Tithi in Panchang – Hindu Calendar on Monday, November 23 2026 – It is Shukla Paksha Chaturdashi tithi or the fourteenth day during the waxing or light phase of moon in Hindu calendar and Panchang in most regions. It is Shukla Paksha Trayodashi tithi or the thirteenth day during the waxing or light phase of moon till 12 :29 AM on November 23. Then onward it is Shukla Paksha Chaturdashi tithi or the fourteenth day during the waxing or light phase of moon till 10 :59 PM on November 23.  Then onward it is Purnima tithi or the full moon day till 9:08 PM on November 24.  (Time applicable in all north, south and eastern parts of India. All time based on India Standard Time.)  Good – Auspicious time on November 23, 2026 as per Hindu Calendar – There is no good and auspicious time on the entire day.  Nakshatra  – Ashwini or Aswathy nakshatra till 3:09 AM on November 23. Then onward it is Bharani nakshatra till 2:16 AM on November 24. (Time applicable in north, ...

From Nurturing Mother to Fierce Shakti: When Natural Order Is Violated In Hindu thought, the Divine Mother is not merely a symbol of destruction. She is the very power through which life exists, grows, nourishes and transforms. As Shakti, she is the dynamic energy of existence itself. She is associated with food, knowledge, prosperity, fertility, protection, peace, compassion and hope. She can be experienced through different forms: Saraswati as knowledge, Lakshmi as prosperity and abundance, Parvati as nurturing strength, Durga as protection and Kali as the fierce power that destroys what has become destructive. This raises an important question: Why does the gentle, nurturing Mother sometimes appear dark, terrifying, naked, armed and covered in blood? The answer lies in the nature of Shakti. The Mother does not become violent because she desires violence. She becomes fierce when violence, greed, domination and disorder have already entered the world. Her frightening form repr...

Kashyapa and Astika: Two Brahmins, Two Choices About Wealth in Mahabharata The Mahabharata tells us about King Parikshit, the son of Abhimanyu and grandson of Arjuna. He was cursed to die by the bite of the serpent Takshaka on the seventh day. The king stayed in a protected palace, but Takshaka reached him in disguise and the king died. Later, his son Janamejaya started a great Sarpa Satra, a snake sacrifice, to destroy all serpents in revenge for his father’s death. Many snakes fell into the fire. Takshaka was also in danger, and the whole serpent race was suffering. In these two stories, two Brahmins meet two kings, and both are offered wealth. But the way they respond is very different. Sage Kashyapa Takes the Wealth On the way to the palace of Parikshit, Takshaka met Sage Kashyapa. Kashyapa was famous for his knowledge of antidotes and healing mantras. He was going to the king because he wanted to cure the king and also hoped to get a good reward from him. Takshaka asked ...

Strings and Shadows: Kathputli and Tholpavakoothu, Two Living Threads of Hindu Storytelling - A Comparative Study India's puppetry traditions are not mere entertainment. They are vessels through which the Ramayana, the Mahabharata, and the deeds of rishis, kings, and devas have travelled from one generation to the next. Among the most striking of these living arts are Kathputli, the string marionette tradition of Rajasthan, and Tholpavakoothu, the leather shadow puppetry of Kerala. Though separated by geography, language, and technique, both arise from the same impulse in Hindu culture: to make the sacred visible, and to teach dharma through story. Kathputli: The Wooden Storytellers of Rajasthan Kathputli takes its name from the words kath, meaning wood, and putli, meaning doll. Traditionally practised by the nomadic Bhat community, believed to have carried this art for over a thousand years, Kathputli puppets are carved from mango wood, dressed in miniature Rajasthani costume,...

Ghoshark Tirth: The Old Pilgrimage Site of Bhagavan Surya in Ayodhya - Surya Kund, Ayodhya: Faith, History and the Teaching of Light Surya Kund and the Surya Temple are in Darshan Nagar, about four kilometres from Ayodhya, on the 14-Kosi Parikrama Marg. Millions of devotees consider this place very important. The kund (sacred pond) is believed to be built first by the Suryavanshi rulers of Ayodhya, and the temple beside it is dedicated to Bhagavan Surya. Bhagavan Rama was born in the Suryavansh, the dynasty of the Sun, so the connection of Ayodhya with Surya worship is very natural and very old. The Story of King Ghosh and Ghoshark Tirth Before the renovation, this place was known as Ghoshark Tirth. The name is found in historical accounts and also in the Skanda Purana, which says that a holy bath here and the rituals done with faith remove the sins of a devotee. According to belief, King Ghosh, a ruler of the Suryavanshi dynasty, was suffering from leprosy. One day he passed thr...

