AIMA

Samantha wants to start Silambam training again

2021-08-24T12:30:00.009+05:30

Earlier in 2017, actress Samantha had started learning Silambam, a weapon-based ancient martial arts originating from Tamil Nadu. While she said it's her new hobby, it was later revealed that she was undergoing training in the martial arts for the film 'Seema Raja' opposite Sivakarthikeyan. After almost four years now, looks like the talented actress is eager to resume training Silambam.

Samantha Ruth Prabhu had released an attention-grabbing video on Instagram where she is learning the art of Silambam. Sharing the old video of herself training silambam, Samantha wrote, "Ha ha I miss this.. time to get back to it." (sic)

Meanwhile on the work front, actress Samantha, who was last seen in the Telugu remake of '96', which was titled 'Jaanu', will soon be seen in director Vigensh Shivan's 'Kaathu Vaakula Rendu Kaadhal' also starring Vijay Sethupathi and Nayanthara in the lead. She is also a part of Telugu film 'Shaakuntalam' written and directed by Gunasekhar.

Watch Samantha Video

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2nd Senior National Sqay Championship inaugurated by Union Minister of State Shripad Naik at Chandigarh University

2021-08-24T08:30:00.007+05:30

Chandigarh (Punjab) [India], July 27: The sport of Sqay an ancient Indian martial art, which is currently part of Fit India Movement, run by the Government of India, will soon be part of Khelo India Youth Games 2021, which are slated to be hosted in November, said Shripad Yesso Naik, Union Minister of State for Ports, Shipping, Waterways & Tourism, Government of India.

Shripad Yesso Naik was speaking during the inauguration ceremony of the 2nd Senior National Sqay Martial Arts Championship at Chandigarh University. The Senior National Championship is being hosted virtually by the university in which men and women teams from 20 states and Union Territories are participating.

The Senior National Championship is being played virtually from July 26 to 29. Secretary General of Sqay Federation of India, Grand Master Mir Nazir and Assistant Secretary Sqay Federation of India, Mazhar Saifullah Khan were also present during the inauguration ceremony.

While inaugurating the 2nd Sqay Senior National Championship, Shripad Yesso Naik said about ancient Indian martial art Sqay,

“Sqay Martial Art is the traditional sport which originated from the state of Jammu & Kashmir and the game is gaining popularity as it is currently being played in more than 60 countries including India”.

He further added that the Government of India is focusing to popularize the traditional games like ancient Indian martial art Sqay amongst Indian youth so that they can remain fit and lead a healthy life. It is important to mention that a number of traditional sports such as Gatka, Mallakhamb, Kalaripayattu and Thang-Ta have been approved by the Ministry of Sports to be included in Khelo India Youth Games 2021.

Grand Master Mir Nazir, said,

“Sqay is a Kashmiri martial art which is classified into two forms known as Armed Sqay which makes use of a curved single edge sword paired with a shield while the unarmed technique in the game incorporates kicks, punches, locks and chops.”

On the first day of the 2nd Senior National Sqay Championship, Khawankey Sangrai category of the game were played both in the men senior and women senior events.

Karan Sharma from Haryana displayed spectacular moves & flexibility and went on to win the gold medal by topping the score chart with 41.3 points. HarshavardhanAtigeri from Goa came close second and won Silver medal by scoring 40 points while Bronze medal was shared by Mir Arsalan Mehraj from J&K and D Navin Kumar from Andaman & Nicobar Islands.

In the women’s category of the championship, Seerat Jan from J&K bagged the gold medal by topping the score chart with 45 points while Chanchal Kushwaha from M.P bagged Silver medal by scoring 41.8 points. Sarah Farooqui from Maharashtra and B. Gayatri from Andaman & Nicobar Island won the Bronze medal by scoring 39.4 points.

This story was published on ANI News.

This story is auto-generated. This blog holds no responsibility for its content.

