Kartikeya known as Murugan, Skanda and Subrahmanya, is the Hindu god of war. He is the son of Parvati and Shiva, brother of Ganesha, a god whose life story has many versions in Hinduism. An important deity around South Asia since ancient times, Kartikeya is popular and predominantly worshipped in South India, Sri Lanka and Malaysia as Murugan. Kartikeya is an ancient god, traceable to the Vedic era. Archaeological evidence from 1st-century CE and earlier, where he is found with Hindu god Agni, suggest that he was a significant deity in early Hinduism, he is found in many medieval temples all over India, such as at the Ellora Caves and Elephanta Caves. The iconography of Kartikeya varies significantly. Most icons show him with one head, but some show him with six heads reflecting the legend surrounding his birth where six mothers symbolizing the six stars of Pleiades cluster who took care of newly born baby Kartikeya, he grows up into a philosopher-warrior, destroys evil in the form of demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva Siddhanta.
He has inspired many poet-saints, such as Arunagirinathar. Kartikeya is found as a primary deity in temples wherever communities of the Tamil people live worldwide in Tamil Nadu state of India, Sri Lanka, Indonesia, Singapore, South Africa and Réunion. Three of the six richest and busiest temples in Tamil Nadu are dedicated to him; the Kataragama temple dedicated to him in Sri Lanka attracts Tamils, Sinhalese people and the Vedda people. He is found in other parts of India, sometimes as Skanda, but in a secondary role along with Ganesha and Shiva. Kartikeya is known by numerous names in medieval texts of the Indian culture. Most common among these are Murugan, Kumara and Subrahmanya. Others include Aaiyyan, Senthil, Vēlaṇ, Swaminatha, śaravaṇabhava, Arumugam or ṣaṇmukha, Guha or Guruguha, Kandhan and Mahasena. In ancient coins where the inscription has survived along with his images, his names appear as Kumara, Brahmanya or Brahmanyadeva. On some ancient Indo-Scythian coins, his names appear in Greek script as Skanda and Vishaka.
In ancient statues, he appears as Mahasena and Vishakha. Skanda is derived from skanḍr-, which means to "spill, leap, attack"; this root is derived from the legend of his unusual birth. The legend, translates Lochtefeld, states "Shiva and Parvati are disturbed while making love, Shiva inadvertently spills his semen on the ground"; this semen incubates in River Ganges, preserved by the heat of god Agni, this fetus is born as baby Kartikeya on the banks of Ganges. The "spill" epithet leads to the name Skanda. Additionally N. Gopala Pillai postulated. Kartikeya means "of the Krittikas"; this epithet is linked to his birth. After he appears on the banks of the River Ganges, he is seen by the six of the seven brightest stars cluster in the night sky called Krittikas in Hindu texts; these six mothers all want to take care of nurse baby Kartikeya. Kartikeya ends the argument by growing five more heads to have a total of six heads so he can look at all six mothers, let them each nurse one. There are ancient references which can be interpreted to be Kartikeya in the Vedic texts, in the works of Pāṇini, in the Mahabhasya of Patanjali and in Kautilya's Arthashastra.
For example, the term Kumara appears in hymn 5,2 of the Rig Veda. The Kumara of verse 5.2.1 can be interpreted as Skanda, or just any "boy". However, the rest of the verses depict the "boy" as bright-colored, hurling weapons and other motifs that have been associated with Skanda; the difficulty with interpreting these to be Skanda is that Indra and Rudra are depicted in similar terms and as warriors. The Skanda-like motifs found in Rig Veda are found in other Vedic texts, such as section 6.1-3 of the Shatapatha Brahmana. In these, the mythology is different for Kumara, as Agni is described to be the Kumara whose mother is Ushas and whose father is Purusha; the section 10.1 of the Taittiriya Aranyaka mentions Sanmukha, while the Baudhayana Dharmasutra mentions a householder's rite of passage that involves prayers to Skanda with his brother Ganapati together. The chapter 7 of the Chandogya Upanishad equates Sanat-Kumara and Skanda, as he teaches sage Narada to discover his own Atman as a means to the ultimate knowledge, true peace and liberation.
