Sri Ramakrishna

IronFist

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Sri Ramakrishna Paramahamsa was a Hindu religious teacher and an influential figure in the Bengal Renaissance of the 19th Century. He was considered an accomplished master in the practice of Vaishnava and Shakti bhakti, Vedanta, Tantra, and other spiritual disciplines. He was considered an avatar or incarnation of God by many of his disciples, and is considered as such by many of his devotees today.

From an early age Ramakrishna was deeply devoted to the divine mother Kali. With growing impatience he sought her presence but grew more and more saddened that she would not reveal herself to him. Then one day, he began to pray to Kali: "Mother, you've been gracious to many devotees in the past and have revealed yourself to them. Why would you not reveal yourself to me, also? Am I not also your son?"

He is known to have wept bitterly and sometimes even cry out loudly while worshiping. At night, he would go into a nearby jungle and spend the whole night praying. One day, the famous account goes, he was so impatient to see Mother Kali that he decided to end his life. He seized a sword hanging on the wall and was about to strike himself with it, when he is reported to have seen light issuing from the deity in waves. He is said to have been soon overwhelmed by the waves and fell unconscious on the floor.





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From here on his life changed and he was forever in a state of ecstasy. Tears would fall from his eyes day and night and he would often fall into a state of bliss which would last for many days. Reports state that his eyes would roll back and he would tremble in ecstasy crying out; "oh mother why are you so good to me that you should bless me like this?"

One day, a photographer arrived to take his picture. Ramakrishna was trembling with ecstasy and asked the photographer to be patient with him while he attempted to regain some composure for his photo to be taken. He prayed to the Divine Mother to ease his ecstasy for a just moment so that the photo could be taken. His prayer was answered and he became composed only for a moment. The photographer however took too long to take the photograph and by the time it was taken Ramakrishna was already flowing back into ecstasy. This remains a classic photograph. I had this photo blown up to huge size and I have spent considerable time staring at his eyes; very, very trippy is all I'll say. Have a close look, take your time, stare at his face for a while:



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Rumors spread that Ramakrishna had gone mad as a result of his over-taxing spiritual exercises. Alarmed, neighbors advised RamakrishnaΒ’s mother that he be persuaded to marry, so that he might be more conscious of his responsibilities to the family. A five-year-old bride, Sarada, was found and the marriage was duly solemnized in 1859. Ramakrishna was 23 at this point, but the age difference was typical for 19th century rural Bengal.

Parents and neighbors would visit the couples home hoping to find a normal marriage but it far from the case. Ramakrishna worshiped his wife Sarada as if she were the Divine Mother, he set up a shrine for her and would never allow himself to touch her. At first neighbors merely laughed at the strangeness of this divine man but then they started to notice that whenever they went near Sarada they would start to tremble with ecstasy. Word began to spread that she was materializing the Divine Mother and visitors from far and wide began visiting.


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One notable visitor was Lex Hixon, a British visitor who was skeptical of the stories he had heard concerning Ramakrishna and his wife Sarada. He visited the couples home and reports that within 10 minutes of arrival and being in the presence of Sarada he had fallen into a state of blissful ecstasy. He wrote an account of his encounter in a book titled 'Great Swan, meetings with Ramakrishna.'



After Ramakrishna's death, Sarada herself would dictate her life story and within those pages she revealed that her husband Ramakrishna was the most gentle and pure man living, that he was a divine incarnation. She recounted how when she was five years old and was first married to him, she was terrified of him thinking that he would abuse her (a practice unfortunately all too common at the time with marriages of such vast age differences). Instead they spent the first week of their marriage playing and from then on she compared him to 'a gentle swan'. She reveals that one thing she did hold against him however was that he had never touched her as a husband and that she would die a virgin lol.

A study of Ramakrishna and his life will reward you greatly. I cannot encourage it enough.
 

IronFist

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To understand Ramakrishna a little better we must first gain knowledge concerning Kali.

In the great Indian poetic saga The Mahabharata, a great conflict is played out culminating in the great battle of Kurukshetra. The battle was between two sets of brothers, the Pandavas and the Karavas. On the side of the Pandavas was Krishna, supporting and encouraging his favorite devotee Arjuna to fight for the protection of Dharma or sacred law.

Krishna's encouragement and reasoning are detailed in a chapter titled the Bhagavad-gita, wherein he tells Arjuna that it is his duty to fight and kill so as to ensure the survival of religious law. Arjuna, although at first reluctant, eventually goes forth into battle and conquers the Karavas.