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Mirabai Chanu, The Hanuman Bhakt Overturned Failure Into Victory Between Two Olympic Games

2021-08-01T10:38:00.005+05:30

हिंदी में पढ़ें:

Mirabai Chanu has narrated the poem 'Those who try never lose' by the great poet Shri Sohan Lal Dwivedi. She has become a living embodiment of this poem with her victory in Tokyo after the failure of the 2016 Rio Olympic Games.

On Saturday 24 July, the Indian weightlifter was competing in the 49 kg weightlifting category at the Tokyo Olympic Games. Mirabai was behind Hou Zhihui of China. The world was watching his lift. Will she be able to pass that moment after five years of hard work? Had she done so, she would have been a medalist for India right after the 2000 Sydney Olympic Games, when weightlifter Karnam Malleswari won the bronze medal. Mirabai Chanu was also under mental pressure but she overcame it and as a result she lost the silver medal.

But earlier in the Rio Olympics, Mirabai Chanu had failed to lift any of the 48kg in her three attempts in the clean and jerk category. Then carrying the unbearable weight of this defeat on her chest, she returned to her village like a broken and defeated warrior. Defeat weakens a person, so Meera cried that day with her head on her mother's shoulder.

But how long would Mirabai stay hidden in the beautiful small village of Nongpok Kakching in Imphal, Manipur. 'When the little ant moves along a grain, it slides over the climbing walls a hundred times.' Meera gathered courage and jumped into the ground again.

When she reaches the village after her victory, Mirabai says of the time,

"My mother hugged me tightly and cried. My family got very emotional. They have felt very happy. Came back crying last time. This time I came back with a medal."

She attributes her transition between two different competitions in Rio and Tokyo to four things: her devotion to Hanuman ji, strong self-confidence, unwavering determination to keep herself at 49kg and hard work.

His strong faith in Hanuman ji makes him a devotee, a sportsman and an artist. She says "I have unwavering faith in Hanuman ji, I have pictures of him in my room, when I used to start training in weightlifting I used to go to the temple a lot. Hanuman ji protects knowledge and heart... from the very beginning. ... I love going to the temple."

When asked what was going through her mind before lifting the load, she says,

"I was thinking that I would use what I put into my training. If I gave my best performance the medal would come automatically. So, I focused on crossing the lift and passing it. And five years I was doing it anyway after all the hard work."

When asked if there was no pressure on her, she says,

"In the beginning, there was a bit of pressure that the world was watching. Still, I shrugged it off... I thought I wouldn't let five years of hard work go. I have to take the medal and keep it. In myself Thought. I went into the lift with full focus."

The largest and most accurate measure of medals won at the Olympic Games is held by an athlete. Mirabai told this writer that every sportsperson wants to win gold, but she is happy that she won silver.

Mirabai's mother, like any Indian mother, wanted her to win a gold medal (as heard in an interview for a news channel). Mirabai laughs at this. “We had a dream – that I should win a medal in the Olympic Games. The dream has come true – be it gold or bronze or silver. Silver is a big achievement for me,” she adds.

In 2018, when Mirabai Chanu claimed gold in the 48kg category at the Commonwealth Games, Karnam Malleswari in her remarks mentioned something interesting, expressing immense happiness and confidence on Chanu's visit to Tokyo. He said that Mirabai competes with herself. Watched by senior players like Malleswari, it was on her to fulfill her dreams as well as the expectations of others.

Chanu was working hard for five years, out of which she did not even meet her family for about two years. So, when she reached home, she was given a warm welcome at the Imphal airport. Manipur Chief Minister Shri N. Biren Singh himself had reached there to welcome him.

Mirabai Chanu has woven her own story of hope and victory at the Tokyo Olympics. She herself is fond of storytelling, which comes to the fore in Manipuri folk arts. When asked how much thang ta (Manipuri martial art) he watched with his siblings, he replied, “A lot of thang ta. That I see more, thang ta is coming from the time of the queen-maharaja of old. That is our most famous game. Thang Ta has many more stories."

There are many stories in the story of Mirabai Chanu, who spread fragrance on the land of Manipur and North East. Weightlifting and thang-ta will expand his imagination.

