Sahil Bhat

यत्र यत्र मनस्तुष्टिर्मनस्तत्रैव धारयेत् । तत्र तत्र परानन्दस्वारूपं सम्प्रवर्तते ॥ ७४ ॥

Advocate | Litigation | Dispute Resolution | Panel Counsel

[Sahil Bhat @BSahil2603]

An equation For Me Has No Meaning Unless It Expresses A Thought Of God.
:- Srinivasa Ramanujan

A mere thought of it can make you weep over and over again, this sheer devotion is nothing but a unity with Devi Maa.❤️

[Śaciṣṭha @sacista_]

Timeline Cleanse.

[Bhairavī Nirguṇādyā @nirgunaady]

वर्तमान समय में गुरु दीक्षा की पवित्र परंपरा आध्यात्मिक पतन की उस पराकाष्ठा पर पहुँच गई है, जहाँ सोशल मीडिया के विभिन्न मंचों पर इसे एक विक्रय योग्य वस्तु की भाँति प्रस्तुत किया जा रहा है। कुलार्णव तंत्र में स्वयं देवाधिदेव महादेव माता पार्वती से संवाद करते हुए स्पष्ट करते हैं कि दीक्षा कोई आकस्मिक घटना नहीं, अपितु एक अत्यंत धैर्यपूर्ण प्रक्रिया है। शास्त्र सम्मत विधान के अनुसार, गुरु और शिष्य को एक दूसरे के स्वभाव, आचरण और पात्रता के परीक्षण हेतु न्यूनतम छह मास से लेकर अधिकतम ग्यारह वर्षों तक की अवधि साथ व्यतीत करनी चाहिए। "गुरु बनाओ जान के, पानी पियो छान के" की लोकोक्ति इसी सत्य को प्रमाणित करती है कि बिना पूर्ण अन्वेषण के दीक्षित होना आत्मघाती सिद्ध हो सकता है।
दीक्षा की मर्यादा और मर्यादा पुरुषोत्तम मार्ग के अनुसार, गृहस्थों को योग्य ब्राह्मण से और संन्यास मार्ग के पथिकों को सिद्ध संन्यासी से ही दीक्षा ग्रहण करनी चाहिए। शैव, वैष्णव, गाणपत्य अथवा सौर जैसे विशिष्ट संप्रदायों के गुरुओं के लिए यह अनिवार्य है कि वे केवल अपने ही संप्रदाय के मंत्र की दीक्षा प्रदान करें। दीक्षा देने का अधिकार केवल उसी व्यक्ति को है जिसने स्वयं उस मंत्र का पूर्ण पुरश्चरण सिद्ध किया हो और जिसे अपने गुरु से परंपरा आगे बढ़ाने की स्पष्ट आज्ञा प्राप्त हो। मंत्र विज्ञान में गुरु की आज्ञा और स्वयं की सिद्धि ही मंत्र को चैतन्य बनाती है, अन्यथा वह केवल अक्षरों का समूह मात्र रह जाता है।
दीक्षा का सबसे सूक्ष्म और वैज्ञानिक पक्ष शारदा तिलक जैसे ग्रंथों में वर्णित ऋणी धनी अथवा सिद्धादि शोधन चक्र है। मंत्र चयन से पूर्व यह देखना अनिवार्य है कि मंत्र साधक के ऋषिकुल और गोत्र के अनुकूल है या नहीं। यदि गणना में मंत्र धनी निकलता है, तो वह साधक की ऊर्जा और संपत्ति का शोषण कर उसे आध्यात्मिक व भौतिक रूप से कंगाल बना सकता है। इसके विपरीत, ऋणी मंत्र का पुरश्चरण ही साधक के लिए मंगलकारी और फलीभूत होता है। अतः, जो लोग धन लेकर 'शक्तिपात' या 'शक्ति ट्रांसफर' का मायाजाल फैला रहे हैं, वे वास्तव में तंत्र विद्या को दूषित कर रहे हैं। साधना एक अत्यंत गुप्त, पवित्र और शक्तिशाली विधान है, जिसे अर्थ/धन के तराजू में नहीं तोला जा सकता। तंत्र की रक्षा करना और उसे इन व्यावसायिक कुरीतियों से बचाना ही आज की वास्तविक धर्म सेवा है!

