarva Kamaprade - Fulfiller of all desires
Sarva Duhkha Vimocani, - Eliminator of all misery
Sarva Mrityu Prasamani, - Eliminator of all accidental deaths
Sarva Vigna Nivarani, - Eliminator of all obstracles
Sarvanga Sundari, - Beautful in every part of Her body
Sarva Soubhagya Dayini Sarvartha Sadhaka Cakra Swamini Kulottirna yogini
The wheel which propets you on the righteous path, gives you all wealth, fullfills all your desirers, and makes liberation possible, the yogini that has graduated out if all classifications.

( Follow the Gods of the sixth Encloure: )
Sarva Jne, - Omniscienl
Sarva Sakte, - Omnipotent
Sarvaisvarya pradayini, - Omniexpressive
Sarva Jnanamayi, - Providing the bliss of omniscience
Sarva Vyadhivinasini, - Eliminating all maladies
Sarvadharasvarupe - The support of all
Sarva Papa Hare, - The elimintor of notions of sin
Sarva Ananda Mayi, - All happiness
Sarva Raksa Svarupini, - All protecting
Sarvepsita Phala Prade, - Provider of all desired fruits
Sarva Raksakara Cakra Svamini, Nigarbha yogini
The wheel of all prodection, the yoini protecting the child in the womb.

( Following the eight forms os Sarasvati, knowledge, which are originally the group of letters describing the explosion of the cosmos from a point: - the seventh enclosuer: )
Vasini, - Contorl
Kamesvari, - Express
Modini, - Pleasure
Vimale, - Purity
Arune, - Passion
Jayini, - Victory
Sarvesvari, - Controlling all
Kaulini, - Enjoying all
Sarvarogahara Cakra Swamini Rahasya yogini
The wheel which eliminates disease, the secret yogini.

( Follow the weapons of the Divine Mother: )
Banini, - The five flowery arrows of Manmatha called the senses of sound ( music ), touch ( eros ), form (beauty ), taste (sweetness), smell      (fragrance )
Capini, - The suger cane bow ( the mind which likes sweet things of life )
Pasini, - The attractive power of love
Ankusini - The repulsive power to control evil
( Follow the Goddesses of the eighth enclosure of the Sri Chakra: )
Maha Kamesvari, - The thrust of God expressing the desire to see Himself in many forms
Maha Vajresvari, - The ability to obtain the cosmos in seed form
Maha Bhagamalini, The ability to express the cosmos out of the seed
Sarva Siddhiprada Cakra Swamini
Ati Rahasya yogini
The wheel of realizations, the most secrect yogini.

( Follow the central hub of the wheel of Sri Devi, the Supreme Goddess: - in ninth enclosure: )
Sri Sri Maha Bhattarike,
Sarvananda Maya Cakra Swamini
Parapara Rahasya Yogini
The Godes Sri Devi present in all the cosmos. The wheel of all bliss, the trancendental secret yogini.

( Follow the nine Goddesses controlling the nine wheels above: )
Tripure                                       - Waking , Dreaming and Sleeping states
Tripuresi                                    - The controller of these three states
Tripurasundari                          - The beautiful one among all these three states
Tripura Vasini                           - The one who lives in all these three states
Tripura Srih                                - The riches of all these three states
Tripuramalini                             - The sequences of all these states experienced by all people
Tripura Siddhe                           - The achievements possible in all these three states
Tripurambe                                 - The experience of the cosmos in Her three states unifying all the experiences of all life
Maha Mahesvari                         - The great cosmic controller
Maha Maha Rajni                        - The great cosmic empress
Maha Maha Sakte                       -  The great cosmic power
Maha Maha Gupte                      - The great cosmic secret
Maha Maha Jnapte                      - The great cosmic memory
Maha Mahannande                     - The great cosmic bliss
Maha Maha Skandhe                  - The great cosmic support
Maha Mahasaye                          - The great cosmic expression
Maha Maha Sri Cakra Nagara Samrajni - The great transcendental conscious empress of the wheel of Sri Cakra
Namaste Nameste Nameste Namah
We bow to You, we bow to You, We bow to You in the three states of waking, dreaming, and sleeping states O Divine Mother!
Sri Gurupyom namha:

Links to/ source: http://www.srividya.org/slokas/HTML/Kadgamala_stotram.htm

Deepavali lights up Brickfield’s Little India

2012-01-04T18:37:00.000-08:00

Little India in Brickfields sees a flurry of activities withlast-minutes shoppers rushing to buy essential stuffs as the festival of lightsdraws nearer.The photos below captured the Deepavali festive mood inBrickfield’s Little India on last Saturday 22nd October 2011. Hindusacross the country will be celebrating the Deepavali on Wednesday

October 26, 2011

Finding the right Deepavali decorative items can be quite atask.

A wide range of Deepavali decorative items to brighten upthe home.

The browsing customers in a festival stall selling amesmerizing range of punjabi suits.

Deepavali shoppers filled Brickfield’s Little India and thestretch of Jalan Tun Sambanthan which were packed with stalls selling all kindsof essential items for the festive season.

They have found the right Deepavali clothing that fits them.

A couple looking for some bright ideas for Deepavalidecorations. Kirhu And Gayathiri

For RM5 each you can get your hands painted with delicateHenna patterns for good luck.

Deepavali is around the corner and it’s time to enjoy thetasty homemade and handmade cookies packed in plastic containers.

Stalls selling garlands of fresh flowers.

This decorative Happy Deepavali banner can be used to adornthe main entrance door.

Taken from, Malaysiakini: http://komunitikini.com/kl-selangor/bangsar/photo-blog-deepavali-festive-mood-in-brickfield%E2%80%99s-little-india

Everyday a festival...That means be happy always...:)

2011-11-02T09:58:00.001-07:00

Dates of important festivals associated with Hinduism in November 2011 – basedon major Hindu calendars and Panchangam used in India. The festivals, Vrats andauspicious days are based on Indian Standard Time (IST). You can also take helpthrough the comment section on good dates for various purposes including housewarming, joining job, buying car or house, moving into new rented home etc.

November 1, 2011 – Chath Puja – Dala Chath
November 1 – Soorasamharam Skanda Sashti
November 2 – Chath Puja morning argh
November 3 – Gopashtami
November 4 – Akshaya Navami – Khushmanda Navami
November 6 – Prabodini Ekadasi Vrat
November 6 – Chatur Masa Vrat ends
November 6 – Tulsi Vivah begins
November 6 – Pandarpur Kartik Mela
November 8 – Pradosh Vrat
November 9 – Vaikunta Chaturdasi
November 10 – Purnima or full moon day
November 10 – Dev Diwali
November 10 – Tripurari Purnima
November 11 – Margashirsh Month/Aghan Month begins in North India calendars
November 14 – Sankashti Ganesh Chaturthi Vrat
November 17 – Vrischika Masam begins in Malayalam Calendar
November 17 – Karthigai Masam begins in Tamil Calendar
November 17 – Sabarimala Temple in Kerala opens for 2 month darshan
November 18 – Kalbhairav Ashtami
November 18 – Agrahan month begins in Bengali Calendars
November 21 – Uttppanna Ekadasi Vrat
November 22 – Pradosh Vrat
November 25 – Amavasya
November 26 – Margashirsh month begins in Maharashtra, Gujarat, Andhra Pradesh,Karnataka and Goa
November 29 – Vivah Panchami
November 30 – Sashti Vrat – Muruga Sashti Fasting
November 30 – Champa Sashti – Khandoba

Why your name is important to be called as your name???

2011-11-02T09:44:00.000-07:00

What is in name ???? When you are born, a name is givenbased on your time and date of birth.

Along the way,the names are modified,extended or changed ortake another name for glamour. When the baby is born, the new name is saidsoftly to the baby's ear ,thus triggering the molecule cells in the human body.So when the name is repeated called or spoken, the name cells response.Alongthe way, some of the modify or change names.When the new names are called,themolecules responding would be affected as there is a frequency wave problem assome calling the old names and some the new names. That is why, any change ofname has to be carefully calculated and have to write 108 times per day x 90days to ingrained in the person's system. Without the person writing down thename, the effect is different to just name reciting...try this yourself.. Makeyour life a peaceful one..... If you want know..give a try...and if you dontbelieve..just let go.. as Science plays an important part in our religion...Aum Shakti Thunai. Credits to Priyaah Veeriah from Sri Astha Thasa BhujaKaliamman From Durian Tunggal Melaka (FB) for this info.

The origin of 'Snakes and Ladders'

2011-11-02T09:39:00.000-07:00

The game had its origin in India and was called Moksha Patam or Parama Padam orMokshapat. It was used to teach Hinduism and Hindu values to children. TheBritish renamed it as Snakes and Ladders.

Now, when and who created this game? Most people believe itwas created by the 13th century poet saint Gyandev. There are certainreferences which take the game back to 2nd century BC.

The ladders represented virtues and snakes vices. In theoriginal game square 12 was faith, 51 was Reliability, 57 was Generosity, 76was Knowledge, and 78 was Asceticism. These were the squares were the ladderwas found.

Square 41 was for Disobedience, 44 for Arrogance, 49 for Vulgarity, 52 forTheft, 58 for Lying, 62 for Drunkenness, 69 for Debt, 84 for Anger, 92 forGreed, 95 for Pride, 73 for Murder and 99 for Lust. These were the squares werethe snake was found. The Square 100 represented Nirvana or Moksha. The Britishtook the game to England in 1892 and named it Snakes and Ladders and changed itaccording to Victorian values. Original snake n ladder whch is called Mokshapatham.

