Bhimasena mantra

 ಭೀಮಸೇನ

ಭಕ್ತಿರ್ಜ್ಞಾನಂ ಸವೈರಾಗ್ಯಂ   ಪ್ರಜ್ಞಾ ಮೇಧಾ ಧೃತಿ: ಸ್ಥಿತಿ: |

ಯೋಗ : ಪ್ರಾಣೋ ಬಲಂ ಚೈವ ವೃಕೋದರ  ಇತಿ ಸ್ಮೃತಃ ||

Bhaktirgnanam savairagyam prajna medha dhruthihi sthitihi Yogananda piano balam Bhavia vrukodara ithi

 Smrutaha . 

ತತ್ವಜ್ಞಾನೇ  ವಿಷ್ಣುಭಕ್ತೌ  ಧೈರ್ಯೇ ಸ್ಥೈರ್ಯೇ 

 ಪರಾಕ್ರಮೇ ।

ವೇಗೇ ಚ ಲಾಘವೇ ಚೈವ ಪ್ರಳಾಪಸ್ಯ

 ಚ ವರ್ಜನೆ ।।  ಭೀಮಸೇನಸಮೋ ನಾಸ್ತಿ ಸೇನೆಯೋರುಭಯೋರಪಿ | ಪಾಂಡಿತ್ಯೇ ಚ ಶೂರತ್ವೇ  ಚ ಬಲೇಪಿಚ || 

TatvagnaNe Vishnubhaktau DhairyE sthairyE  paraakrame , vegE cha laaghavE chair a PraLapasya cha varjanE , Bhimasena Samo naasti sEneyorubhayorapi pandityecha shooratvecha balepicha. 

ದಧಿವಾಮನಸ್ತೋತ್ರಂ - Dadhivamana Stotra

 Dadhivamana Stotram in Vamana Puranam  :