[দেবী @Sword_Of_Kali]

शक्तिशक्तिमतोश्चापि न विभेदः कथञ्चन ।
यथा शिवस्तथा देवी यथा देवी तथा शिवः ।
नानयोरन्तरं विद्याच्चन्द्रचन्द्रिकयोर्यथा ॥

Power and the Powerholder are one. As Shiva is, so is Shakti (Devi); as Devi is, so is Shiva. They are as inseparable as the moon and the moonlight.

🙏🏻🌺

[Adivasiyat ॐ | (follow my account🥺) @TheAdivasiyat]

Jagannath Puri mandir, odisha on a full moon day !

jai jagannath ଜୟ ଜଗନ୍ନାଥ

[śivasār @ganapatyarya]

Vaṭuka bhairava bhakti of the kashmiri śaivas

a loved offering for him is akharoṭa {walmnut}. the four sections of the akharoṭa are seen as the veda and also śiva-śakti yāmala svarūpa in a union of two sections.

some important tithis for him are the śivarātri of २५ days from phālguna kṛṣṇapakṣa pratipadā {hyura akadoha} to śukla pakṣa daśamī — marking the lepa ityādi of the pūjā sthala of vaṭuka. the pañca rātri pūjā from kṛṣṇa ekādaśī of the tantras is also important here where his āpad uddhāraṇa mantra and aṣṭottara nāma are done in bhakti. the consequence is attaining to śivaloka.

a unique source mentions phāguna kṛṣṇa trayodaṣī as vaṭuka jayantī. there are other opinions on the tithi of his jayantī.

just as hanumān is always present where rāmāyaṇa is recited, so is bhairava present where śiva and durgā are worshipped.

past gaṇeśa vandana, mānasika daśopacāra pūjā — pādhya, arghya, ācamana, snāna, vastra, candana lepa, akṣata, puṣpa mālā arpaṇa, dhūp-dīpa, bhoga is done.

apart from the aṣṭa bhairava pūjā — asitāṅga bhairava, ruru bhairava, caṇḍa bhairava, krodha bhairava, unmatta bhairava, kāpāleśa bhairava, bhīṣaṇa bhairava, and saṃhāra bhairava, in vaṭuka pūjā, the prominent kashmiri bhairavas are worshipped as well, namely —

maṅgaleśvara bhairava, ānandeśvara bhairava, bahukhātakeśvara bhairava, loṣṭraka bhairava, vetāla bhairava, hāṭakeśvara bhairava, nandikeśvara bhairava, and rājarājeśvara bhairava ityādi.

the vaṭuka bhairava gāyatrī is also performed as one offers water to the sun, visualizing him as vaṭuka, and a part of the pūjā before the recitation of the mantra as well —

भैरवाय विद्महे आपद् उद्धारणाय धीमहि तन्नो वटुकः प्रचोदयात ॥३॥

bhairavāya vidmahe āpad uddhāraṇāya dhīmahi tanno vaṭukaḥ pracodayāta ॥

there are other important elements, like saṅkalpa before any pūjā, prāṇāyāma with the vaṭuka mantra, the mantra, aṣṭottara ityādi.

a dhyāna of two of his forms, different to the ones mentioned before:

कर कलित कपालः कुण्डली दण्डपाणिः
तरुण तिमिरनीलो व्याल यज्ञोपवीती।
ऋतु समय सपर्या विघ्न विच्छित्ति हेतुः
जयति वटुकनाथः सिद्धिदः साधकानाम्॥
वन्दे बालं स्फटिक सदृशं कुन्तलाभासिवक्त्रं
दिव्याकल्पैः नवमणिमयैः किंकिनी नूपुराढ्यैः।
दीप्ताकारं त्रिभुवननुतं रक्तवस्त्रं त्रिनेत्रं
हस्ताब्जाभ्यां वटुकं अनिशं शूलदण्डौ दधानम्॥

this post is dedicated to the lotus sphaṭika feet of śrī vaṭuka, non-different to śiva and the mahāvidyās.

[śivasār @ganapatyarya]

Deva keralam 3, p. 168, v. 922 says śatrubhītirdānaṃ kuryādvicakṣaṇaḥ while discussing a transit’s result.

It means that the wise {actually, clever} will conduct charity to overcome the evil arising from the fear of one’s enemies.

Hence another reason to engage in charity.