Significance of Amavasya

2011-11-02T09:36:00.001-07:00

Amavasya, or Amavasi, is the name of new moon night in Hindureligion. It is the first night of the first quarter of the lunar month. Sincethe moon is invisible on the day, Amavasya is also referred as no moon night.Amavasi holds great importance in Hinduism. Many Hindus choose this day to makeoffering (tharpanam) to the dead ancestors. There is also an ongoing debatewhether Amavasya is auspicious or inauspicious.

The term ‘Amavasya’ is commonly used in all regionallanguages in India. The fortnight that starts with Amavasya is alsoreferred as the Shukla paksha (bright half of the month). Mauni Amavasya inHindu Magh month (January – February) and Mahalya Amvasya in Ashwayuja(September – October) are highly auspicious. Similarly the Amavasi in Aadimonth is of great importance in Tamil Nadu. The Amavasya in Karkidakam month isof importance in Kerala.

In some regions people observe partial fast (Upvaas) or acomplete fast on the day.

Thanks to mainstream Indian movies, Amavasya is consideredthe ideal day to perform black magic and evil acts. Since there is no moon,Amavasya night is pitch dark and this provides the ideal setting to invoke evilpowers.

Earlier it was advised not to travel on an Amavasya night.The logic being that there is no moonlight and this could invite lot ofhardship and danger.

Many astrologers advise against performing any importantceremony on the day as moon and important planets in Hindu astrology are notvisible. In some regions, people do perform certain auspicious deeds on theday. But largely no new beginnings or important ceremonies are held on the day.

Symbolically, the period from Amavasya to Purnima (fullmoon) is considered to be the gradual awakening and transcendence into thefullness. From darkness to the gradual realization of the Supreme Soul.

Symbolic Meaning of Acts Performed During Hindu Pujas and Prayers

2011-11-02T09:34:00.001-07:00

A simple prayer before the deity with hands folded and placed near the heart isthe most common form of praying in Hindu religion. But there are also variousother acts that Hindus perform while praying like lighting the lamp, offeringflowers and leaves, burning camphor or offering food etc. In Hinduism, each actperformed has a symbolic meaning.

§ Sprinkling of Water and Sipping while doingPuja

Sprinkling of water symbolically performs the purificationof the surroundings. Sipping of water is purification of oneself.

§ Why do Hindus light a lamp at home before thealtar of a deity?

In every Hindu home a lamp or ‘diya’ is lit daily before aHindu deity or any symbol associated with Hinduism. Many Hindus also perform an‘arati’ with the traditional oil lamp. The lamp is lit in the morning orevening or both morning and evening. In some houses the lamp is maintainedcontinuously and is known Akhand Deep or Akhanda Diya.

The light in the lamp symbolizes knowledge. It removesdarkness, which symbolizes ignorance. Thus light symbolizes Brahman.

The wick in the traditional oil lamp symbolizes ego and theoil or ghee used symbolizes our negative tendencies. When we are lit by selfknowledge, the negative tendencies (oil) melt away and finally the ego (wick)perishes. When the ego perishes, we realize that we are all part of Brahman andthat life is a continuity.

The lighting of ‘diya’ or lamp at home is considered highlyauspiciousness as it brings prosperity and good health. The daily evening lamplit at home also gives us an opportunity to ponder over one’s omissions andcommissions in a day.

§ Burning of Camphor

Burning of camphor symbolizes the destruction of our egosand arrogance. When ego melts what is left is the pure Self.

§ Lighting of Incense and Agarbathis

This is used for fragrance which symbolically suggests thepresence of the deity and the love of deity.

§ Performing Aarati or waving of lamp around thedeity

Waving of lamp and camphor around the deity is symbolicallyan act of surrender.

Why do Hindus Break Coconut in Ganesh Temples and BeforeAuspicious Events?

Breaking a coconut in Hindu temples – especially in templesdedicated to Lord Ganesha - and before auspicious events and new beginning isconsidered highly beneficial in Hinduism. The offering of a coconut is a commonoffering to a deity in Hindu religion and it is distributed later as ‘prasad.’

The most important reason for offering coconut is that isthe purest thing that a human being can offer to a deity. The water and thewhite kernel inside the coconut are the only unadulterated offering that adevotee makes to the Lord. It is not polluted as it remains covered by the hardouter shell until it is offered to the God.

Lord Ganesh is the deity invoked before any auspicious eventor new beginning. Coconut is one of the most favorite foods of Ganesha. This isone reason why coconut is broken during housewarming, after the purchase of newvehicle etc.

Next, the breaking of coconut symbolizes the breaking of theego. The coconut represents the human body and before the Lord it is shattered– breaking the ‘aham’ or ego and symbolically total surrendering and mergingwith the Brahman – supreme soul.

Coconut is also an important aspectin Kalasha or Poorna Kumba.Apart from this there are numerousother symbolic meaning to the coconut. Most of them revolve around its appearancelike the three eyes on the coconut represent the three eyes of Lord Shiva.

§ Offering of Betel leaves and Betel nuts

Betel leaves and nuts symbolize fertility and is usuallyoffered for the birth of children at home. It is also part of all importantpujas in South India.

§ Bells Rung during Puja

The bells that are rung during puja are to keep out othernoises and it is also a means of celebrations. Bells rung in the beginning isdone to ward away evil forces.

§ Offering of Food or nevediya

Symbolically, offering of good indicates a thanksgiving tothe deity. It is an act of sharing God’s bounty. It is then distributed as'prasad.' What is offered should be shared with the poor and the needy.

§ Offering of Flowers

Flowers are offered basically because of their fragrance anddue to the association of a particular flower with a particular deity. Forexample Bilva leaf is associated with Lord Shiva and Tulsi with Lord Vishnu.Puranas have stories which explain why a particular flower is associated with aparticular deity.

On the symbolic level, the flowers and leaves are picked upwith five fingers and is offered with all five fingers. It is usually placed atthe feet of the deity. The five fingers symbolically indicate the five sensesand thereby surrendering of it before the deity.

Flowers are also offered by bringing it close to one’sheart. This symbolically suggests that one is offering the soul or atma to thedeity

Why is Hindu God Shiva Worshipped in the Form of Linga or Lingam?

2011-11-02T09:16:00.000-07:00

The most popular form of worshipping Lord Shiva in Hinduismis in the Linga form. It is known as Shivling or Shivalinga. The Linga symbolis an attempt to give form to the formless, referred as Supreme Being orBrahman in Hindu religion. When a Linga is installed on a Yoni, it representsthe union of Shiva and Shakti – the beginning of creation.

Linga in Sanskrit means symbol or sign. One of the firstuses of the term ‘linga’ in association with Shiva is found in theShvetasvatara Upanishad – it says that Lord Shiva, the Supreme Being, has nolinga (sign or symbol). In simple terms, it is impossible to define Brahman orthat is alinga.

Now it is not possible for a common man to pray to Brahmanwhich is beyond any characteristic. Human beings need a form to worship. InSanatana Dharma, each individual has the freedom to define the Supreme Being orBrahman in the most convenient way he/ she is comfortable.

When our ancestors stood in crude nature, what bewilderedhim most would have been the regenerative method – his own and those of animalsaround him. This must also have been the time when he was looking to give anexpression to the Supreme Power. It is only natural that the male reproductiveorgan appeared to him as the ideal symbol as it represented strength andregenerative power.

The worship of Linga is not exclusive to Hinduism. Menhirsand Phallus have been worshipped by many ancient societies.

The Mahabharata says ‘Know everything, which is male, to beIshana, and all that is female to be Uma; for this whole world, animate andinanimate, is pervaded by these two bodies. Shiva’s divine Linga is worshippedby the Gods, seers, Gandharvas and Apsaras.’ (Chapter 7, section 20, verses 22)

The greatness of this form of Shiva is based on the factthat the children bear neither the lotus symbol of Brahma nor of Vishnu’sdiscuss…but one marked with the male and female organs, the linga and yoni,originated from Mahadeva and Devi (Chapter 13, section 19, verses 78)

Puranas and Epics in Hinduism narrate in detail why Shiva isworshipped in the form of linga. It is said that the Supreme Being appearedbefore Lord Brahma and Vishnu in the form of a ‘pillar of fire’, which had noend and beginning. It is one among the many symbols of Brahman. There arenumerous other incidents in the Puranas including the famous Deodar forestincident in which the wives of saints are attracted to Shiva and he castrateshimself and leaves the Linga on earth as his symbol.

Many of the incarnations of Lord Vishnu is known to haveworshipped the Shivlinga including Lord Ram, Parashuram and Krishna. Whenthe mind is clear and is without prejudices, we will realize that the Lingaform of Shiva is the most innocent form of Brahman that our ancestors hadrealized. It is pure and they got it from pure nature. Many of the forms thatwe worship today are the reflections of our mind, which is corrupted by ego,society and education. It is not pure.

That is why many people mention that Linga worship is acrude method and they are ashamed of it. Many are comfortable with thebeautiful form of Brahman – that includes the handsome human form of Shiva,Vishnu and other gods. There is nothing wrong in worshipping Shiva and Vishnuin the handsome form because Brahman can be worshipped in any form.

An ancient Greek philosopher had said that if horses were toworship a god it would have the shape of a horse. All attempt whether it isLinga, human form or animal form is an attempt to give form to the indefinableBrahman.

We then strongly defend that my form is the true form andthe other form is wrong without realizing that everything is Brahman.

