Tithi in Panchang – Hindu Calendar on Tuesday, October 27 2026 – It is Krishna Paksha Pratipada tithi or the first day during the waning or dark phase of moon in Hindu calendar and Panchang in most regions. It is Krishna Paksha Pratipada tithi or the first day during the waning or dark phase of moon till 8 :27 AM on October 27. Then onward it is Krishna Paksha Dwitiya tithi or the second day during the waning or dark phase of moon till 6 :35 AM on October 28. (Time applicable in all north, south and eastern parts of India. All time based on India Standard Time.)  Good – Auspicious time on October 27, 2026 as per Hindu Calendar – There is no good and auspicious time on the entire day.  Nakshatra  – Bharani nakshatra till 6:18 PM on October 27. Then onward it is Krittika or Karthigai or Karthika nakshatra till 5:01 PM on October 28. (Time applicable in north, south and eastern parts of India).  In western parts of India (Maharashtra, Gujarat, Goa, north Kar...

The Children of Misfortune: Symbolism of Alakshmi's Son and Daughter in Hindu Iconography In Hindu tradition, Alakshmi is the elder, inauspicious counterpart of Devi Lakshmi, the goddess of wealth and prosperity. Where Lakshmi is shringara, grace, and abundance, Alakshmi is daridra, discord, and decay. She is widely identified with the Vedic goddess Nirrti, whose very name signifies dissolution and departure from order. The Rig Veda repeatedly petitions the forces of the cosmos to keep her at bay, closing several verses of Mandala Ten with the refrain "let Nirrti depart to distant places" (Rig Veda 10.59). This recurring plea shows that even in the earliest Vedic imagination, misfortune was not denied existence but was respectfully asked to withdraw, an acknowledgement that negativity is real yet must not be allowed to dominate human life. The Divine Family in Sculpture Later Shilpa Shastra and Agama texts, among them the Purva Karana, extend this figure into a small ...

Bhima and Rostam: Strength, Duty and Dharma in Two Epic Traditions - A Comparison Every great epic has one hero who is known for his physical power. In the Mahabharata, this warrior is Bhima, the second of the Pandava brothers. In the Persian epic Shahnameh, this warrior is Rostam. Both are remembered for their great strength, their courage in battle, and their loyalty to their own people. Comparing them helps us to understand how different cultures look at the ideal of a strong and dutiful hero. It is important to note that Bhima is not a story character only. For Hindus, the Mahabharata is Itihasa, meaning "thus it happened", and Bhima is a real person of that history. Who is Bhima? Bhima is the son of Kunti and Vayu Deva, the wind deity. He was born with extraordinary strength, and from childhood he defeated his Kaurava cousins in games and wrestling. He is known for his big appetite, his loud nature and his honesty. Bhima killed many rakshasas, including Hidimba, Baka...

Iconography of Nirrti: Sculptural Forms, Symbolism and Vahana Traditions - The Fierce Guardian of the South-West and Monarch of Demons In the Hindu system of directional guardianship, the universe is protected not by one power alone but by eight Dikpalakas, each presiding over a cardinal or intercardinal point. Nirrti is assigned the south-western quarter, a direction traditionally associated with instability, decay and the dissolution of order. As the guardian of this quarter, Nirrti is not worshipped as a benevolent protector in the ordinary sense, but is propitiated as a formidable power who must be honoured so that the forces of chaos he embodies remain contained rather than unleashed. He is titled raksasesvara, the sovereign of the raksasas, placing him at the head of the demonic hierarchy in the cosmic order maintained by the Dikpalakas. The Kalika Purana Description The Kalika Purana presents Nirrti in a two-armed form. His complexion is described as dark, his body immen...

Understanding Vaishvanaraman: The Cosmic Divine Self in Hindu Scripture Vaishvanaraman is a profound technical term employed in the Chandogya Upanishad (5.18.1) to designate Ishvara or the Supreme Divine as the Self of all existence. This concept represents one of the most significant expressions of Vedantic philosophy, revealing the cosmic nature of the Divine that pervades and sustains all creation. The term combines "Vaishvanara" (universal or belonging to all people) with "Atman" (Self), thus indicating the Universal Self that transcends individual limitations while remaining intimately connected with every being. Scriptural Foundation The Chandogya Upanishad presents a remarkable meditation on Vaishvanaraman in its fifth chapter. The scripture states: "He who meditates on Vaishvanara Atman as measured by the span, eats food in all worlds, in all beings, in all selves" (Chandogya Upanishad 5.18.1). This passage establishes the cosmic dimensions of t...

