Gaya Pitritirtha : Paying Homage To Our Ancestors

The history of Gaya is impregnated with the evolution of many religious cults. But it is the legacy of Pinda-daan or Shraadha which lends it a singularity of its own. Pinda-daan is regarded as an integral rite in the Hindu Dharma in which offering is made to the forefathers. The scriptures enjoin that it should essentially be made to propitiate all deities, sages as well as all living beings of the earth.

According to the scriptures three male paternal and three male maternal ancestors are to be offered Pinda at Gaya. The ritual is to be performed in Krishna Paksha or the dark fortnight of the Hindi month of Asvina. The day of Amavasya- the moonless night, is the most auspicious day for this rite.

The rite is observed in three ways, Eka Drishti, Darshani, and Khaper. In Eka Drishti the rituals are performed at Phalgu river, Vishnupad hill and Akshayava tree. In Darshani the rituals are performed at 35 Vedis or Shraadha spots. Offerings have to be made at 45 different spots.

The Sharaadha spots can be classified in regard to their association with prominent deities. Akshayava, Brahma Sarovar and Dharmaranya are important sites associated with Lord Brahma. Adi Gaya, Bhima Gaya and Bodh Gaya are associated with Lord Vishnu. Matangvapi and Mudraprastha have their linkage with Lord Shiva. Vedis and Kankhal are linked with the Sun god. Ramshila and Preet shila are consorted with Yama god.

The classification as made above illuminates the cultural fusion which took place in Gaya in different periods. The various Vedis stand as a crystallized form of cultural exchange involving acceptance of religious heritage which took place between the Aryans and non-Aryans since ancient time. Archaeological evidences unearthed at Gaya tend to suggest that Phallic manifestation of Rudra was present here before the advent of the Aryans. Many near-similar religious beliefs in due course of time were assimilated in the Brahmanical form of Vedic religion.

The worship of Prajapati or Brahma was a way of Vedic Aryans to venerate their forefathers. It is for this reason the Vedis associated with Brahma are considered the oldest among all Vedis. The Vedis associated with Lord Shiva and Yama fall on the demarcation line between the predominance of the non-Aryans and Aryans. The Vedis associated with the Sun god are close to the Brahma Vedis in point of time. The Vedis of Lord Vishnu and his incarnations like Ram, Buddha and others mark the final addition to this age-old series.

In geographical terms, Gaya is surrounded by seven hills on all sides. Murli and Ramshila hills are to the north, Abhgila to the north-east, Nagkuta and Prag Bodhi to the south-east, Katasi to the west and Brahmayani to the south of the town. These hills, which too are sacred objects of worship, are duly acknowledged in the holy book Gaya Mahatmya. The text of this book is an attestation to the fact that deities and divinities acquire symbolic expression not only in the form of idols and images but also in peaks and stones.

Phalgu is the most important river which flows through this region. The part of the river under reference from Gayasiva to Uttar-manas is regarded as Phalgu-tirtha. Local priests enjoin pilgrims to visit this Vedi first. Besides it, streams of Dadhikuly Madhu-srava and Agni-dhara are other riverine sites of the place, though not equally significant. A good number of tanks referred to in the holy books of early times can still be found in Gaya. Dakshina-manas, Sita-kunda, Ram-sagar and Buddha-pokher are important among them.

The diversity of topographic outlines has given the city of Gaya a sylvan ambience. The forest tract in the northern side called Brahmaranya and that in the southern side called Dharmaranya are equally sacred. The sanctity accorded to these forest areas has prevented them from deforestation for mundane pursuit. As an inevitable corollary this has led to an ecological balance.

Local legend has it that the hill Preetshila bears the foot prints of Lord Brahma. Clearer foot prints can be seen at Vishnupad temple which is widely presumed to be the foot prints of Lord Vishnu. In course of pilgrimage at Gaya, a pilgrim expresses his/her gratitude to all deities and the nature as well. No other pitritirtha in the country can claim to have such completeness. The archaeological findings of different periods discovered in Gaya suggest that almost all divinities of the Hindu pantheon have at one time or the other prevailed here. By offering oblation to such a diversity of divinities and living beings besides the ancestors, a devout pilgrim establishes himself as a well-wisher of the entire universe. Perhaps no other cult has such a noble concept of universal appeal. In fact, it is the novelty of the concept which credits Gaya as the most sacred place in the country for ancestral worship.