Ragu Kalam Durga Pooja

2011-11-02T09:14:00.001-07:00

Vijay

“All ways of knowledge are your aspects, O Devi; so are allwomen in the world, endowed with various attributes. By you alone, O Mother,this world is filled” - Chandi, II, 6

One of the fast growing pooja in Malaysia and Singapore isthe Ragu Kalam Durga pooja. Held weekly on every Tuesdays, Fridays and Sundays,this pooja attracts many people- Young people who perform this Pooja will excelin studies while the unmarried will be able to find a good life partner,married ladies will have a happy married life and their families will proper,the childless will have children and have a happy and prosperous life. Of allthe days, Tuesday is the most auspicious day. The time is fixed viz: 3.00 pmand 4.30 pm on Tuesdays, 10.30 am and 12.00 pm on Fridays and 4.30 pm and 6.00pm on Sundays. All the times that I mentioned are the Ragu Neeram ( the time ofthe Ragu ). Of all the Devi`s Pooja ( Varalakshmi Pooja, Pournami Pooja,Thiruvilaku Pooja ), Ragu Kalam Durga Pooja is the most simplest one. Utensilsand sundries needed for the pooja are – Limes ( lime cut into a bit more thanhalf and invert it )-( odd numbers ( a maximum of 9 ), wick, ghee and turmericrice ,a tambalam ( silver plate ) and prasadam ( fruits, betel leaves and Arecanut ).

The pooja is normally conducted in Amman temples andprocedures are quite different from one temple to another, but it followsexactly the same way of offering “mavuvilaku”. There are no specific mantrasbut in temples devotees will conduct banjans and chant the name of Durga Matha.At the end of the pooja, one is required to do “ Sangkalpam “. Lime is alwaysbeen used in medication because of its acidity that can cure many diseases. Onewho wants to perform this pooja needs to invert the lime after it has been cutinto half. Remember , this is the most difficult part, if you cut a unripelime, U cant invert it and the same goes to a ripen lime. So the selection ofthe lime is very much needed. The main purpose is to bring out the dermis partof the lime which is usually white in colour. The lime is resembling us and weneed show the inner part of us to God. Garment of illusion, greedy, lust andangriness need to throw away before God. The white dermis of the lime shows ourpure conscious and the darker part ( green in colour which is hidden inside )is our Maya. One can use any type of wicks in this pooja and I have listed outsome of the wicks and its significance. Wick made of banana stem fibre removesoffences before God and ancestral curse, cotton wick- obtains all good fortune,lotus stem fibre ( wick ) – removes karma from pervious birth and establishes ahappy and prosperous life, white madder plant –pulp of the bark – increasewealth and dispels misfortunes, new yellow cotton cloth – obtains the grace ofGoddess Parasakti and frees one from entanglements and will not be affected byfurther misfortunes and New Red cotton cloth- removes any marriage obstaclesand child bearing obstacles, keep on free from spells, mantras and tantras. Thewick is a symbol of energy and light where alight emits brightness. The pointof the wick tells us that God is everywhere. The tambalam ( silver plates)reflect Brahma ( creator ) and the Turmeric rice ( uncooked rice ) resembleMaha Vishnu. The turmeric rice stabilise the lime and it acts exactly as GodVishnu who is a preserver and stabilise between born ( Brahma ) and death (Rudra ). The top of the half cut inverted lime signifies Shiva. As the oil (ghee ) is contained, just like Lord’s Shiva contained Ganga ( the river ) inHis hair. The ghee and the flame signifies Goddess Laxmi who blessed us withher wealth, the brightness of the flame resemble Goddess Saraswathy who blessedus with education and knowledge and the heat from the flame signifies MotherDurga.

The pooja is nothing if we don’t understand the truth ofthis pooja. Ragu Kalam Durga Pooja is a typical South Indian way of worshipingMother Durga. Mother Durga is well-known to the Northern Indian through theirDurga Pooja or Navarathiri which held 4 times a year. There is a verbal storythat somehow connects to this Pooja. Navagrahas the planet deities of which thefirst seven are Sun ( Surya ), Moon ( Soma ), Mars ( Mangal), Mercury ( Budha), Jupiter ( Brishpati ), Venus( Sukra), Saturn ( Shani ) give names to thedays of the week: Sunday to Saturday respectively. The other two Ragu(Ascending node) and Ketu (Descending node) are also fabled as planets, theformer as a planet with a head and no body and the latter as a planet with abody and no head. In the Puranas, they are all represented as deities borne incars. The planet Sun travels in some zodiac point each month. Similarly, theother planets have their times of travel through the zodiac assigned to them.As the planets travel through a particular zodiac signs, their relativepositions with respect to each other changes and is supposed to determine thefate of the human affairs. An astrologer can draw up a horoscope of a personbased on his time of birth and calculate the relative positions of the planetsrelative to this horoscope. The planets are also believed to influence theoutcomes of historical events of entire nations and the Earth. Each planet hasits own mode of circumambulation - clockwise or anti-clockwise. Each planetfaces a different direction. In religious rites, beetle nuts represent theplanets and the priest invites each planet to be present there and witness andbless the pooja.

So the story goes like this- “ A couple blessed with a childafter their continuous prayers to Divine Mother. The child reached her pubertyage and the parents decided to seek an astrologer to ask the fate of the childin future. The couple was shocked to get to know that their daughter has “ RaguThosam ( very bad time –Ragu is controlling her time ) and the ninth day fromher birthday, a black serpent will bite her to death. Hearing this, the couplerushed to get the protection and remedies from Mother Durga. At this moment,Goddess Parvathy who wander as a saint in earth to help her devotees andParvathy took the vow to save the child. The time comes and as predicted before, Ragu ( the serpent-head ) changes himself as a serpent and try his very bestto kill the girl. Each of his attempt been blocked by Sakti and at last Saktiherself reincarnate as the girl and Ragu mistakenly bite Sakti thus made asinful act. Ragu beg for forgiveness and as a reward he let go the girl. Inforgiving his mistakes, Durga Matha remind him that Ragu thosam and Ragu`s influenceswill ease for those who are performing Pooja for her at Ragu Neeram ( a badtime ) and those who are conducting the pooja will be blessed by Mother Durga.

Why Ragu Neeram, why cant Emakandam neeram ( the time ofSemi-god Yama )? Both as been accepted as inauspicious time. It seems The NorthNode of the Moon is called Ragu in Vedic astrology and the South Node is calledketu. They are called dark or shadow planets, because of the Nodes' associationthe phenomena of eclipses. They have no sign ruler ships, although they aresaid to favour Mercury and Jupiter's signs according to some authorities, whileothers claim that Ragu favours the sign of Aquarius and Ketu sign of Scorpio.Ragu, the North Node of the Moon means to conceal, engulf or hide in Sanskrit.This Graha is associated with the world of material manifestation and worldlydesire. Ragu is associated with the spiritual process of involution, or theengrossing of spirit in materialization. Ragu is a karaka, or indicator, ofworldly desire, fame, greed, high intelligence, manipulation, obsessivebehaviour, foreigners, mass disease, dementia and inertia. The nature of thisGraha is Vata, or Airy. These qualities of Ragu are with us. The Ken Upanishad,part three known as Yaksha Prashna says that The Supreme power of God ismanifested as knowledge, activity and strength. The Bhagavad-Gita describes thesame in different words ( Ch 17, Verse 5- “Purity, passion and inertia – thesequalities , born of nature bind fast in the body. Purity known as Sattwa ,passion known as Rajas and the inertia known as Tamas. Each of these threegunas represented by colour, Sattwa is white ( colour of purity )- representedby that aspect of mother Durga we worship as Goddess Saraswati. The colour ofRajas is red represented by that aspect of mother Durga we worship as GoddessLakshmi and Tamas is black, represented by the aspect of mother Durga weworship as Goddess Kali. Ragu attribute Tamas to our life. Tamas is born ofignorance , deluding all embodied beings. Tamas binds fast in heedlessness ,sleep, and indolence, laziness (Bhagavad-Gita , Ch 14 verse 8 ). Tamas is thatbinding force with a tendency to lethargy ( lack of energy, vitality ), slothand foolish actions. It causes non-discrimination or delusion. It binds one whois associates with self with the Body. A tasmasic person act under thecompulsion of the body. He has no power of judgement. His actions are notguided by reasons. His senses are dull. These are all baser animal qualities (Ragu –serpent head ( half human and half animal form ), the lower diabolicalnature in man. We pray to mother Kali as Durga as the supreme force and powerto destroy all our impurities, our vices, and our defects. She is to fight andannihilate these demons. This is the strength aspect of Sakti as mentioned inthe Upanishad .

Mother Durga is the power that guides and protects thedevotee’s spiritual practice form its many danger and pitfalls. So, byperforming this Ragu Kalam Durga Pooja, Mother Durga will bestow peace and prosperityin our life.

“mm Kala abhraham kata akshair, arikula bhaya dam, maulibad-dhendu rekham shankam chakram kripanan tri-shikha –mapi karair, udvahantimtrinetram, Simha-skanda –adhirudham tribuvanam akhilam purayanthim, DhyayedDurga jaya akhyam Tri-dasha pati nutam sevitam seddhi kamaih"

which means “ I pray to thee O Mother Durga, with my foldedhands and head on your lotus feet. You are , O Mother, known as Jaya (victorious ), honoured and saluted by Lord of heaven name Indra and served bythe devotees, wishing their success. You beam like thick and black clouds. Youcould terrify enemies even with a flash of your look. You are adorned withcrown set of cresent moon on your head. You hold the conch, the chakra ( wheel).the sword and the spear . You have three eyes, O Mother and on the back ofthe lion, your vahana. The whole world is filled with your great splendour , Ipray thee, O mother Durga.

