My Thoughts.......... 59

 1) Love is all about giving and not demanding, it knows the joy of giving!

2) All attachments are illusions, nothing, and no one can suffer or enjoy your karmas, but you!

3) Maturity does not come easy. It takes a toll on experiences of hot and cold, ups and downs, acceptance and rejection, love and hate, fall and rise, but in the end, it makes you a worthy person with wisdom of life!

4) More than the disease, the perceived disease kills a person each minute!

5) Without Darkness you can't see the stars, without sorrow, you can't value happiness!

6) Remember, formless has all the forms in it and all forms come out of formless!

7) Remember, attachment and aversion are the cause of sorrow!

8) If you're travelling in the wrong direction turn in the right direction immediately, the longer the distance in the wrong direction, the more expensive it will be to turn back!!

9) Remember, it takes 2 years to learn to talk and 60 to learn to remain silent!  

10) Don't be a perfectionist; it is a pain. Be carefree & Enjoy the world!

The Rani of Jhansi

 

Lakshmibai, The Rani of Jhansi 19 November 1835 – 17 June 1858 known as Jhansi Ki Rani, was the queen of the Maratha-ruled princely state of Jhansi, was one of the leading figures of the Indian Rebellion of 1857, and a symbol of resistance to British rule in India. She has gone down in Indian history as a legendary figure, as India's "Joan of Arc. she was called by the name Manikarnika. Affectionately, her family members called her Manu. At a tender age of four, she lost her mother. As a result, the responsibility of raising her fell upon her father. While pursuing studies, she also took formal training in martial arts, which included horse riding, shooting and fencing .

Originally named Manikarnika at birth nicknamed Manu , she was born on 19 November 1835 at Kashi Varanasi to a Maharashtrian Karhade Brahmin family from Dwadashi, District Satara. She lost her mother at the age of four. She was educated at home. Her father Moropant Tambey worked at the court of Peshwa Baji Rao II at Bithur and then travelled to the court of Raja Gangadhar Rao Newalkar, the Maharaja of Jhansi, when Manu was thirteen years old. She was married to Gangadhar Rao, the Raja of Jhansi, at the age of 14.
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During that period, Lord Dalhousie was the Governor General of British India. The adopted child was named Damodar Rao. As per the Hindu tradition, he was their legal heir. However, the British rulers refused to accept him as the legal heir. As per the Doctrine of Lapse, Lord Dalhousie decided to seize the state of Jhansi. Rani Lakshmibai went to a British lawyer and consulted him. Thereafter, she filed an appeal for the hearing of her case in London. But, her plea was rejected. The British authorities confiscated the state jewels. Also, an order was passed asking the Rani to leave Jhansi fort and move to the Rani Mahal in Jhansi. Laxmibai was firm about protecting the state of Jhansi.

After her marriage, she was given the name Lakshmi Bai. Because of her father's influence at court, Rani Lakshmi Bai had more independence than most women, who were normally restricted to the zenana: she studied self-defense, horsemanship, archery, and even formed her own army out of her female friends at court.

Rani Lakshmi Bai gave birth to a son in 1851, however, this child died when he was about four months old. After the death of their son, the Raja and Rani of Jhansi adopted Damodar Rao. However, it is said that her husband the Raja never recovered from his son's death, and he died on 21 November 1853 of a broken heart.

Because Damodar Rao was adopted and not biologically related to the Raja, the East India Company, under Governor-General Lord Dalhousie, was able to install the Doctrine of Lapse, rejecting Rao's rightful claim to the throne. Dalhousie then annexed Jhansi, saying that the throne had become "lapsed" and thus put Jhansi under his "protection". In March 1854, the Rani was given a pension of 60,000 rupees and ordered to leave the palace at the Jhansi fort.

Rani Jhansi was determined not to give up Jhansi. She strengthened its defences and assembled a volunteer army. Women were also given military training. Rani's forces were joined by warriors including Gulam Gaus Khan, Dost Khan, Khuda Baksh, Lala Bhau Bakshi, Moti Bai, Sunder-Mundar, Kashi Bai, Deewan Raghunath Singh and Deewan Jawahar Singh.