ಹೇಮಾದ್ರಿಶಿಖರಾಕಾರಂ ಶುದ್ಧ ಸ್ಫಟಿಕ ಸನ್ನಿಭಂ |

ಪೂರ್ಣಚಂದ್ರನಿಭಂ ದೇವಂ ದ್ವಿಭುಜಂ ವಾಮನಂ ಸ್ಮರೇತ್ |೧|

ಪದ್ಮಾಸನಸ್ಥಂ ದೇವೇಶಂ ಚಂದ್ರಮಂಡಲ ಮಧ್ಯಗಂ |

ಜ್ವಲತ್ಕಾಲಾನಲಪ್ರಖ್ಯಂ ತಡಿತ್ಕೋಟಿ ಸಮಪ್ರಭಂ | ೨ |

ಸೂರ್ಯಕೋಟಿ ಪ್ರತೀಕಾಶಂ ಚಂದ್ರಕೋಟಿ ಸುಶೀತಲಂ |

ಚಂದ್ರಮಂಡಲ ಮಧ್ಯಸ್ಥಂ ವಿಷ್ಣುಮವ್ಯಂ ಅಚ್ಯುತಂ | ೩ |

ಶ್ರೀವತ್ಸ ಕೌತ್ಸುಭೋರಸ್ಕಂ ದಿವ್ಯರತ್ನ ವಿಭೂಷಿತಂ |

ಪೀತಾಂಬರಂ ಉದಾರಾಂಗಂ ವನಮಾಲಾ ವಿಭೂಷಿತಂ | ೪ |

ಸುಂದರಂ ಪುಂಡರೀಕಾಕ್ಷಂ ಕಿರೀಟೇನ ವಿರಾಜಿತಂ |

ಷೋಡಶಸ್ತ್ರೀ ಪರಿವೃತ್ತಂ ಅಪ್ಸರೋಗಣಸೇವಿತಂ | ೫ |

ಋಗ್ಯಜು:ಸಾಮಾಥರ್ವಾದ್ಯೌರ್ಗೀಯಮಾನಂ ಜನಾರ್ದನಂ |

ಚತುರ್ಮುಖಾದ್ಯೈ ದೇವೇಶೈ: ಸ್ತೋತ್ರಾರಾಧನ ತತ್ಪರೈ: | ೬ |

ಸನಕಾದ್ಯೈರ್ಮುನಿಗಣೈ: ಸ್ತೂಯಮಾನಂ ಅಹರ್ನಿಶಂ |

ತ್ರಿಯಂಬಕೋ ಮಹಾದೇವೋ ನೃತ್ಯತೇ ಯಸ್ಯ ಸನ್ನಿಧೌ | ೭ |

ದಧಿಮಿಶ್ರಾನ್ನಕವಲಂ ರುಕ್ಮಪಾತ್ರಂ ಚ ದಕ್ಷಿಣೇ |

ಕರೇ ತು ಚಿಂತಯೇತ್ ವಾಮೇ ಪೀಯೂಷಂ ಅಮಲಂ ಸುಧೀ | ೮ |

ಸಾಧಕಾನಾಂ ಪ್ರಯಚ್ಛಂತಂ ಅನ್ನಪಾನಂ ಅನುತ್ತಮಂ |

ಬ್ರಾಹ್ಮೇ ಮುಹೂರ್ತೇ ಚೋತ್ಥಾಯ ಧ್ಯಾಯೇದ್ ದೇವಂ ಅಧೋಕ್ಷಜಂ |೯ |

ಅತಿಸುವಿಮಲಗಾತ್ರಂ ರುಕ್ಮಪಾತ್ರಸ್ಥಮಲನ್ನಂ

ಸುಲಲಿತದಧಿಖಂಡಂ ಪಾಣಿನಾ ದಕ್ಷಿಣೇನ | ೧೦ |

ಕಲಶಂ ಅಮೃತಪೂರ್ಣಂ ವಾಮಹಸ್ತೇ ದಧಾನಂ

ತರತಿ ಸಕಲ ದು:ಖಾತ್ ವಾಮನಂ ಭಾವಯೇದ್ಯ: | ೧೧ |

ಕ್ಷೀರಂ ಅನ್ನಂ ಅನ್ನದಾತಾ ಲಭೇದನ್ನಾದ ಏವ ಚ |

ಪುರಸ್ತಾದನ್ನಂ ಆಪ್ನೋತಿ ಪುನರಾವೃತ್ತಿವರ್ಜಿತಂ | ೧೨ |

ಆಯುರಾರೋಗ್ಯಂ ಐಶ್ವರ್ಯಂ ಲಭತೇ ಚಾನ್ನಸಂಪದ: |

ಇದಂ ಸ್ತೋತ್ರಂ ಪಟೇದ್ಯಸ್ತು ಪ್ರಾತ:ಕಾಲೇ ದ್ವಿಜೋತ್ತಮ: |

ಅಕ್ಲೇಶಾದನ್ನ ಸಿದ್ಧ್ಯರ್ಥಂ ಜ್ಞಾನಾಸಿದ್ಧ್ಯರ್ಥಮೇವ ಚ | ೧೩ |

ಅಭ್ರಶ್ಯಾಮ: ಶುಭ್ರಯಜ್ಞೋಪವೀತೀ ಸತ್ಕೌಪೀನ: ಪೀತಕೃಷ್ಣಾಜಿನಶ್ರೀ: |

ಛತ್ರೀ ದಂಡೀ ಪುಂಡರೀಕಾಯತಾಕ್ಷ: ಪಾಯಾದ್ದೇವೋ ವಾಮನೋ ಬ್ರಹ್ಮಚಾರೀ | ೧೪ |

ಅಜಿನ ದಂಡ ಕಮಂಡಲ ಮೇಖಲ ರುಚಿರ ಪಾವನ ವಾಮನ ಮೂರ್ತಯೇ |

ಮಿತ ಜಗತ್ರಿತಯಾಯ ಜಿತಾರಯೆ ನಿಗಮ ವಾಕ್ಪಟವೇ ವಟವೇ ನಮ: | ೧೫ |

ಶ್ರೀಭೂಮಿಸಹಿತಂ ದಿವ್ಯಂ ಮುಕ್ತಾಮಣಿ ವಿಭೂಷಿತಂ |

ನಮಾಮಿ ವಾಮನಂ ವಿಷ್ಣುಂ ಭುಕ್ತಿಮುಕ್ತಿಫಲಪ್ರದಂ | ೧೬ |

ವಾಮನೋ ಬುದ್ಧಿದಾತಾ ಚ ದ್ರವ್ಯಸ್ಥೋ ವಾಮನ: ಸ್ಮೃತ:|

ವಾಮನಸ್ತಾರಕೋಭ್ಯಾಭ್ಯಾಂ ವಾಮನಾಯ ನಮೋ ನಮ: | ೧೭ |