Durga – The Goddess Of Righteousness

Worshipping God in the form of Mother is a unique feature of Hindu religion. Through the ages, the doctrine of the Motherhood of God has established a firm root in Hinduism. When a devotee worships God as Divine Mother, he or she appeals to Her tenderness and unconditional love. As a child feels safe and secure in the lap of its mother, a devotee feels safe and secure in the presence of the Divine Mother. Sri Ramakrishna Pararnaharnsa, one of the greatest Indian sages of modern times, worshipped the Divine Mother Kali all through his life. He established a personal rapport with Her and was always conscious of Her presence by his side. Hindus worship the Divine Mother in many popular forms such as Durga – the goddess of righteousness (she is called Durga because she slayed arch-demon Durg, son of Ruru), Bhadrakali – the auspicious power of time, Amba or Jagdamba – Mother of the world, Annapurna – Giver of food in plenty, Sarvamangala – well-wisher of everyone, Bhairavi- power of death, Chandi- killer of demons, Lalita or Lakshmi- Goddess of beauty and prosperity, Saraswati- Goddess of music and learning, Kumari – the virgin, most pure and Uma or Bhavani (consort of Lord Shiva)- Giver of existence. The metaphor is that she is well-wisher of all but cruel to the demonic i.e., to the proud ego of man.

Mythological significance :The birth of Mother Goddess has an interesting origin. It has found mention in the Skanda Purana, in Chandi, itself a part of the Markandeya Purana, the Brahmanda Purana and also in the famous epic, the Mahabharata. According to these mentions, in the ancient times, Lord Shiva, pleased with the devotion of the demon-king, ‘Mahishasura’ blessed him with a boon that no man or God would be able to kill him. Empowered with the boon, Mahishasura started his reign of terror over the world. People were killed mercilessly and even the Gods were driven out from heaven. The Gods went to Lord Shiva for the protection from the demon-king. Knowing their plight, Lord Shiva, became very angry. This anger came out in the form of energy from Shiva’s third eye and concentrated to form a female deity. All the Gods who were present there contributed their share of energy to this Goddess and thus Durga, the eternal mother, was born. Riding a lion, she attacked Mahishasura. After a fierce battle, Durga transformed into Devi Chandika, the most ferocious form of the Goddess, and beheaded Mahishasura.

In ‘Ramayana’, Lord Rama went to Lanka to rescue his abducted wife, Goddess Sita, from the grip of demon-king,Ravana. Before starting for his battle with Ravana, Rama wanted the blessings of Devi Durga While worshipping He proposed to please the Goddess with one hundred NeelKamal or blue lotuses. But He could gather only ninety nine of them. He finally decided to offer one of his eyes, which resembled blue lotuses. Durga, being pleased with the devotion of Rama, appeared before him and blessed him with the success. The battle started on the Saptami (seventh day) and Ravana was finally killed on the Sandhikshan i.e. the crossover period between Ashtami (eighth day) and Navami (ninth day). Ravana was cremated on Dashami. Since the period of this worship was different from the conventional period (during the spring - Basanta), this puja is also known as Akal-Bodhan - a worship (Bodhan) in an unconventional time (A-Kaal). According to a Bengali myth, Daksha, the king of the Himalayas, and his wife, Menaka, had a daughter called Uma. Uma, right from her childhood, started worshipping Lord Shiva as her would-be-husband. Lord Shiva, being pleased with the worship of Uma, came to marry her. Daksha was against their marriage but could not prevent it to happen. A liitle time later, Daksha arranged a ‘yagna’ where everyone except Lord Shiva was invited. Uma, feeling ashamed of her father’s behaviour and shocked by the attitude metted towards her husband, killed herself. There was no end to his anguish when Lord Shiva came to know about this. He lifted the body of Uma on his shoulders and started dancing madly. With the supreme power dancing with wrath, the World was on the verge of destruction. Then Lord Narayana came forward as a saviour and used his ‘Chakra’ to cut Uma’s body into pieces. Those pieces started falling off from the shoulder of the dancing Shiva into different parts of the World. Shiva was finally pacified when the last piece fell off from his shoulder. Lord Narayana, however, revived Uma to new life. The places where the pieces had fallen are known as the ‘Shakti Piths’ or energy pits. Kalighat in Kolkata , Kamakshya near Guwahati and Vaishnav Devi in Jammu are three of these places. Ever since peace was restored, Uma, with her four children, Ganesh, Kartick, Saraswati and Laxmi and her two ‘sakhis’ - Jaya and Bijaya, comes to visit her parent each year during the season of ‘Sharatkal’ or autumn when Durga-Puja is celebrated. Thus the other name of Durga-puja is "Sharodotshob".

