Monday, September 28, 2020

सत सृष्टि तांडव रचयिता*नटराज स्तुति*Natraj Stuti * शिवताण्डवस्तोत्र * Shiva Tandava Stotram * Lasya

सत सृष्टि तांडव रचयिता*नटराज स्तुति*Natraj Stuti


नटराज

Shri Shiva Natraj Stuti (श्री शिव नटराज स्तुति ) is a prayer offered to lord Natraja. Lord Shiva is the universal teacher, the ultimate creator and the great cosmic dancer. The world comes into being by his cosmic dance – Anand Tandav and goes back to him by his Raudra Tandav. Shri Shiva Natraj Stuti (श्री शिव नटराज स्तुति ) is dedicated to the Nataraj aspect of Shiva.

श्री शिव नटराज स्तुति

सत सृष्टि तांडव रचयिता
नटराज राज नमो नमः
हेआद्य गुरु शंकर पिता
नटराज राज नमो नमः

गंभीर नाद मृदंगना धबके उरे ब्रह्माडना
नित होत नाद प्रचंडना
नटराज राज नमो नमः

शिर ज्ञान गंगा चंद्रमा चिद्ब्रह्म ज्योति ललाट मां
विषनाग माला कंठ मां
नटराज राज नमो नमः

तवशक्ति वामांगे स्थिता हे चंद्रिका अपराजिता
चहु वेद गाए संहिता
नटराज राज नमोः


Sat srushti tandav rachaiyta, Natraj raj namo namah:

Hey Adhya guru Shankar pita, Natraj raj namo namah:

Gambhir naad , mrudang naad, mrudang naad, mrudang naad,

Tav ke ur brahmand ma, nit hot naad prachand naad,

Natraj raj namo namah:,

sat srushti tandav rachaiyta, Natraj raj namo namah:

Sir gyanganga chandrama, chid bramhjyoti lalat ma,

vishnaag mala kanth ma, Natraj raj namo namah:

Tav shakti vaam gesthita,hey chandrika aprajita,

chahu ved gaye sanhita, natraj raj namo namah:

han raj raj namo namah :


sat srushti tandav rachaiyta, namo namah:, namo namah:



शिव परं ब्रह्म जगत सृजनकर्ता एवं  जगत गुरु हैं| शिव का तांडव प्रसिद्ध है| शिव के आनद तांडव के साथ ही सृजन का आरंभ होता है एवं रौद्र तांडव के साथ ही सम्पूर्ण विश्व शिव में पुनः समाहित हो जाते हैं|

नटराज शिव के जगत गुरू स्वरूप का भी परिचायक है| नृत्य कलाओं में श्रेठ गिना जाता है और नटराज शिव कलाओं एवं ज्ञान प्रदान करने वाले परं गुरु हैं.

नटराज स्तुति उन्ही जगत गुरु, परं ब्रह्म शिव को समर्पति है |

सत सृष्टि तांडव रचयिता
नटराज राज नमो नमः|

हे नटराज आप ही अपने तांडव द्वारा सृष्टि की रचना करने वाले हैं| हे नटराज राज आपको नमन है|

हे आद्य गुरु शंकर पिता
नटराज राज नमो नमः|

हे शंकर आप ही परं पिता एवं आदि गुरु हैं. हे नटराज राज आपको नमन है|

गंभीर नाद मृदंगना धबके उरे ब्रह्मांडना
नित होत नाद प्रचंडना
नटराज राज नमो नमः|

हे शिव, ये संपूर्ण विश्व आपके मृदंग के ध्वनि द्वारा ही संचालित होता है| इस संसार में व्याप्त प्रत्येक ध्वनि के श्रोत आप हे हैं| हे नटराज राज आपको नमन है |


सिर ज्ञान गंगा चंद्र चिद ब्रह्म ज्योति ललाट मां
विष नाग माला कंठ मां
नटराज राज नमो नमः|

हे नटराज आप ज्ञान रूपी चंद्र एवं गंगा को धारण करने वाले हैं, आपका ललाट से दिव्या ज्योति का स्रोत है| हे नटराज राज आप विषधारी नाग को गले में धारण करते हैं| आपको नमन है|
 नटराज
तवशक्ति वामे स्थिता हे चन्द्रिका अपराजिता |
चहु वेद गाएं संहिता
नटराज राज नमो नमः|

हे शिव (माता) शक्ति आपके अर्धांगिनी हैं, हे चंद्रमौलेश्वर आप अजय हैं. चार वेदा आपकी ही सहिंता का गान करते हैं. हे नटराज राज आपको नमन है |



The term Lāsya , in the context of Hindu mythology, describes the dance performed by Goddess Parvati as it expresses happiness and is filled with grace and beauty. She is believed to have danced the Lāsya in response to the male energy of the cosmic dance of Tandava performed by Lord Shiva. In a literal sense, Lāsya means beauty, happiness, enchanting, and grace.