|| ಇತಿ ವಾಮನಪುರಾಣೇ ದಧಿವಾಮನಸ್ತೋತ್ರಂ ಸಂಪೂರ್ಣಂ ||

Narasimha Stotra

 ಋಣಮೋಚನ ಶ್ರೀನೃಸಿಂಹ ಸ್ತೋತ್ರಮ್

ದೇವತಾಕಾರ್ಯಸಿಧ್ಯರ್ಥಂ ಸಭಾಸ್ತಂಭಸಮುದ್ಭವಮ್ |ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೧ ||

ಲಕ್ಷ್ಮ್ಯಾಲಿಂಗಿತವಾಮಾಂಗಂ ಭಕ್ತಾನಾಂ ವರದಾಯಕಮ್ |ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೨ ||

ಆಂತ್ರಮಾಲಾಧರಂ ಶಂಖಚಕ್ರಾಬ್ಜಾಯುಧಧಾರಿಣಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೩ ||

ಸ್ಮರಣಾತ್ಸರ್ವಪಾಪಘ್ನಂ ಕದ್ರೂಜವಿಷನಾಶನಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೪ ||

ಸಿಂಹನಾದೇನ ಮಹತಾ ದಿಗ್ದಂತಿಭಯನಾಶನಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೫ ||

ಪ್ರಹ್ಲಾದವರದಂ ಶ್ರೀಶಂ ದೈತ್ಯೇಶ್ವರವಿದಾರಣಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೬ ||

ಕ್ರೂರಗ್ರಹೈಃ ಪೀಡಿತಾನಾಂ ಭಕ್ತಾನಾಭಯಪ್ರದಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೭ ||

ವೇದವೇದಾಂತಯಜ್ಞೇಶಂ ಬ್ರಹ್ಮರುದ್ರಾದಿವಂದಿತಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೮ ||

ಯ ಇದಂ ಪಠತೇ ನಿತ್ಯಮೃಣಮೋಚನಸಂಜ್ಞಿತಮ್ |ಅನೃಣೀ ಜಾಯತೇ ಸದ್ಯೋ ಧನಂ ಶೀಘ್ರಮವಾಪ್ನುಯಾತ್ || ೯ ||

|| ಇತಿ ಶ್ರೀಮದ್ವಾದಿರಾಜಪೂಜ್ಯಚರಣವಿರಚಿತಂ ನೃಸಿಂಹಪುರಾಣೋಕ್ತಂ ಋಣಮೋಚನಸ್ತೋತ್ರಂ ಸಂಪೂರ್ಣಮ್ ||

 ಋಣಮೋಚನ ಶ್ರೀನೃಸಿಂಹ ಸ್ತೋತ್ರಮ್

ದೇವತಾಕಾರ್ಯಸಿಧ್ಯರ್ಥಂ ಸಭಾಸ್ತಂಭಸಮುದ್ಭವಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೧ ||

ಲಕ್ಷ್ಮ್ಯಾಲಿಂಗಿತವಾಮಾಂಗಂ ಭಕ್ತಾನಾಂ ವರದಾಯಕಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೨ ||

ಆಂತ್ರಮಾಲಾಧರಂ ಶಂಖಚಕ್ರಾಬ್ಜಾಯುಧಧಾರಿಣಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೩ ||

ಸ್ಮರಣಾತ್ಸರ್ವಪಾಪಘ್ನಂ ಕದ್ರೂಜವಿಷನಾಶನಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೪ ||

ಸಿಂಹನಾದೇನ ಮಹತಾ ದಿಗ್ದಂತಿಭಯನಾಶನಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೫ ||

ಪ್ರಹ್ಲಾದವರದಂ ಶ್ರೀಶಂ ದೈತ್ಯೇಶ್ವರವಿದಾರಣಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೬ ||

