Sunday 31 May 2020

வசந்தத்தில் வந்துதித்த #வாலை!!!

பட்டுப்போல் நிலவறிக்க வந்துதித்த பொன்திருவே !
கண்ணோ கமலப்பூ கண்மணியோ ஏலம்பூ கையிரண்டும் காந்தள்பூ காலிரண்டும் தாழம்பூ
காதிரண்டும் பிச்சிப்பூவாம் மேனியோ செண்பகப்பூவாம்
சிரித்தால் பொன்னுதிரும் பேசிடவோ பாண்டிமுத்துதிரும்
பத்துவர்ண பட்டுகொண்ட மேல்விதானமாம் #தில்லையிலே
தேரோடும் வீதியெங்கும் சிலம்பதிர ஓடித்திரிந்தாயோ ?!
வண்டுகள் கவிபாட பூமரங்கள் கூத்தாடிமகிழ
செண்டுகள் தானாட தேசங்களும் கொண்டாட
அரும்பாய் உதித்துவந்த #வாலைபெண் இவளோ ?!
வசந்தருதுவில் வந்துதித்த எங்கள் குஞ்சலமே!
உத்தமியாள் பெருமை கொள்ளும் மரகதவடிவே !
வாரிபடியளக்கும் மகிமை உள்ளார் புத்திரியோ ?!
சங்கு முழங்குதடி பாண்டிநாட்டு எல்லையிலேயே
சொக்கன் மகிழ்மீனாளும் உன்னை தந்தாளோ ?!
அம்மான்கள் குடியுயர வந்துதித்த புதுமலரே !!

வேணும் மலையாளத் தொட்டியத்து கருப்பர் துணை


#அன்புடைய__அம்மான்
இராம.நா.இராமநாதன்..

#birthday #poorani #vasantha #valai #blessed  #வைகாசி18 #wishes  #cutee

Sunday 24 May 2020

Khatvanga or Ritual staff a Comparison

Khatvanga is a long club-like instrument originally created to be used as a weapon. It is a divine weapon of various significance in  south asian Traditions like  Shaivism and Esoteric Buddhism. The Khatvanga was adopted by some lineages of historical Tantra though it preceded such  traditions. Khatvanga  ( Ritual staff / club  ) carried by certain tantric masters adorned with various symbols of tantric practice. 

This is a weapon that comes from very ancient times. In modern times, the bone is replaced with decorated wood.Its a sort of club(gada). The handle is made up of the bone of forearm or leg. The end portion of the bone is attached to human skull.There are several different types of Khatvanga today without human skull. The skull is made using metal or wood. In some the human skull is attached to Trishul. In some the skull is attached to sword or spear.

Khatvanga is primarily used to invoke fear. It is a sort of shield to keep enemies away. It is also used by many tantrics to stay aloof from society so that people do not approach them.
Symbolically the Khatvanga represents the futility of life.

Khatvanga in Hindu tradition

In the Hindu tradition khatvangs is represented as one of the attributes of  Lord Shiva as well as Lord Rudra carried the Khatwang as a staff he is also called as ‘Khatvangi’ for bearing this club.  There are some different stories why Shiva is called khatvangi  in which Siva commits acts of Brahmin-murder: firstly he kills Vishnu's doorkeeper the  Visvaksena, and, secondly, he cuts off the fifth head of the creator god Brahma Hence based upon these activities that Siva  carries the khatvariga  staff because he is in some sense a Brahmin-killer so he is attributed with khatvanga. In shaivisam there different  set of tradition like puranic and non puranic.
In this The Kapalika tradition was a non-Puranic form of Shaivism  which holds the ancient tribal practices and beliefs in India.The word kapalikas is derived from kapala meaning "skull", and Kapalikas means the "skull-men".  Generally Kapalikas are  traditionally denoted with a skull-topped trident (khatvanga) and an empty skull as a begging bowl.At the beginning khatvaga was made of bones, especially, the long bones of forearm or the leg of human. Later the bhramins skull is stabbed on the bone staff. Later forearm bone is replaced with wooden staff this is supposed to carry as a component of his prescribed penance for the twelve-year rite that will expiate his sin ( killing a bhramin ) for twelve years, he should carry in hand a khatvanga and skull, remain celibate and enter a village to beg alms while proclaiming his deed. He should do the following for twelve years: He wear the skin of a animals  reside in the wilderness make the head of a corpse his banner  have a hut built in a cemetery and live in it for attaining the title of kaplika. In hindu tradition ferocious Forms of Shiva like bhairava , rudra  Goddess Kali, Goddess Chamunda are depicted as holding Khatvanga. In the southern region of India especially in Tamil nadu & Kerala very rarely we can see the deities with katvangam.