Seated Upon the Waters: The Iconography and Philosophy of Varuni Devi Varuni Devi's presence in Hindu tradition is closely tied to the account of Samudra Manthan, the churning of the cosmic ocean by the Devas and Asuras. She is commonly described as the daughter of Varuna, the god of water, and his consort Jyeshtha, emerging during the churning along with the nectar of immortality and other divine treasures, and choosing companionship with either the Devas or the Asuras depending on the telling. Other traditional sources describe her differently: the Mahabharata refers to Varuni, also known as Gauri, as one of Varuna's queens, alongside Vriddhi and Jeshta. This variation itself reflects a broader pattern in Hindu sacred literature, where a single devi is honoured through multiple, sometimes overlapping, identities depending on the school of thought, the region, and the ritual context in which she is invoked. Because Varuna presides over the cosmic waters, order, and the unsee...

The Curse of Rishi Katyayan Story: The Divine Justice that Foretold Mahishasur’s End According to the Kalika Puran , Mahishasur, the fierce demon born of Rambha and a she-buffalo, possessed immense strength and magical powers. Proud and arrogant, he sought to disturb the penance of sages and devotees engaged in austerities. Among those he wronged was Rodrashava , a devoted disciple of the great Rishi Katyayan . Disguising himself as a woman, Mahishasur approached Rodrashava’s hermitage and distracted him from his deep meditation. When Rishi Katyayan learned of this deceit, his wrath knew no bounds. He cursed Mahishasur, declaring: “As you have taken the form of a woman to disturb one devoted to divine tapasya, you shall meet your end at the hands of a woman.” Thus, the curse became a divine decree—an inevitable destiny awaiting the demon. The Fulfillment of the Curse Time passed, and Mahishasur grew even more powerful. Empowered by boons from Lord Brahma, he conquered the three...

Samba, the Son of Krishna: Why a Good Upbringing Does Not Always Make a Good Child Many people believe that if the parents are good and religious, the children will also become good automatically. Hindu scriptures do not say this. The story of Samba, the son of Bhagavan Krishna and Jambavati, shows us that every soul has its own karma and its own journey. Parents can give love, values and protection, but the child must walk the path by himself. Birth of Samba Samba was born to Krishna and Jambavati by the blessings of Mahadev Shiva. Krishna did tapasya to get this son. Because the child was a boon from Sambashiva, Krishna gave him the name Samba. So the birth was very auspicious, and everyone expected a great future for the boy. The Problem Begins Even from the young age, Samba became a headache for Krishna. He looked very much like his father. Because of this, he started to misuse his appearance. He dressed like Krishna and went to meet the 16,000 women whom Krishna had rescue...

Kati Hasta: The Language of Repose in Hindu Sculpture - Kati Avalambita Hasta: Poise, Power and Stillness in Divine Form In the vast vocabulary of Hindu sculptural art, every gesture of the hand carries meaning far beyond decoration. Among these gestures, kati hasta, also called kati avalambita hasta, stands out as one of the most quietly powerful. The term comes from kati, meaning waist or hip, and avalambita, meaning resting or hanging upon. Together they describe a hand placed gently at the hip, an image so simple that it is easy to overlook, yet so deliberate that it defines the entire emotional register of a standing figure. The Posture and Its Execution In classical iconometric treatises followed by sculptors and craftsmen, the standing image, particularly in tribhanga or samabhanga postures, was never composed arbitrarily. The kati hasta typically employs the left hand, bent at the elbow, coming to rest on or just above the hip. The fingers are neither clenched nor stiff...

Puranas as Living Parables: How Ancient Stories Encode the Mahavakyas To a casual reader, the Puranas can appear as a colourful gallery of celestial beings, cosmic wars, serpents with a thousand hoods, and gods who cross unimaginable spans of time. It is tempting to treat them the way one treats a modern comic universe – entertaining, fantastic, and disconnected from serious philosophy. This is a narrow and mistaken reading. The Puranas are not fantasy; they are a teaching method. Sanatana Dharma has always held that the highest truth is too subtle to be grasped directly by an ordinary mind, so the Rishis wrapped that truth in narrative, symbol, and imagery that the heart could hold even when the intellect could not. The Foundation: The Mahavakyas and Om The entire edifice of Vedic knowledge rests on a handful of the Mahavakyas, the "Great Sayings" of the Upanishads: Tat Tvam Asi – "That Thou Art" (Chandogya Upanishad 6.8.7) Aham Brahmasmi – ...