[CiteCase 🇮🇳 @CiteCase]

This #SupremeCourt judgment summarizes principles governing the distinction between the seat and venue of the arbitration, and the jurisdictional consequences that follow.

[śivasār @ganapatyarya]

“People, occupied as they are with their own affairs, normally do nothing for others. The activity of those in whom every stain of phenomenal existence has been destroyed and are identified with Bhairava, full of Him, is intended only for the benefit of the world.”

Abhinavagupta, Tantrāloka 2/39, Mark D’s translation.

[feryy @ffspari]

I'll never stop flexing about how my religion treats girls ❤️🙏

[śivasār @ganapatyarya]

“The Markandeya Purana 10.1–7, 11.1–21, explains the birth process.

The impregnation of human women is the emitting of the seed in the menstrual blood. As soon as the soul is released from Naraka (hell) or from Svarga (heaven), it arrives in the womb. Overpowered by that soul, the two-fold seed becomes solid.…Then it begins to remember its many previous existences in the wheel of rebirth, and that depresses it, and it tosses from side to side, thinking, ‘I won’t ever do that again, as soon as I get out of this womb, I will do everything I can so that I won’t become an embryo again.…’ When it has come out of the womb, it falls into an unbearable swoon, but it regains consciousness when it is touched by the air. Then Vishnu’s deluding power of illusion assails him, and when the soul has been deluded by it, he loses his knowledge. As soon as the living creature has lost his knowledge, he becomes a baby.”

[Stress Judicata @apurv_shaurya]

I want people to take a very very wild guess who wrote this.

[Ranvir Shorey @RanvirShorey]

So #Dhurandhar2‌TheRevenge has been watched, on a Monday again, and with a full house again! 😃
A satisfying conclusion to the story, except bigger in scale and canvas! If the first was a spy thriller, this one is more an action thriller! At its heart it is a heartfelt and unapologetic tribute to the countless unknown patriots who keep India safe in the face of unbelievable sacrifice! My compliments and respects to @AdityaDharFilms and the entire team of the film! 🙌🏽🫶🏽🫡

[SANATAN @Eternaldharma_]

Actor Arjun Rampal said Aditya Dhar’s Dhurandhar helped him channel his “revenge” for what he endured during the 2008 Mumbai attacks. The actor was felicitated at India Today’s Hello! Hall of Fame Awards on Sunday in Mumbai.

[z. @laterhrs]

the real ones been loving ranveer singh since ladies vs ricky bahl

[Monidipa Bose - Dey (মণিদীপা) @monidipadey]

Most importantly, Major Iqbal also mentioned ‘maal e ghanimat’.
Am so glad Aditya Dhar mentioned it. This ‘maal-e-ghaanimat’ was carried out to the fullest extent by the Pakistani army in the 1971 war. This term ‘maal’ used for women in Bollywood, is also derived from this same Islamic legal term that sees women as s€x slaves.

“Women were abducted, tortured and raped in concentration camps by the Pakistani army who set up r@pe camps in all towns and villages they went to. It was part of a systematic plan to disempower and destroy the vertebrae of Bengali society... Many of the hundreds of thousands of girls and women were killed or later rejected by their families; their children born out of the r@pe were forcibly taken and adopted by foreign nationals. Most of these women eventually died of neglect and without recognition” ~ Dr. Nusrat Rabbee, a survivor of the war.

‘Women Under Siege’ group working with the rape survivors interviewed these women, who described how young girls were “strapped to green banana trees and repeatedly gang-r@ped. A few weeks later, they were strapped to the same trees and hacked to death”.

Mass r@pes were committed by the Pakistani Army, as part of a campaign in Bangladesh to establish a new race of
‘Pure Muslims,’ and to breakdown the sense of Bengali nationalism. From eight years old to 75 year old, girls and women (mostly Hindus), were abducted and held captive in Pakistani military camps where they were subjected to mass r@pe, often followed by mass execution.

The Pakistani Army used the term ‘maal-e-ghanimat’ (booty of war) to defend brutal mutilation of women's bodies. Military, political, and religious leaders openly promoted the r@pe of Bengali women during the conflict, by insinuating that because Bengali liberation fighters were mostly “Hindus,” so their women were free items to be exploited and used as plunder of war.

In the image is an old woman, who wasn’t spared by the Pakistani Army.

[Pragya Paarijat Singh @parijatpragya]

Saw the opening scene of Dhurandhar & it wasn’t cinema for me…it was memory.

