Tithi in Panchang – Hindu Calendar on Friday, September 11 2026 – It is Amavasya tithi or the no moon day in Hindu calendar and Panchang in most regions. It is Amavasya tithi or the no moon day till 8 :38 AM on September 11. Then onward it is Shukla Paksha Pratipada tithi or the first day during the waxing or light phase of moon till 7 :41 AM on September 12. (Time applicable in all north, south and eastern parts of India. All time based on India Standard Time.)  Good – Auspicious time on September 11, 2026 as per Hindu Calendar – There is no good and auspicious time on the entire day.  Nakshatra  – Purva Phalguni or Pooram nakshatra till 2:10 PM on September 11. Then onward it is Uttaraphalguni or Uthram nakshatra till 2:01 PM on September 12. (Time applicable in north, south and eastern parts of India).  In western parts of India (Maharashtra, Gujarat, Goa, north Karnataka and south Rajasthan), Purvaphalguni or Pooram nakshatra till 1:16 PM on September...

Kites of Devotion: The Spiritual and Cultural Essence of Kite Flying On Biswakarma Puja in Bengal Biswakarma Puja, celebrated with great fervor across Bengal and parts of eastern India, honors Lord Vishwakarma — the celestial architect and divine craftsman of the universe. Revered as the creator of the gods’ weapons, palaces, and aerial chariots, Bhagavan Vishwakarma symbolizes skill, innovation, and divine creation. On this sacred day, the skies come alive with colorful kites, a sight that carries deep spiritual, cultural, and symbolic meaning. The Divine Craftsman and His Creations According to the Rig Veda (10.82.2), Vishwakarma is described as the “all-seeing divine carpenter, the one who has fashioned heaven and earth.” He represents the cosmic creative force that builds and sustains the material world. In Hindu scriptures, he is credited with designing the celestial chariots of the gods, including the Pushpaka Vimana of Lord Kubera, later used by Lord Rama. The tradition of ...

The Debt of the Disciple: Utanka's Guru Dakshina in the Mahabharata The Poushya Parva, part of the Adi Parva of the Mahabharata, opens with a story that sets the tone for the entire epic's treatment of duty, debt and relationship. It is the story of Utanka, a disciple of Rishi Veda (Ayoda Dhaumya), and his insistence on offering guru dakshina even when his teacher wanted nothing in return. The episode is brief, but it carries within it the entire philosophy of the guru-shishya parampara, the teacher-student tradition that runs through Hindu thought. The Story of Utanka Utanka lived for many years in his guru's household, serving him, tending to the ashram and looking after the needs of the family, as was expected of a brahmachari in the gurukula system. Pleased with his conduct and his growth, Rishi Veda gave him permission to leave and enter the next stage of life, blessing him with peace, prosperity and the fulfillment of his wishes. Utanka did not leave immediately...

Ketu and the Restless Mind: The Serpent's Tail and the Soul's Unending Search In the sacred cosmological framework of Hinduism, the universe is governed not merely by physical forces but by subtle cosmic intelligences known as the Navagraha — the nine planetary deities who shape human destiny, temperament, and spiritual evolution. Among these nine, Ketu occupies perhaps the most enigmatic position. Represented as the tail of a severed celestial serpent, Ketu has no head, no eyes, and no mouth. He cannot see, he cannot speak, and he cannot consume. He simply moves — restlessly, ceaselessly, driven by force without direction. This imagery is not accidental. It is a profound symbolic teaching embedded in ancient Hindu thought. The Story Behind the Serpent's Tail The origin of Ketu is rooted in the cosmic event of Samudra Manthan — the churning of the primordial ocean by the Devas and Asuras to obtain Amrita, the nectar of immortality. When Amrita finally emerged, an Asur...

Maa Kushmanda Devi Temple: Sacred Sanctuary of Divine Protection in Varanasi  The city of Varanasi, known as Kashi or the City of Light, has been the spiritual heart of Hindu civilization for thousands of years. Within this sacred geography stands the Maa Kushmanda Devi Temple, an eighteenth century sanctuary that represents not merely a structure of brick and stone, but a living connection between the cosmic divine feminine and devotees who seek her blessings. Built in the Nagara architectural style by Rani Bhabani of Natore district in West Bengal, this temple stands as a testament to the enduring faith in the protective power of the Divine Mother in her Kushmanda form. The temple's striking red color, visible from a distance, serves as a beacon of spiritual energy, while the sacred kund beside it, once connected to the mighty Ganges River, reminds devotees of the inseparable bond between the goddess and the holy waters of Kashi. The Origin: Divine Will and Royal Devotion The ...