According to Fred Clothey, the evidence suggests that Kartikeya mythology had become widespread sometime around 200 BCE or after in north India. The first clear evidence of Kartikeya's importance emerges in the Hindu Epics such as the Ramayana and the Mahabharata where his story is recited. In addition to textual evidence, his importance is affirmed by the archeological, the epigraphical and the numismatic evidence of this period. For example, he is found in numismatic evidence linked to the Yaudheyas, a confederation of warriors in north India who are mentioned by ancient Pāṇini, they ruled an area consisting of modern era Haryana, Punjab and Uttar Pradesh. They struck coins bearing the image of Skanda, these coins are dated to be from before Kushan Empire era started. During the Kushan dynasty era, that included much of northwest
Agasthya was a revered Vedic sage of Hinduism. In the Indian tradition, he is a noted recluse and an influential scholar in diverse languages of the Indian subcontinent, he and his wife Lopamudra are the celebrated authors of hymns 1.165 to 1.191 in the Sanskrit text Rigveda and other Vedic literature. Agasthya appears in numerous puranas including the major Ramayana and Mahabharata, he is one of the seven or eight most revered rishis in the Vedic texts, as well as a subject of reverence for being one of the Tamil Siddhar in the Shaivism tradition. He is revered in the Puranic literature of Shaktism and Vaishnavism, he is one of the Indian sages found in ancient sculpture and reliefs in Hindu temples of South Asia, Southeast Asia such as in the early medieval era Shaiva temples on Java Indonesia. He is the principal figure and Guru in the ancient Javanese language text Agastyaparva, whose 11th century version survives. Agasthya is traditionally attributed to be the author of many Sanskrit texts such as the Agastya Gita found in Varaha Purana, Agastya Samhita found embedded in Skanda Purana, the Dvaidha-Nirnaya Tantra text.
He is referred to as Mana, Kumbhaja and Maitravaruni after his mythical origins. The etymological origin of Agastya has several theories. One theory states that the root is Aj or Anj, which connotes "brighten, effulgent one" and links Agastya to "one who brightens" in darkness, Agastya is traditionally the Indian name for Canopus, the second most brilliantly shining star found in South Asian skies, next to Sirius. Another claims that it is derived from a flowering tree called Agati gandiflora, endemic to the Indian subcontinent and is called Akatti in Tamil; this theory suggests that Agati evolved into Agastih, favors Dravidian origins of the Vedic sage. A third theory links it to Indo-European origins, through the Iranian word gasta which means "sin, foul", a-gasta would mean "not sin, not foul"; the fourth theory, based on folk etymology in verse 2.11 of the Ramayana states that Agastya is from aga and gam, together these roots connote "one, mover-of-mountains", or "mover-of-the-unmoving".
The word is written as Agasti and Agathiyar. Agastya is the named author of several hymns of the Rigveda; these hymns do not provide his biography. The origins of Agastya are mythical. Unlike most Vedic sages, he has neither a father in its legends, his miraculous birth follows a yajna being done by gods Varuna and Mitra, where the celestial apsara Urvashi appears. They are overwhelmed by her extraordinary sexuality, ejaculate, their semen falls into a mud pitcher, the womb in which the fetus of Agastya grows. He is born from this jar, along with his twin sage Vashistha in some mythologies; this mythology gives him the name kumbhayoni, which means "he whose womb was a mud pot". Agastya leads an ascetic life, educates himself, becoming a celebrated sage, he is not born to Brahmin parents, but is called a Brahmin in many Indian texts because of his learning. His unknown origins have led to speculative proposals that the Vedic era Agastya may have been a migrant Aryan whose ideas influenced the south, alternatively a native non-Aryan Dravidian whose ideas influenced the north.