While this was happening in Jhansi, on May 10, 1857 the Sepoy (soldier) Mutiny of India started in Meerut. This would become the starting point for the rebellion against the British. It began after rumours were put about that the new bullet casings for their Enfield rifles were coated with pork/beef fat, pigs being taboo to Muslims and cows sacred to Hindus and thus forbidden to eat. British commanders insisted on their use and started to discipline anyone who disobeyed. During this rebellion many British civilians, including women, and children were killed by the sepoys. The British wanted to end the rebellion quickly.

Meanwhile, unrest began to spread throughout India and in May of 1857, the First War of Indian Independence erupted in numerous pockets across the northern subcontinent. During this chaotic time, the British were forced to focus their attentions elsewhere, and Lakshmi Bai was essentially left to rule Jhansi alone. During this time, her qualities were repeatedly demonstrated as she was able swiftly and efficiently to lead her troops against skirmishes breaking out in Jhansi. Through this leadership Lakshmi Bai was able to keep Jhansi relatively calm and peaceful in the midst of the Empire’s unrest.

Up to this point, she had been hesitant to rebel against the British, and there is still some controversy over her role in the massacre of the British HEIC officials and their wives and children on the 8th June 1857 at Jokhan Bagh. Her hesitation finally ended when British troops arrived under Sir Hugh Rose and laid siege to Jhansi on 23rd March 1858. Rani Jhansi with her faithful warriors decided not to surrender. The fighting continued for about two weeks. Shelling on Jhansi was very fierce. In the Jhansi army women were also carrying ammunition and were supplying food to the soldiers. Rani Lakshmi Bai was very active. She herself was inspecting the defense of the city. She rallied her troops around her and fought fiercely against the British. An army of 20,000, headed by the rebel leader Tatya Tope, was sent to relieve Jhansi and to take Lakshmi Bai to freedom. However, the British, though numbering only 1,540 in the field so as not to break the siege, were better trained and disciplined than the “raw recruits,” and these inexperienced soldiers turned and fled shortly after the British began to attack on the 31st March. Lakshmi Bai’s forces could not hold out and three days later the British were able to breach the city walls and capture the city. Yet Lakshmi Bai escaped over the wall at night and fled from her city, surrounded by her guards, many of whom were from her women’s military.

Along with the young Damodar Rao, the Rani decamped to Kalpi along with her forces where she joined other rebel forces, including those of Tatya Tope. The Rani and Tatya Tope moved on to Gwalior, where the combined rebel forces defeated the army of the Maharaja of Gwalior after his armies deserted to the rebel forces. They then occupied the strategic fort at Gwalior. However on the second day of fighting, on 18 June 1858, the Rani died.
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She died on 18 June, 1858 during the battle for Gwalior with 8th Hussars that took place in Kotah-Ki-Serai near Phool Bagh area of Gwalior. She donned warrior's clothes and rode into battle to save Gwalior Fort, about 120 miles west of Lucknow in what is now the state of Uttar Pradesh. The British captured Gwalior three days later. In the report of the battle for Gwalior, General Sir Hugh Rose commented that the rani "remarkable for her beauty, cleverness and perseverance" had been "the most dangerous of all the rebel leaders".
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However, the lack of a corpse to be convincingly identified as the Rani convinced Captain Rheese of the so called "bravest" regiment that she had not actually perished in the battle for Gwalior, stating publicly that:" Queen of Jhansi is alive!". It is believed her funeral was arranged on same day near the spot where she was wounded. One of the her maidservants helped with the arrangement of quick funeral.

Because of her bravery, courage, and wisdom, and her progressive views on women's empowerment in 19th century India, and due to her sacrifices, she became an icon of Indian independence movement. The Rani was memorialized in bronze statues at both Jhansi and Gwalior, both of which portray her on horseback.

Her father, Moropant Tambey, was captured and hanged a few days after the fall of Jhansi. Her adopted son, Damodar Rao, was given a pension by the British Raj and cared for, although he never received his inheritance.

Rani Lakshmi Bai became a national heroine and was seen as the epitome of female bravery in India. When the Indian National Army created its first female unit, it was named after her.