Source: 01

Source: 02

These are amazing ancient Indian martial arts

2020-10-03T13:40:00.003+05:30

Very few people know that there are many martial arts and dual arts in India, which are found in many different areas. We saw different war and duel arts in different regions, states. There are many of these arts, which became popular in different countries outside India. We gathered information about many such martial arts, war arts and duel arts. All these martial arts have existed in India since ancient times, so you can call them ancient Indian martial arts.

In our search till now, we have found that there are about 17 different types of martial arts and dual fighting arts in India. They are found in different regions of the country with their different characteristics and names.

All these ancient Indian martial arts are listed here:

Adithada
Bothati
Gatka
Inbuan Wrestling
Kallaripayattu
Kuttu Varisai
Lathi
Mall Yudh
Malyutham
Mukna
Niyudh Kride
Pahalwani
Sarit Sarak
Silambam
Thang Ta
Varma Kalai
Vajra Mushti

All these war and duel arts are found in different states of India. The most famous of these is Kalaripayattu which is found in Kerala. It is considered to be the oldest martial art ever. Kuttu Varisai, Sarit Sarak, Silambam and Varma Kalai also belong to the Southern part of India.

Thang Ta is the art of North East India. In this martial art, swords are used with great beauty.

Gatka, a martial art associated with Punjab, is also shown to be blindfolded and striking like Thang Ta martial arts.

Himachal has this kind of art, named Bothati. It is a kind of archery.

In another part of India, there is an art of self-defense also known as Ahilya. Many such arts are scattered all over India, which is our objective to bring before you. So that those arts do not stop being anonymous.

Additionally, there are so many other ancient Indian martial arts about which we will keep collecting more information for you and keep you informed in this blog magazine.

वज़न कम करने का सबसे अच्छा तरीका

2020-06-22T22:45:00.002+05:30

वजन कम करने के लिए सबसे अच्छा विचार

(best idea to lose weight)

वजन कम करने के लिए, आपको दैनिक आधार पर कम कैलोरी का उपभोग करने और अतिरिक्त कैलोरी को जलाने की आवश्यकता होती है जो वर्तमान में वसा के रूप में जमा हो रही है। मिश्रित मार्शल आर्ट फिटनेस और पोषण का एक कार्यक्रम आपको आसानी से सैकड़ों कैलोरी जलाना शुरू कर सकता है और आपको अपने शरीर को थोक खोने, मांसपेशियों का निर्माण करने और स्वस्थ रहने के लिए आवश्यक ऊर्जा प्रदान करने का सही तरीका सिखाता है।

वजन कम करने के पीछे की अवधारणा सरल है। कम खाएं, बेहतर खाएं, कैलोरी बर्न करें। लेकिन बहुत से लोग वजन कम करने में विफल रहते हैं क्योंकि उनमें अनुशासन की कमी होती है। मार्शल आर्ट अनुशासन के एक ठोस मंच पर बनाया गया है। यह, उपलब्ध कार्यक्रमों और तरीकों की विविधता के साथ, यह उन लोगों के लिए आदर्श बनाता है जो तेजी से वजन कम करने का सबसे अच्छा तरीका खोज रहे हैं।

तेजी से वजन कम करें

तेजी से वजन कम करने के लिए, आपको बुनियादी वजन घटाने के सिद्धांतों में तेजी लाने की आवश्यकता है। संक्षेप में, आपको वसा को अधिक तेज़ी से जलाने और कैलोरी की सही संख्या का उपभोग करने की आवश्यकता होती है ताकि आप उन पाउंड को दूर करने में मदद करने के लिए दिन को और आपके वर्कआउट को ऊर्जा दे सकें।

कैलोरी जलाओ

कैलोरी को जल्दी से जलाने के कई तरीके हैं। कार्डियो एक्सरसाइज जैसे कताई या बाइक चलाना, दौड़ना, अण्डाकार मशीनें और सीढ़ियाँ चढ़ना सभी जल्दी से कैलोरी बर्न कर सकते हैं। लेकिन सबसे प्रभावी कैलोरी दोनों छोटी अवधि में और लंबे समय तक जलती है, जो आपके मौजूदा मांसपेशी द्रव्यमान से कैलोरी जलाती है। आपके पास अधिक मांसपेशियों, आराम करने की दर पर आप जितनी अधिक कैलोरी जलाते हैं।