Lāsya is an element which is graceful, delicate and expresses emotions on a gentle level. It is associated with the dance of women because Parvati, the consort of Lord Shiva taught it to Usha (daughter of Sage Banasura). Then she passed on this art to women. Lāsya is mainly of four types: SHRINKALA, LATA, PINDI and BHEDYAKA.

https://en.wikipedia.org/wiki/Lasya

The Indian classical music terminology talam has been etymologically derived from the union of the dances of both Lord Shiva and Goddess Parvati (Tandavam and Lasyam). The expression of happiness and joy in dance is also termed as Lasyam.lt means beauty and a graceful dance.

https://en.wikipedia.org/wiki/Tandava

https://en.wikipedia.org/wiki/Shiva_Tandava_Stotra
 


जटाटवीगलज्जलप्रवाहपावितस्थले
गलेऽवलम्ब्य लम्बितां भुजङ्गतुङ्गमालिकाम् ।
डमड्डमड्डमड्डमन्निनादवड्डमर्वयं
चकार चण्डताण्डवं तनोतु नः शिवः शिवम् ॥१॥
Jatta[a]-Attavii-Galaj-Jala-Pravaaha-Paavita-Sthale
Gale-[A]valambya Lambitaam Bhujangga-Tungga-Maalikaam |
Ddamadd-Ddamadd-Ddamadd-Ddaman-Ninaadavadd-Ddamar-Vayam
Cakaara Canndda-Taannddavam Tanotu Nah Shivah Shivam ||1||

जटाकटाहसम्भ्रमभ्रमन्निलिम्पनिर्झरी_
विलोलवीचिवल्लरीविराजमानमूर्धनि ।
धगद्धगद्धगज्जलल्ललाटपट्टपावके
किशोरचन्द्रशेखरे रतिः प्रतिक्षणं मम ॥२॥
Jattaa-Kattaaha-Sambhrama-Bhraman-Nilimpa-Nirjharii_
Vilola-Viici-Vallarii-Viraajamaana-Muurdhani |
Dhagad-Dhagad-Dhagaj-Jvalal-Lalaatta-Patttta-Paavake
Kishora-Candra-Shekhare Ratih Pratikssannam Mama ||2||

धराधरेन्द्रनन्दिनीविलासबन्धुबन्धुर
स्फुरद्दिगन्तसन्ततिप्रमोदमानमानसे ।
कृपाकटाक्षधोरणीनिरुद्धदुर्धरापदि
क्वचिद्दिगम्बरे मनो विनोदमेतु वस्तुनि ॥३॥
Dharaa-Dharendra-Nandinii-Vilaasa-Bandhu-Bandhura
Sphurad-Diganta-Santati-Pramodamaana-Maanase |
Krpaa-Kattaakssa-Dhorannii-Niruddha-Durdhara-[A]apadi
Kvacid-Digambare Mano Vinodametu Vastuni ||3||

जटाभुजङ्गपिङ्गलस्फुरत्फणामणिप्रभा
कदम्बकुङ्कुमद्रवप्रलिप्तदिग्वधूमुखे ।
मदान्धसिन्धुरस्फुरत्त्वगुत्तरीयमेदुरे
मनो विनोदमद्‍भुतं बिभर्तु भूतभर्तरि ॥४॥
Jattaa-Bhujangga-Pinggala-Sphurat-Phannaa-Manni-Prabhaa
Kadamba-Kungkuma-Drava-Pralipta-Digvadhuu-Mukhe |
Mada-[A]andha-Sindhura-Sphurat-Tvag-Uttariiya-Medure
Mano Vinodam-Adbhutam Bibhartu Bhuuta-Bhartari ||4||

सहस्रलोचनप्रभृत्यशेषलेखशेखर_
प्रसूनधूलिधोरणी विधूसराङ्घ्रिपीठभूः ।
भुजङ्गराजमालया निबद्धजाटजूटकः
श्रियै चिराय जायतां चकोरबन्धुशेखरः ॥५॥
Sahasra-Locana-Prabhrty-Ashessa-Lekha-Shekhara_
Prasuuna-Dhuuli-Dhorannii Vidhuusara-Angghri-Piittha-Bhuuh |
Bhujangga-Raaja-Maalayaa Nibaddha-Jaatta-Juuttakah
Shriyai Ciraaya Jaayataam Cakora-Bandhu-Shekharah ||5||

ललाटचत्वरज्वलद्धनञ्जयस्फुलिङ्गभा_
निपीतपञ्चसायकं नमन्निलिम्पनायकम् ।
सुधामयूखलेखया विराजमानशेखरं
महाकपालिसम्पदेशिरोजटालमस्तु नः ॥६॥
Lalaatta-Catvara-Jvalad-Dhanan.jaya-Sphulingga-Bhaa
Nipiita-Pan.ca-Saayakam Naman-Nilimpa-Naayakam |
Sudhaa-Mayuukha-Lekhayaa Viraajamaana-Shekharam
Mahaa-Kapaali-Sampade-Shiro-Jattaalam-Astu Nah ||6||