ಕ್ರೂರಗ್ರಹೈಃ ಪೀಡಿತಾನಾಂ ಭಕ್ತಾನಾಭಯಪ್ರದಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೭ ||

ವೇದವೇದಾಂತಯಜ್ಞೇಶಂ ಬ್ರಹ್ಮರುದ್ರಾದಿವಂದಿತಮ್ |

ಶ್ರೀನೃಸಿಂಹಂ ಮಹಾವೀರಂ ನಮಾಮಿ ಋಣಮುಕ್ತಯೇ || ೮ ||

ಯ ಇದಂ ಪಠತೇ ನಿತ್ಯಮೃಣಮೋಚನಸಂಜ್ಞಿತಮ್ |

ಅನೃಣೀ ಜಾಯತೇ ಸದ್ಯೋ ಧನಂ ಶೀಘ್ರಮವಾಪ್ನುಯಾತ್ || ೯ ||

|| ಇತಿ ಶ್ರೀಮದ್ವಾದಿರಾಜಪೂಜ್ಯಚರಣವಿರಚಿತಂ ನೃಸಿಂಹಪುರಾಣೋಕ್ತಂ ಋಣಮೋಚನಸ್ತೋತ್ರಂ ಸಂಪೂರ್ಣಮ್ ||

 

ಶ್ರೀ ನರಸಿಂಹ ಜಯಂತಿಯ ಶುಭಾಶಯಗಳು💐💐💐🙏🙏🙏

Adithi's day Out

Hi everyone,This is 25th october issue of Deccan Herald wherein my daughter Adithi's photograph appeared.

Sunday 25 October 2009 Interested in buying a Notebook ? Yes No Privacy Policy | Terms of Use | Disclaimer Weather Max: 29.3°C Min : 17.9°C In Bangalore Partially cloudy You are here: Home » Sports » Ashwini storms into semifinals Adithi Beats Rushika Bangalore: K Ashwini Bhat stormed into the girls’ under-10 semifinals of the State Bank of Mysore two-star State-ranking badminton tournament, posting a convincing victory over Eshani at the Karnataka Badminton Association courts here on Saturday. On song from the word go, Ashwini wrapped up the first game 21-3 before coasting to a easy victory with a 21-1 drubbing in the second. However, things were not as easy for Shivani Parthy, who had to grind out a hard-fought victory against Deethya. Shivani held her nerve to clinch the closely-contested opening game 21-19 but Deethya responded brilliantly to level the match at 1-1 after taking the second 21-15. But Shivani proved her mettle in the end, winning the decider 21-16. In the other two last-eight contests, Prarthana Anand knocked out Sahana R 21-17 while Aditi Krishna breezed past Rishika 21-15, 21-9. DH News Service Results: Boys: U-10, first round: Yash R Patil bt Anjan 21-10, 21-10; Ramnath bt Amogh P 21-14, 21-10; Vishwas V Gautam bt Shantanu D 21-13, 21-10; Vinayak P bt Dhanush 21-1, 21-5; Shivadeep bt Varad Nayak 21-0, 21-5; Sai Pratheek bt Aditya 21-15, 21-8; Zuhayr bt Karthik AV 21-10, 21-7; Anirudh R bt Devansh G 21-6, 21-7. Girls: U-10, quarterfinal: Aditi Krishna bt Rishika 21-15, 21-9. Ashwini Bhat bt Eshani 21-3, 21-1; Prarthana Anand bt Sahana R 21-17, 21-12; Shivani Pathy bt Deethya J 21-19, 15-21, 21-16;

Smt.Parvatamma Rajkumar

K.H.Nagaraj Felicitating Dr.Raj at Mayura 100 days celebration at Chitradurga

I am very often asked that which role I liked among so many of Dr.Rajkumar. This is a tough question. I liked his Sri Rama's role on stage and on silver screen. Like wise the lord Sri Krishna role I have immensely liked. In Subhadra Kalyana the role of Arjuna was fabulous.

I will be seeing him very closely from the make up room till he performed. When he did the role of demon I was not scared. I had told him that you have done very well in that role.