Gita

Several weeks back there was a post describing a simpleDurga puja to be performed using limes turned inside-out. I immediately gottogether with some South Indian friends to try this. Even though they werepretty sure they had seen how one turns limes inside out, we were utterlyunable to do so and ended up consulting the priest of the local Balaji temple.Here is his method: The lime has to be thin skinned. It should be rolled arounda little bit to make it more flexible. The lime should be cut in halfhorizontally, not vertically. The juice should be squeezed out. Then the halflime should be turned inside-out and the "fruit" removed, leaving anice bowl. Then that bowl should be filled with ghee or oil, a wick put in theghee/oil and lit. The rest as has already been described. Perhaps there is morethan one way to turn a lime inside-out, but that is what they do at thisparticular temple. Jai Ma, Gita

Prainbow

"Why should this not be performed at home?"

Nora

"Here is his method: The lime has to be thin skinned.It should be rolled around a little bit to make it more flexible. The limeshould be cut in half horizontally, not vertically. The juice should besqueezed out. Then the half lime should be turned inside-out and the"fruit" removed, leaving a nice bowl. Then that bowl should be filledwith ghee or oil, a wick put in the ghee/oil and lit. The rest as has alreadybeen described. Perhaps there is more than one way to turn a lime inside-out,but that is what they do at this particular temple."

The method describe here is almost the same way as how Iwould usually do. I would choose a bigger type of lime ( neither too green nortoo yellow ) and yes! I would rolled around because it will make the skin ofthe lime softer and cut it horizontally. Removed the inner contents of the limefirst, then turn it inside out. I know not of other way.

"This is because it is conducted in an inauspicioustime. You can'tprovoke your aura at this time. Your environent is full of badenergy and it's very hard to for you to concentrate ( at home ). A new poojaishould not be start in this time. In temples , we have "Balipeedam" ."Balipeedam" is a place of sacrifice but not oflives. In this yournegative thoughts that you have to sacrifice. When you are in a temple, andstart to worship God, it seems your bad aura ( energy ) will be absorbed by"Balipeedam" and enable you toworship God with single-mindeddevotion. "Poojai" itself is a declaration of faith to God and makingyour wish. In order to make a wish in an inauspicious time, you need to havethe right place to ask for it."

I tends to disagree on this statement because I personallybelieve the home is the best place for one to conduct any pooja. If you cannotconcentrate at home what makes you think that you can concentrate better in thetemple. I find there are more distraction in the temple then at home.

swam_15

Namaste Noraji,

The durga pooja can be done at home and it will be veryeffective if its done during the rahu kalam. But lighting of lemon lamps athouse during the pooja is not permittable as per shastra...and it has got somereasoning also...

Normally durga pooja during rahu kalam is suggested toovercome ill effects of rahu and saturn. The Lemon is believed to be anattracting medium of energies and hence when we are doing pooja to overcome ourill effects, the lighting of lemon lamps is suggested...which will absorb allthe ill effects and burn away the same. But since it is burning away the illeffects created by rahu and saturn..it is better to be done at temple whereinthe bad energy released will be neutralised in the power of the divinity. Thatis the basic reason for not permitting the same at home...I hope this clarifiesand clears.

Nora

Thank you swam_15 for your response, but I have one questionthou'

you said : "But lighting of lemon lamps at house duringthe pooja is not permittable as per shastra"

You like to quote for me which shastra you are refering to?

swam_15

Dear Noraji,

I am not exactly sure about it...because I am very young andyet to learn all the shastras. But these things have been told to us by ourmother when ever we ask them why we should not do this and then in the processi use to search for scientific reasoning to get correct response either throughmy own self or through various teachers.

Cutting personal history...coming to your question...I thinkthere is pooja vidhi book which prescribes how to do poojas according to rules(vidhi)..may be pooja vidhanam or so...sometimes you get clarifications fromKanchi Sankaracharya also when u put across questions to him...u cantry...there are infinite collections of his works wherein you may get exactanswers...I hope me clarified your doubts.

Please note that there is no such thing called thin or thickskinned lime...u can use any lime for this purpose because all limes are sameand one can easily make diva out of it...

Nora

Vanakkam Swam

"I am not exactly sure about it...because i am veryyoung and yet to learn all the shastras. But these things have been told to usby our mother when ..."

Thank you, you have clarify my doubts.

Indeed our mothers are our first guru. We learn a lot fromour mothers. I too learn from other Mothers too who have been kind enough toguide and be with me when I do the Pooja at my own home. The most importantthing is that you must have an understanding of what you are doing, do themappropriately according to the ** Shastras ** as you mention and not just dothings blindly. I have nothing against temple but I believe if you cant finddivinity in your own Home Temple, what makes you think you can find one in theother temple. Everything begins at home.

So becareful when you use certain terms like "theresearch says" because next somebody will be asking : state this researchclaim in detail ( the researcher, the methodology used in this research, theoutcome etc )Many a times people like to used bombastic terms they have nounderstanding just to impress others.

prainbow61

With great respect to you, I beg to differ about the limes.Like all citrus fruits some have thick skins and some have thinner skins, evenwithin the same variety. I carefully held the limes available at the localmarket and the lime I selected seemed to have a thinner skin, one that would beless likely to crack or pull apart when being turned inside out.

Vijay

Dear Friends, The reason why Rahu Kalam Durga Poojaishouldn't be conducted at home because a new poojai should not begin at home atan inauspicious time. Please not that Indian believes in good and bad time.People usually will go start something before this time, example- you want togo out or visit someone , everything that we do, we should not start at Rahu orEmakandam neeram. This thing is understood by everyone.

For this reason Rahu Kalam Poojai should not be conducted athome. Temples are different because they have "arra-kaalam poojai"They have continuous poojai – 3.30 am ( bathing the idols ), 6.30 am. poojai (dawn ), 12.00 pm ( uchi Poojai ), 3.30 pm, ( bathing the idols ) , 6.30 pm. (dusk ) and then 9.00 pm ( the last poojai of the day ). So Rahu kalam Durgapoojai always But one thing about this poojai is that it is there is no properway to conduct this poojai. In many Amman temples ( Malaysia ), women willlight up the lamp made of limes and then they sing devotional songs while thepriest will conduct the bathing ceremony, decorate the idols and at about 4.30pm, the priest will conduct Karpoora Aarathy and then Prasadam will be givenout. So, usually in temples this poojai usually joins together with other dailypoojai.

But one can conduct Durga Poojai at home. You can conductthis poojai every Fridays ( during dusk ). Durgai Poojai has a proper way toperform it. You start the Poojai with Ganapathy Stothram, Maha Durga DeviSangkalpam, Dhyaanam- Avaahanam, Jabam( meditation upon Durga Devi ), ReciteDevi Sthuthi slokas, recite Durga Ashtotra Satha Namavali, Bhajans and end yourpoojai with Mantra Pushpam,Karpoora Aarthy, Samarppanan and Mangalam. And youcan light up the lights ( made of limes ). The peak of this poojai will be thesyamala navathiri (Navarathiri September-October)where 2 things are added tothis poojai- Chant the Devi Mahatmyam-gita and conduct Lectumi and Saraswathypoojai. So, you still can conduct Durga Poojai at home -is matter of time,that's all. Besides that, temples are the place for Indians to reuniteespecially people like me , a Diaspora. There are not many Indians in mycountry and poojas are the gateway for us to unite and so on. So, this may beone of the reasons why it should not be conducted at home.

But frankly speak, my mother won't follow all this,sometimes she does it at home and sometimes at temple. Normally people will dothis poojai for nine weeks continuously and my mother done the first nine weeksat home and then she continously conducting it for the past 6 years. I askedwhat she got from this, she told me " look at yourself", and so Icame to know she was praying for me. My sister got married just after my motherfinished her 9th poojai at home. So, this poojai really has something worth.So, I think Devi is there for us, no matter what time we are praying to Her,She is the time and she is beyond Good and Bad. Mother will help us in anytime, she won't select.. "okay you are in bad time or praying at bad time.. I shall not help you"… That's ridiculous isn't it. So, it is all in ourown perception. We have the reasons why we should not conduct it at home but wehave to think and judge the information that been forwarded to us.

At this juncture I would like to repeat a scripturalstanzain which a Guru told his inquisitive disciple- Nobody knows what is right orwhat is wrong, Nobody knows what is good or what is bad, There is a deityresiding within you, Find it out and obey its commands.

What I would to stress is that, it is our own perceptionjust like Nora told me, it is up to you whether you want to conduct the poojaiat home or at temple. I hope I am neither discouraging nor encouraging anyoneto conduct this poojai at home. Home Temple is your first temple and I wouldlike to add my opinion in this. I think our heart is the very first temple ofGod. The poojai room or even temples are showing our dirt, a dirt of ignorance.Everything need to start from us, we need to install a good environment withinourselves. God's first abode is our heart.

Yeshe

Hello Prainbow

I have been in the same place as yourself wishing tocelebrate Maa and call upon her as she has so obviously called upon you and I,within a ritual. Then of course the question arises in the mind, how can I dothis in a way that is real, authentic, meaningful and relating to your and mysituation, where you live and who you are. What is meaningful? Maa called youwithin the karma you have now, where you are now and within what means you havenow at this time to celebrate and express your devotion to her. Obviously tooMaa was not concerned with who your are or where you are or with what you knowabout official practices toward her from within the many Dharma based practiceswithin Mother India. So there you are with the need to do ritual and wishing tofulfill this. Then you ask those around you within this Shakta community whatis best to do.