करालभालपट्टिकाधगद्‍धगद्‍धगज्ज्वलद्_
धनञ्जयाहुतीकृतप्रचण्डपञ्चसायके ।
धराधरेन्द्रनन्दिनीकुचाग्रचित्रपत्रक
प्रकल्पनैकशिल्पिनि त्रिलोचने रतिर्मम ॥७॥
Karaala-Bhaala-Pattttikaa-Dhagad-Dhagad-Dhagaj-Jvalad_
Dhanan.jaya-[A]ahutii-Krta-Pracanndda-Pan.ca-Saayake |
Dharaa-Dhare[a-I]ndra-Nandinii-Kucaagra-Citra-Patraka
Prakalpanai-[E]ka-Shilpini Tri-Locane Ratir-Mama ||7||

नवीनमेघमण्डली निरुद्‍धदुर्धरस्फुरत्_
कुहूनिशीथिनीतमः प्रबन्धबद्धकन्धरः ।
निलिम्पनिर्झरीधरस्तनोतु कृत्तिसिन्धुरः
कलानिधानबन्धुरः श्रियं जगद्धुरंधरः ॥८॥
Naviina-Megha-Mannddalii Niruddha-Durdhara-Sphurat_
Kuhuu-Nishiithinii-Tamah Prabandha-Baddha-Kandharah |
Nilimpa-Nirjharii-Dharas-Tanotu Krtti-Sindhurah
Kalaa-Nidhaana-Bandhurah Shriyam Jagad-Dhurandharah ||8||

प्रफुल्लनीलपङ्कजप्रपञ्चकालिमप्रभा_
वलम्बिकण्ठकन्दलीरुचिप्रबद्धकन्धरम् ।
स्मरच्छिदं पुरच्छिदं भवच्छिदं मखच्छिदं
गजच्छिदान्धकच्छिदं तमन्तकच्छिदं भजे ॥९॥
Praphulla-Niila-Pangkaja-Prapan.ca-Kaalima-Prabhaa_
[A]Valambi-Kannttha-Kandalii-Ruci-Prabaddha-Kandharam |
Smarac-Chidam Purac-Chidam Bhavac-Chidam Makhac-Chidam
Gajac-Chida-Andhakac-Chidam Tam-Antakac-Chidam Bhaje ||9||

अखर्वसर्वमङ्गलाकलाकदम्बमञ्जरी_
रसप्रवाहमाधुरीविजृम्भणामधुव्रतम् ।
स्मरान्तकं पुरान्तकं भवान्तकं मखान्तकं
गजान्तकान्धकान्तकं तमन्तकान्तकं भजे ॥१०॥
Akharva-Sarva-Manggalaa-Kalaa-Kadamba-Man.jarii_
Rasa-Pravaaha-Maadhurii-Vijrmbhannaa-Madhu-Vratam |
Smara-Antakam Pura-Antakam Bhava-Antakam Makha-Antakam
Gaja-Antaka-Andhaka-Antakam Tam-Antaka-Antakam Bhaje ||10||

जयत्वदभ्रविभ्रमभ्रमद्‍भुजङ्गमश्वसद्_
विनिर्गमत्क्रमस्फुरत्करालभालहव्यवाट् ।
धिमिद्धिमिद्धिमिध्वनन्मृदङ्गतुङ्गमङ्गल_
ध्वनिक्रमप्रवर्तितप्रचण्डताण्डवः शिवः ॥११॥
Jayat-Vada-Bhra-Vibhrama-Bhramad-Bhujanggama-Shvasad_
Vinirgamat-Krama-Sphurat-Karaala-Bhaala-Havya-Vaatt |
Dhimid-Dhimid-Dhimidhvanan-Mrdangga-Tungga-Manggala_
Dhvani-Krama-Pravartita-Pracanndda-Taannddavah Shivah ||11||

दृषद्विचित्रतल्पयोर्भुजङ्गमौक्तिकस्रजोर्_
गरिष्ठरत्नलोष्ठयोः सुहृद्विपक्षपक्षयोः ।
तृणारविन्दचक्षुषोः प्रजामहीमहेन्द्रयोः
समप्रवृत्तिकः कदा सदाशिवं भजाम्यहम् ॥१२॥
Drssad-Vicitra-Talpayor-Bhujangga-Mauktika-Srajor_
Garissttha-Ratna-Losstthayoh Suhrd-Vipakssa-Pakssayoh |
Trnna-Aravinda-Cakssussoh Prajaa-Mahii-Mahendrayoh
Sama-Pravrttikah Kadaa Sadaashivam Bhajaamy-Aham ||12||