When Puneeth was very small after seeing the role of his father in Hiranyakashipu he declined to do the role of Prahallada. I am afraid to see the father in such a get up Puneeth had told. But my husband convinced him later on.

In any given role Dr.Raj used to immerse himself. Then only laurels are possible. The voice, walking style expression all should be near to perfection. Now the location and technology has become very handy. The audiences are attracted via such technology. In the earlier days the actual location was selected for shoot.

Raj was not interested in foreign locations. When it is not in tune with the story why should we go to such location he was placing his argument.

No one had the craze for foreign locations in our family. I went to foreign in 1978. My husband, mother in law, K.H.Nagaraj, Dwarakanath, Govindaraju all accompanied. After traveling in some of the places my husband was telling when our place would become like this. He never used to say when we are going to become like this. He always prefers and likes our country.

After 1991 I did not go anywhere. At the time of 'Jeevana Chaitra' shooting I went to Kedarnath, Badari for the song Nadhamaya….. After that all the films shooting was held inside Karnataka.

We were given very good care and affection in foreign countries. Every day was like festival for us. We are not in a position to accept the invitations from foreign countries now.

We have plans to shoot Shivrajkumar film entirely in a foreign location. The story discussion is going on.

Dr.Raj is against to going to foreign location for just one song. But the perceptions of children are different. The different locations would give a new feel to the audiences they feel. The trend of today is also like that. We have to change according to times.

Vajreshwari Combines and Chandrika Movies at Hubli was basically started by Shri.K.H.Nagaraj and Dwarakanath. It is their knowledge and assurance that made us jump into film distribution. They have tought us what film distribution is all about.From Vajreshjwari combines we went to Nepal first. It was for Operation Diamond Rocket. Then we went to Maldives for 'Ondu Muttina Kathe'. Recently for 'Akash' film we went to foreign location. Besides this we went to a small operation for Lakshmi's daughter.

Now for Ajay and Arasu the foreign location has been selected. Shivarajkumar producers are frequently conducting shooting in foreign locations. It is their taste.

Dr.Rajkumar was not particular of expensive costumes. But his fans always wanted him to wear good clothes. In Kasturi Nivasa, Olavu Gelavu and a few others he was in suit. According to the roles the costumes should be there is what he always kept on telling. For 'Giri Kanye' writer role in the film expensive costumes were brought. He sent it back and told that for that role the costume should be different. Next day morning I brought net banian and lungi for him. The ordinary shirt was stitched next day. The superior role should wear the expensive costumes he was telling. The manager should wear the manager level costume. That is his philosophy.

Wearing ornaments he was not particular. He never had any sentiment in his mind. After a long time I had purchased a ring with blue stone silver ring. I had told him that he should not remove it. For all the fingers the ring was must in mythological roles. He never asked for wrist watch. What ever that was available he was wearing.

He was totally not ambitious. His ambition was to do good roles. The 'Haalu Jenu' story was done for some other hero. Chi Udayashanker had liked it very much. Dr.Raj said he wants to do that role. It was suitable for Ananthnag the producer felt. G.K.Venkatesh recorded the songs for it. But it did not go on the floors. Then I took the rights by paying Rs.1 lakh fee. G.K.Venkatesh did the music and Singeetham directed that film.

By taking care of lands, cultivation and seeing the films of sons is his interest today. He is also happy with children performances. But he always tells that all his roles should be beaten by his sons.

Smt.Parvathamma Rajkumar

INDIAN FILM INDUSTRY

Indian Film Industry

The Indian film industry is an integral part of the Indian socio-economic psyche and the most popular source of entertainment in the country. Indian film industry was conferred Industry Status in the year 2000 and is mainly private funded. Indian Film industry is the world's biggest film industry in terms of the number of movies produced and released in a year. In 2004, there were 934 films certified across, with Hindi accounting for 245 of them. The total number of admissions (people attending movies) is almost over 3 billion, which is almost double the US markets and three times that of the rest of Asia.

The Indian film industry comprises of a cluster of regional film industries, like Hindi, Telugu, Tamil, Kannada, Malayalam, Bengali etc. This makes it one of the most complex and fragmented national film industries in the world.