The answer will be hard to get since each person in thiscommunity is representing a different culture with differing ways of expressingritual. Each culture has certain "official" ways of doing theserituals or poojas. Each has a traditional approach and one that each traditionfeels is correct and handed down to them from Maa herself -through theexamination of scriptures. So some will say only a temple is good, or some willsay only a certain time is acceptable, or some will say only a priest can dosuch and so. But what is lost in this rush to do things right is that Maa calledyou where you are and as who you are. Maa did not call you to change yourheritage, or beliefs or gender or place of origin there where you are. Shecalled to you to do celebration and devotion to her and with her. She calledyou into her arms and to sit in her lap and learn of her. So in light of allthis careful official approach to Maa --- Maa is doing a silly thing by callingyou as you are and where you are and within the culture you are in. No reallyit is not silly, she has called you to herself -- Maa does not expect you torespond as or like anyone else --- just as yourself. She is delighted you arewishing to do a pooja like that of her daughters and sons in Mother India - butshe does not expect it to be just like that group of children. So in light ofwho your are and where you are and the fact that Maa is calling YOU. Then dowhat she places in your heart and from what she places in your hands. Some willsay this is delusional - no it is a calling to each heart from Maa and has todo with her and the soul where it is, at this time.

I say, do the lime candle and pooja as you have it now. Isay yes it would be good to call the Hindu Temple near you and find our moreabout them - even if they are not Shakta oriented. I myself was able to be in,my one and only official pooja, last year at a temple miles from here, to hearmy Swamiji speak upon his visit here from India and it was a Vishnu pooja. Iwas asked at the door why I was here and who I was devoted too -- I said MaaKali and the priest said you are most welcome here in our temple. Now no onetalked to me after that since it was obvious I did not quite fit in due to mydress and cultural difference and not having family there, but I was welcomeand my Swamiji blessed me and spoke to me. Maa was with me too. It was ablessing. But I "felt" outside the situation the whole time I wasthere except for when I sat at the feet of my Swamiji at his teachings.

Some will say oh you are ignoring the Dharma and creatingdangers. Or you are ignorant and unworthy and not appropriate in your devotionsto Maa. But call me what you may --- it was Maa who called me where I am at andwithin this form I am in now, with the tools at hand now and the knowledge athand now -- and the thing is, she does not obviously wish to wait for me tolearn the proper way as it is called. She is grabbing me and pulling me up intoher lap and calling me her own. So I celebrate her here in my home with mychildren in my lap, with flowers from my yard and food from my kitchen andincense and candles lite by my hands and words of devotion from my lips to her.She called me. So I say answer her call - learn what you can and from whatothers feel they are allowed to say - then celebrate and show devotion to yourMother Durga. She is the silly one who called you and stirs her heart with herpooja and with the need to light lime lamps. It is she who walks with us wholive far from lands where the Dharma is taught - it is she who is being sillyor ignorant by calling to us sisters far from the shores of Mother India. I amso glad she did.

So go girl, light those lime lamps and have a pooja.

I wanted to answer your request for information and give youmy two cents worth because in reality that is all they are and all I have in myhands as I sit in my Mother's lap.

METHOD OF TEMPLE WORSHIP

2011-11-02T09:11:00.001-07:00

1. TheHindu Temple is known as `Koyil' or `Kovil' in Tamil. It means the place orresidence of God. It is the holy place where the Supreme Lord manifests Himselfin divine form.

2. We are souls (Atma). It is to enable us to receive His blessings andattain Him that the Supreme Lord takes on a divine form and is thus worshippedin temples.

3. The formless Supreme Lord assumes form for the sake of His devotees. Weare able to perceive His divine form in our temples and thereby worship Him.

4. In Siva temples Siva, Vinayagar, Murugan and others connected withSaivite hierarchy, in Vishnu temples, Vishnu and his incarnations andothers connected with Vaishnava hierarchy, and in Shakti temples, Amman and herdifferent forms like Durga, Parvathy, Saraswathy, Lakshmi and others connected with Shakta hierarchy, are established and worshipped. Besidesthese, temples dedicated to other deities and ishta-devatas were also establishedby devotees.

5. Regular daily worship at temples enables one to easily enshrine theDivine Form within one's heart. It is because of this that Hindus performworship before deities who have been ritually installed in various temples, inthe form of the devotees' choice. This is a practice that goes back tothousands of years of Hindu worship.

6. Hindu scriptures state that the Supreme Being is present in all things inthe universe. However, He is especially manifested in the consecrated deitiesfound in temples, as well as in those who devote their lives to Him (sages,sannyasins, saints).

7. Milk is present in the body of the cow, but we can only obtain it fromthe udder. Similarly, the blessings of the omnipresent Supreme Being are bestobtained through proper, coordinated worship at temples.

8. The Holy Temple provides the proper place and atmosphere for coordinatedcommunity worship, as well as catering for individual worship.

9. It is to emphasise this importance of the temple as a proper place ofworship that the Tamils have an ancient saying: “Do not live in a place(village/town) that has no temple.” Saint Appar likens a town without a templeto one that has lost its divine property or holy aspect.

10. Worship includes praying, offering respects, presenting offerings,singing praises, meditating, performing pooja.

11. Just as we eat everyday, we should make it a habit to visit the HolyTemple daily and offer prayers there if possible.

12. The method of worship in a typical Devi temple, like our Rasah SriMahamariamman Temple is narrated below.

13. When you go to the temple you are expected to:

a. bathe and wear clean clothes

b. wear traditional Hindu clothes, for example:-

i. Men — dhoti, shirt; Ladies — saree.

c. exhibit Hindu religious signs, for example:-

i. Thirunooru (Vibhooti or Holy ash) or chandanam

d. have pure thoughts

14. Do not go empty handed. Bring along articles that are used in the pooja,such as coconut, fruits, betel leaf, betel nut, flowers, camphor etc. Placethem on a tray (preferably metal) and give them to the priest when you requesthim to perform pooja on your behalf.

15. As you approach the temple, you will notice the gopuram (gateway) first.Stop and raise your hands in prayer. For temples that do not have a gopuram,the vimanam over the sanctum-sanctorum will do just as well.

16. After entering the temple premises, remove your footwear and leave themin an orderly manner in the allocated place, or near a wall or the steps. Thenyou must wash your hands and feet. Rinse your mouth with water and sprinklesome water over your head. This symbolizes the cleansing of your body. Men whosport the thundu as part of their apparel, should remove it and tie it aroundtheir waists.

17. With your mind filled with pure thoughts of the Supreme Being enter thetemple proper. At the sacrificial altar (Bali Peedam) prostrate yourself on thefloor with humility and devotion.

18. When a devotee prostrates himself at the altar, he/she should do so insuch a way that a number of parts of the body touch the ground, as follows:

a. For a man, 8 parts should touch the ground, viz. head, 2 ears,2 shoulders, hands, chin. This is known as ‘Ashtanga Namaskaram’.

b. When a lady performs this method of worship, she should doso in such a way that 5 parts of her body touch the ground, as follow: head, 2hands, 2 knees. This is known as 'Panchanga Namaskaram'.

19. One normally performs such prostrations only before the main deity, andthat too only before the sacrificial altar. At other parts of the templeordinary prayers with folded hands is enough.

20. Such prostrations are normally performed thrice in succession. After thatcircle the temple at least thrice in a clockwise rotation (pradakshinam).

21. During the pradakshinam, the hands may be clasped in prayer over the head(denoting that the Almighty is beyond our imagination) or over the heart(denoting complete surrender). Devotional poetry such as Thevaram/Thiruvasagam,or the name of God can be chanted in a soft voice (so as not to disturb otherdevotees).

22. Enter the temple proper after having circled it thrice, and havingrequested permission from the guardian spirits (dwara palakas) which are foundat the entrance to large modern temples.

a. first make your way to the shrine of Ganesha (Vinayagar)which is found at the right hand side of the sanctum sanctorum, and offerprayers there. One offers prayers to Ganesha first because He is the Controllerof obstacles.

b. Men should stand to the right of the deity and ladies tothe left in an orderly manner without obstructing the view of others.

23. The worship of Ganesha is normally done as follows: Cross hands over yourchest, and knock on forehead three times with fists; then hold ears crosswisewith hands while you squat and rise three times. After that clasp your hands inprayer in front while reciting mantras or Songs on Ganesha to yourself. You canalso repeat the mantra 'Om Ganeshaya Namaha'.

24. Having worshipped Ganesha you can then worship the main deity after whomthe temple is named. This deity is installed in the sanctum-sanctorum.

25. After prayers are offered to the main deity, the priest will then offerprayers to the Vahana (vehicle) which faces the deity.

26. In Siva and Devi temples the deity Murugan is found to the left of themain deity. Prayers are offered to Murugan after the main deity.

27. After this, prayers will be offered to the Navagrahas (9 planetarydeities). The shrine of the Navagrahas will be found outside the main temple.The devotee should also visit this shrine and offer prayers there as well. TheNavagraha mantra can be repeated.

28. In some temples the forms of lesser deities and local deities and saintsare also installed. These, too, should be worshipped in turn.

29. In Siva temples the form of Chandeeswarar (a Saivite saint) will befound. He, too, should be worshipped.

30. The final part of the ceremony is the prayer offered to the sacrificialaltar (Bali Peedam) which is found behind the Vahana. The priest will then showthe sacred flame (camphor) before the main deity and the devotees will clasptheir hands in prayer while chanting sacred mantras or holy songs.