कदा निलिम्पनिर्झरीनिकुञ्जकोटरे वसन्
विमुक्तदुर्मतिः सदा शिरःस्थमञ्जलिं वहन् ।
विमुक्तलोललोचनो ललामभाललग्नकः
शिवेति मन्त्रमुच्चरन्कदा सुखी भवाम्यहम् ॥१३॥
Kadaa Nilimpa-Nirjharii-Nikun.ja-Kottare Vasan
Vimukta-Durmatih Sadaa Shirahstham-An.jalim Vahan |
Vimukta-Lola-Locano Lalaama-Bhaala-Lagnakah
Shiveti Mantram-Uccaran-Kadaa Sukhii Bhavaamy-Aham ||13||

निलिम्प नाथनागरी कदम्ब मौलमल्लिका-
निगुम्फनिर्भक्षरन्म धूष्णिकामनोहरः ।
तनोतु नो मनोमुदं विनोदिनींमहनिशं
परिश्रय परं पदं तदंगजत्विषां चयः ॥१४॥
Nilimpnath naagaree kadamb mauli mallika,
nigumpha nirbharkshanm dhooshnika manoharah.
tanotu no manomudam vinodineem maharshinam,
parshriyam param padam tadanjatvisham chayah.14

प्रचण्ड वाडवानल प्रभाशुभप्रचारणी
महाष्टसिद्धिकामिनी जनावहूत जल्पना ।
विमुक्त वाम लोचनो विवाहकालिकध्वनिः
शिवेति मन्त्रभूषगो जगज्जयाय जायताम्‌ ॥१५॥
prachanda wadavaanal prabha shubh pracharinee,
mahaasht siddhi kaaminee janavahoot jalpana.
vimukta vaam lochano vivaah kaalikdhvanih,
shiveti mantra bhooshano jagajjayaay jaaytaam.15

इमं हि नित्यमेवमुक्तमुत्तमोत्तमं स्तवं
पठन्स्मरन्ब्रुवन्नरो विशुद्धिमेतिसंततम् ।
हरे गुरौ सुभक्तिमाशु याति नान्यथा गतिं
विमोहनं हि देहिनां सुशङ्करस्य चिन्तनम् ॥१६॥
Imam Hi Nityam-Evam-Uktam-Uttamottamam Stavam
Patthan-Smaran-Bruvan-Naro Vishuddhime[-I]ti-Santatam |
Hare Gurau Subhaktim-Aashu Yaati Na-Anyathaa Gatim
Vimohanam Hi Dehinaam Su-Shangkarasya Cintanam ||16||

पूजावसानसमये दशवक्त्रगीतं यः
शम्भुपूजनपरं पठति प्रदोषे ।
तस्य स्थिरां रथगजेन्द्रतुरङ्गयुक्तां
लक्ष्मीं सदैव सुमुखीं प्रददाति शम्भुः ॥१७॥
Puuja-Avasaana-Samaye Dasha-Vaktra-Giitam Yah
Shambhu-Puujana-Param Patthati Pradosse |
Tasya Sthiraam Ratha-Gaje[a-I]ndra-Turangga-Yuktaam
Lakssmiim Sadaiva Su-Mukhiim Pradadaati Shambhuh ||17||

इति श्रीरावण_कृतं शिव_ताण्डव स्तोत्रं सम्पूर्णम्

Thus Ends the Shiva-Tandava Stotram Composed by Ravana


Shiva Tandava Stotram Meaning in English

Jatatavee galajjala pravaha pavitasthale,
Gale avalabhya lambithaam bhujanga tunga malikaam,
Damaddamaddama ddama ninnadava damarvayam,
Chakara chanda tandavam tanotu na shivh shivam. 1

That Shiva, Who have long-garlands of the snake king (cobra) at the neck which is purified by the flow of trickling water-drops in the forest-like twisted hair-locks, Who danced the fierce Tandava-dance to the music of a sounding-drum, — may bless us

Jata kataha sambhramabhramanillimpa nirjari,
Vilola veechi vallari viraja mana moordhani,
Dhaga dhaga dhaga jjwala lalata patta pavake,
Kishora Chandra shekare ratih prati kshanam mama. 2

At every moment, may I find pleasure in Shiva, Whose head is situated in between the creeper-like unsteady waves of Nilimpanirjhari (Ganga), in whose head unsteadily fire (energy) is fuming the like twisted hair-locks, Who has crackling and blazing fire at the surface of forehead, and Who has a crescent-moon (young moon) at the forehead

Dhara dharendra nandini vilasa bhandhu bhandura,
Sphuradriganta santati pramoda mana manase,
Kripa kataksha dhorani niruddha durdharapadi,
Kwachi digambare mano vinodametu vastuni. 3

May my mind seeks happiness in Shiva, Whose mind has the shining universe and all the living-beings inside, Who is the charming sportive-friend of the daughter of the mountain-king of the Earth ( Himalaya's daughter parvati), Whose uninterrupted series of merciful-glances conceals immense-troubles, and Who has direction as His clothes

Jata bhujanga pingala sphurat phana mani prabha,
Kadamba kumkuma drava pralipta digwadhu mukhe,
Madhandha sindhura sphuratwagu uttariyamedure,
Manovinodamadbhutam bibhartu bhoota bhartari. 4

May my mind hold in Shiva, by Whom — with the light from the jewels of the shining-hoods of creeper-like yellow-snakes — the face of Dikkanyas’ are smeared with Kadamba-juice like red Kuńkuma, Who looks dense due to the glittering skin-garment of an intoxicated elephant, and Who is the Lord of the ghosts


Shiva Tandav is a stotra, hymn of praise in the Hindu tradition that describes Shiva's power and beauty. It was sung by Ravana.

