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IMPORTANCE OF SATYA NARAYAN KATHA AND ITS ORIGIN.

We all have heard and read the Satyanarayan katha. But none of us dont know the original stories that Shatanand or Sadhu or Kalavati must have heard. Also, as a habit we hear or read this katha

but dont know the proper way it should be conducted.

We find its mention in Skanda puraan(Reva khand) and Bhavishya Puraan(Pratisarg parva).
Both Bhagwatam and Gita call Bhagwan Narayan as Satv or Truth. So Satyanarayan denotes this name as the one which is Truth incarnate.

The story began in Naimisharanya when Vyasji asked Sutji about a way to eliminate all the sorrows and fulfill all the desires and about who is the devta who can grant these at the same time.

So Suutji first prayed to Bhagwan Satyanarayan who is no one else but Vishnu ji.

Then he remembered all his avatars.After that he narrated the story of Narad. Once while visiting Mrityulok, Naradji was pained to see the sufferings of People around. He was deeply moved by these sufferings and wanted to know the means by which we could rid ourselves from these.

So he went to Vishnu ji and after paying his respects stood in front of him. Naradji narrated the purpose of his visit.

So Bhagwan Vishnu said to him that in Satyug and Tretayug, Bhagwan eliminates sorrow in Vishnuswarup. In Dwapar he assumes different forms to help people.

॥ॐ॥
अस्य श्री गायत्री ध्यान श्लोक:
(gAyatri dhyAna shlOka)
• This shloka to meditate personified form of वेदमाता गायत्री was given by Bhagwaan Brahma to Sage yAgnavalkya (याज्ञवल्क्य).

• 14th shloka of गायत्री कवचम् which is taken from वशिष्ठ संहिता, goes as follows..

• मुक्ता-विद्रुम-हेम-नील धवलच्छायैर्मुखस्त्रीक्षणै:।
muktA vidruma hEma nIla dhavalachhAyaiH mukhaistrlkShaNaiH.

• युक्तामिन्दुकला-निबद्धमुकुटां तत्वार्थवर्णात्मिकाम्॥
yuktAmindukalA nibaddha makutAm tatvArtha varNAtmikam.

• गायत्रीं वरदाभयाङ्कुश कशां शुभ्रं कपालं गदाम्।
gAyatrIm vardAbhayANkusha kashAm shubhram kapAlam gadAm.

• शंखं चक्रमथारविन्दयुगलं हस्तैर्वहन्ती भजै॥
shankham chakramathArvinda yugalam hastairvahantIm bhajE.

This shloka describes the form of वेदमाता गायत्री.

• It says, "She has five faces which shine with the colours of a Pearl 'मुक्ता', Coral 'विद्रुम', Gold 'हेम्', Sapphire 'नील्', & a Diamond 'धवलम्'.

• These five faces are symbolic of the five primordial elements called पञ्चमहाभूत:' which makes up the entire existence.

• These are the elements of SPACE, FIRE, WIND, EARTH & WATER.

• All these five faces shine with three eyes 'त्रिक्षणै:'.

1. I was walking in the woods yesterday and I had an epiphany. It wasn’t one I wanted to have. I was thinking about today’s class, where we are reading Kimmerer’s ‘Gathering Moss’. I’ve taught Braiding Sweetgrass in multiple classes every year since 2016. It’s eminently teachable

2. Both books are beautifully written. Students uniformly enjoy them as assigned reading. They do a great job communicating to non-Indigenous folks the contours of basic Indigenous relationships to more-than-human beings. They’re wildly popular with white readers.

3. I’ve found Braiding Sweetgrass to be a great entry point for non-Indigenous folks to Indigenous scholarship. But this is where yesterday’s epiphany comes in. Neither Braiding Sweetgrass or Gathering Moss tends to the deep deep lineages of Indigenous scholarship in Canada or US

4. As the popularity of ‘Braiding Sweetgrass’ has soared, I’ve seen more and more white folks wax on about ‘braiding knowledge’. But they often don’t know any of the lineages of these concepts beyond what is presented in this one book. They confidently run with this.

5. Kimmerer does a commendable job of weaving in her own experiences, her family stories+nods to some very important knowledge keepers who deserve to be celebrated for their work. But Braiding Sweetgrass does not tend to the citational politics Sara Ahmed & others teach us about

Surkanda devi mandir is a famous shrine of Hindus located near Kaddukhal distt of Uttarakhand, 11 Km from the town of Dhanaulti and 35 Km from Mussoorie.
The Temple is one of the 51 Shakti Peethas spread all over Indian Subcontinent and is dedicated to Goddess Surkanda.

Nestled on a Hill at an Altitude of 2700 m approx, the place offers a splendid view of the snow capped mountains, the picturesque scenic beauty that offers an experience of the lifetime.
The Temple build in the traditional Garhwal style exuberates the Architectural splendour.

The origins of the Surkanda Mata Mandir is attributed to Goddess Sati, consort of Bhagwan Shiv who in a rage immolated herself in her arrogant Father Daksha's Yajna Kund bcoz he didn't invite Bhagwan Shiv in the Yajna.

Devastated by the death of Sati Shiva wandered all over the cosmos performing Tandava-The Dance of Cosmic Destruction.Fearing the total annihilation of cosmos, Gods requested Bhagwan Vishnu to pacify Shiva.Bhagwan Vishnu then used his discuss to destroy the burning corps of Sati.

The pieces of Sati Mata's body then got scattered all over the region which were later established as Shakti Peethas by Bhagwan Shiva himself.Its believed that the head of Sati fell here and it was called Sirkhanda Mata Temple before, but with passage of time it became Surkanda.