Indian poetess Subhadra Kumari Chauhan wrote a poem in the Veer Ras style about her, which is still recited by children in schools of contemporary India.

In a prophetic statement in the 1878 book The History of the Indian Mutiny, Colonel Malleson said "...her countrymen will always believe that she was driven by ill-treatment into rebellion; that her cause was a righteous cause; ..... To them she will always be a heroine !!

Konark Sun Temple

 

Konark Sun Temple

It's a 13th-century Sun Temple at Konark, in Odisha, India.

It was supposedly built by King Narasimhadeva I of Eastern Ganga Dynasty around 1250.It has been built in the shape of a gigantic chariot with elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins

The name Konark derives from the combination of the Sanskrit words, Kona (corner) and Arka (sun), in reference to the temple which was dedicated to the Sun god Surya.

The monument was also called the Black Pagoda by European sailors. In contrast, the Jagannath Temple in Puri was called the White Pagoda. Both temples served as important landmarks for the sailors.

The temple was originally built at the mouth of the river Chandrabhaga, but the waterline has receded since then. The temple has been built in the form of a giant ornamented chariot of the Sun god, Surya. It has twelve pairs of elaborately carved stone wheels some of which are 3 meters wide and is pulled by seven pairs of horses. The temple follows the traditional style of Kalinga architecture. It is carefully oriented towards the east, so that the first rays of sunrise strike the principal entrance. The temple is built from Khondalite rocks.

The original temple had a main Sanctum Sanctorum (vimana), which was supposedly 229 feet (70 m) tall. Due to the weight of the superstructure (70m tall) and weak soil of the area the main vimana fell in 1837. The audience hall (Jagamohana), which is about 128 feet (30 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures, which have survived to the current day, are the dance hall (Nata mandira) and dining hall (Bhoga mandapa). The Konark temple is also known for its erotic sculptures of maithunas.

Two smaller ruined temples have been discovered nearby. One of them is called the Mayadevi Temple and is located southwest from the entrance of the main temple. It is presumed to have been dedicated to Mayadevi, one of the Sun god's wives. It has been dated to the late 11th century, earlier than the main temple. The other one belongs to some unknown Vaishnava deity. Sculptures of Balarama, Varaha and Trivikrama have been found at the site, indicating it to be a Vaishnavite temple. Both temples have their primary idols missing.

A collection of fallen sculptures can be viewed at the Konark Archaeological Museum which is maintained by the Archaeological Survey of India.

According to Bhavishya Purana and Samba Purana, there may have been a sun temple in the region earlier than current one, dating to the 9th century or earlier. The books mention three sun temples at Mundira (possibly Konark), Kalapriya (Mathura), and Multan.

According to the scriptures, Samba, the son of Krishna, was cursed with leprosy. He was advised by the sage, Kataka, to worship the sun god to cure his ailment. Samba underwent penance for 12 years in Mitravana near the shores of Chandrabhaga. Both the original Konark temple and the Multan temple have been attributed to Samba.

The Periplus of the Erythraean Sea (1st Century CE) mentions a port called Kainapara, which has been identified as current day Konark.

According to the Madala Panji, there was another temple in the region. It was built by one Pundara Kesari. He may have been Puranjaya, the 7th century ruler, of the Somavasmi Dynasty dynasty.

Narasimhadeva I

The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty. His reign spanned from 1238 to 1264 CE. The temple may have been a monument to his victory against Tughral Tughan Khan.

Dharmapada's Tale

According to local folklore, Narasimhadeva I had hired a chief architect called Bisu Maharana to build the temple. After a period of twelve years, a workforce of twelve thousand almost finished the construction. But, they failed to mount the crown stone. The impatient king ordered the temple to be finished in three days or the artisans be put to death. At the time, Bisu Maharana's twelve year old son, Dharmapada arrived at the site. Bisu Maharana had never seen his son, as he had left his village when his wife was still pregnant. Dharmapada successfully proposed a solution to mount the crown stone. But, the artisans were still apprehensive that the king will be displeased to learn that a boy succeeded where his best artisans failed. Dharmapada climbed onto the temple and leapt into the water to save his father and his co-workers.

