Terminology

 

ojas

ojas ओजस् [vaj] n. force, energy || lat. augustus. - The Substance That Maintains Life.
Ojas is the sara (essence) of dhatus ending with shukra dhatu (reproductive tissue).
It is also known as bala (strength). This strength provides stability and nourishment of the muscle tissue.
It is located in the hridaya (heart). Though it is located in the heart, it pervades all over the body and controls the working of the body.

Importance

By its loss, the autoimmune system becomes vulnerable to disease.

Types

Ojas has two types:

  • Par: It is located in Hridaya.
  • Apar: It is located all over the body.

Appearance (Swaroopa)

  • It is viscous (Unctuous and greasy).
  • Somatmaka (Preponderant in watery principle).
  • Clear (Transparent).
  • Slight reddish yellow in colour.

nadanta

nadānta नदान्त myth. cosmic dance of Siva-Nataraja, which is "stop the noise" of the universe in its final dissolution; represented in bronze idols in South India: Shiva holds in his upper right hand a drum [Damarin] symbolizing the primordial sound and in his hand top left a flame symbolizing the destruction of the world, his lower right hand is in abhaya mudra symbolizing the divine protection, his left hand below shows his left foot raised symbolizing the hope of liberation, the right foot resting on the epileptic dwarf Apasmarapurusa symbolizing ignorance, all surrounded by a halo of fire [prabhavali]. This dance is also called anandatandava. qui fait «cesser le bruit» de l'univers lors de sa dissolution finale; représentée dans des idoles de bronze dans l'Inde du Sud: Siva tient dans sa main droite supérieure un tambour [damarin] symbolisant le son primordial, dans sa main gauche supérieure une flamme symbolisant la destruction du monde, sa main droite inférieure est en abhaya mudra symbolisant la protection divine, sa main gauche inférieure montre son pied gauche levé symbolisant l'espoir de libération, le pied droit reposant sur le nain épileptique Apasmarapurusa symbolisant l'ignorance; le tout entouré d'un halo de feu [prabhavali]; cette danse est aussi appelée anandatandava.

tandava

tāndava ताण्डव (tāṇḍava). Myth. macabre dance of Siva-Bhairava in crematoria enclosures | myth. Cosmic Dance of Shiva-Nataraja. See also ananda, nadanta.

para

para पर pn. m. n. f. parā anterior in time, ancient | further in space | that which follows, that comes after | second, posterior, future; last, extreme, excessive | superior (to); main, supreme, powerful; absolute | final beatitude | other, far, different; opposed, strange, adverse, hostile, ennemy - n. stranger; ennemy | supreme Spirit, Absolute - n. the fursest point, the highest one; main occupation - n. particular measure of time | busy, delivered to, full of, consisting of, whose primary purpose is to | f. parā phil. [Bhartrhari] sound in the first stage of manifestation | name of a class of deities under the 9th manu. see also param.

brahmarandhra

brahmarandhra ब्रह्मरन्ध्र. N. suture or aperture in the crown of the head; 10th opening [रन्ध्र randhra] of the human body | phil. [vedānta] "opening of Brahmā", region of the brain located under the anterior fontanelle, seat of the Sirit [manas], of the perceptions [tanmātra], and of the subtil body of the soul [suksmasarira]; [yoga] location of sahasrāracakra.

sahaja

sahaja सहज. Adj. natural, original, inborn, hereditary, inniate. N. natural state or disposition; emancipation during life; brother of whole blood.

Note: sahajā सहजा born or produced together.

bindu

bindu बिन्दु var. particle, drop | point, mark, spot, a sign on the face, fly | math. zero or cypher | gram. sign of anusvāra | phil. symbol of the Absolute | coloured mark made on the forehead between the eyebrows.

 

trikona

trikona त्रिकोण [tri-koṇa] n. triangle; syn. tribhuja..
vahni trikona n. tantr. phil. triangle with the tip on top, symbolizing the male principle in a geometric diagram [yantra].
sakti trikona tantr. phil. n. triangle pointing down, symbolizing the female principle in a geometric diagram [yantra].

uma

umā उमा. Myth. Umā "Light", epith of Durgā-Parvāti, spouse of Shiva Maheshwara (Ziva).

bhairava

भैरव bhairava [see bhiru भीरु] adj. terrible, frightul, horrible, formidable - mythology, name of Bhairava "the creepy", epith. of Siva in his fierce form, his horse is a corpse [savarudha] or a dog, and he carries the humerus-head club [khatvanga खट्वाङ्ग] as a weapon | Tantric sect yogi worshiping Bhairava - n. horror, terror - f. bhairavi phil. [tantr.]. Female noun of Bhairavi "the Terrible", one of the 10 aspects [Mahavidya महाविद्या] of Sakti.

vikalpa

vikalpa विकल्प

samavesa

samavesa समावेश. Absorption into, penetration, co-existence

pazupati

pazupati पशुपति(Pashupati). Term meaning "lord of cattle/livestock". Name of Rudra-Shiva in the Atharvaveda (the Rigveda has the related pashupa "protector of cattle" as a name of Pushan). Lord Shiva is widely known as Pashupati in contemporary Hinduism. The name has also been interpreted as meaning as "lord of creatures" more generally, compare the biblical "good shepherd" metaphor of e.g. Psalm 23, "The Lord is my shepherd".

The name has also been applied to a figure, probably a god, depicted as sitting among animals, discovered in the context of the Indus Valley Civilization. This god has been suggested as an earlier form of Rudra. Parallels have also been drawn with the Celtic Cernunnos.

hamsa

Hamsa हांस. Adj. relating to a goose or swan. Mystical name of the letter h (m.). Swan (m.) Kind of mantra or mystical text).

rsi

Rsi ऋषि. (ṛṣi) The seven rsis, hymn or mnatra composed by a rsi. Inspired poet or sage.

darzana

darzana दर्शन (darshana or darsana) is one of the Hindu schools of philosophy.

The Sanskrit word is formed from the root "drs", which means "viewing" or "looking at". Its sense in the Hindu Vedas was just this, but came to include the viewing of a holy person, or image, as a religious act that brought special blessing. As the final, more philosophical part of the Vedas, the Upanishads, were written and contemplated, "darshana" went on to refer also to the different ways in which the Vedas could be viewed. These ways crystallised into the six "points of view", or six orthodox formulations of Hindu philosophy.

Each darshana was presented by one canonical author in the form of sutras (aphorisms) which became the obligatory point of reference for further commentary and development of the viewpoint. Western schools of philosophy are often seen in conflict with one another - for example, Platonists and Aristotelians, rationalists and empiricists, etc. - whereas the darshanas of Hinduism, despite often presenting contrasting articulations, are inspired by an at least implicit unity. They are presented indeed as points of view, different above all in perspective and not in ultimate content.