31. The sacred flame is then brought to each devotee from left to right. Eachone who is thus presented with the flame should place their palms over it andthen place their palms over their eyes. This is symbolic of asking for andreceiving Divine Blessings. This is usually done thrice.

32. The prasadam (Thirunooru) is then offered to each devotee after this. Toreceive it, place right palm over left and receive it reverently and full ofdevotion. After receiving, place it in your left palm, touch it with threefingers of your right hand, viz. index, middle and ring fingers, and apply itacross the forehead. Look upwards while you do this and recite the mantra ‘OmShakti’, ‘Siva- Siva’, ‘Om Namah Sivaya', or ‘Om Namo Narayanaya’, according tothe respective deities being worshipped, while applying the holy ash. The ashshould be spread out across the forehead and not applied as a dot or a smallsquare. The remainder of the ash should be applied to your chest, neck or handsand should not be thrown away.

33. The Holy Ash (Thirunooru) is a sacred Saivite symbol. It should besacrilegious to spill it, blow it away from your palms or wear it in any wayyou want (as a dot etc). It should be respected and worn properly at all times.

34. After that the priest will offer `theertham' (holy water or milk usedduring abhishegam). This too is received in the hollow of your palm and drunkwith reverence after placing it over each eye in turn.

35. Sandalwood paste and kumkum are also offered after this. Each should betaken by the ring finger and applied in the middle of the forehead. Sandalwoodpaste is applied first and kumkum is applied on top.

36. Thirunooru, theertham, sandalwood paste and kumkum are offered to alldevotees after prayers. For those who make special archanai or pooja the priestwill offer a half coconut with bananas, betel leaf, betelnuts, flowers, alittle thirunooru and kumkum in packets as a form of prasadam.

37. When receiving this form of prasadam, accept reverently with both handsand place it before the eyes. Then remove a flower and smell it before placingit behind your ear.

38. Sometimes, 'naivedhyam' or food offering consisting of rice, peas etc.,paid for by the devotee, is distributed to those attending prayers in thetemple. The naivedhyam is first blessed during prayers and returned to thedevotee who then distributes it to those present. A small portion can be takenback home for the family.

39. Special archanai (pooja) by individuals can also be done. Each devoteemay bring camphor etc. for archanai and give them to the priest. Your name andthe star under which you were born (Hindu horoscope) or that of the person forwhom the pooja is done, is given to the priest who will proceed to do thepooja. After that the priest will give you the prasadam (coconut etc.) whichcan be taken home.

40. Having participated in the temple pooja one shouldn't return home orleave the temple immediately. One should sit at a suitable place in sight ofthe deities and spend some time in silent meditation (dhyana). One can chantholy mantras or concentrate on the form of a favourite deity. Close your eyesand chant holy mantras (Om Namah Sivaya etc.) at least 108 times. Do this inpeace and calm before worshipping the main deity once again. Then you can leavethe temple for home with a calm frame of mind.

Siva Suktam

2011-07-03T21:25:00.001-07:00

Twameva maataa cha pitaa twameva
Twameva banduscha sakhaa twameva
Twameva vidyaa dravinam twameva
Twameva sarvam mama deva deva

Meaning:-

O Lord You are my Mother.
You are my Father.
You are my Kinsman.
You are my Friend.
You are my Knowledge.
You are my Wealth(of strength,valour and power).
You are my All,
my God of Gods.

http://www.indiadivine.org/audarya/vedic-astrology-jyotisha/638744-shiva-sukta.html

Mathurai Paintings

2011-07-02T08:13:00.000-07:00

Click here for the link...

Tiruvaroor Paintings

2011-07-02T08:09:00.001-07:00

Click here for the link.

Tanjoor Art (Modern Indian art)

2011-07-02T08:01:00.000-07:00

Click here for the link...

Balai Seni Lukis Negara Malaysia

2011-06-30T19:39:00.000-07:00

Balai Seni Lukis Negara ditubuhkan pada 28 Ogos 1958, setahun selepas Malaysia mencapai kemerdekaan daripada penjajahan British. Geleri ini merupakan badan berkanun yang menerima geran tahunan daripada Kementerian Kebudayaan, Kesenian dan Warisan Malaysia. Ia juga menerima sumbangan daripada badan korporat dan penaja untuk melangsungkan aktiviti-aktiviti seni sampingan.

Dalam usaha untuk mempromosikan kesedaran dan apresiasi seni diseluruh peringkat masyarakat, objektif utama Balai Seni Lukis Negara adalah untuk mempersembahkan pameran dari dalam dan luar negara, seminar, bengkel, pertandingan dan aktiviti seni lain serta berusaha memperkembangkan koleksi tetapnya yang kini merangkumi lebih 2500 karya. Dalam kata lain ia ingin memupuk aktiviti kepakaran dan ingin menubuhkan koleksi seni kebangsaan.

Balai Seni Lukis Negara kini ditempatkan dibangunan baru di Jalan Temerloh, Off Jalan Tun Razak, Kuala Lumpur. Bangunan yang mempunyai ciri-ciri seni bina yang tersendiri ini terletak di antara Istana Budaya dan Perpustakaan Negara Malaysia. Kedudukannya juga tidak jauh dari Kuala Lumpur City Center (KLCC)dan Pusat Dagangan Dunia Putra (PWTC).

Bangunan Balai Seni Lukis Negara mempunyai 6 buah geleri, sebuah bengkel dan gedung kreatif, pusat sumber, sebuah oditorium yang memuatkan 144 tempat duduk dan juga pejabat bahagian pentadbiran BSLN.

WAKTU LAWATAN:
*Isnin hingga Ahad (10.00 pagi - 6.00 petang) termasuk cuti am
*Bulan Ramadhan (9.00 pagi - 5.00 petang)
*Hari Raya Aidilfitri tutup 2 hari
*Hari Raya Aidiladha tutup 1 hari

KEMUDAHAN:
*Masuk PERCUMA
*Tempat letak kereta PERCUMA
*Cafe
*Pusat sumber

Jadual waktu Peperiksaan Awam 2011

2011-06-30T19:37:00.000-07:00

Vanakkam dan Salam sejahtera.Nampaknya dah ada jadual UPSR, PMR dan SPM di laman sesawang Lembaga Peperiksaan Malaysia.Marilah kita sama-sama memuat turun dan mengatur segala perancangan untuk hujung tahun nanti...

Muat Turun Jadual di LPM
http://apps2.moe.gov.my/lpm/index.php

UPSR
http://lp.moe.gov.my/files/upsr/2011/JWUPSR2011_21022011.pdf

PMR
http://lp.moe.gov.my/files/pmr/2011/JWPMR2011_21022011.pdf

SPM
http://www.moe.gov.my/lp/files/spm/2011/JADUAL%20WAKTU%20SPM%202011%20FINAL.pdf

