Tithi in Panchang – Hindu Calendar on Wednesday, November 4 2026 – It is Krishna Paksha Dashami tithi or the tenth day during the waning or dark phase of moon in Hindu calendar and Panchang in most regions. It is Krishna Paksha Dashami tithi or the tenth day during the waning or dark phase of moon till 1 :18 PM on November 4. Then onward it is Krishna Paksha Ekadashi tithi or the eleventh day during the waning or dark phase of moon till 11 :58 AM on November 5. (Time applicable in all north, south and eastern parts of India. All time based on India Standard Time.)  Good – Auspicious time on November 4, 2026 as per Hindu Calendar – There is no good and auspicious time on the entire day.  Nakshatra  – Magha or Makam nakshatra till 6:40 AM on November 4. Then onward it is Purva Phalguni or Pooram nakshatra till 5:55 AM on November 5. (Time applicable in north, south and eastern parts of India).  In western parts of India (Maharashtra, Gujarat, Goa, north Kar...

Rasa-mukha: The Merciful Countenance of the Twelve-Armed Nitya Goddess - Panchamukhi Nitya: A Study in Srividya Iconography Within the vast body of Devi worship in Hinduism, the concept of the Nitya Devis holds a special place. These are the eternal, ever-present forms of the Mother-goddess, Bhavani, each linked to a tithi, one of the fifteen phases of the waxing and waning moon. Together they embody the belief that time itself, measured through the lunar cycle, is a manifestation of the Divine Feminine. Among these tithi-nitya forms, one goddess is described with five heads and twelve arms, her face radiating rasa-mukha, a countenance steeped in compassion. This form, recorded in the Sritattvanidhi, a nineteenth century compendium of iconography compiled under the patronage of the Mysore royal house, offers a rich subject for understanding how Hindu sculptural tradition encodes philosophy into physical form. Two Forms of the Same Goddess Worshipped within the Srividya tradition, t...

Ulupi and Hidimbi: Two Women Who Loved Pandava Warriors In the Mahabharata, many women play an important role in the life of the Pandavas, but two of them are very special because they did not belong to the human world. Ulupi and Hidimbi both came from different communities, and both formed a relationship with a Pandava warrior. Hidimbi, a Rakshasi, fell in love with Bhima, married him, and became the mother of Ghatotkacha. Ulupi, a Naga princess, married Arjuna and became the mother of Iravan. Like Ulupi, Hidimbi belongs to a supernatural community and forms a relationship with a human warrior. When we study these two women together, we can understand many things about dharma, acceptance and the true meaning of relationship in Hindu teachings. Who Was Hidimbi? Hidimbi was the sister of the Rakshasa Hidimba, who lived in the forest. When the Pandavas and Kunti came to that forest after escaping from the house of lac at Varanavata, Hidimba sent his sister to bring them so that he could ...

 Bhujangam: Understanding the Divine Meaning of the Sacred Serpent in Hinduism The Sanskrit word Bhujangam refers to a serpent or snake and carries profound spiritual symbolism in Hinduism. While an ordinary serpent may inspire fear, the Bhujangam associated with the Divine represents wisdom, protection, cosmic energy, self-control and the eternal cycle of creation. Hindu scriptures repeatedly present the serpent not as a symbol of evil, but as a sacred being that serves and glorifies the Divine. The presence of Bhujangam alongside Bhagavan Vishnu and Shiva reveals that even powerful natural forces become peaceful and auspicious when they are in harmony with Dharma. The serpent also symbolizes alertness, transformation and hidden spiritual potential. Since a snake sheds its skin, it represents renewal, spiritual growth and the ability to leave behind ignorance in pursuit of higher knowledge. Bhujangam in the Worship of Bhagavan Vishnu One of the most well-known forms of Bhag...

Two Lakshmi Pujas are observed within a fortnight in Bengal — Kojagari and Dipanwita: one on the Ashwin full moon, the other on the Kartik new moon. Both take place at night. Outside the month of Kartik, Lakshmi Puja is not performed on any new moon in Bengal. There are several legends associated with Dipanwita Lakshmi Puja on Diwali night. One such story says — Once, by a king’s decree, the entire kingdom was kept in darkness on Kartik Amavasya. Riding her owl, Goddess Lakshmi went on her nightly round and found the world shrouded in darkness. Only in a small hut deep within the forest did she see a faint glimmer of light. She descended there and found a sorrowful princess lighting a lamp and weeping in poverty. Pleased with her devotion, Lakshmi blessed her, and her miseries vanished. Thus arose the tradition of worshipping Lakshmi on the night of Dipanwita Amavasya. Another legend tells that once a dispute arose between Vishnu and Lakshmi over the importance of wealth. Unable ...