According to inconsistent legends in the Puranic and the epics, the ascetic sage Agastya proposed to Lopamudra, a princess born in the kingdom of Vidharbha. Her parents were unwilling to bless the engagement, concerned that she would be unable to live the austere lifestyle of Agastya in the forest. However, the legends state that Lopamudra accepted him as her husband, saying that Agastya has the wealth of ascetic living, her own youth will fade with seasons, it is his virtue that makes him the right person. Therewith, Lopamudra becomes the wife of Agastya. In other versions, Lopamudra marries Agastya, but after the wedding, she demands that Agastya provide her with basic comforts before she will consummate the marriage, a demand that ends up forcing Agastya to return to society and earn wealth. Agastya and Lopamudra have a son named Drdhasyu, sometimes called Idhmavaha, he is described in the Mahabharata as a boy who learns the Vedas listening to his parents while he is in the womb, is born into the world reciting the hymns.
Agastya had a hermitage, but the ancient and medieval era Indian texts provide inconsistent stories and location for this ashram. Two legends place it in Northwest Maharashtra, on the banks of river Godavari, near Nashik in small towns named Agastyapuri and Akole. Other putative sites mentioned in Northern and Eastern Indian sources is near Kolhapur, or near Kannauj, or in Agastyamuni village near Rudraprayag, or Satpura Range. In Southern sources and the North Indian Devi-Bhagavata Purana, his ashram is based in Tamil Nadu, variously placed in Tirunelveli, Pothiyal hills, or Thanjavur. Agastya is mentioned in all the four Vedas of Hinduism, is a character in the Brahmanas, Upanishads and many Puranas, he is the author of hymns 1.165 to 1.191 of the Rigveda. He ran a Vedic school, as evidenced by hymn 1.179 of the Rigveda which credits its author to be his wife Lopamudra and his students. He was a respected sage in the Vedic era, as many other hymns of the Rigveda composed by other sages refer to Agastya.
The hymns composed by Agastya are known for verbal play and similes and puns, striking imagery embedded within his spiritual message. His Vedic poetry is notable for two
Indra is a Vedic deity in Hinduism, a guardian deity in Buddhism, the king of the highest heaven called Saudharmakalpa in Jainism. His mythologies and powers are similar to other Indo-European deities such as Jupiter, Perkūnas, Taranis and Thor. In the Vedas, Indra is the king of Svarga and the Devas, he is the god of the heavens, thunder, rains, river flows, war. Indra is the most referred to deity in the Rigveda, he is celebrated for his powers, the one who kills the great symbolic evil named Vritra who obstructs human prosperity and happiness. Indra destroys Vritra and his "deceiving forces", thereby brings rains and the sunshine as the friend of mankind, his importance diminishes in the post-Vedic Indian literature where he is depicted as a powerful hero but one, getting in trouble with his drunken and adulterous ways, the god who disturbs Hindu monks as they meditate because he fears self-realized human beings may become more powerful than him. Indra rules over the much sought Devas realm of rebirth within the Samsara doctrine of Buddhist traditions.
However, like the Hindu texts, Indra is a subject of ridicule and reduced to a figurehead status in Buddhist texts, shown as a god that suffers rebirth and redeath. In the Jainism traditions, like Buddhism and Hinduism, Indra is the king of gods and a part of Jain rebirth cosmology, he is the god who appears with his wife Indrani to celebrate the auspicious moments in the life of a Jain Tirthankara, an iconography that suggests the king and queen of gods reverentially marking the spiritual journey of a Jina. Indra's iconography shows him wielding a lightning thunderbolt known as Vajra, riding on a white elephant known as Airavata. In Buddhist iconography the elephant sometimes features three heads, while Jaina icons sometimes show the elephant with five heads. Sometimes a single elephant is shown with four symbolic tusks. Indra's heavenly home is near Mount Meru; the etymological roots of Indra are unclear, it has been a contested topic among scholars since the 19th-century, one with many proposals.