Rancangan Tahunan Pendidikan Seni Visual Tahanp 2- Tahun 6

2011-06-30T19:29:00.000-07:00

RANCANGAN TAHUNAN PENDIDIKAN SENI VISUAL TAHUN 6

MINGGU	BIDANG/TAJUK		HASIL PEMBELAJARAN		OBJEKTIF	CATATAN
1	Menggambar Tajuk: Gambar Negatif dan Positif (kaedah lukisan)		Aras 1 1. Menggambar dengan memberi penekanan kepada konsep perspektif dan kadar banding. Aras 2 1. Mencari sumber rujukan sebagai pencetus idea untuk menggambar. Aras 3 1. Menggambar dengan menampakkan perspektif dan kadar banding.		Pada akhir pembelajaran murid dapat : 1. Membuat lakaran gambar. 2. Mewarna bahagian objek dengan hitam untuk menimbulkan kesan negatif. 3. Mewarna bahagian latar dengan warna hitam untuk menimbulkan kesan negatif. 4. Menyatakan perasaan diri terhadap kegiata yang dijalankan.
2	Membuat Corak Dan Rekaan Tajuk: Corak (kaedah lipatan dan guntingan)		Aras 1 1. Menggunakan bahan, teknik dan corak yang sesuai untuk menghiasi permukaan 2D dan objek 3D) Aras 2 1. Mengolah motif berdasarkan objek alam bagi menghasilkan corak dan rekaan. Aras 3 1. Menguasai beberapa kemahiran, kawalan, tatacara dan disiplin kerja dalam menghasilkan corak dan rekaan.		Pada akhir pembelajaran murid dapat : 1. Mengetahui konsep lipatan secara simetri. 2. Menghasilkan corak dan rekaan secara simetri. 3. Mengunting hasil lipatan yang telah dibuat
3	Membentuk dan Membuat Membina Tajuk : Mobail Kasih Sayang (kaedah mobail)		Aras 1 1. Menggunakan asas seni reka dalam membentuk dan membuat binaan yang kompleks. Aras 2 1. Mengetahui bahasa seni visual yang berkaitan hasil kerja 3D. Aras 3 1. Membuat beg kertas menggunakan pelbagai alat, bahan, teknik, struktur dan hiasan mengikut tatacara secara kreatif. 2. Membuat penyataan perasaan tentang hasil kerja dengan rakan secara kreatif.		Pada akhir pembelajaran murid dapat : 1. Melukis dan memotong lakaran bentuk hati. 2. Mengantung bentuk- bentuk hati pada penyangkut baju untuk dijadikan mobail. 3. Menghargai hasil kerja sendiri dan rakan.
4	Mengenal Kraf Tradisional Tajuk: Kelarai (kaedah anyaman)		Aras 1 1. Mengetahui istilah dalam kraf tradisional. Aras 2 1. Mengaplikasikan Asas Seni Reka dalam penghasilan kraf tradisio Aras 3 1. Membuat penyataan perasaan tentang hasil kerja dengan rakan secara kreatif.		Pada akhir pembelajaran murid dapat : 1. Menghasilkan anyaman tikar dengan kelarai mengikut kreativiti murid- murid. 2. Menghargai hasil kerja sendiri dan rakan.
5	Menggambar Tajuk: Corak cetakan (kaedah cetakan)		Aras 1 1. Menggambar dengan memberi penekanan kepada konsep perspektif dan kadar banding. Aras 2 1. Mencari sumber rujukan sebagai pencetus idea untuk menggambar. Aras 3 1. Menggambar dengan menampakkan perspektif dan kadar banding.		Pada akhir pembelajaran murid dapat : 1.Melakar dan memotong permukaan ubi kentang mengikut bentuk yang dikehendaki. 2. Menghargai hasil kerja sendiri dan rakan.
6	Membuat Corak Dan Rekaan Tajuk: Bunga Tulip (cetakan atau capan)		Aras 1 1. Menggunakan bahan, teknik dan corak yang sesuai untuk menghiasi permukaan 2D dan objek 3D) Aras 2 1. Mengolah motif berdasarkan objek alam bagi menghasilkan corak dan rekaan. Aras 3 1. Menguasai beberapa kemahiran, kawalan, tatacara dan disiplin kerja dalam menghasilkan corak dan rekaan.		Pada akhir pembelajaran murid dapat : 1. Melakar dan menebuk gambar bunga tulip. 2. Membuat garisan grid di atas kertas lukisan. 3. Menerap motif ke atas kertas lukisan dengan menggunakan plat yang telah dibuat. 4. Menghargai hasil kerja sendiri dan rakan.
7	Membentuk dan Membuat Membina Tajuk: Bekas Serbaguna (kaedah lipatan dan guntingan)		Aras 1 1. Menggunakan asas seni reka dalam membentuk dan membuat binaan yang kompleks. Aras 2 1. Mengetahui bahasa seni visual yang berkaitan hasil kerja 3D. Aras 3 1. Membuat bekas serbaguna menggunakan pelbagai alat, bahan, teknik, struktur dan hiasan mengikut tatacara secara kreatif. 2. Membuat penyataan perasaan tentang hasil kerja dengan rakan secara kreatif.		Pada akhir pembelajaran murid dapat : 1. Menghasilkan bekas serbaguna dengan menggunakan teknik pembungkusan. 2. Menghargai hasil kerja sendiri dan rakan.
8	Mengenal Kraf Tradisional Tajuk: Kelarai (kaedah anyaman)		Aras 1 1. Mengetahui istilah dalam kraf tradisional. Aras 2 1. Mengaplikasikan Asas Seni Reka dalam penghasilan kraf tradisio Aras 3 1. Membuat penyataan perasaan tentang hasil kerja dengan rakan secara kreatif.		Pada akhir pembelajaran murid dapat : 1. Menghasilkan anyaman tikar dengan kelarai mengikut kreativiti murid- murid. 2. Menghargai hasil kerja sendiri dan rakan.
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10	Menggambar Tajuk: Bentuk Geometri (kaedah ton warna)		Aras 1 1. Memilih, meniru, memadan dan menyusun gambar untuk menghasilkan satu komposisi. Aras 2 1. Mencari sumber rujukan sebagai pencetus idea untuk menggambar. Aras 3 1. Menghargai sumbangan pelukis tempatan.		Pada akhir pembelajaran murid dapat : 1. Meningkatkan kemahiran Mengikut ton atau arah cahaya. 2. Menghasilkan lakaran dan kesan anatikal gelap dan cerah.
Cuti Pertengahan Semester Pertama
11	Membuat Corak Dan Rekaan Tajuk : Sapu Tangan (kaedah ikatan dan celupan)		Aras 1 1. Memadankan beberapa jenis rekaan corak dan kesesuaiannya dalam rekaan. Aras 2 1. Mengolah motif berdasarkan objek alam dan objek buatan manusia bagi menghsilkan corak dan rekaan. Aras 3 1. Menguasai beberapa kemahiran, kawalan, tatacara dan disiplin kerja alam menghasilkan corak dan rekaan.		Pada akhir pembelajaran murid dapat : 1. Melatih diri untuk bekerja dengan lebih tekun, teratur dan cermat. 2. Menimbulkan rasa seronolk dalam menjalan kegiatan.
12	Membentuk dan Membuat Membina Tajuk: Burung (kaedah origami)		Aras 1 1. Menggunakan asas seni reka dalam membentuk dan membuat binaan yang kompleks. Aras 2 1. Mengetahui bahasa seni visual yang berkaitan hasil kerja 3D. Aras 3 1. Membuat penyataan perasaan tentang hasil kerja dengan rakan		Pada akhir pembelajaran murid dapat : 1. Melatih diri untuk bekerja dengan lebih tekun, teratur dan cermat. 2. Menimbulkan rasa seronolk dalam menjalan kegiatan.
13	Membentuk dan Membuat Binaan Tajuk: Hiasan Dinding (Kaedah tampalan, Guntingan bahan-bahan terbuang)		Aras 1 1. Mengetahui dan meneroka kegunaan bahan kutipan dan objek alam. Aras 2 1. Membentuk dan membuat binaan menggunakan bahan terbuang dengan teknik tampalan serta guntingan. Aras 3 1. Membuat penyataan secara lisan tentang hasil kerja sendiri dan rakan.		Pada akhir pembelajaran murid dapat : 1. Mempelbagaikan serta memanipulasikan bahan terbuang dalam menghasilkan hiasan dinding. 2. Meningkatkan koordinasi mata dan tangan. 3. Menghasilkan hiasan dinding secara kreatif. 4. Berbangga dengan hasil kerja sendiri.
14	Menggambar Tajuk : Makhluk Asing (Kaedah catan)		Aras 1 1. Memerhati tayangan mengenai cerita makhluk asing. Aras 2 1. Meniru dan melakar gambar untuk menghasilkan satu komposisi. Aras 3 1. Mewarna lakaran makhluk asing dengan teknik catan.		Pada akhir pembelajaran murid dapat : 1. Menggambarkan secara lisan tentang makhluk asing yang telah ditayangkan oleh guru. 2. Membuat lakaran secara spontan berdasarkan pemerhatian. 3. Mewarna lakaran makhluk asing.
15	Membuat Rekaan Corak Tajuk: Rama-rama (Kaedah lipatan dan guntingan)		Aras 2 1. Mengolah motif berdasarkan objek alam bagi menghasilkan corak dan rekaan. Aras 3 1. Menguasai beberapa kemahiran, kawalan, tatacara dan disiplin kerja dalam menghasilkan corak dan rekaan.		Pada akhir pembelajaran murid dapat : 1. Mengetahui konsep lipatan secara simetri. 2. Menghasilkan corak dan rekaan secara simetri. 3. Mengunting hasil lipatan yang telah dibuat.
16	Ujia Topikal
17	Membentuk dan Membina Tajuk: Beg Kertas (kaedah pembungkusan)		Aras 1 1. Menggunakan asas seni reka dalam membentuk dan membuat binaan yang kompleks. Aras 2 1. Mengetahui bahasa seni visual yang berkaitan hasil kerja 3D. Aras 3 1. Membuat beg kertas menggunakan pelbagai alat, bahan, teknik, struktur dan hiasan mengikut tatacara secara kreatif. 2. Membuat penyataan perasaan tentang hasil kerja dengan rakan secara kreatif.		Pada akhir pembelajaran murid dapat : 1. Menghasilkan beg kertas melalui teknik pembungkusan. 2. Menghargai hasil kerja sendiri dan rakan.
18	Membentuk dan Membuat Membina Tajuk: Beg Kertas (kaedah pembungkusan)		Aras 1 1. Menggunakan asas seni reka dalam membentuk dan membuat binaan yang kompleks. Aras 2 1. Mengetahui bahasa seni visual yang berkaitan hasil kerja 3D. Aras 3 1. Membuat beg kertas menggunakan pelbagai alat, bahan, teknik, struktur dan hiasan mengikut tatacara secara kreatif. 2. Membuat penyataan perasaan tentang hasil kerja dengan rakan secara kreatif.		Pada akhir pembelajaran murid dapat : 1. Menghasilkan beg kertas melalui teknik pembungkusan. 2. Menghargai hasil kerja sendiri dan rakan.
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21	Mengenal Kraf Tradisional Tajuk: Kuda Kepang (kaedah lakaran dan guntuingan)	Aras 1 1. Mengetahui istilah dalam kraf tradisional. Aras 2 1. Mengaplikasikan Asas Seni Reka dalam penghasilan kraf tradisional. 2. Membuat lakaran bentuk kuda. Aras 3 1. Mengunting lakaran yang telah dihasilkan. 2. Menghasilkan kraf tradisional dengan menguasai kemahiran penggunaan alat dan teknik.		Pada akhir pembelajaran murid dapat : 1. Meningkatkan kemahiran dalam membina sesuatu alat permainan. 2. Menari dengan kuda kepang. 3. Menghasilkan kuda kepang sebagai alat permainan. 4. Berbangga dengan hasil kerja sendiri dan rakan.
22	Menggambar Tajuk: Keindahan Alam (kaedah resis)	Aras 1 1. Menggambar dan menggunakan pelbagai bahan teknik melalui penerokaan. Aras 2 1. Memilih dan menggunakan alat, bahan dan teknik yang sesuai dengan penghasilan gambar. Aras 3 1. Menghasilkan gambar dengan menggunakan pelbagai alat, bahan dan teknik secara kreatif melalui penerokaan. 2. Membuat penyataan secara lisan tentang hasil kerja sendiri dan rakan.		Pada akhir pembelajaran murid dapat : 1. Memahami konsep resis. 2. Meningkatkan kemahiran mengolah warna. 3. Menerapkan nilai mencintai alam. 4. Menyatakan perasaan diri terhadap kegiatan yang dijalankan.
23	Membuat Corak dan Rekaan Tajuk: Kuda Kepang (kaedah cetakan bermotifkan kulit haiwan)	Aras 2 1.Mengolah motif berdasarkan ojek alam dan objek buatan manusia bagi menghasilkan corak dan rekaan. Aras 3 1. Menghasilkan corak dengan menggunakan warna yang sesuai.		Pada akhir pembelajaran murid dapat : 1. Melatih diri untuk bekerja dengan lebih tekun, teratur dan cermat. 2. Menghias kuda kepang dengan corak yang dihasilkan. 3. Menimbulkan rasa seronolk dalam menjalan kegiatan.
24 25.06.07- 29.06.07	Membentuk dan Membuat Binaan Tajuk: Hiasan Dinding (Kaedah tampalan, Guntingan bahan-bahan terbuang)	Aras 1 1. Mengetahui dan meneroka kegunaan bahan kutipan dan objek alam. Aras 2 1. Membentuk dan membuat binaan menggunakan bahan terbuang dengan teknik tampalan serta guntingan. Aras 3 1. Membuat penyataan secara lisan tentang hasil kerja sendiri dan rakan.		Pada akhir pembelajaran murid dapat : 1. Mempelbagaikan serta memanipulasikan bahan terbuang dalam menghasilkan hiasan dinding. 2. Meningkatkan koordinasi mata dan tangan. 3. Menghasilkan hiasan dinding secara kreatif. 4. Berbangga dengan hasil kerja sendiri.
25	Mengenal Kraf Tradisional Tajuk: Labu Sayong (Mengenal kraf tradisional menggunakan kaedah picitan)	Aras 1 1. Mengaplikasikan asas seni reka dalam penghasilan tembikar. Aras 2 1. Menghasilkan kraf tradisional menggunakan plastesin dengan mengikut proses sebenar. Aras 3 1. Menghasilkan kraf tradisional dengan menguasai kemahiran penggunaan bahan dan teknik. 2. Membuat penyataan secara lisan tentang hasil kerja sendiri dan rakan.		Pada akhir pembelajaran murid dapat : 1. Meningkatkan kemahiran dan pengetahuan tentang tembikar. 2. Membentuk tembikar melalui proses lingkaran dan picitan. 3. Menghasilkan labu sayong secara kreatif. 4. Berbangga dengan hasil kerja sendiri.
26	Menggambar Tajuk: Kampung Saya (Menggambar menggunakan kaedah kolaj)	Aras 1 1. Memilih, meniru, memadan dan menyusun gambar untuk menghasilkan satu komposisi. Aras 2 1. Mencari sumber rujukan sebagai pencetus idea untuk menggambar. Aras 3 1. Menghargai sumbangan pelukis tempatan.		Pada akhir pembelajaran murid dapat : 1. Meningkatkan kemahiran memotong dan menyususn. 2. Menyedari bahawa kolaj dapa menimbulkan permukaan yang timbul. 3. Menghasilkan kolaj kampung saya daripada pelbagai bahan kekacang.
27	Membuat Corak Dan Rekaan Tajuk: Hiasan dinding (Membentuk dan membuat binaan dengan kaedah filiografi)	Aras 1 1. Memadankan beberapa jenis rekaan corak dan kesesuaiannya dalam rekaan. Aras 2 1. Mengolah motif berdasarkan objek alam dan objek buatan manusia bagi menghsilkan corak dan rekaan. Aras 3 1. Menguasai beberapa kemahiran, kawalan, tatacara dan disiplin kerja alam menghasilkan corak dan rekaan.		Pada akhir pembelajaran murid dapat : 1. Membuat corak dengan menyilang benang pada nombor yang sama pada arah yang bertentangan. 2. Meningkatkan kemahiran mengira. 3. Menghasilkan filiografi secara kreatif.
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30	Mengenal Kraf Tradisional Tajuk: Keris (Mengenal kraf tradisional dengan kaedah melukis, menggunting dan mencantum.)	Aras 1 1. Melihat dan memerhati gambar pelbagai jenis keris dan bahagiannya. Aras 2 1. Membuat model keris dengan menggunakan elephant kad. (melukis, menggunting dan mencantuma) Aras 3 1. Mewarnakan keris dengan menggunakan warna pilihan sendiri (krayon dan warna poster)		Pada akhir pembelajaran murid dapat : 1. Mengetahui bahagian- bahagian yang terdapat pada keris. 2. Memahami cara menghasilkan keris dengan menggunakan bahan gantian. 3. Menghargai keris sebagai bahan warisan Melayu.
31	Mengenal Kraf Tradisional Tajuk: Keris (Mengenal kraf tradisional dengan kaedah melukis, menggunting dan mencantum.)	Aras 1 1. Melihat dan memerhati gambar pelbagai jenis keris dan bahagiannya. Aras 2 1. Membuat model keris dengan menggunakan elephant kad. (melukis, menggunting dan mencantuma) Aras 3 1. Mewarnakan keris dengan menggunakan warna pilihan sendiri (krayon dan warna poster)		Pada akhir pembelajaran murid dapat : 1. Mengetahui bahagian- bahagian yang terdapat pada keris. 2. Memahami cara menghasilkan keris dengan menggunakan bahan gantian. 3. Menghargai keris sebagai bahan warisan Melayu.
Cuti