Lalata chatwara jwaladdhanam jaya sphulingaya,
Nipeeta pancha sayakam namannilimpanayakam,
Sudha mayookha lekhaya virajamana shekharam,
Maha kapali sampade, sirijjatalamastunah. 5

For a long time, may Shiva — Whose foot-basement is grey due to the series of pollen dust from flowers at the head of Indra (Sahasralocana) and all other demi-gods, Whose matted hairlocks are tied by a garland of the king of snakes, and Who has a head-jewel of the friend of cakora bird — produce prosperity

Sahastralochana prabhrityashesha lekha shekhara,
Prasoona dhooli dhorani vidhu saranghripeethabhuh,
Bhujangaraja Malaya nibaddha jaata jootakah,
Shriyai chiraya jayatam chakora bandhu shekharah. 6

May we acquire the possession of tress-locks of shiva, Which absorbed the five-arrows (of Kaamadeva) in the sparks of the blazing fire stored in the rectangular-forehead, Which are being bowed by the leader of supernatural-beings, Which have an enticing-forehead with a beautiful streak of crescent-moon

Karala bhala pattika dhagaddhadhagaddha gajjwala,
Ddhananjayahuti kruta prachanda panchasayake ,
Dharadharendra nandini kuchagra chithrapathraka,
Prakalpanaikashilpini, trilochane ratirmama. 7

May I find pleasure in Trilocana, Who offered the five great-arrows (of Kamadeva) to the blazing and chattering fire of the plate-like forehead, and Who is the sole-artist placing variegated artistic lines on the breasts of the daughter of Himalaya (Parvati).

Naveena megha mandali niruddha durdharatsphurat,
Kuhuh nisheethineetamah prabhandha baddha kandharah,
Nilimpa nirjhari dharastanotu krutti sundarah,
Kalanidhana bandhurah shriyam jagat durandharah. 8

May Shiva — Whose cord-tied neck is dark like a night with shining-moon obstructed by a group of harsh and new clouds, Who holds the River Ganga, Whose cloth is made of elephant-skin, Who has a curved and crescent moon placed at the forehead, and Who bears the universe — expand [my] wealth.

Shiva Tandav is a stotra, hymn of praise in the Hindu tradition that describes Shiva's power and beauty. It was sung by Ravana.

Prafulla neela pankaja prapancha kalimaprabha,
Valambi kantha kandali ruchi prabandha kandharam,
Smarchchhidam purachchhidam bhavachchhidam makhachchhidam,
Gajachchhidandha kachchhidam tamant kachchhidam bhaje. 9

I adore Shiva, Who supports the dark glow of blooming blue lotus series at around the girdle of His neck, Who cuts-off Smara (Kamadeva), Who cuts-off Pura, Who cuts-off the mundane existence, Who cuts-off the sacrifice (of Daksa), Who cuts-off the demon Gaja, Who cuts-off Andhaka, and Who cuts-off Yama (death).

Akharva sarva mangalaa kalaa kadamba manjari,
Rasa pravaha madhuri vijrumbhane madhuvritam,
Smrantakam, purantakam, bhavantakam, makhantakam,
Gajantakandhakantakam tamantakantakam bhaje. 10

I adore Shiva, Who only eats the sweet-flow of nectar from the beautiful flowers of Kadamba-trees which are the abode of all important auspicious qualities, Who destroys Smara (Kamadeva), Who destroys Pura, Who destroys the mundane existence, Who destroys the sacrifice (of Dakṣa), Who destroys the demon Gaja, Who destroys Andhaka, and Who destroys Yama (death).

Jayatwadabhra vibhrama bhramadbujanga mashwasad,
Vinirgamat, kramasphurat, karala bhala havya vaat,
Dhimiddhimiddhimi maddhwanan mridanga tunga mangala,
Dhwani krama pravartitah prachanda tandawah shivah. 11

May Shiva, Whose dreadful forehead has oblations of plentiful, turbulent and wandering snake-hisses — first coming out and then sparking, Whose fierce tandava-dance is set in motion by the sound-series of the auspicious and best-drum (damaru) — which is sounding with ‘dhimit-dhimit’ sounds, be victorious.

Drushadwichitra talpayor bhujanga mauktikastrajor,
Garishtha ratna loshtayoh suhrid wipaksha pakshayoh,
Trinara vinda chakshushoh praja mahee mahendrayoh,
Samapravrittikah katha sadashivam bhajamyaham. 12

When will I adore Sada Shiva with an equal vision towards varied ways of the world, a snake or a pearl-garland, royal-gems or a lump of dirt, friend or enemy sides, a grass-eyed or a lotus-eyed person, and common men or the king.