Khatvanga in Buddhist tradition

The Buddhist khatvanga was derived from the emblematic staff of the early  Indian  Shaivite ( kapalika) tradition. In Vajrayana Buddhism the staff takes  many new forms and functions. For Tantric practitioners emulating the behaviour of the major meditational deities such as Hevajra and Chakrasamvara hols the staff  its called as katvanga it is described in the Tantric literature in a detailed manner and contains many deep meaning's locked in the mnemonic symbolism. It symbolizes the body of a human whose nature is great spontaneous bliss and its essence is absolute bodhichittva.

The trident symbolizes the control over the 3 poisons. The 9 links in the chain are the 9 stages of spiritual work. The crossed vajra symbolizes the balance between compassion and wisdom. The three heads symbolize the three bodies of a Buddha or Shiva. As for the vessel shown in staff is filled with the  bodhichitta nectar.
The five-colored ribbons represent the five poisons that are transmitted into five medicines. The vajra at the lower end means that samsara has no base or root.

The #Khatvanga is primarily an attribute for deities who are in semi-peaceful semi-wrathful appearance  sometimes it will shown to the wrathful deities. In vajrayana Buddhist tradition several forms of the  Mahakala is  worshipped as  wisdom protector and he holds the katvanga and kabala. For male and female meditational deities are represented in simple solitary aspect such as Hevajra, Chakrasamvara, Vajrayogini, the katvanga staff represents the consort. Padmasambhava the mythic tantric saint who ensured the flourishing of Buddhism in Tibet in the 8th century was famous for supporting a katvanga staff against the left shoulder.  Many male and female deities cradle a staff in the bend of the elbow, some hold the katvanga in the hand while embracing a consort. 

#Khatvanga_in_Tamil nadu

A #khatvanga Shiva from kumbakonam. He is shown with four hands  and he holds khatvanga and khabala in his upper hands and in his lower hands he shows abaya muthara and kadihastham in veerasanam. PC:akhil kuttu

#Khatvanga bhairava  from thiruvarur thiyagarajar temple. He is shown in two hands and attributed with  khatvanga and khabala in standing posture. Pc: akhil kuttu

#Katvaanga Shiva from Lalgudi Sapthrishisvarar Temple near Tiruchirapalli. He is shown in verrasan and in his upper hands he holds katvangam and kudaveenai. Pc: Rk.Lakshmi

#Khatvanga_in_Himalayan_region

pc: Google images

#Khatvanga_in_Himalayan_region

#Vera_ganapthi from Side street at Patan, Nepal. In india ganesha is worshipped in different forms  Veera ganapthi form is the one among the 32 forms of ganesha as he holds Vhetala, the weapon of power(shakti), arrow, bow, wheel(Chakra or discus), sword, club, staff, hammer, mace, hook, nagapasha (serpent noose), spear, plough, and the shining axe. Kattavaga is represented as one the scared symbols of ganeshas astamangala in Tamil nadu.

#Bhairava or mahakala seen in Monkey temple  in Kathmandu.Here he is shown with two arms he holds vajra in right arm and in his left arm he holds kappala an Khatvanga here  he stands in samabanga.

#Padmasambhava Guru Rinpoche Statue at hemis monastery ladakh.
Padmasambhava also known as Guru Rinpoche  (“Precious Guru”) or “The Second Buddha  is widely credited with bringing Buddhism to the Tibetan lands. According to these legends, Padmasambhava was born amidst miraculous circumstances and grew up as a  prince in oddiyana ( oddhisa ) at India. At the young age  the prince turns into a tantric practiser  then he  travels around India and learns the  teachings and practicing in sacred charnel grounds. Eventually he arrives in Yanglesho, where he gathers the texts of Vajrakiala ends a drought by defeating some local spirits, and gains realization and started to preach vajrayana Buddhism.
Pathmasambava is depicted in youthful appearance of 16 years old and he his shown complexion of fair and red tinged and shown in  seated royal posture. He wears a five petal lotus crown on his head. His two eyes are wide open with a piercing gaze. He wears a red silk cloth in his right hand  he holds a Vajra. In his left hand rests in the gesture of equanimity as he holds a kapala (skull bowl ) brimming with Amrit and containing the vase of longevity that is also filled with Amrit of deathless wisdom and ornamented on top by a wish-fulfilling tree. The Khatvanga that rests on his left arm is a particular divine attribute of Padmasambhava.