Celebrations In Bengal, the nine-day festival, Durga-Puja is celebrated with great reverence and gusto. It begins with the commencement of Mahalaya. It signifies the termination of Pitri-Paksha and the beginning of Devi Paksha, thus ushering in the season of religious festivals. Several important rituals are performed on this auspicious occasion. It is said that Devi Durga begins her journey from her husband’s abode in Kailash to her paternal home on this day. Maharaja Krishnachandra of Nadia introduced the tradition of worshipping clay images in Bengal early in his reign. Since then months before the festival, a special clay image of the goddess is made showing her in the act of killing the demon Mahishasura. The clay for the image is brought from ten places of work - of a farmer, weaver, painter, carpenter, musician, drummer, blacksmith, sweeper, bricklayer and a prostitute. Durga is also called Sarba Jananni, a goddess for all, and is shown riding her mount, the lion. The image of Durga is lavishly decorated. For nine days, she is worshipped. On Vijayadashami, the tenth day, when the goddess was victorious by killing evil asura, her clay image is immersed in the ocean or river. This immersion symbolises Durga’s return to her husband Lord Shiva on the conclusion of her annual visit to her parental home. . The worship of God as Mother has had a significant impact on Hindu beliefs. It not only signifies the victory of good over evil but also offers a unique reverence to womanhood.

Lord Ganesha :An adorable God of the Hindu mythology

Almost all Hindu religious ceremonies begin with Ganesh Bandana : Om Sree Ganeshaya Nama. After Ganesh bandana priest performs rituals and pujas.

Ganesha is a god of success, prosperity and happiness. A Hindu shop, business or a trading centre must have an idol of Ganesha which is daily worshipped. Khero Khata, a red cloth bound account book must bear in its first page a mark of Ganesha symbol, a prayer of Ganesha inscribed on the front page of the account book in a symbolic manner. In average Hindu houses, an image of Ganesha-idol, icon, at least a calendar bearing Ganesha image is a common sight. There are some exceptions no doubt.

Many big business houses display in the entrance hall a replica of Ganesha, often a full figure Ganesha by an eminent sculptor or artists like Jamini, Roy, Hussain, Bikash Bhattacharya, Ganesh Pyne and many other illustrious painters of India.

Dancers and singers of Indian classical dance and music begin with Ganesh bandana – prayer of Ganesha and then the artist performs the final recitals. In literature or in drama performance Ganesha is always remembered for the final success. Lord Ganesha is also considered in Hindu mythology a patron of literature, art and culture.

Ganesha, literally the lord of Ganas (people) is the most universally adored of all the Brahmanical Gods, and his images are found in practically every part of India. The popularity of this deity is extended to Nepal, Bangladesh, Java, Cambodia, Indonesia, Thailand and his worship was not unknown in Tibet, Myanmar, China, Japan, Afghanistan, even in parts of Central Asia. The God has been conceived as Vighneswara, the lord of overcoming obstacles, Vighnantaka, the remover of calamities, Siddhidata, the bestower of success and the divine scribe which gained him the reputation as patron of letters.

The great Shaivite cave temple of Elephanta, near Mumbai dates back between 635 century A.D to eighth century A.D. The main panel of stone carvings representing Shiva as the lord of Dancers, is much better preserved. Above him is a very well preserved image of the elephant-headed Ganesha too. This figure of Ganesha is unique in all respect, it has a dancing posture and an axe in its right hand.

In Bengal and in the eastern part of India, Durga Puja is a popular community festival in autumn season. Maharashtra celebrates Ganesha Chaturthi/Ganapati Puja in the month of Bhadra/September, a popular festival with much fanfare along with popular games etc. Ganapati Bapa in Maharashtra, chanted by thousand of devotees during immersions of the idols in unending processions in the rainy season, attracts lakhs of spectators. Mumbai city’s Juhu beach along witnesses nearly six thousand Ganapati image immersion. Other sea beaches and rivers of Maharashtra having immersions of Ganapati images in different sizes, shapes, in different types of figures, all are artistically crafted and designed. Ganesha Chaturthi, Ganapati Puja as a community worship, a mass festival was introduced in Maharashtra by Lok Manya Bal Gangadhar Tilak in the first decade of the twentieth century. Ganapati puja festival attracts tourists from abroad and other states of India.