बिल्डिंग मसल ओवरटाइम से अधिक कैलोरी बर्न करता है, जो आपको हफ्तों और महीनों तक वजन कम रखने और लगातार वजन कम करने में मदद करता है। लेकिन मांसपेशियों के निर्माण में समय लगता है, इसलिए तेजी से वजन कम करने के लिए लेकिन वास्तव में इसे बंद रखने के लिए आपको ताकत वाले व्यायाम के साथ तेजी से कैलोरी जलाने की आवश्यकता होती है।

मार्शल आर्ट्स के साथ वजन कम करना

मार्शल आर्ट हर किसी के लिए हो सकता है। बुनियादी चालों, पदों और कौशलों को सीखने से मांसपेशियों की एक पूरी श्रृंखला का उपयोग होता है जो हर किक, पंच और मोड़ के साथ अल्पावधि में बड़ी मात्रा में कैलोरी जलाते हुए दीर्घकालिक वजन नियंत्रण के लिए नए मांसपेशियों का निर्माण करने में मदद करता है।

मार्शल आर्ट का उपयोग करके अपना वजन कम करने के लिए, पहले अपने डॉक्टर के साथ यात्रा करें सुनिश्चित करें कि आप मार्शल आर्ट जैसे गहन अभ्यास के काम और तनाव को सहने के लिए शारीरिक रूप से तैयार हैं।

फिर अपने क्षेत्र में एक प्रशिक्षित प्रशिक्षक के साथ जाएं या ऑनलाइन या स्थानीय जिम में एक कार्यक्रम खोजें। मार्शल आर्ट प्रोग्राम डीवीडी प्रारूप में खरीदे जा सकते हैं जैसे कि लोकप्रिय टा बो और किक बॉक्सिंग और कक्षाएं अधिकांश वाणिज्यिक जिमों में पेश की जाती हैं। अधिकांश समुदायों में केवल मार्शल आर्ट फिटनेस कार्यक्रमों के लिए समर्पित जिम भी हैं।

उचित रूप से पोशाक और एक वर्ग बाहर की कोशिश करो। पहले एक के माध्यम से बैठो यदि आप असहज महसूस करते हैं, लेकिन वजन कम करने का एकमात्र तरीका है कि आप आगे बढ़ें। यहां तक कि अगर आप एक समय में केवल कुछ चालों की कोशिश करते हैं, तो आप जितने अधिक सुसंगत होंगे, उतना ही अधिक वजन कम होगा और आप मजबूत होंगे।

जब एक कम कैलोरी, कम वसा वाले आहार, किसी भी व्यायाम दिनचर्या के साथ जोड़ा जाता है, लेकिन विशेष रूप से मार्शल आर्ट के रूप में तीव्र आपको वजन कम करने में मदद करेगा और उस वसा को दूर रखने में मदद करेगा।

स्रोत: urhowto

वज़न कम करने के लिए ये हैं सबसे अच्छे मार्शल आर्ट

2019-12-20T01:27:00.002+05:30

बैडमिंटन स्टार साइना नेहवाल पर बन रही बायोपिक में साइना की आगामी भूमिका के लिए परिणीति चोपड़ा कड़ी मेहनत कर रही हैं। हिंदी फिल्म अभिनेत्री 2015 से एक प्रेरणादायक फिटनेस यात्रा पर हैं जब उन्होंने अपने शरीर को स्वस्थ तरीके से टोन करने के लिए एक दक्षिण भारतीय मार्शल आर्ट के कलारीपयट्टू को लिया। चोपड़ा ने तब से लेकर अब तक कई तरह के वर्कआउट की कोशिश की है, जिसमें पायलेट्स से लेकर स्विमिंग तक शामिल हैं। कारण: चीजों को मिलाना सुनिश्चित करता है कि आप अपनी फिटनेस की दिनचर्या से कभी नहीं थकते हैं और आप सफलतापूर्वक एक कसरत पठार से बचते हैं।