The significant proposals have been: root ind-u, or "rain drop", based on the Vedic mythology that he conquered rain and brought it down to earth. Root ind, or "equipped with great power"; this was proposed by Vopadeva. Root idh or "kindle", ina or "strong". Root indha, or "igniter", for his ability to bring light and power that ignites the vital forces of life; this is based on Shatapatha Brahmana. Root idam-dra, or "It seeing", a reference to the one who first perceived the self-sufficient metaphysical Brahman; this is based on Aitareya Upanishad. Roots in ancient Indo-European, Indo-Aryan deities. For example, states John Colarusso, as a reflex of proto-Indo-European *h₂nḗr-, Greek anēr, Sabine nerō, Avestan nar-, Umbrian nerus, Old Irish nert, Ossetic nart, others which all refer to "most manly" or "hero". Colonial era scholarship proposed that Indra shares etymological roots with Zend Andra derived from Old High German Antra, or Jedru of Old Slavonic, but Max Muller critiqued these proposals as untenable.
Scholarship has linked Vedic Indra to the European Aynar, Abaza and Innara of Hittite mythology. Colarusso suggests a Pontic origin and that both the phonology and the context of Indra in Indian religions is best explained from Indo-Aryan roots and a Circassian etymology, he is known in Burmese as သိကြားမင်း, pronounced. Indra has many epithets in the Indian religions, notably Śakra, Vṛṣan, Vṛtrahan, Meghavāhana, Devarāja, Surendra, Vajrapāṇī and Vāsava. Indra is of unclear origin. Aspects of Indra as a deity are cognate to other Indo-European gods; the similarities between Indra of Hindu mythologies and of Thor of Nordic and Germanic mythologies are significant, states Max Muller. Both Indra and Thor are storm gods, with powers over lightning and thunder, both carry hammer or equivalent, for both the weapon returns to their hand after they hurl it, both are associated with bulls in the earliest layer of respective texts, both use thunder as a battle-cry, both are heroic leaders, both protectors of mankind, both are described with legends about "milking the cloud-cows", both are benevolent giants, gods of strength, of life, of marriage and the healing gods, both are worshipped in respective texts on mountains and in forests.
Michael Janda suggests that Indra has origins in the Indo-European *trigw-welumos "smasher of the enclosure" and diye-snūtyos "impeller of streams". Brave and heroic Innara or Inra, which sounds like Indra, is mentioned among the gods of the Mitanni, a Hurrian-speaking people of Hittite region. Indra as a deity had a presence in northeastern Asia minor, as evidenced by the inscriptions on the Boghaz-köi clay tablet
Brahma is a creator god in Hinduism. He is known as Svayambhu or the creative aspect of Vishnu, Vāgīśa, the creator of the four Vedas, one from each of his mouths. Brahma is consort of Saraswati and he is the father of Four Kumaras, Daksha and many more. Brahma is sometimes identified with the Vedic god Prajapati, he is known as Vedanatha, Chaturmukha Svayambhu, etc, as well as linked to Kama and Hiranyagarbha, he is more prominently mentioned in the mythologies in the Puranas. In the epics, he is conflated with Purusha. Although, Brahma is part of the Brahma-Vishnu-Shiva Trimurti, ancient Hindu scriptures mention multiple other trinities of gods or goddesses which do not include Brahma. Several Puranas describe him as emerging from a lotus, connected to the navel of Lord Vishnu. Other Puranas suggest that he is born from Shiva or his aspects, or he is a supreme god in diverse versions of Hindu mythology. Brahma, along with other deities, is sometimes viewed as a form of the otherwise formless Brahman, the ultimate metaphysical reality in Vedantic Hinduism.
In an alternate version, some Puranas state him to be the father of Prajapatis. According to some, Brahma does not enjoy popular worship in present-age Hinduism and has lesser importance than the other members of the Trimurti and Shiva. Brahma is revered in ancient texts, yet worshiped as a primary deity in India. Few temples dedicated to him exist in India. Brahma temples are found outside India, such as at the Erawan Shrine in Bangkok; the origins of Brahma are uncertain, in part because several related words such as one for Ultimate Reality, priest are found in the Vedic literature. The existence of a distinct deity named. A distinction between spiritual concept of Brahman, deity Brahma, is that the former is a genderless abstract metaphysical concept in Hinduism, while the latter is one of the many masculine gods in Hindu tradition; the spiritual concept of Brahman is far older, some scholars suggest deity Brahma may have emerged as a personal conception and visible icon of the impersonal universal principle called Brahman.