Collapse

There have been several proposed theories for the collapse of the main sanctum. The date of the collapse is also not certain.

The Kenduli copper plates of Narasimha IV (Saka 1305 or 1384 CE) states the temple to be in a perfect state.

In the 16th century Ain-i-Akbari, Abul Fazl also mentions Konark being in a proper state. The account also mentions the cost of construction being 12 years of revenue.

The cause of collapse is also placed on Kalapahad who invaded Odisha in 1568.

In 1627, the then Raja of Khurda had removed the sun idol from Konark and moved it to the Jagannath temple in Puri.

James Fergusson (1808–1886) had the opinion that marshy foundation had caused the collapse. But, the structure has shown no sign of sinking into its foundation. Fergusson, who visited the temple in 1837, recorded a corner of the main sanctum still standing. It also fell down in 1848 due to a strong gale.

According to Percy Brown (1872–1955), the temple was not properly completed and so it collapsed. This contradicts earlier recorded accounts of the temple being in a proper state.

In 1929, an analysis of a moss covered rock estimated the date of abandonment at around 1573.

Other proposed causes include lighting and earthquake.

Aruna Stambha

In the last quarter of the 18th century, when worship had ceased in the temple, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari called Goswain (or Goswami). The pillar is made of monolithic chlorite and is 33 feet 8 inches (10.26 m) tall . It is dedicated to Aruna, the charioteer of the Sun god.

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VIDUR

 

Is it true that Vidur was himself the Yamraj (god of death) who was suffering a curse over Earth in the epic of Mahabharata?

• Vidur : Vidura also known as Kshatri, plays a key role in the Hindu epic Mahabharata. He is described as the prime minister of the Kuru kingdom and is the paternal uncle of both the Pandavas and the Kauravas.

• Yes ,it's true Yamraj get punishment from one Saint. Vidur was himself the yamraj who was suffering a curse over earth in the epic Mahabhart.

here is story …

Sage Maitreya told Vidura that he was not an ordinary man, but was infact an incarnation of YAMRAJ (the Lord of Death). Maitreya further told Vidura that it was because of Curse of sage Manduka that Yamraja had to take birth in human form as Vidura. The complete story has been narrated in Mahabharata regarding birth of Yamraj in human form as Vidura

• O Vidura, in the past time, there was a king, whose jewelry had been stolen. The thieves were looking for a safe place to hide the stolen Jewelry. They concealed the stolen Jewelry at the hermitage of Sage Manduka, who was meditating at the Bank of River and practicing the silence. Soldiers of the King came near the hermitage of Sage Manduka and asked him about the thieves.

• But as Sage Manduka was practicing the oath of Silence, so he did not respond. Later the soldiers discovered the stolen Jewelry in the hermitage of Manduka. The soldiers of king arrested all the thieves and Manduka Muni. When King asked Sage Manduka about the stolen Jewelry, he did not utter even a single word as he had taken the oath of silence. Hence King punished the sage Manduka to death by being pierced with a lance. Later the King discovered that he was great Sage so he sought pardon from Manduka.

• Sage Manduka pardoned the king but he went to Yamloka and inquired with Yama about the sin committed by him for which he was made to suffer impalement on a stake? Sage Manduka further questioned Yamraja that he did not remember any such act done by him in his life time which invited such punishment.

• Then Yamraja replied that in his childhood , Manduka pierced an ant with a sharpened straw, and for that reason he had to face the consequences. Manduka replied that as a child, he was not having guilty mind to commit a crime. He was wrongly punished by Yamraja for his innocence. He further cursed Yamraja to take the birth in human form and to undergo the suffering. This was the reasons for suffering of Vidura.

• Manduka further reminded Yamraja that he committed mistake in not considering the laws narrated in the Scriptures as scriptures did not not consider the act of a child as sinful up to the age of twelve. Manduka further declared a law that a child till the age of fourteen, shall not be punished for any of his act as till this time, a child does not have guilty mind. After hearing this story, Vidura relieved from the suffering he was undergoing throughout his life

Brihadeshwara Temple, Thanjavur.