Vageshwari: The Iconographic Form and Symbolism of the Goddess of Speech Among the many forms of the Divine Feminine venerated within Hindu tradition, Vageshvari holds a distinct and lesser known place. Her name itself, derived from "Vak" meaning speech and "Ishwari" meaning mistress or ruler, identifies her as the presiding Devi of speech, sound, and articulate expression. Unlike widely worshipped forms such as Saraswati or Lalita, Vageshwari does not appear frequently in the standard iconographic manuals, yet her form is preserved through scattered references in tantric and agamic scriptures, and through her association with the Srividya tradition, a stream of Shakta worship centered on the Devi as the source of creation, knowledge, and cosmic sound. The Iconographic Form Vageeswari is depicted seated in Lalitasana, a relaxed royal posture where one leg is folded upon the seat and the other rests downward, conveying both approachability and sovereign grace. Sh...

Understanding Rasa: The Experience of Emotion in Art The reader of a poem or the spectator of a drama should have the basic receptivity to attune himself  to the level of the poet so that it results in the ‘experience’ of rasa realization (experience of the sentiment). He is known as sahridaya, the connoisseur, whose heart can be at par with the imaginative mind of the poet or dramatist. The question now arises as to what is the locus of the rasa. Is it the character in a drama, like Rama or Dushyanta, or is it the actor on the stage who successfully portrays these sentiments or it is the spectator or the reader? Further, what is this process of rasanispattih (the manifestation of rasa)? There are primarily four theories on this topic and the first one is the Utpattivada of Bhatta Lollata. Utpattivada or Upacayavada is the theory of the production of rasa propounded by Bhatta Lollata, who is believed to have commented upon Natyashastra. Lollata explains that there is a relationsh...

A Man Who Knows the Price of Everything but the Value of Nothing Nowadays people know the price of everything and the value of nothing. Even small children can tell you the price of the latest phone, the new shoes and the costly toy. Ask the same child the value of a tree, a river or a grandmother’s blessing, and you get a blank face. Everything has a sale, a discount, a coupon or a bargain. We bargain with the vegetable seller for two rupees, but we never bargain with the air we breathe. Nobody has given us “buy one sunrise, get one free” offer yet, but give them time. The sad part is that most of the things we price so carefully have no real value in life. And the things with real value, like nature, water, clean food, relationships and the oneness of this whole universe, have no price tag at all. They are not cheap. They are priceless. What the Scriptures Say Hindu scriptures knew about this problem thousands of years ago. In the Katha Upanishad (Chapter 1, Verse 27), young Nachiket...

Tomara: The Spear of Vigilance in Hindu Sculptural Tradition Among the vast array of ayudhas, or sacred weapons, depicted in Hindu iconography, the tomara occupies a distinct place within the piercing and projectile class of arms. Classified as a primary ayudha in the shilpa shastras and agama texts that govern temple sculpture and bronze casting, the tomara represents both a martial implement and a profound symbol woven into the visual language of devotion. Form and Iconographic Description The tomara is rendered as a short to medium shaft culminating in a heavy, triangular or wedge shaped head. This distinguishes it from the shakti, whose blade is slender and leaf shaped, built for a different rhythm of movement and symbolism. The tomara's broader, more compact head conveys weight, force and concentrated impact rather than the fluid, cutting grace associated with other bladed ayudhas. Sculptors typically depict the tomara held firmly at mid shaft or near its base, positione...

You Alone Are Responsible: The Self-Reliance Wisdom of Sanatana Dharma Society, for all it has given humanity, has also planted a quiet but crippling idea in the human mind: that someone else, somewhere, is responsible for fixing our pain. A god will save us. A leader will change our circumstances. A parent, a partner, a system will finally make things right. This belief feels comforting, but it is also a trap. It teaches us to wait instead of act, to blame instead of build. What Crude Nature Teaches Strip away society for a moment and place yourself in raw nature, the way our great great ancestors once lived. There is no crowd to blame, no authority to petition, no one to wait on. You are born alone, you eat alone, and you will die alone. In that state, there is no leisure to search for a savior. Every moment demands alertness, toward food, toward danger, toward survival. The animal in the forest does not sit and wonder who wronged it. It simply responds. This is not cruelty, it i...