Shiva Tandav is a stotra, hymn of praise in the Hindu tradition that describes Shiva's power and beauty. It was sung by Ravana.

Kada nilimpa nirjharee nikunja kotare vasan,
Vimukta durmatih sada shirahstha manjali vahan,
Vilola lola lochane lalama bhala lagnakah,
Shiveti mantra muchcharan kada sukhee bhavamyaham. 13

Living in the hollow of a tree in the thickets of River Ganga, always free from ill-thinking, bearing anjali at the forehead, free from lustful eyes, and forehead and head bonded, when will I become content while reciting the mantra ‘‘Shiva?’’

Nilimpnath naagaree kadamb mauli mallika,
nigumpha nirbharkshanm dhooshnika manoharah.
tanotu no manomudam vinodineem maharshinam,
parshriyam param padam tadanjatvisham chayah.14

Divine beauty of different parts of Lord Shiv which are enlighted by fragrence of the flowers decorating the twisted hairlocks of angles may always bless us with happiness and pleasure.

prachanda wadavaanal prabha shubh pracharinee,
mahaasht siddhi kaaminee janavahoot jalpana.
vimukta vaam lochano vivaah kaalikdhvanih,
shiveti mantra bhooshano jagajjayaay jaaytaam.15

The Shakti (energy) which is capable of burning all the sins and spreading welfare of all and the pleasent sound produced by angles during enchanting the pious Shiv mantra at the time of Shiv-Parvati Vivah may winover & destroy all the sufferings of the world.

Imam hi nitya meva mukta muttamottamstavam,
Pathantaram bhunannaro vishuddhmeti santatam,
Hare Gurau sa bhaktimashu yati nanyatha gati,
Vimohanam hi dehinaa tu shankarasya chitanam. 16

Reading, remembering, and reciting this eternal, having spoken thus, and the best among best eulogy indeed incessantly leads to purity. In preceptor Hara (Shiva) immediately the state of complete devotion is achieved; no other option is there. Just the thought of Shiva (Shankara) is enough for the people.

Poojavasana samaye dasha vaktra geetam,
Yah shambhu poojana param pathati pradoshe,
Tasyasthiraam ratha gajendra turanga yuktaam,
Lakshmeem sadaiva sumukheem pradadaati shambuh. 17

At the time of prayer-completion, that who reads this song by Dasavaktra (Ravana) after the prayer of Sambhu — Sambhu gives him stable wealth including chariots, elephants and horses, and beautiful face.

Iti Shree Ravanavirachitam, Shiva tandava stotram, Sampoornam


Tandav and Lasya - the divine dances of creation and destruction
Two of the traditional and most revered dances in India are known under the Sanskrit denominations - Tandav (ताण्डव) and Lasya (लास्या). These unique and graceful dance routines are mainly associated with the Hindu deity of creation and destruction - Lord Shiva (he is part of the triad, including Brahma and Vishnu, called "Trimurti" which symbolizes the creation, the balance and the destruction of the Universe) and his wife - goddess Parvati (she is considered to be an earthly embodiment of Shakti Devi - the goddess of the creative feminine force and the primary cosmic energy that moves the entire Universe and resides in the souls of all living beings).
Along with Shiva, Parvati symbolizes the harmonious union between the masculine and feminine forms of existence or the inextricable male and female beginning (In the Indian mythology, this union is called Shiva - Ardhanarishvara - this kind of iconography is symbolic and shows the inseparability of the female and male energies. 

These depictions of Mahadev (Shiva) and his consort Parvati (in a combined and inseparable form) are one of the most well known and very significant images of the two major Hindu deities and are also an expression of the indivisible fusion of both the male and female energies without which the Universe can not exist. The earliest known iconography records of Ardhanarishvara can be traced back to the time of the Kushan Empire and the Gupta Empire. Historically, the statues of Ardhanarishvara came into being during the Kusana period and were slowly perfected during the Gupta era. The oldest depiction of Shiva - Ardhanarishvara is that of Rudra - the Puranic male aspect of Lord Shiva or the static masculine energy (perfect neutrality) and Prakriti - the dynamic and creative feminine intellect. Shiva - Ardhanarishvara embodies Lord Shiva and goddess Shakti (when they are together, Shiva and Shakti represent the masculine and the feminine beginning that shapes the integrity of the Universe) who is a personification of the creative feminine energy and the primordial cosmic energy and also represents the creativity, fertility and the power of creation of the whole cosmos).
This harmony is particularly well expressed in both dances - the Tandava and the Lasya performed by Shiva and Parvati.



When Shiva is angry, he starts to perform the dance of destruction - Tandava, which incorporates the destruction, the creation and the preservation of the world, with both aspects of the God: Rudra Tandav who represents the darker side of Shiva as a creator and destroyer who can sow death and Ananda Tandav - transmitting the joy of the God from the creation of the world. However, the most common image of Lord Shiva is that of the divine dancer - Nataraja.When Mahadev is in the form of Nataraja he performs his divine dance of destruction by destroying the old existing Universe and this way making preparations for Brahma to start the process of creation all over again.