Businessmen, at large, generally has a special fascination for Ganesha, because he is a god of success and prosperity. But people in the field of art, culture and letters too worship Lord Ganesha as the siddhidata (giver of success). In dian craftsmen have produced idols, icons or images of Ganesha in different shapes for the last several centuries. India’s ethnical tribal art and crafts are considered to be primitive, for example Dokra or Dhokra art. Mainly brass metal art objects, figure of mythological personage, animal, brids crafts are made in dariapur village (Bankura district), Medinipore in West Bengal, Madhya Pradesh and Bihar. Dokra craftsmen create wonderful Ganesh along with other mythological gods-goddesses and animal figures.

Terracotta Ganesha figures were found through archaeological excavation in many parts of India. Temples in Bengal have a large collection of terracotta Ganesha in the districts of Howrah, Hooghly, Burdwan, Birbhum and Bankura. Bishnupur in Bankura district is famous for terracotta horse, other animal figures along with the terracotta Ganesha. These terracotta horses and Ganesha are displayed as an art object in many drawing rooms of urban cities in our country. Terracotta horses and Ganeshas are export items. These terracotta items are usually produced by adivashis and jother rural artisans of Bengal, Bihar and Orissa.

South Indian woodcraft artisans present Ganesha in different moods and in shapes. Sandalwood Ganesha figure are crafted by traditional artisans of Karnataka and Tamil Nadu for several centuries from now. Ivory works on Ganesha and elephant executed by fine craftsmen of Karnataka, Tamil Nadu, Kerala are collectors – item all over the world. Antique dealers all over the world will vouchsafe popularity of ivory works of Ganesha.

Some wooden figures of Ganesha are found in Orissa. Orissa’s soft stone and hard stone Ganeshas are crafted by local artisans around Puri temple as well as around Bhubneswar and Cuttack. For the last one decade Ganesha painting, drawing or sculpture have invaded most art galleries of Chennai, Mumbai, Calcutta and Delhi. Several celebrated artists all over the country are now engaged in drawing, paintings and sculpturing Ganesha. They are generally commissioned by art gallery owners to produce more Ganesha in canvas, sculpture on stone or wood. Even terracotta and brass ganeshas have become a collector’s item.

Indian Museum of Calcutta has some wonderful collection of Ganesha at its archaeological gallery; it has two large size Ganesha statue from Java (Indonesia) dated eighth or ninth century A.D. besides two stone figures from Bihar, i.e. Chaturmukha Linga – eleventh century A.D. (2) Ganesha – eleventh century A.D. Yet another peculiar figure of Ganesha is a part of stone slab sculpture dated twelfth century A.D. (from Halebidu, Karnataka). Two south Indian bronze Ganeshas are displayed prominently in the same gallelry.

The Interfaith Movement

Faith has been defined as belief in the trustworthiness of an idea. The basis of this belief may be physical or metaphysical. Either way, it leads firstly to a conviction that something is, secondly to a determination to accomplish objectives associated with this conviction and thirdly to a sense of satisfaction linked to the achievement of the preceding two.

Given the richness of human experience in space and time, the manifestations of faith have been equally diverse. In most of these, the endeavour is to relate human existence to an ultimate point of reference that is an infinite or absolute essentiality existing by the necessity of its own nature. One consequence of this is the emergence of similarities as well as divergences of perceptions.

Social life also has a political dimension. A sociologist who studied the impact of religion upon the political sphere concluded that the impact of politics on religion or faith could take the shape of (i) religiously relevant political action, or (ii) politically conditioned religious action. In such a framework, the potential of contestation becomes unavoidable.

It is a truism that nature is endowed with diversity. One dimension of it is human diversity that takes the shape, amidst other manifestations, of varieties of experiences, faiths and belief systems.

Faith has been defined as belief in the trustworthiness of an idea. The basis of this belief may be physical or metaphysical. Either way, it leads firstly to a conviction that something is, secondly to a determination to accomplish objectives associated with this conviction and thirdly to a sense of satisfaction linked to the achievement of the preceding two.

Given the richness of human experience in space and time, the manifestations of faith have been equally diverse. In most of these, the endeavour is to relate human existence to an ultimate point of reference that is an infinite or absolute essentiality existing by the necessity of its own nature. One consequence of this is the emergence of similarities as well as divergences of perceptions.

The human being is a social animal and normally lives in society of fellow humans. Bertrand Russell had once noted that ‘the misfortunes of human beings may be divided into two classes: those inflicted by non-human environment and those inflicted by other people’, adding that ‘the evil that men inflict on each other have their main source in evil passions rather than in ideas or beliefs’. This leads us to a set of questions. How do ideas pertaining to faith take shape in relation to society? What is perceived to be the result of interaction of faith per se with the sum total of societal values?