 

Brihadeshwara Temple, Thanjavur.

When people think of India they think of the Taj Mahal, Shāh Jahān’s Eternal memorial dedicated to his wife Mumtāz Mahal.

But there is a more ancient and secret India hidden deep in its tropical jungles with one of the greatest building efforts in the Human History produced Thousands of strange and mysterious temples, today they are lost and forgotten. This is India's Deep South the land of emerald green Rice fields and Immense Palm Forests where every few miles temples sour towards the heavens in the country side.

Here over a thousand year ago, 985 AD to be exact Rajaraja Cholan became King of the Chola Dynasty, His Original name was Arunmozhivarman and his title was Rajakesari Varman or Mummudi-Sola-Deva, he was the second son of the Parantaka Cholan II.

His capital was the city of Thanjavur. Thanjavur was the royal city of the Cholas, Nayaks and the Mahrattas. Thanjavur derives its name from Tanjan-an asura (giant), who according to local legend devastated the neighborhood and was killed by Sri Anandavalli Amman and the God Vishnu.

He was one of the greatest kings of India and in the south, he embarked on one of the largest building plans in the history of Mankind that still continues till this day, He and his successor have moved more Stone than the great pyramid of Giza.

This temple is so large that over 200 Taj Mahal’s can fit into its Temple Grounds.

It's one of the most amazing buildings in India, its 10 times taller than anything builds before it and not only it's huge but its made of Granite, one of the hardest stones in the world. The inner shrine under the large tower contains a large stone Lingam, 12ft in height and 5ft in diameter. The original name of the deity was Rajarajeshwar. It was the Marathas who gave it the name Brihadeeshwara or the Great Ishwara. The statue of Nandi at the entrance of the temple is carved out of a single stone. The image of Nandi faces the Sanctum and constructed with such great precision that it reflects the rays of the Sun on to the Sanctum.

A unique stone named Chandrakanta is laid on the Sanctum which is said to regulate the temperature inside the shrine. The walls and ceilings of the shrine are replete with magnificent sculptures and bear silent testimony to the creativity of the craftsmen. Several other shrines dedicated to various Gods are located within the temple premises, along with the images of Navagrahas, the nine planetary deities. Numerous bronze statues depicting Chola art prevalent in the 11th century are also found within the temple complex.

To build Temple's like this, required Huge Amounts of Money, and the way to get it is by attacking your weaker neighbors and Rajaraja began his career with the conquest of the Chera country. He defeated Chera King Bhaskara Ravivarman, whose fleet he destroyed in the port of Kandalur. He also seized Pandya Amara Bhujanga and captured the port of Vilinam. By his campaign against the Singhalees, he annexed northern Ceylon (Modern Day Sri Lanka), building a number of a stone temple in the Ceylonese capital Polonnaruva, of which one now stands to Shiva. It was at about the 14th year of his reign (AD 998-999) that most of his triumphs were achieved. Having already overcome the Chera, Rajaraja assumed the title "Mummudi Cholan".Through his son Rajendra Cholan. Chola also simultaneously directed his arms against Ceylon. Rajaraja moved the capital from Anuradhapura to Polonnaruwa. With Rajaraja, the Chola culture and Shiva religion permeated the whole of Ceylon (Sri Lanka).

Rajarajan having thus realized his cherished military glories, in or about 1003 AD has sheathed his sword, and turned his thoughts towards a life of peace. It was about this time, that the Chidambaram temple authorities bestowed on him the title of "Sri Rajarajan".

After Rajaraja secured a good supply of money he started construction on his Temple of Bragatheeswarar. The quarry that supplied the granite, one of the hardest stones in the world, was over 50 miles away from the temple site. Most of the Stones were moved over Boats but some much heavier ones like the Capstones which summit the top of the tower weight 40 ton's each, were moved with the combination of a Ramp and Elephants.