I grew up in Prayagraj in a neighbourhood called Neewa,where fear was routine and gunshots weren’t rare.Raju Pal MLA-often called “Raju bhai” lived right opposite us.A man people called Robinhood locally…(1/3)

#Dhurandhar2‌

[śivasār @ganapatyarya]

Mahācārya śrī abhinavagupta despite being a parāsiddha doesn’t just take śrimad-bhagavad-gītā and teach it; he first learns it from a guru, then does deep adhyayana of the śāstra along with realizing its deeper meanings through sādhanā before writing gītārtha-saṅgraha.

This is someone who had discovered the gūhya chaṅdas of sūtras, attaining perfection with the mātṛkas, and yet he still treated the śāstra as the pratyakṣa devatā it is.

[rajamouli ss @ssrajamouli]

I loved Dhurandhar-1, but The Revenge surpassed the original in both scale and soul.
The writing, casting, technical execution, music, world design and direction are flawless…. But it’s the emotional stakes that really ground it.

The writing manages to weave plot twists that create genuine tension charged with emotion. @AdityaDharFilms, you hit it out of the park. It takes guts to make and release a film 4 hours long. The audience is glued to the seat till the last frame. 🫡

@RanveerOfficial, what a performance man… The sequence with the sister in the shed is a masterclass in acting. From that beginning to the heart-wrenching climax, you mesmerized us both as Hamza and Jaskirat.

@ActorMadhavan garu, you carried the helplessness and frustration of a nation so well that we felt your sucess as ours..

Congratulations to the entire team for the resounding success… 👏🏼👏🏼👏🏼

[Ram Gopal Varma @RGVzoomin]

The @Dhurandhar2 is a HORROR.

It is a horror for all filmmakers who built their careers and their fortunes on dumbed down, over the top cinema.
The cinema that demanded the brain to be left at home .
The cinema that was rammed down our throats full of LOUDNESS and MASALA which will be now soon on a ventilator struggling for breath

#Dhurandar2 will scare the living hell out of every filmmaker who still worships the godly hero
In #Dhurandhar2 , @RanveerOfficial killed all those heroes who never bleed ,and never feel pain , and then over the dead bodies of those kind of outdated heroes ,he gave birth to a true real hero , flawed, yet dangerous and unpredictable and also his heroism comes from his actions instead of being thrusted upon the heads with ear drum shattering music

Compared to this new kind of hero , the godly heroes will suddenly look ridiculous, almost like clowns in a circus. And then their blind worshippers will feel naked, exposed and scared hearing of the collections

#Dhurandhar2 will terrify those who built their careers on action set pieces where physics is a joke and gravity is non existent . The scenes, where men are thrown fifty feet in the air, bounce off the ground like rubber balls, survive explosions that would vaporise cities, and still deliver punch dialogues while dusting their shoulders will be hunted and killed by the new audience

After the audience saw action that actually hurts, that actually bleeds, the flying goon brigade will suddenly feel cheap, fake, and embarrassingly ridiculous . The filmmakers who still swear by wires and cranes to fake uplift the heroes will now wake up shivering in cold sweat.
It will make the pan india directors tremble in their chairs , the ones who still believe characters are created by hairdos, costumes, photo shopped six packs, and designer clothes instead of intrinsic psychological depth

When the audience of #Dhurandhar2 saw a hero whose power comes from his mind and not his biceps, the hair and costume school of cinema will look like kindergarten dress up.

Dhurandhar 2 is not just a film.

It is a verdict.

With Dhurandhar 2 @AdityaDharFilms cut off the head of that kind of cinema , the one that insulted the intelligence of the audience , the one that replaced stories with bloated gaudy visuals , the one that turned heroes into gods and audiences into sheep

The collections of #Dhurandhar2 are now in the process of burying all those earlier makers beliefs in a grave so deep that even their ghosts can’t come out

And the screams you are hearing now of #Dhurandhar2 box office collections is the collective sound which is announcing their deaths.

If the makers of those kind of films which are already under production , or about to start shooting , don’t go back to their drawing boards and exorcise themselves by watching #Dhurandhar2 multiple times even GOD can’t save their SPIRITS

But the problem is , even if they intend to do that , they might have tonnes of money, but where will they get the brain of @AdityaDharFilms ? 😳😳😳