जैसा कि हम अगले साल साइना की रिहाई का इंतजार कर रहे हैं, चलो कलारीपयट्टू और कुछ अन्य मार्शल आर्ट रूपों पर ध्यान दें जो वजन घटाने और मांसपेशियों की टोन के लिए महान हैं।

कलारीपयट्टू: दुनिया में सबसे पुराने पारंपरिक मार्शल आर्ट रूपों में से एक, कलारीपयट्टु की उत्पत्ति केरल में है, इस क्षेत्र के कई योद्धा कबीले अपनी भूमि की रक्षा के लिए इसका अभ्यास करते हैं। मार्शल आर्ट फॉर्म शेर, बाघ, सांप और हाथी जैसे जानवरों के आंदोलनों से प्रेरित है। वजन कम करने के अलावा, यह शरीर के लचीलेपन में सुधार करता है, जागरूकता को बढ़ावा देता है और मन पर नियंत्रण पाने में मदद करता है।

कराटे: एक जापानी शब्द जिसका अर्थ है "खाली हाथ", कराटे का जन्म ओकिनावन द्वीप समूह में उस समय आत्मरक्षा के रूप में हुआ था जब 20 वीं शताब्दी की शुरुआत में जापानी सेनाओं पर हमला करके हथियारों पर प्रतिबंध लगा दिया गया था। यह किसी के लिए भी एक अच्छा विकल्प है जो ऊपरी शरीर और हाथ की ताकत का निर्माण करना चाह रहा है, क्योंकि इसमें कई प्रकार के घूंसे, किक और स्ट्राइक शामिल हैं। एक व्यक्ति व्यक्तिगत स्तर पर प्रशिक्षण के दौरान कराटे के 30 मिनट के सत्र में लगभग 450 कैलोरी जला सकता है।

तायक्वोंडो: एक कोरियाई मार्शल आर्ट फॉर्म जो अक्सर - गलती से - कराटे के समान माना जाता है, तायक्वोंडो में पैरों का अधिक उपयोग शामिल है। कई और किक के साथ, यह निचले शरीर को टोन और मजबूत करने में मदद करता है। यह शरीर को अधिक लचीला भी बनाता है।

किकबॉक्सिंग: तकनीकी रूप से कराटे और मुक्केबाजी का मिश्मश, किकबॉक्सिंग की उत्पत्ति 1950 के जापान में हुई थी। यह एक पूर्ण शरीर का व्यायाम है जो हाथ, पैर और पेट को टोन करने में मदद करता है। यह गतिशीलता, लचीलापन और संतुलन बढ़ाने में भी मदद करता है। सबसे तीव्र कार्डियो वर्कआउट में से एक, यह अनुमान लगाया गया कि एक घंटे के सत्र में एक व्यक्ति आसानी से 400 कैलोरी जला सकता है।

जूडो: जूडो एक गहन मार्शल आर्ट फॉर्म है जिसमें प्रतिद्वंद्वी को गिराने, गिराने, रोकने और नियंत्रित करने को शामिल किया जाता है। यह आत्म-रक्षा के एक रूप की तरह अधिक है, इसलिए इसे बड़ी ताकत की आवश्यकता होती है। अगर वह जूडो का अभ्यास करता है तो उसका वजन बहुत कम हो सकता है।

Capoeira: आपने ज़ुम्बा के संदर्भ में इस एफ्रो-ब्राजील मार्शल आर्ट के बारे में सुना होगा। कैपोईरा नृत्य, कलाबाजी और संगीत के तत्वों को जोड़ती है। लेग स्वीप, फेफड़े, सिर की किक और कोहनी की हरकतें एक लयबद्ध नृत्य में लुढ़क जाती हैं जो बहुत सारी कैलोरी को जलाने में मदद करती हैं। यह लचीलापन और धीरज बढ़ाता है और पूरे शरीर को टोन करता है।