Social life also has a political dimension. A sociologist who studied the impact of religion upon the political sphere concluded that the impact of politics on religion or faith could take the shape of (i) religiously relevant political action, or (ii) politically conditioned religious action. In such a framework, the potential of contestation becomes unavoidable. This has practical implications. One aspect pertains to the State. Speaking of religion in imperial Rome, Edward Gibbon had noted that ‘the various modes of worship, which prevailed in the Roman world, were all considered by the people, as equally true; by the philosopher, as equally false; and by the magistrate, as equally useful. And thus toleration produced not only mutual indulgence, but even religious concord’.

Instances of a somewhat similar approach are to be found in Indian history and in the state practice of modern India. ‘The Indian Constitution’, writes Professor Gurpreet Mahajan, ‘dealt with the issue of religion by endorsing the principle of non-establishment of religion but without advocating the separation of religion from politics’.

Experience leads us to conclude that such an approach is insufficient in the context of the civil society. It suggests that diversity of faiths necessitates proactive initiatives aimed at expanding the areas of comprehension and reducing misunderstandings. This creates the need for communication and dialogue, for what is known in contemporary parlance as interfaith dialogue.

An essential pre-requisite is the acceptance of the validity of spiritual experience of all. Delhi’s own 14th century sufi saint, Hazrat Nizamuddin Aulia, put it succinctly:

“Har quam raast rahe, deen e wa qibla gaahe” Every people know the right path, the faith and place of worship.

The next logical step is an empirical one and takes us to locate points of convergence. A small booklet ‘Unity in Diversity’, is a good example.

The world we live in is characterised by the shrinking of spaces. Isolation and exclusivity are matters of the past. Ignorance of the other is no longer bliss. In fact, the ‘Other’ has increasingly and unavoidably become a part of the Self. This larger Self, therefore, needs to be understood and accommodated in our perception and practice. It is here that the Interfaith Movement has a role to play. This is being understood globally. The 2002 Millennium World Peace Summit of Religious and Spiritual Leaders spelt out its basic principles. These need to be furthered. A critical role in this will be played by inculcating its values in the educational system. Only this can provide the right type of nourishment to the mind.

A global movement is a good thing. It is, however, no substitute for national efforts. Nowhere is this more relevant than in our own society. Amartya Sen has written about the long history of the argumentative tradition in India and, as he put it, ‘its relative neglect in ongoing cultural discussions’.

‘The contemporary relevance of the dialogic tradition and of the acceptance of heterodoxy is hard to exaggerate. Discussions and arguments are critically important for democracy and public reasoning. They are central to the practice of secularism and for even-handed treatment of adherents of different religious faiths’.

The interfaith dialogue is critical to our health as a society. Its success would lie in widening the ambit of its adherents, and their acceptance of it as an imperative necessity.

Indian history is full of instances of dialogues initiated by rulers. Good examples of these are emperors Asoka and Akbar. In the 17th century Prince Dara Shkoh undertook a remarkable exercise of putting together commonalities and convergences of two major faiths but added that his work had ‘no concern for the common folk of either community’.

While the intellectuals have a role in initiating such a dialogue, its practical relevance in a democratic polity would lie in its dissemination among the common folk who, at least in India, have some experience of interactive co-existence and can, therefore, build upon it and should be consciously assisted to do so. This process of assistance begins in schools but cannot succeed unless it is imbibed by the society as a whole.

Vipassana MEDITATION

Vipassana is one of India's most ancient meditation techniques. Long lost to humanity, it was rediscovered by Gautama the Buddha more than 2500 years ago. Vipassana means to see things as they really are. It is a process of self-observation. One starts by observing the natural breath to concentrates on the mind. With this sharpened awareness one proceeds to observe the changing nature of body and mind and experiences the universal truth of impermanence, suffering and egolessness. This truth-realisation by direct experience is the process of purification. The entire Path (Dhamma) is a remedy for universal problems and has nothing to do with any organised religion or sectarianism. For this reason, it can be practised freely by all without conflict with race, caste or religion in any place, and time and will prove equally beneficial to one and all.