#Vajrayogini statue inside the Kyabje Pabongka Rinpoche’s personal retreat cave at Tibet. Vajrayogini is also called Vajravarahi, in Vajrayana (Tantric Buddhism) female embodiment of the cognitive function which leads  to Buddhahood. She is the Queen of all the  Dakinis ( energetic beings in female form, evocative of the movement of energy in space ).Vajravarahi is described with red in color with human face with three eyes and bared fangs. Having a crown of five human skulls and a necklace of fifty fresh human heads. In her  right hand she holds a  vajra curved knife in the left she  holds the a blood filled skullcup and carrying a katvanga [in the bend of] the elbow. She is adorned with a garland of flowers and her lower garment  is made of tiger skin. She is represented in dancing manner with the left leg extended in a half [vajrasana] posture.

#Khatvanga_in_Karnataka_region

PC: museum sculpture by Vicky Kannan 
Hoysala sculptures: Dr ravichandran kp

A early chalukiyas style #dwarabalaka from Bangalore museum.  This dwarabalaka is shown with four arms and he holds  khatvanga and dhamaruka in his upper arms. In his lower arms he holds gadhayuda and showing vismaya hastam.

#Thandaveswara a form of dancing Shiva  holding khatvanga from Hoysaleswara temple a 12th-century at in Halebidu,  in the state of Karnataka.

#Chamunda holding khatvanga from Hoysaleswara temple a 12th-century at in Halebidu,  in the state of Karnataka.
Chamunda is often said as a form of Kali, representing old age and death. She appears as a frightening old woman, projecting fear and horror.Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). She is described as having four, eight, ten or twelve arms, holding a Damaru (drum), trishula (trident), sword, a snake, skull-mace (khatvanga), thunderbolt, a severed head and panapatra (drinking vessel, wine cup) or skull-cup (kapala), filled with blood. Standing on a corpse of a man (shava or preta) or seated on a defeated demon or corpse (pretasana). Chamunda is depicted adorned by ornaments of bones, skulls, and serpents. She also wears a Yajnopavita made of skulls. She is accompanied by evil spirits and also shown to be surrounded by skeletons or ghosts and beasts like jackals, who are shown eating the flesh.

#Gajasamharamoorthi holding kathvanga from Hoysaleswara temple a 12th-century at in Halebidu,  in the state of Karnataka. In sculpture, Gajasurasamhara is often pictured with eight or sixteen arms. These multiple arms are uncommon in Shiva's iconography and are exclusively used in his combative forms.In such multiple-armed images, Shiva may carry various attributes like the trishula, a damaru, sword, kapala, pasha,deer, ankusha (goad), vajra (thunderbolt),arrow, gada (mace), khatavanga, tanka (a chisel-like weapon), bow, snake, the elephant's tusk and akshamala. His hands may be held in suchihasta mudra (gesture to draw or point out attention) or vismaya mudra. At least, two arms hold the elephant skin around the body.

#Female_deities_holding_Khatvanga

           Pc:Google images

11th-century dancing form of  #yogini holding khatvanga and khabala  from Rani ki Vav at  Patan in Gujarat , India.

11th century Chamunda holding khatvanga from
Eastern India, Pala period now ar Los Angeles County Museum of Art Collection. The tantric goddess Chamunda with six arms, seated in rajalilasana on a double lotus throne, emaciated with pendulous breasts, surrounded by demon figures and holding aloft the implements of a tantrika, including the khatvanga, damaru, panapatra or kapala, and severed head, wearing the flayed skin of an elephant as a cape.

12century Mahisasuramarthini  sculpture from Rajasthan she holds katvanga.

---Ramu.Rm.N

Tuesday 19 May 2020

chettinad kaluthiru

#Kaluthiru


 kaluthiru size a comparison now and then 

This is the ornament specially used by  nagarathars(merchant community of  karaikudi) and used in chettinad temples for divine celestial wedding weddings."Thiru" literally means lakshmi kaluthu (the tamil word for neck).  Mangalyam /mangalsutra will be shown  in the center  which depicts the mahalakshmi. so the name given is" kaluthiru".This is the ornament worn to bride by the bridegroom during marriage.Taking the kaluthiru from the bride house the day before the marriage is a tradition.