The main temple is entirely built of granite. More than 1,30,000 tons of granite is said to have been used to build it. The original Ramp's remains still exist today after over a 1000 years and its calculated to be at a Gentle 6-degree slope pointing towards the Temple Top and is situated 1 mile from the temple. After calculations, a Ramp with a 6 degree slope and 1 mile away would intersect the tower's top exactly 216ft in the air which is also the height of the temple tower known as Dakshin Meru or Southern Meru is topped by a dome structure which rests on a single 7.7 m square granite block weighing around 80 tons.

To Move the Stones from the Quarry to the Ramp and up on the Ramp, Elephants were used by using wooden Rollers beneath the Stones so they could be rolled into place much like how the Ancient Egyptians made the Pyramid. The entire rectangular complex measures approximately 140 x 75 meters and is surrounded by a wall with regular interior niches. Inside the compound are various secondary shrines and a monumental double gateway entrance. The building has a front entrance porch (mandapa) with 36 columns, and there are two additional entrances at the base of the tower on each side.

All three entrances are decorated with guardian figure sculptures, some double life-size, and are approached by a richly carved monumental flight of stairs. The hundreds of niches of the exterior are decorated with sculpture of divine figures (murti) – especially Shiva and Devi, lion heads (kirttimukha), and fan shapes.

You’d think Rajaraja was crazy going to so much trouble to make just a Temple, but Rajaraja was a very religious man and he was caught between a Rock and a hard place, on one hand, His Religion Forbade him to kill, and on the other hand to be a successful king he had to make war on his neighbors for his people's sake otherwise his kingdom would be weak and easily overrun and so he was responsible for the deaths of Hundred’s of Thousands of his enemy's.

He firmly believed as do all Hindus today in Rebirth & Reincarnation, that your actions in this life will determine your Lot in the next one, given the blood on Rajaraja's hand he might come back as a worm or something even worse. So he spent fabulous amounts of money on his temple's for example it is written in an inscription that it took 4000 cows, 7000 Goats, and 30 buffalos just to supply the butter required for the Lamps that were lit in the temple & temple grounds, all this to light just 1 temple and Rajaraja provided for 100's of temples that he created just to insure that he kept his karma in good standing because of the generosity he hoped that gods would overlook his transgressions and be persuaded to reincarnate him as something better than a worm.

Indian Religion during Rajaraja's time also spread across other lands, that’s why in the steaming jungles of Cambodia the Temples of Angkor wat don’t depict Cambodian Gods but the Gods of India. Not only did religion spread Art also spread when Europe was languishing in the Dark Age the Artist’s in the Chola Empire were making bronze statues like the famous Nataraja.

Shiva who appears as Nataraja the Lord of the dance simultaneously crushes the dwarf of ignorance under his foot, beating the drum of creation, unleashing the fires of destruction, and finally raising 1 hand in assurance telling us to fear not.

The temple was laid out on a precise plan of 16 x 16 squares, a design known as Padmagarbha mandala in the Dravida architecture of southern India. The interior contains the typical passageway for worshippers to perform circumambulation, in this case on two levels. There is a snapana platform, too, for the ritual bathing of the god located within a portico (ardhamandapa). Murals decorate the interior walls, and, once hidden by later Nayaka period paintings, these include fine images of Rajaraja I, his spiritual advisor or guru, and his three queens. Other subjects include a Nataraja (Shiva as Lord of the Dance) who was the clan deity of the Cholas (kuladevata).

When Rajaraja died in 1014 he left behind him a shining legacy that made him one of the greatest patrons of art and religion in India.

The Chola Dynasty ended with King Rajendra Chola III the last Chola King. The last recorded date of Rajendra III is 1279 A.D. There is no evidence that Rajendra was followed immediately by another Chola prince. The Chola empire was completely overshadowed by the Pandyan empire, though many small chieftains continued to claim the title "Chola" well into the fifteenth century C.E.

The temple has a portrait of Raja Raja Cholan paying obeisance to Lord Natarajar. This is undoubtedly, the first ever instance of a royal portrait.

Inscriptions in the temple point towards Kunjara Mallan Raja Raja Perunthachan as the chief architect of the temple. His successors survive to this day and practice the art of Vastu or Vastu Shastra.