The name of this dance comes from the name of the companion of Lord Mahadev called Tandav who helped Bharata Muni in the creation of the "Nati Shastra".

The dance of Shiva - Tandav reflects the five principles of the energy contained in the Universe:
Srishti - Evolution, creation;
Sthiti - Preservence, support;
Samhara - Destruction, evolution;
Tirobhava - Illusion;
Anugraha - Grace, mercy, freedom.

Apart from being a symbol of the cosmic creation and destruction, Tandav dance is also perceived as a symbol of the natural cycle of both life and death. This dance is often performed by dancers in southern India as part of the shows with highly religious plots.

In contrast of the Tandav dance is the dance called Lasya or the dance moves of goddess Parvati. Its name means beauty, grace, happiness and compassion. The rhythmical steps of this dance are full of harmony, grace and tenderness and are supplementing to the brute male energy of the dance of Shiva. It is a symbol of the harmony of the ancient tempo of the creation of the world.
In the iconographic images of Parvati, her gestures express the intellect, the power of nature and the protection of the believers.


In the Hindu religion, gods and goddesses are paired in such a way that the god is able to fulfill his Dharma (divine purpose) because of and by the grace of his consort’s Shakti (feminine power).  Brahma is able to create because his wife is the goddess of wisdom, Vishnu sustains and preserves because his wife is the goddess of wealth and abundance.  Shiva transcends physical reality and is enlightened because he is married to Shakti incarnate: pure, raw, spiritual energy.  In terms of her relationship with Shiva, Shakti will take 5 different forms: Kali, Durga, Uma, Sati/ Parvati, and the 5th being simply Shakti as all in one.  Shiva’s Tandava draws on the energies of Durga and Kali- the great mothers from which all life flows, but from whom death, destruction, and karmic justice also come.  Uma and Parvati are gentler, more traditionally feminine versions of Shakti- they give birth, they are wives, they are nurtures, caretakers, and through their love life is full of joy, pleasure, laughter, and beauty.


The two cosmic dances, which Shiva performs, are those which determine his true nature - Lasya (a gently, elegant and emotional dance that is associated with the creation of the whole world and which is performed by Parvati) and Tandava (a vigorous dance which incorporates the destruction and which is performed by Shiva).

Shiva is able to transform because of Parvati’s deep devotion.  While Shiva dances the Tandava- a vigorous and intense dance, Parvati dances the Lasya, a graceful, sensual dance.  Shiva dances at the juncture points of spirit and physical, Parvati dances through life (and lives) itself, swaying back and forth into various adjectives and labels: teacher, student, child, parent, employee, employer, potter, painter, singer, gardener, cook, lover, builder, joy-bringer, and so forth.  While Shiva carries tools in his dance and things crumble around him, Parvati has nothing but herself, and life springs up around her.  Shiva is creation through transformation; Parvati is transformation through devotion.  Devotion through which mountains are moved. 


The statues depicting Shiva as the god of dance have their own symbols and meanings:
- A large cobra uncoils from his lower right forearm and in his crown are woven skull and a crescent moon.
- The god dancing in the middle of an arch of flames - His dance (Dance of Bliss) is a symbol of the eternal movement of the Universe and the liberation of the soul from the snare of Maya or the illusion. The center of the Universe where Shiva is dancing is actually a symbol of the human heart. The surrounding flames represent the manifest Universe.


https://en.wikipedia.org/wiki/Damaru

- The upper right hand of the God holds a little drum called damaru which is a representation of the the pridominal sound (Om) of both the creation and the elapsed time. The drum symbolizes the sacred words of the Vedas given to the people by the Gods (these words are believed to have the power to guide the people through the path of life). Mahadev holds the drum with a specific hand gesture called ḍamaru-hasta.
- The upper left hand holds Agni or the fire - the symbol of destruction.
- The symmetrical position of the both arms symbolizes the origin of life.
- The second right hand is placed in the position of Abhaya mudra (fearlessness).
This hand represents protection from both evil and ignorance to all those who have chosen to follow the path of Dharma.
- The second left hand is pointing towards the raised foot which symbolizes the upliftment and the liberation of the soul from ignorance.
- The demon Apasmara on which Shiva dances is a symbol of the victory of good over evil and ignorance. This also describes the passage of the soul from the divine to the material.
- The snake wrapped around the waist of Shiva is called kundalini and it symbolizes Shakti. It is associated with the cords of life worn by Brahmins as a symbol of the second rebirth (The inceptive members of the Indian caste system or the Brahmins are being given the sacred title "Dvija" or "twice-born" because of their birth as humans from the womb of their mother and their second spiritual "birth" through the detailed understanding of the Vedic texts.
- The static facial mimicry of Shiva represents his neutrality and the balance in the Universe.