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35	Menggambar Tajuk: Hidupan Laut ( Menggambarkan dengan kaedah mozek)	Aras 1 1. Memilih dan melakar hidupan laut. Aras 2 1. Membuat aktiviti mozek dengan bimbingan guru tentang teknik susunan. Aras 3 1. Membuat mounting secara mozek pada gambar yang telah disiapkan.		Pada akhir pembelajaran murid dapat : 1. Menghargi alam sekitar. 2. Menyusun dan memanipulasi bahan kreatif.
36	Membuat Rekaan dan Corak Tajuk: Kertas Pembalut Hadiah (Membuat rekaan corak dengan kaedah lipatan dan gosok warna air)	Aras 1 1. Mengetahu konsep gabungan lipatan dan gosokan menghasilkan tona warna yang menarik. Aras 2 1. Menggunakan gabungan warna yang sesuai untuk menghasilkan tona warna. Aras 3 2. Menghasilkan corak bunga yang menarik.		Pada akhir pembelajaran murid dapat : 1. Menghasilkan tona warna yang menarik hasil gabungan beberapa warna. 2. Meningkatkan kemahiran menggunakan campuran warna untuk menghasilkan tona warna yang menarik.
37	Membentuk dan Membuat Binaan Tajuk: Kereta Mainan (Membentuk dan membuat binaan dengan kaedah susunan dan cantuman)	Aras 1 1. Memilih bahan yang sesuai seperti kotak. Aras 2 1. Menyusun dan membina model kereta. Aras 3 1. Menghias dan menampal kertas warna pada kereta.		Pada akhir pembelajaran murid dapat : 1. Mempertingkatkan kemahiran memilih dan menggunakan alat , bahan, teknik serta proses membuat model kereta. 2. Membuat model kompleks dengan menggunakan pelbagai alat.
38	Membentuk dan Membuat Binaan Tajuk: Kereta Mainan (Membentuk dan membuat binaan dengan kaedah susunan dan cantuman)	Aras 1 1. Memilih bahan yang sesuai seperti kotak. Aras 2 1. Menyusun dan membina model kereta. Aras 3 1. Menghias dan menampal kertas warna pada kereta.		Pada akhir pembelajaran murid dapat : 1. Mempertingkatkan kemahiran memilih dan menggunakan alat , bahan, teknik serta proses membuat model kereta. 2. Membuat model kompleks dengan menggunakan pelbagai alat.
39	Mengenal Kraf Tradisional Tajuk: Ragam Hias Wau Bulan (alat permainan wau bulan.	Aras 1 1. Melihat dan memerhati bentuk wau bulan. Aras 2 1. Melipat, menekap dan menggunting kertas warna. Aras 3 1. Menyusun dan menampal hasil corak ke atas permukaan rupa wau bulan.		Pada akhir pembelajaran murid dapat : 1. Menyatakan bentuk wau bulan dan ragam hiasnya. 2. Memahami teknik lipatan dan guntingan dapat menghasilkan corak yang simetri. 3. Menghargai kraf tradisional.
40	Mengenal Kraf Tradisional Tajuk: Ragam Hias Wau Bulan (alat permainan wau bulan.	Aras 1 1. Melihat dan memerhati bentuk wau bulan. Aras 2 1. Melipat, menekap dan menggunting kertas warna. Aras 3 1. Menyusun dan menampal hasil corak ke atas permukaan rupa wau bulan.		Pada akhir pembelajaran murid dapat : 1. Menyatakan bentuk wau bulan dan ragam hiasnya. 2. Memahami teknik lipatan dan guntingan dapat menghasilkan corak yang simetri. 3. Menghargai kraf tradisional.