Depictions of nartakis or dancers showing eighty-one of hundred and eight karanas (synchronized movements of hands and feet) in Bharata Natyam are carved here. These karanas are a part of karanas mentioned in the Natya Shastra of Bharata Muni or Sage Bharata. There is also evidence that the temple was a platform for talented dancers to showcase their talent. These depictions are first of their kind.

The inscriptions also mention the different kinds of jewels used in the period. Each of these jewels are mentioned in detail. A total of twenty-three different types of pearls, eleven varieties of diamonds and rubies are mentioned in these inscriptions.

What astounds historians is that there was not a single granite quarry in about 100 km radius of the temple. This means that transporting these stones would have been a herculean task. But Raja Raja Cholan insisted on the use of these stones. All of these features make this Chola temple of Tanjore, a magnum opus of the Chola reign.

Significance of Gujarati New Year

 

Significance of Gujarati New Year ::

The Gujarati New Year is celebrated the day after the festival of Diwali (which occurs in mid-fall – either October or November, depending on the Lunar calendar). The Gujarati New Year is synonymous with sud ekam i.e. first day of Shukla paksha of the Kartik month -, which is taken as the first day of the first month of Gujarati lunar calendar.

Bestu Varas is New Year in Gujarati and Varsha-pratipada or Padwa are other names of the same. According to the legends, Lord Krishna once performed Govardhan Pooja along with the people of Vraja for their protection from heavy rains. Since then, it became a tradition to worship Govardhan Parvat and celebrate this day as a New Year.

Bestu Varas Celebrations

Tradtional customs and rituals are performed to welcome the New Year and bid farewell to the by gone time. It's a day of blooming desires and zest. Bestu Varas is the time to reitre all the pains, sufferings and memories of past year.

New Year in Gujarat is the time to make merry. Since these celebrations are escalated at the time of Diwali, it marks a mirthful experience for all the gujjus. Almost all Gujarati houses are lighted colorfully and decorated with flowers. On this day, people dress up nicely and visit temples with flowers and mithai. Everyone wish each other New Year whilst offering prayers to God. Some temples in Gujarat also conduct a grand Govardhan Pooja.

A lavish meal at the end of the day credits the festival spirit. Most of the Gujaratis indulge in heavy eating this day. Thus, New Year in Gujarat reflects the true spirit of Indian tradition. The essence of Gujarati culture and religion can be felt in the New Year celebrations. Love, unity and togetherness are the intangible assets of these celebrations.

My Thoughts ...................... 58

 1) Why be in competition with anybody, accept yourself as you are, you are perfect, the masterpiece!!

2) Fame is foolish, it is pointless, meaningless. Even if the whole world knows you, how does it matter, when you don't know your real self!

3) What goes on within the mind comes invariably on the tongue. The tongue never slips – remember this always.

4) Do not make Death the source of fear, make Death the source of Life, and live life with love, care, and compassion for all!

5) Never allow anybody to interfere in your life & Don't interfere in anybody´s life

6) Victim-orientated people, quite often don’t like the truth very much..

7) Trust is personal, and Belief is social. That's the difference!

8) Don't fall in love, grow together in love, falling is easy, growing needs effort!

9) You feel sorrow as your mind is in captivity!

10) Nothing is good, nothing is bad, everything is your perception and need and aversion

My Thoughts ...................... 57

 1) Acceptance is bliss, wanting to change is a problem!

2) Major reason for health issues today is stress because love, sacrifice, and togetherness are missing from our life, we have become more self-centered!

3) Stop worrying about whether life exists after death. The real question is whether you are alive before death.

4) Remember, In love the other is important; in lust you are important

5) Love is the goal, life is the journey.

6) When you love a person, you love him in toto, he comes with a few defects too, do not try to change him, and regret losing the original one!

7) The desire to possess possesses you and you become a slave to the possessiveness!

8) Life is a celebration. Nature has given us flowers, plants, mountains, rivers, forests, food, etc., but we choose to be unhappy by becoming slaves to our wants and egos!

9) Love & compassion are enough to do good, you need the power to do something harmful!

10) Silence, when alone is easy, maintaining in chaos and provocation is bliss!