Shiva holding Damaru is popular in the Nataraja form. Sometimes he is shown in a dancing posture other than Nataraja and holding the Damaru. In some images, the Damaru is tied to the Trishul or trident. The sound from Damaru symbolizes the sound that originates creation and perpetuates the universe. The damaru is known as a power drum, and when played, it is believed to generate spiritual energy.

In Hinduism, especially by Shiva devotees, it is believed that beating of the Damaru by Shiva produced the very first sound (nada). This first sound was made in the void of nothingness. Shiva began his dance of creation to the rhythm of the Damaru. From his dance, the world came into being.

It is believed that Sanskrit language was recognized by the drumbeats of the damaru (see Shiva Sutra for the sounds), and his performance of the cosmic dance of tandava. The damaru is used by itinerant musicians of all stripes, due to its small portable size.

https://en.wikipedia.org/wiki/Shiva_Sutras

 The Shiva Sutras (IAST: Śivasūtrāṇi) or Māheśvara Sūtrāṇi are fourteen verses that organize the phonemes of Sanskrit as referred to in the Aṣṭādhyāyī of Pāṇini, the foundational text of Sanskrit grammar.

Within the tradition they are known as the Akṣarasamāmnāya, "recitation of phonemes," but they are popularly known as the Shiva Sutras because they are said to have been revealed to Pāṇini by Shiva. They were either composed by Pāṇini to accompany his Aṣṭādhyāyī or predate him. The latter is less plausible, but the practice of encoding complex rules in short, mnemonic verses is typical of the sutra style.


There is also a symbolism regarding the shape of the Damaru .
In the shield shape of some damarus, the triangular upward representation also symbolizes male procreativity (the lingam), and the downward round representation symbolizes the female procreativity (the yoni). Symbolically, the creation of the world begins when the lingam and yoni meet at the midpoint of the damaru, and the destruction takes place when they separate from each other.

There is also a legend that the sound Shiva made on Damaru was passed onto his son, Lord Ganesha, who was a famous pakawai player. He then added more sound and produced music.
Another interpretation of the sound of the Damaru suggests that the drum depicts the powers of the rhythm of the heartbeat. If you see your heartbeat, it is not just one straight line but it is a rhythm that goes up and down. The whole world is nothing but rhythms; energy rising and collapsing to rise again. So the damru signifies that. Look at the shape of the damru, from expansion it collapses and again expands.

Another symbolism suggests the sound of Damaru symbolizes the words of the Vedas.
Naga Sadhus and other Saints worshipping Shiva carry a Damru. They produce the sound during worship and also while seeking alms.

Shiva is often described as a cosmic dancer and a great musician. Shiva’s Tandavam is the cosmic dance and his Damaru (a small hourglass shape drum) represent the cosmic sound.

Damru represents recreation, enjoyment. Damru represents reproduction as it symbolises yoni while Trishula represents death…. This means positivity and negativity are linked with each-other…there is nothing unidirectional and all is controlled by the Lord.

Damru is also a symbol of infinity, the endless time. It represents that the universe is expanding and collapsing. From where it is expanding, it is collapsing there only. It’s an endless process.

Damru symbolizes the Universe which is always expanding and collapsing. From an expansion, it collapses and then it re-expands, this is the process of creation.

The darmru is also a symbol of sound. The sound is rhythm and sound is energy. The whole universe is nothing but a wave function, it is nothing but rhythms. What does quantum physics say? It says the same thing – the whole universe is nothing but rhythms. It is just one wave (Adviata). So the damru signifies the non-dual nature of the universe.


OM NAMOH NAMOH NATRAJA
Aum Namah Shivaya Song: Namo Namo Nataraja Artist: Dr. S.P. Balasubrahmanyam Album: Shiva Charanamrutha
Namo Namo Nataraja Namo
Hara Jata Jhootadhara Shambho
Namo Namo Nataraja
Pavana Brahmachari
Danava Mada Samhari
Parthipuri Vihari
Paramadayaghana Shouri
Namo Namo Nataraja


Salutations to Thee, Hey supreme dancer (Nataraja), the One having matted locks of hair. Salutations to Thee, the auspicious One, the destroyer of demons. Salutations to Thee, the One who frequents Puttaparthi, the One full of compassion. Salutations to You, Nataraja!


https://amzn.to/2MHkFuR
 
 
 
 

 
 
 
 
 
 
 
 

http://www.rkmkhar.org/events-calendar/shodashi-puja-6/

https://amzn.to/2Mzc4u0

On 5th June 1872, on Phalaharini Kali-puja night, Bhagawan Sri Ramakrishna worshipped Sarada Devi as Shodashi, the Mother of the Universe. The Mother of the Universe is variously worshipped —as Durga, Kali, Tara, Shodashi and so on. But, in his room he uttered the “mantras” which are related to Shodashi and worshipped Sarada Devi duly with flowers, bel leaves and sweets, among other things.

 
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