Vipassana meditation aims at the highest spiritual goals of total liberation and full enlightenment. Its purpose is never simply to cure physical diseases, but as a by-product of mental purification, many psychosomatic diseases, get eradicated. Actually, it is an art of living which eliminates the three causes of all unhappiness: craving, aversion and ignorance. With continued practice the meditation releases the tensions developed in everyday life and opens the knots tied by the old habit of reacting in an unbalanced way to pleasant and unpleasant situations and develops positive creative energy for the betterment of the individual and society.

The process of self-purification by introspection is certainly never easy: one has to work really hard at it. By his efforts the student arrives at his own realisations; no one else can work for him. Therefore, the meditation will suit only those willing to work seriously and observe the discipline, which is actually for their own benefit and protection. The rules and regulations are an integral part of the meditation practice.

Ten days is certainly a very short period in which to penetrate to the deepest levels of the unconscious mind and learn how to eradicate the deep lying complexes. Continuity of practice in seclusion is the secret of success of this technique. The rules and regulations have been formulated keeping this practical aspect in view. The rules are not for the benefit of the teacher or the management, nor are they negative expression of tradition, orthodoxy or blind faith in some organised religion. Rather, they are based one the practical experience of thousands of mediators over the years and are scientific and rational. Keeping the rules creates a very conducive atmosphere for meditation; breaking them pollutes it.

Those not prepared to make full-hearted efforts will only waste their time and, worse still,cause a disturbance to those others who wish to work seriously. An intending student is warned that it would be both harmful and unpleasant to have to leave without finishing the course if he/she finds the discipline too difficult. Likewise, it would be most unfortunate if in spite of repeated warnings he/she does not follow the rules and has to be asked to leave.

All students will have to observe the precepts of abstention from killing and stealing, abstention from all sexual activities, abstention from telling lies and abstention from all intoxicants.

Old students will observe three more precepts: abstention from taking food after 12 noon, abstention from sensual amusements and bodily decorations and abstention from using high and luxurious beds.

Old students will observe the sixth precept by taking only lemon water at the 5 pm break whereas the new students will take milk and fruits. The teacher may excuse an old student from observing this precept for health reasons.

For the period of the course the students must surrender himself/herself completely to the teacher and the technique of Vipassana which includes all the rules, regulations, code of discipline and the course timetable. Only with this attitude of surrender can one work diligently and thoroughly. The surrender should be with discrimination and understanding, not with any blind faith. Such confidence in the teacher and technique is essential for the student's proper guidance and protection.

For the period of the course it is absolutely essential that all rites and rituals, such as burning incense and lamps, counting beads, reciting mantras, singing and dancing, total fasting and praying be totally suspended. All other meditation practices should also be suspended without condemning them. This is enjoined for the reason that the student may be able to give a fair trial to the Vipassana technique in its pristine purity and he/she may ensure his/her own protection.

Students must observe noble silence from the start of the course until 10.00 a.m. on day 10. Noble silence is silence of body, speech and mind. Any form of communication, whether by physical gestures, written notes, sign language, etc., is prohibited. However, the student may speak to the teacher whenever necessary. Complete segregation of the sexes is observed.The possession of intoxicants like hashish and marijuana is prohibited during the Vipassana sessions. Those taking medicines or drugs on doctor's prescription have to notify the teacher. Smoking or chewing tobacco is also not allowed.

Modesty and decorum in dress is observed. Backs, chests, legs etc. have to be kept covered, even during hot weather. Women must use a shawl all the time. Transparent and revealing dresses are not allowed and sunbathing is forbidden. Students are required to live and work in common rooms, so it is essential that they bathe daily and keep their clothes clean.

Students have to remain at camp for the entire course. All telephone calls, letters and contacts with visitors are suspended. In any emergency a visitor may contact the management.It is not possible to cater to the special food requirements of all the students, coming as they do from different countries and cultures. They are requested to make do with the simple Indian vegetarian menu.

No writing or reading materials, religious works and even books on Vipassana need be brought. New students have to distract themselves by taking notes. The restriction on reading and writing is to emphasis the strictly practical nature of this meditation.

There is no charge for the Dhamma teaching. The cost of boarding and lodging is met by donations from past students. These donations also cover all other expenses such as on administration, salaries, postage, taxes, light, water and overheads.

Progress in Vipassana depends solely on one's own paramitas(previously accumulated merits) and five factors: full-hearted efforts faith, sincerity, health and wisdom.

Shri Shri 1108 Ekadash Rudra Mahadev Asthan,Mangarauni Kuti,Madhubani,BiharO

"Om Namah Shivay,Om Ekadash Rudray";Priest Sanjeev Jha