In Sanskrit grammar, the noun stem. Contrasted to the neuter noun is the masculine noun brahmán, whose nominative singular form is Brahma; this singular form is used as the proper name of Brahma. One of the earliest mentions of Brahma with Vishnu and Shiva is in the fifth Prapathaka of the Maitrayaniya Upanishad composed in late 1st millennium BCE. Brahma is first discussed in verse 5,1 called the Kutsayana Hymn, expounded in verse 5,2. In the pantheistic Kutsayana Hymn, the Upanishad asserts that one's Soul is Brahman, this Ultimate Reality, Cosmic Universal or God is within each living being, it equates the Atman within to be Brahma and various alternate manifestations of Brahman, as follows, "Thou art Brahma, thou art Vishnu, thou art Rudra, thou art Agni, Vayu, thou art All."In the verse, Brahma and Shiva are mapped into the theory of Guṇa, qualities and innate tendencies the text describes can be found in all living beings. This chapter of the Maitri Upanishad asserts that the universe emerged from darkness, first as passion characterized by action qua action, which refined and differentiated into purity and goodness.
Of these three qualities, Rajas is mapped to Brahma, as follows: While the Maitri Upanishad maps Brahma with one of the elements of Guṇa theory of Hinduism, the text does not depict him as one of the trifunctional elements of the Hindu Trimurti idea found in Puranic literature. The post-Vedic texts of Hinduism offer multiple theories of cosmogony; these include Sarga and Visarga, ideas related to the Indian thought that there are two levels of reality, one primary, unchanging and other secondary, always changing, that all observed reality of the latter is in an endless repeating cycle of existence, that cosmos and life we experience is continually created, dissolved and re-created. The primary creator is extensively discussed in Vedic cosmogonies with Brahman or Purusha or Devi among the terms used for the primary creator, while the Vedic and post-Vedic texts name different gods and goddesses as secondary creators, in some cases a different god or goddess is the secondary creator at the start of each cosmic cycle.
Brahma is a "secondary creator" as described in the Mahabharata and Puranas, among the most studied and described. Born from a lotus emerging from the navel of Vishnu after emerging on order of Shiva, Brahma creates all the forms in the universe, but not the primordial universe itself. In contrast, the Shiva-focussed Puranas describe Brahma and Vishnu to have been created by Ardhanarishvara, half Shiva and half Parvati, thus in most Puranic texts, Brahma's creative activity depends on the presence and power of a higher god. In the Bhagavata Purana, Brahma is portrayed several times as the one who rises from the "Ocean of Causes
Pottery is the process of forming vessels and other objects with clay and other ceramic materials, which are fired to give them a hard, durable form. Major types include earthenware and porcelain; the place where such wares are made by a potter is called a pottery. The definition of pottery used by the American Society for Testing and Materials, is "all fired ceramic wares that contain clay when formed, except technical and refractory products." In archaeology of ancient and prehistoric periods, "pottery" means vessels only, figures etc. of the same material are called "terracottas". Clay as a part of the materials used is required by some definitions of pottery, but this is dubious. Pottery is one of the oldest human inventions, originating before the Neolithic period, with ceramic objects like the Gravettian culture Venus of Dolní Věstonice figurine discovered in the Czech Republic dating back to 29,000–25,000 BC, pottery vessels that were discovered in Jiangxi, which date back to 18,000 BC.