The pangalis ( grooms family members ) will make the "kaluthiru".There are totally 31 parts in kaluthiru which has specific names like "thirumangalyam","ethanam"," sarimani","kadaimani" etc excluding this 31 Parts there are four parts which be added on the next day of wedding they are "kuchi","thumbu","orraithumbu","thuvalai".


Nowadays The "thirumangalyam" and enthanam  carries the motifs of goddess ‘ #Lakshmi’at the front side. Few decades before  the icons of  ‘ #MeenakshiSundareswarar ’ ‘#Rishabarudar modiffes were shown in "ethanam" in the second row. In some thirumangalyam we can many goddess #Bhubaneswari too instead of Lakshmi Lakshmi and #Rishabaruda (Shiva - Parvathi on bull )are often repeated theme in Chettinad, which are highly revered by the Nattukottai Nagarathar as the former symbolizing protection and prosperity while #Rishsbaruda  ( Shiva Parvathi pair on bull ) represents happy family life. Nowadays the size of kaluthiru has been shrunken so in "ethanam" motif of #mahalakshmi is show so nowadays its called as Lakshmi ethanam because of Lakshmi motif. 


A day before the wedding the kaluthiru ( 31 parts) will be given to the groom family with help of paternal elders  ( pangalis ) the parts of kaluthiri will joind in a turmeric thread  which is 21  partision and some techniques were used to  spin it to make it as a chain once again the thread is soaked in the turmeric water to make the spin stronger.

   kashi sea ran visa lakshmi with kaluthiru

The thread now appears yellow in colour after this 31 parts of kaluthiru and connect it to the thread with two rows  which denotes bride and groom  these two rows were knotted together the row with thirumangalyam / mangalsutra denotes bride and the row with ethanam denotes groom. 

a proper kaluthiru with 34 parts 

Now the Kaluthiru chettinad wedding ornament is ready to worn by the bride on the wedding occasion.

----- Ramu.Rm.N


Monday 18 May 2020

Vajra or Dorjie comparison

Vajra or Dorje

The use of the vajra as a symbolic and ritual tool associated with Indra, and is used symbolically by the dharma traditions of Buddhism, Jainism and Hinduism spread from the Hindu religion to other religions in India and other parts of Asia. 
Vajra in Buddhism:

In the tantric traditions of Buddhism, the vajra is a symbol for the nature of reality Vajrapani (lightning in hand), the special protector of Buddha Sakyamuni, being a direct loan from the Hindu God Indra. The Vajra symbolizes: indestructible, indivisible and irreducible power. Other translations were diamond or royal  stone. It is an expression of the adamantine quality (diamond hardness) of the Buddha mind. The Dorje / vajra is the most important symbol  of Vajrayana Buddhism. The Vajra is responsible for the name given to this stream of Buddhism, but also is the true symbol of bodhicitta or enlightenment. First it worked as a weapon of destruction and then became a precious talisman of protection. Symbolises faith, important rituals for exorcism of evil spirits. It is a common attribute of gods and lamas. In Tibetan art is shown as the attribute of various deities that hold it in one hand or near the body. It is a cosmic symbol: the cosmic pillar.
The main elements of a vajra include equal numbers of prongs on both ends, connected through a sphere or globe representing the sphere of actual reality (emptiness). The prongs (twin reflected vajras) are usually on lotus thrones, because the prongs themselves most often signify the five Wisdom Buddhas on one end and their five Mother consorts on the other. 
At another level of symbolism, the two reflected ends of the vajra represent samsara and nirvana, connected by the actual reality of emptiness (sphere).

The center globe or hub represents dharmata (in Tibetan chos nyid) which is the sphere of actual reality—in other words emptiness. Whether inscribed, or visualized, the sphere contains the seed syllable (bija) of the syllable Hum.Thus it is an instrument for ritual use. The most powerful weapon of the gurus in their war against the demons, symbolised the thunderbolt of Indra.

 In vajrayana  Buddhism The vajara was born as an instrument of God Indra and thereafter was used for tantric rituals and exorcisms. It was the chief tool of one of the great streams of Buddhism Vajrayana.Vajra or Dorje  is a conception of the  ​​electromagnetic behavior of  the Sun  respect  the orbiting planets . In Tibet, Thailand and India  vajra  became  a fundamental tool  for religious rites of worship of Buddha. 