कुंग फू: कुंग फू एक उच्च तीव्रता वाला मार्शल आर्ट है जो लगभग 400 साल पहले चीन में उत्पन्न हुआ था। इसके सबसे प्रसिद्ध चिकित्सकों - ब्रूस ली, जैकी चैन और जेट ली जैसे अभिनेताओं ने भले ही इसे आसान बना दिया हो, लेकिन यह कुछ भी है। इस मार्शल आर्ट के रूप में किक, पंच, जंपर्स और सोमरसॉल्ट जैसे लगातार आंदोलनों की आवश्यकता होती है, जो अंततः वजन कम करने में मदद करता है। आपको आत्मरक्षा सिखाने के अलावा, कुंग फू आपके दिल को मजबूत (हृदय प्रशिक्षण) और मांसपेशियों को टोन करता है।

ताई-ची: एक प्राचीन चीनी मार्शल आर्ट फॉर्म है, ताई-ची एक कम प्रभाव वाली कसरत है जो जोड़ों पर आसान है। "सफेद क्रेन अपने पंख फैलाती है" जैसे काव्यात्मक नामों के साथ, प्रकृति पर आकर्षित। अक्सर योग की तुलना में, व्यायाम के इस रूप में तनाव कम करने, रक्तचाप को नियंत्रित करने और मांसपेशियों की परिभाषा बढ़ाने जैसे व्यापक लाभ होते हैं।

Best martial arts for weight loss and muscle tone

2019-12-20T01:19:00.002+05:30

Parineeti Chopra has been training hard for her upcoming role in Saina, a biopic about badminton star Saina Nehwal. The Hindi film actress has been on an inspirational fitness journey since 2015 when she took up Kalaripayattu, a South Indian martial art form, to tone her body the healthy way. Chopra has since tried a range of workouts, from pilates to swimming. The reasons: mixing things up makes sure you never tire of your fitness routine and that you successfully avoid a workout plateau.

As we await the release of Saina next year, let’s relook at Kalaripayattu and some other martial art forms that are great for weight loss and muscle tone.

Kalaripayattu: One of the oldest traditional martial art forms in the world, Kalaripayattu has its origins in Kerala, with many warrior clans in the region practising it to protect their land. The martial art form is inspired by movements of animals like the lion, tiger, snake and elephant. Other than losing weight, it improves body flexibility, promotes awareness and helps in gaining control over the mind.

Karate: A Japanese word that means “empty hands”, Karate was born in the Okinawan Islands as a form of self-defence at a time when weapons were banned by invading Japanese forces in the early 20th century. It’s a good choice for anyone who may be looking to build upper body and arm strength, as it involves a series of punches, kicks and strikes. A person can burn nearly 450 calories in a single 30-minute session of Karate while training at a personalized level.

Taekwondo: A Korean martial art form which is often - mistakenly - thought to be similar to Karate, Taekwondo involves greater use of the legs. With many more kicks, it helps to tone and strengthen the lower body. It also makes the body more flexible.

Kickboxing: Technically a mishmash of Karate and boxing, Kickboxing originated in 1950s Japan. It is a full-body exercise that helps in toning the arms, legs and abs. It also helps in increasing mobility, flexibility and balance. One of the most intense cardio workouts, it’s estimated that a person can easily burn 400 calories in a one-hour session.

Judo: Judo is an intense martial art form which involves holding, throwing, blocking and controlling the opponent by taking them down. It is more like a form of self-defence, so it requires great strength. The practitioner may lose a lot of weight if he/she does not increase his/her caloric intake while practising judo.

Capoeira: You might have heard of this Afro-Brazilian martial art in the context of Zumba. Capoeira combines elements of dance, acrobatics, and music. There are leg sweeps, lunges, head kicks and elbow movements all rolled into a rhythmic dance that helps to burn a lot of calories. It enhances flexibility and endurance and tones up the entire body.

Kung fu: Kung fu is a high-intensity martial art form that originated in China some 400 years ago. Its most famous practitioners - actors like Bruce Lee, Jackie Chan and Jet Li - may have made it look easy, though it’s anything but. Constant movements like kicks, punches, jumps and somersaults are required in this martial art form, which eventually helps in losing weight. Apart from teaching you self-defence, Kung fu makes your heart stronger (cardiovascular training) and tones the muscles.