Towards the conclusion of the Mahabharata, one sees Yudhisthira, one of the Pandava brothers, arriving in heaven. In heaven Yudhisthira finds the Karavas (the villains), his most bitter enemies, enjoying themselves in eternal pleasure. With great surprise he inquires about his brothers, the Pandavas, and discovers their whereabouts in the darkest of hells.



[ame="http://www.youtube.com/watch?v=zcB-MuaU03k&feature=player_embedded"]Mahabharata2 - YouTube[/ame]




This is indeed the great paradox. What had the great battle achieved if his companions were in hell and his enemies in heaven? The Mahabharata (in fact most of the Vedic mythologies) is filled with such twists and turns, indicating that the path to freedom is a crooked and hidden path indeed.

Modern Hinduism cannot explain the paradoxes, after all Hinduism is no more than watered-down Eastern occult lore, bearing little of its original essence. To understand and appreciate inner Vedic knowledge, one needs to look away from the superficial and step into the extreme elements of Vedic tradition.

The Vama Marg tradition, or Left Hand Path, incorporates a vast amount of secret occult knowledge. Of particular interest to us here is the Aghori tradition who worship the Goddess Smashan Tara, who is also known as Kali.

To the average Hindu, Tara is the personification of destruction and annihilation. She is the keeper of the wheel of time, her age is Kali-Yuga, the age we now live in, recognized as the age of Maya or illusion.

To her worshippers however, she is the eternal mother, the maternal Goddess of the subconscious. Her form, although terrifying to most, is symbolic of her cosmic position. Around her head is a garland of eight freshly severed human heads, known as Runda Mala. These heads represent the eight 'nooses', known in Sanskrit as Pashas, which seduce and entangle one in the wheels of Karma.

While the individual is in maya or illusion, he must intricately possess one or all of the Pashas, which are; delusion, anger, greed, lust, envy, shame, fear and disgust. Aghoris believe that he who worships Tara-Kali will have these snares chopped off and shall be freed from their influence. But because most people identify these snares as being themselves, they become terrified of Smashan Tara, thinking that she wants to kill them personally.

Around her waist is a skirt of human arms, the Sanskrit word for arm is Kara, which relates closely to the word Karma. Thus these arms represent all the karmas accumulated by the individual through his voyage of many births.

These severed arms thus represent her ability to cut away and banish all these karmas. She herself has four hands wherein she holds a skull representing the three Gunas; Sattva (equilibrium), Rajas (activity), and Tamas (inertia), which are said to surround the soul.

On her second hand she holds a noose which is in fact the noose used by Yama, the lord of death, to take away the living. By holding this noose, she takes control from Yama and grants immortality.

The third hand holds a pair of scissors with which she cuts the soul away from its entrapped existence and enables Kundalini to rise. Finally in her fourth hand is a sword which represents the eternal force of creation and destruction used to maintain Universal balance.

Her tongue drips with blood symbolizing purification. This is a Tantric process known as Rakta Shuddhi which entails a purification from within. In her Tara form she stands on top of a corpse on flames, symbolizing the destruction of the vehicle of enslavement which traps the soul and keeps it bound to the wheels of rebirth. In her Shakti and Kali forms, she stands on top of Shiva's body, trying to awaken him so that they can play the eternal dance of union.

It is said that the easiest way to attract Smashan Tara is by associating oneself with her current. This is best done by conducting her ceremonies and by dwelling in the cremating grounds wherein she is always present. Her title Smashan means 'cremating ground'.
 

IronFist

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Adi Sankara was of course a known of Advaita Vedanta which is recognizing the identity of the Self (Atman) and the Whole (Brahman) as one.

Adi Shankara expounded the doctrine of Advaita (a nondualistic reality). In his Prakaraṇa Graṃthas (philosophical treatises) he makes his position clear:

"that is Brahman alone is real, the world is mithyā (not independently existent),
and the individual self is nondifferent from Brahman."

Ramakrishna, being a proponent of Advaita himself also merges the self into Brahma via the symbol of Kali. I think the difference is that Adi Shankara was more of a teacher and Ramakrishna was more of an 'experiencer'. There are not many teachings recorded by Ramakrishna, the example seems to have been the man himself.
 

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i had a chance to look and to him more and i find that he try to bring a sort of universalism, to the Vedanta society incorporating Taoism, Islam, etc.

i like to do a study on the Gita
 
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