Vajra in Hinduism :
According to the Indian mythology, vajra is considered as one of the most powerful weapons in the universe.vajra is the weapon of the Hindu rain and thunder-deity Indra. There have also been instances where the war god skantha is described as holding a vajra in south India.  Indrani is the one of the personified form of Indra. Indrni is worshipped one  among the  sapthamatrikas in south India. 
 Hindu Legend on vajra : 
Indra the King of the devas was once driven out of devaloka by an asura named Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who had lost all hope of recovering his kingdom was said to have approached Shiva who could not help him. Indra along with Shiva and Brahma went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sage Dadhichi would defeat Vritra.The devas went after a long time  and asked him to return their weapons so that they might defeat the asuras, headed by Vritra, once in for all. Dadhichi however told them of what he had done and informed them that their weapons were now a part of his bones. However Dadhichi realising that his bones were the only way by which the devas could defeat the asuras willingly gave his life in a pit of mystical flames he summoned with the power of his austerities. Brahma is then said to have fashioned a large number of weapons from Dadhichi's bones, including the Vajrayudha, which was fashioned from his spine. The devas are then said to have defeated the asuras using the weapons thus created.
Pic1: Vajra used in vajarayana buddhism ritual at  National Museum, Jakarta, Indonesia.


Pic2: Indrani relif sculpture from Parasurameswara temple Bhubaneswar.   This temple belongs to 7th century AD temple dedicated to Shiva,dated to the reign of Sailobhava dynasty - between 7th to 8th century AD. This temple has a beautiful sapthamatrikas panel. In this panel Indrani is shown in two hands in a bathamasa posture with two hands she holds vajra and kabalapathra 
Pic 3: A subramaniya from Kalugumalai Vettuvan Kovil (Rock cut temple). One of the rare experimental rock cut temple of Pandya Kingdom . It is dated back to 8th CE. This Subramanian is shown in vimanam greeva region. In this sculpture Subramanian is shown with channaveeram and bathrakundalam he holds vajra and akshamala ( Rosary beads ) in his upper arms. In his lower arms he dint hold any weapons he is shown in seated position called sukhasana he folds his  right leg is folded on his lap while the left foot rested over the floor 
Pic4 : A Subramanian from Vaidyanadha swamy temple is located at thittakudi, near virudachalam in cuddalore district. A pllava period Subramanian relief sculpture is placed in temple passage Subramanian which belongs to 7th to 8th century AD. This Subramaniya is shown with standing posture in samabangam  with chanaveram and bathrakundalam. In his upper hands he holds vajra and shathiayutha  and in his lower hands he shows abaya hasta and kattihastam. 

---Ramu.Rm.N

Thursday 14 May 2020

Shiva on nandi ( adikara nandhi )bull-man


In Indonesia tradition Lord Shiva is represented with three  attributes namely the watering can (kendi), the fly whisk (chamara) and the prayer beads (akshamala). The front of his crown bears a skull and third eye representing Shiva as the destroyer a but the water can, (kendi) equally presents him as the creator. But in this sculpture Shiva is represented with chamara and akshamala .
 

#8th_century Siva on Nandi Shiva’s carrier Nandi the Bull is seen here as a bull-man, a unique representation in Hindu iconography this sculpture was  found at nr Borobudur, Central Java, at 1905  now displayed at  National Museum, Jakarta, Java. Same style of  nandi carriying Shiva  at  Displayed in the Kailasa Museum at  Candi Gatutkaca. In south Indian ( Tamil nadu ) Shiva temples during the annul festivals we can see this kind of  nandi vahana (adhikara nandhi with four arms )  in temple processions.

Monday 11 May 2020

Agasthya chola mural comparison

Agasthya 

In Tamil traditions, Agastya is considered as the father of the Tamil language and the compiler of the first tamil grammar, called Agathiyam or Akattiyam.Agastya has been a culture hero in Tamil traditions and appears in numerous Tamil texts Agastya is one of the most important figures in a number of medieval era Southeast Asian inscriptions, temple reliefs and arts. He was particularly popular in Java Indonesia, till Islam started to spread throughout the islands of Indonesia.He is also found in Cambodia, Vietnam and other regions. The earliest mentions of Agastya is traceable to about the mid 1st millennium CE, but the 11th-century Javanese language text Agastya-parva is a remarkable combination of philosophy, mythology and genealogy attributed to sage Agastya. A comparison between 10th century chola mural at Tanjore big temple and Agastya,  8-9th century,National Museum, Jakarta,Indonesia.