Early Neolithic pottery artefacts have been found in places such as Jōmon Japan, the Russian Far East, Sub-Saharan Africa and South America. Pottery is made by forming a ceramic body into objects of a desired shape and heating them to high temperatures in a kiln and induces reactions that lead to permanent changes including increasing the strength and solidity of the object's shape. Much pottery is purely utilitarian, but much can be regarded as ceramic art. A clay body can be decorated after firing. Clay-based pottery can divided in three main groups: earthenware and porcelain; these require more specific clay material, higher firing temperatures. All three are made for different purposes. All may be decorated by various techniques. In many examples the group a piece belongs to is visually apparent, but this is not always the case; the fritware of the Islamic world does not use clay, so technically falls outside these groups. Historic pottery of all these types is grouped as either "fine" wares expensive and well-made, following the aesthetic taste of the culture concerned, or alternatively "coarse", "popular" "folk" or "village" wares undecorated, or so, less well-made.
All the earliest forms of pottery were made from clays that were fired at low temperatures in pit-fires or in open bonfires. They were hand undecorated. Earthenware can be fired as low as 600°C, is fired below 1200°C; because unglazed biscuit earthenware is porous, it has limited utility for the storage of liquids, eating off. However, earthenware has a continuous history from the Neolithic period to today, it can be made from a wide variety of clays, some of which fire to a buff, brown or black colour, with iron in the constituent minerals resulting in a reddish-brown. Reddish coloured varieties are called terracotta when unglazed or used for sculpture; the development of ceramic glaze which makes it impermeable makes it a popular and practical form of pottery. The addition of decoration has evolved throughout its history. Stoneware is pottery, fired in a kiln at a high temperature, from about 1,100°C to 1,200°C, is stronger and non-porous to liquids; the Chinese, who developed stoneware early on, classify this together with porcelain as high-fired wares.
In contrast, stoneware could only be produced in Europe from the late Middle Ages, as European kilns were less efficient, the right sorts of clay less common. It remained a speciality of Germany until the Renaissance. Stoneware is tough and practical, much of it has always been utilitarian, for the kitchen or storage rather than the table, but "fine" stoneware has been important in China and the West, continues to be made. Many utilitarian types have come to be appreciated as art. Porcelain is made by heating materials including kaolin, in a kiln to temperatures between 1,200 and 1,400 °C; this is higher than used for the other types, achieving these temperatures was a long struggle, as well as realizing what materials were needed. The toughness and translucence of porcelain, relative to other types of pottery, arises from vitrification and the formation of the mineral mullite within the body at these high temperatures. Although porcelain was first made in China, the Chinese traditionally do not recognise it as a distinct category, grouping it with stoneware as "high-fired" ware, opposed to "low-fired" earthenware.
This confuses the issue of. A degree of translucency and whiteness was achieved by the Tang Dynasty, considerable quantities were being exported; the modern level of whiteness was not reached until much in the 14th century. Porcelain was made in Korea and in Japan from the end of the 16th century, after suitable kaolin was located in those countries, it was not made outside East Asia until the 18th century. Before being shaped, clay must be prepared. Kneading helps to ensure an moisture content throughout the body. Air trapped within the clay body needs to be removed; this is called de-airing and can be accomplished either by a machine called a vacuum pug or manually by wedging. Wedging can help produce an moisture content. Once a clay body has been kneaded and de-aired or wedged, it is shaped by a variety of techniques. After it has been shaped, it is dried and fired. Greenware refers to unfired objects. At sufficient moisture content, bodies at this stage are in their most plastic form (as they are soft and mal
Radha called Radhika and Radhe, is a Hindu goddess popular in Hinduism in the Vaishnavism tradition. She was said to be the head of the milkmaids, she is the lover of the Supreme personality of Godhead Lord Krishna in the medieval era texts. She is a supreme goddess in her own right, she is called Jagat Janani. She appeared as queen of milkmaids and queen of Vrindavan-Barsana, she taught selfless surrender to the Godhead Shri Krishna. She is considered the supreme goddess in Vaishnavism. Rasik Saints have mentioned Her as a descension of Supreme Goddess, Source of Infinite Lakshmi, original form of Yogmaya and Allhadini Shakti, main Power of Godhead Shri Krishna, she and her consort Krishna are collectively known as Radha Krishna, the combined form of feminine as well as the masculine realities of God. Lord Krishna underwent various kinds of "leelas" with Her. Radha is worshipped in some regions of India by Gaudiya Vaishnavas, Vaishnavas in West Bengal, Bangladesh Manipur, Odisha. Elsewhere, she is revered in the Nimbarka Sampradaya and movements linked to Shri Chaitanya Mahaprabhu.