Rohini and Chandra: Sacred Union in Stone — Sculptural and Scriptural Dimensions of the Moon God and His Beloved Consort Among the many celestial deities enshrined on the outer walls of Hindu temples, Chandra — the Moon God — occupies a position of luminous importance. While images of Chandra alone are relatively well-known across the sculptural traditions of India, representations of Chandra seated in intimate divine union with his beloved consort Rohini are rare and deeply treasured. These paired sculptures, carved with extraordinary refinement on temple facades, are not mere decorative compositions. They are visual theological statements, encoding layers of cosmological, philosophical, and devotional meaning into every gesture, ornament, and posture. Chandra: The Deity of the Moon in Hindu Tradition Chandra, also known as Soma, is one of the Navagrahas — the nine celestial bodies that govern time, fate, and the rhythms of human life. He is the presiding deity of the mind, moistu...

The Sacred Art of Navavarana Puja: Understanding Parashurama Kalpasutra's Fifth Chapter The Parashurama Kalpasutra stands as one of the most comprehensive treatises on Srividya, the profound system of Divine Mother worship that has guided spiritual seekers for millennia. Among its ten chapters, the fifth chapter, known as Lalitanavavarabapuja, holds particular significance as it unveils the sacred methodology of worshiping the nine avaranas or protective enclosures of the Sri Chakra. This chapter, containing 23 carefully crafted sutras, serves as a bridge between theoretical understanding and practical devotion. The Divine Architecture of Sri Chakra The Sri Chakra, also known as Sri Yantra, represents the cosmic blueprint of creation and the dwelling place of Lalita Tripurasundari, the Supreme Divine Mother. The nine avaranas mentioned in this chapter are not merely geometric patterns but represent different levels of consciousness and spiritual attainment. Each avarana contains...

When Bhakti Seeks Power and When Bhakti Seeks Bhagavan - Bhakti of Ravana and Prahlada: Devotion, Desire and Surrender  Hindu scriptures present many different expressions of bhakti, tapas and spiritual striving. The lives of Ravana and Prahlada offer a profound philosophical contrast between two kinds of spiritual orientation. Both possessed extraordinary faith and determination, yet the inner purpose of their devotion was very different. Ravana was an exceptional devotee of Shiva. His tapas was intense and extraordinary, demonstrating tremendous willpower, discipline and single-mindedness. Through severe penance, he sought powerful boons and extraordinary capabilities. His devotion was not without spiritual merit; his tapas produced results. Yet his bhakti remained intertwined with ambition, desire and, ultimately, ahankara, or ego. Prahlada represents almost the opposite movement. His devotion to Bhagavan Vishnu was spontaneous, unwavering and free from personal demands. He ...

The Sixteenth Radiance: Lalita Tripurasundari as Shodashi, the Fullness Beyond Time In the Srividya tradition, time itself is understood as a living, divine reality. The lunar cycle is not merely an astronomical phenomenon but a rhythmic breathing of the cosmic feminine. The fifteen tithis, from the first day of the lunar fortnight to the fifteenth, are presided over by fifteen Nitya Devis — eternal, self-luminous goddesses who are understood as partial expressions or rays of the Supreme Shakti. Each Nitya embodies a specific phase of the moon, a frequency of consciousness, and a modality of divine energy. Together they form a garland of sacred time. Yet the cycle, for all its grandeur, remains a cycle — bound, sequential, turning upon itself. It is here that Lalita Tripura Sundari, as Shodashi, the Sixteenth, assumes her singular and supreme position. Shodashi: The One Who Stands Beyond the Fifteen The word Shodashi means simply the sixteenth. But in the Srividya framework, this...

The Eternal Balance: Kubera and Yama as Guardians of Life's Great Cycle - Between Abundance and Endings - The Sacred Wisdom of the Dikpalas Long before temples rose and cities were planned, the Vedic people carried within them a profound understanding of space, direction, and cosmic order. As they transitioned from nomadic life to settled communities, they began to recognize that the land they inhabited was not neutral — it was alive with forces, energies, and divine presences. This understanding crystallized into the science of Vastu Shastra, one of the most ancient architectural and spatial treatises known to human civilization. Central to Vastu Shastra is the concept of the Dikpalas — the guardians of the eight directions. "Dik" means direction and "pala" means protector. Eight divine beings were assigned to govern the four cardinal and four ordinal directions: Indra in the East, Agni in the Southeast, Yama in the South, Nirrti in the Southwest, Varuna in t...