Pic1:The Chola fresco paintings at tajore temple within the circumambulatory corridor Aradhana Mandapam of Rajarajesvaram. At The passage of the corridor.They are the first Chola specimens  were discovered in 1931 by Mr.S.K.Govindasamy of Annamalai University. At the eye level is the depiction of a sage like figure in seated position over a reddish cushion under a banyan tree with his disciples which is  faintly visible in a dull tone and very weak lines. Sage is shown in yellowish color.


Pic2:The sage figure is shown in sitting posture under a banyan tree with his disciples. He is short ,chubby and  pot belled. The sage figure is adorned with an extraordinarily bejeweled with jada mugudam and datura. A long strip of cloth  is twisted and tied around the head in the lower margin of his hairdo.He is shown with well grown ears with a kundalam. He has a long dropping moustache merging with the long thick gray beard. He has shown with opend eyes and eyebrows were shown in thicker and silken white to show his age. His month is open an he is teeth are clearly visible he is uttering some wise words. He is shown with two arms he rests his right hand in his kneecap in a relaxed manner posture. In his left hand he shows katakahastam  which indicates he is busy in teaching. 
In his neck he is wearing a single strand white beads and in his arms he is shown with simple ring type armlet. He wears a single ply type cloth twisting over his body from left to right. He is seated in a relaxed manner  over a red cushioned pitha  with a backrest his right leg is bent and left leg is shown in flat position.His bulky body rest over the bulky cushion. A short tirisoolam is shown near his right leg on the cushion.


Pic3:  A standing agasthya from Banon Temple, Central Java now at Java Central Java Archaeological Heritage Preservation Hall. Agasthya is said to be one of the sapta rishi. Agastya was tasked with spreading saivasiam  from India to the south (Indonesia and the Malay Peninsula). Due to his great service in spreading the religion of Saivisam , Agastya is considered a representation of Shiva. The Agastya statue is depicted as a bearded old man with a thick moustache; having a  pot belly  (distended); using attributes, among others, jatamakuta, chamara, aksamala, kamandalu, and trisulam. Source: Budiarto, Eri, et al. Central Javanese Classical Gods. 

--- Ramu.Rm.N


Saturday 2 May 2020

கம்பராமாயணமும் நாகேசுவரன் கோவில் குறுஞ்சிற்பமும் 12

#கம்பராமாயணம்.  #அயோத்தியா_காண்டம் #நகர்_நீங்கு_படலம்

இராமன், சீதை மற்றும் இலக்குவனுடன் செல்லுதல் 230 தாய்மார்கள் மூவரையும் வாழ்த்துதல்233

சீரை சுற்றித் திருமகள் பின்செல,
மூரி விற்கை இளையவன் முன்செல,
காரை ஒத்தவன் போம்படி கண்ட, அவ்
ஊரை உற்றது உணர்த்தவும் ஒண்ணுமோ? 230

ஏத்தினார், தம் மகனை, மருகியை;
வாழ்த்தினார், இளையோனை; வழுத்தினார்,
'காத்து நல்குமின், தெய்வதங்காள்!' என்றார்-
நாத் தழும்ப அரற்றி நடுங்குவார். 233

#Chola_miniatures  #panels #Ramayana #kamba_ramayana #nageswaran_temple #kumbakonam

Ram Accepted His Exile In The Forest For 14 Yrs
Queen Kaikeyi spoke to Rama and explained the boons that she had asked of His father.Rama accepted his father’s reluctant decree with absolute submission and his step mother’s request and decided to leave the kingdom as it served all purposes of his incarnation.
Rama was joined by Sita and Lakshman. Rama tried to convince Sita not to join him in a dangerous and certainly arduous existence in the jungle. Sita replied, “The forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me.” When Rama ordered her in his capacity as husband, Sita rejected it, asserting that it was an essential duty of a wife to be at her husband’s side come good or ill. Rama, Sita and Lakshman greet their mothers before finally going to Dashrath to take leave of him. Dashrath attempted in vain, to try to talk Sita out of joining Ram in the forest.

--Ramu.RmN