Srimati Radharani ji is considered a metaphor for soul, her longing for Lord Krishna theologically seen as a symbolism for the longing for spirituality and the divine. She has inspired numerous literary works, her Rasa lila dance with Krishna has inspired many types of performance arts till this day, her festival is Radhastami. The Sanskrit term Rādhā means "prosperity, success", it is a common name founded in various contexts in the ancient and medieval texts of India. Of these the most celebrated is the name of the gopi, the beloved of Krishna. Both Radha and Krishna are the main characters of Gita Govinda of Jayadeva. Radha in this context is considered the avatar of Lakshmi, just like Krishna is considered an avatar of Vishnu. In Hit Harivansh and Swami Haridas Literature, Radha is considered as the main form of deity. Here, Radha is not another form of supreme god Shri Krishn Himself. In Devi Bhagvat and Brahma Vaibtra Purana, Radha is mentioned as the source of infinite Laxmi and mother of infinite souls.
Jagadguru Shri Kripalu Ji Maharaj elaborately described the virtue of Radha and has given a brief description of Shri Radha in his lectures and Kirtans. He has said, "She is the Supreme Goddess and is worshipped by everyone including Godhead Shri Krishna himself and that's why she is called Radha; the term is related to Rādha, which means "kindness, any gift but the gift of affection, wealth". The word appears in the Vedic literature as well as the Epics, but is elusive and not as a major deity. In some Vedic contexts, states Sukumar Sen, it could mean "beloved, desired woman" based on an Avestan cognate. However, Barbara Stoller and other scholars disagree with the Avestan interpretation, they state that the better interpretation of Radha in these ancient texts is "someone or something that fulfills a need". Starting with the Bhakti movement and with Jayadeva's composition, her profile as a goddess and constant companion of Krishna became dominant in Krishna-related Vaishnavism. Rādhikā refers to an endearing form of Gopi Radha.
Radha is an important goddess in the Vaishnavism tradition of Hinduism. She is a goddess whose traits, manifestations and roles vary with region. Since the earliest times, she has been associated with one of the most popular Hindu gods, the cowherd Krishna. In the early Indian literature, her mentions are illusive and not as common as other major goddesses of Hinduism, but during the Bhakti movement era she became popular among Krishna devotees whose strength is her love. According to Jaya Chemburkar, there are at least two significant and different aspects of Radha in the literature associated with her, such as Sriradhika namasahasram. One aspect is she is a milkmaid, another as a female deity similar to those found in the Hindu goddess traditions, she appears in Hindu arts as ardhanari with Krishna, an iconography where half of the image is Radha and the other half is Krishna. This is found in sculpture such as those discovered in Maharashtra, in texts such as Shiva Purana and Brahmavaivarta Purana.
In these texts, this ardhanari is sometimes referred to as Ardharadhavenudhara murti, it symbolizes the complete union and inseparability of Radha and Krishna. Radha's depictions vary from being an married woman who becomes an adulterous lover of Krishna in a secondary role, to being dual divinity equal to Krishna in Jayadeva's Gita Govinda, to being supreme object of devotional love for both Krishna and devotees in Rupa Gosvami's tradition. In some Hindu sub-traditions, Radha is conceptualized as a goddess who breaks social norms by leaving her marriage, entering into a relationship with Krishna to pursue her love. According to Heidi Pauwels, it is a "hotly debated issue" whether Radha was married or had an affair with Krishna while she remained married. Several Hindu texts allude to these circumstances. According to David Kinsley, a professor of Religious Studies known for his studies on Hindu goddesses, the Radha-Krishna love story is a metaphor for divine-human relationship, where Radha is the human devotee or soul, frustrated with the past, obligations to social expectations and the ideas she inherited, who longs for real meaning, the true love, the divine.