 Murugan Vel: Sacred Weapon, Divine Wisdom and the Language of Hindu Sculpture The Vel, known in Tamil as vel, is the sacred spear most closely associated with Murugan. In Hindu sculptural tradition, it is classified as a primary ayudha, or divine weapon, belonging to the shakti class, particularly the piercing type. More than a martial implement, the Vel is a profound religious symbol representing divine knowledge, spiritual power, protection and the destruction of forces that obstruct dharma. In traditional sculpture, the Vel has a distinctive and disciplined form. It consists of a long, slender shaft terminating in a sharply tapering, leaf-shaped blade. The blade often has a pronounced central ridge, giving it both visual strength and a sense of axial balance. Its profile is generally clean, refined and symmetrical. These characteristics are not merely artistic preferences. Hindu image-making places great importance on proportion, clarity, balance and the ability of a form t...

The First Appearance of Ravana in the Valmiki Ramayana Ravana is the most famous rakshasa in the Ramayana. Many people know him as the king of Lanka who took away Sita. But very few people know where his name first comes in the Valmiki Ramayana. It is in chapter 19 of the Bala Kanda. At that time, the story has not yet reached the forest or Lanka. Only Vishwamitra speaks his name, and he speaks it to King Dasharatha. The Context of the First Mention Sage Vishwamitra came to the court of Dasharatha in Ayodhya. He asked the king to send Rama with him. The sage was performing a sacrifice (yajna), and the rakshasas were disturbing it again and again. Dasharatha was worried because Rama was very young. The king did not want to send his dear son to fight powerful rakshasas. To make the king understand the seriousness of the matter, Vishwamitra explained who was behind the trouble. He said there is a rakshasa named Ravana, born in the lineage of Poulastya. Because of a boon received fro...

Bagalamukhi Iconography: Symbolism, Sculpture and the Power of Stambhana Bagalamukhi, one of the ten Mahavidyas, is traditionally visualized as a powerful two-armed Devi dressed predominantly in yellow. Her form is striking, purposeful, and highly symbolic. In Hindu sacred art, her image is not merely a representation of a divine personality; every gesture, ornament, color, object, and posture conveys a spiritual teaching. She is also known as Pitambara Devi or Pitambari, names associated with her yellow garments. Yellow is central to her visual identity and is traditionally connected with auspiciousness, radiance, spiritual energy, knowledge, and the power to bring activity under control. The defining feature of her iconography is the act of stambhana, meaning the power to arrest, restrain, or bring movement to a halt. Bagalamukhi is commonly depicted grasping the tongue of an opposing figure with one hand while raising a club in the other. This dramatic image should not be unders...

Pallava Hasta in Hindu Sculpture: Symbolism, Beauty and Spiritual Meaning The term Pallava literally refers to a tender leaf, fresh shoot, or newly emerging growth. In Hindu artistic traditions, the idea of Pallava is associated with freshness, delicacy, beauty, youthfulness, and the gentle unfolding of life. Pallava Hasta, understood through this visual and symbolic principle, represents a hand whose fingers extend naturally with softness and graceful curvature rather than rigidity or force. The hand is generally shown with all five fingers extended and gently separated. Each finger retains a supple, organic quality, creating an appearance reminiscent of a tender leaf, young shoot, or newly opened form. The wrist and palm are relaxed, allowing the gesture to become part of the overall rhythm of the figure. In sacred sculpture, the hand is never merely an anatomical detail. Hindu artistic thought regards the human form as a vehicle through which deeper principles can be expressed. ...

Living in Sattva: The Path to Inner Purity and Spiritual Clarity In Hindu philosophy, the entire manifest universe operates through three fundamental qualities or gunas: sattva (purity, harmony, knowledge), rajas (activity, passion, restlessness), and tamas (inertia, darkness, ignorance). These three qualities are not merely abstract concepts but living forces that influence every aspect of our existence—from our thoughts and emotions to our actions and spiritual progress. The Bhagavad Gita describes these qualities extensively, explaining how they bind the soul to the material world. Lord Krishna states: "The mode of goodness conditions one to happiness; passion conditions one to fruitive action; and ignorance, covering one's knowledge, binds one to madness" (Bhagavad Gita 14.9). Understanding this fundamental teaching provides the foundation for spiritual advancement. The Nature of Sattva Sattva represents the highest of the three gunas, characterized by clarity, wi...