This metaphoric Radha finds new liberation in learning more about Krishna, bonding in devotion and with passion. The po
A kalasha spelled kalash or kalasa, is a metal pot with a large base and small mouth, large enough to hold a coconut. Sometimes "Kalasha" refers to such a pot filled with water and topped with a coronet of mango leaves and a coconut; this combination is used in Hindu rites and depicted in Hindu iconography. The entire arrangement is called Purna-Kumbha, or Purna-ghata; each of these names means "full or complete vessel" when the pot is referred to as the Kalasha. Sometimes the Kalasha is filled with coins, gems, gold, or a combination of these items instead of water; the coronet of 5, 7, or 11 mango leaves is placed such that the tips of the leaves touch water in the Kalasha. The coconut is sometimes wrapped with red thread. A sacred thread is tied around the metal pot; the Shira is kept facing the sky. The Kalasha is viewed as an auspicious object in Jainism; the Kalasha is used as a ceremonial object as well as a decorative motif in Indian art and architecture. The Kalasha motif was used in decorating capitals of pillars from the 5th century.
The Purna-Kalasha is considered a symbol of abundance and "source of life" in the Vedas. Purna-Kumbha is preeminently a Vedic motif, known from the time of Rigveda, it is called Soma-Kalasha, Chandra-Kalasha, Indra-Kumbha, Purna-Virakamsya, Bhadra ghata, or Mangala ghata. It is referred to as "overflowing full vase" in the Vedas; the Kalasha is believed to contain amrita, the elixir of life, thus is viewed as a symbol of abundance and immortality. The Kalasha is seen in Hindu iconography as an attribute, in the hands of Hindu deities like the creator god Brahma, the destroyer god Shiva as a teacher, the goddess of prosperity Lakshmi; the Purna-Kalasha is believed to be a symbol of auspiciousness embodying either Ganesha, remover of obstacles, or his mother Gauri, the goddess of household bounty or Lakshmi. The Purna-Kalasha is worshipped in all Hindu festivities related to marriage and childbirth, as a mother goddess or Devi. In this context, the metal pot or Kalasha represents material things: a container of fertility - the earth and the womb, which nurtures and nourishes life.
The mango leaves associated with Kama, the god of love, symbolize the pleasure aspect of fertility. The coconut, a cash crop, represents power; the water in the pot represents the life-giving ability of Nature. Sometimes, a silver or brass face of the Goddess is attached over the coconut of the Purna-Kalasha. In this form, the Purna-Kalasha symbolizes the Goddess as the manifestation of mother earth with her water and vegetation; this method of Kalash pooja has come in for Vishnu in household functions too. The Purna-Kalasha is worshipped at Hindu ceremonies like Griha Pravesha, child naming, Vaastu dosha rectification, daily worship. Other interpretations of the Purna-Kalasha associate with the five elements or the chakras; the wide base of metal pot represents the element Prithvi, the expanded centre - Ap, neck of pot - Agni, the opening of the mouth - Vayu, the coconut and mango leaves - Akasha. In contexts of chakras, the Shira - top of the coconut symbolizes Sahasrara chakra and the Moola - base of Kalasha - the Muladhara chakra.
A kalash is placed with due rituals on all important occasions. It is placed near the entrance as a sign of welcome, it is used in a traditional manner while receiving holy personages. The Kalasha is included in the Ashtamangala lists of both the Svetambara and Digambara sects of Jainism. Two eyes are depicted around symbolising right faith and right knowledge, it is used for social ceremonies. It is used in temples; when one enters a new home it is customary to carry the kalasha on the head reciting mantras. This ceremony is performed to welcome happiness into the new home, they first appear in stone in the Kushan Empire period. It is a symbol of auspiciousness; the Kalasha is part of the official state emblem of Andhra Pradesh state in India