Tai-Chi: An ancient Chinese martial art form, Tai-Chi is a low-impact workout that’s easy on the joints. The movements, with poetic names like “white crane spreads its wings”, draw on nature. Often compared to Yoga, this form of exercise is supposed to have wide-ranging benefits like reducing stress, controlling blood pressure and increasing muscle definition.

Source with courtesy: Firstpost

Ganderbal Thang-Ta championship concludes

2012-06-08T15:27:00.002+05:30

with courtesy to: http://www.greaterkashmir.com/news/2012/May/14/ganderbal-thang-ta-championship-concludes-12.asp

Srinagar, May 13: The District Ganderbal Thang-Ta championship organised by District Ganderbal Thang-Ta Association concluded at Vijay Memorial Educational Institute on Saturday.

On the concluding day competitions of both boys and girls section in all age and weight categories were held.

The Superintendent of Police, Ganderbal, Shahid Mehraj was chief guest on the occasion and distributed prizes among the winners.

The event was held under the auspices of J&K Thang-Ta Association and was sponsored by J&K State Sports Council.

Thang Ta association postpones belt grading exams

2012-06-08T15:26:00.003+05:30

With courtesy to: http://www.risingkashmir.in/news/thang-ta-association-postpones-belt-grading-exams-26941.aspx

Rising Kashmir News
Srinagar, May 15:Jammu and Kashmir Thang-Ta Association has postponed its Thang-Ta belt grading examination, which would now be conducted on May 20 at Islamia Collage Hawal Srinagar.

According to the handout issued here, the event was scheduled to be held on May 13 and 14.

All of the instructors have been asked to be present at the event on the new dates now. Also, the interested players and trainees throughout the valley can participate in the said event.

However, the participants must have one year experience in Thang-Ta Martial Arts. Handout reads that the trainees should contact their Instructors for their participation in the event.

The instructors who will fail to participate in event will not be permitted to run their Thang-Ta coaching class in the State.

State level Thang-Ta Championship in Tripura

2012-06-08T15:24:00.003+05:30

with courtesy to: http://www.e-pao.net/GP.asp?src=Sport2..030612.jun12

Source: Hueiyen News Service
Imphal, June 02 2012: The All Tripura Thang-Ta Association will be organising the 19th Tripura State Level Thang-Ta Championship at Kanchanpur, North Tripura from June 12 to 15 .

Around 125 selected players of Thang-Ta from the Sub-Divisions of Dharmanagar, Kailashahar, Kamalpur, Kanchanpur, Bishalgarh, Agartala, Khowai, Pacharthal will be participating in the meet.

Winners will be sent to participate in the 19th National Thang-Ta Championship at Srinagar, Kashmir which will be held from September 6 to 10 .

AR ORGANISED TRAINING AND FESTIVAL OF THANG-TA

2012-06-08T15:22:00.000+05:30

With Courtesy to: http://assamrifles.gov.in/news_view.aspx?id=1615

15 Assam Rifles of 9 Sector under HQ IGAR (S) alongwith (APMARDS) Association for Paona Memorial Arts and Rural Development Service at Wangkhem has organised a closing ceremony for training cum festival of THANG-TA on 03 Jun 2012. Shri S Videswor Sharma, Secretary, Manipur State Kala Academy, Imphal and Padmashri G Gourakishor Sharma were the Guest of Honour. The event emphasized upon the importance of reaching out to the populace, such events organised at regular interval will help in generating positive response from the youth towards the noble activities undertaken by Assam Rifles. Prizes and certificates for good performance were also distributed by the Chief guest. Various forms of indigenous martial arts, classical Solo Dance “Sasha Avatar” were also performed by the participants. Such events organized at regular intervals will help in generating positive response from the youth towards the development of society.

Thang-Ta training cum festival at Wangkhem

2012-06-08T15:19:00.001+05:30

with courtesy to: http://e-pao.net/GP.asp?src=16..050612.jun12

Imphal, June 04 2012: The valedictory function of the training cum festival of Thang-ta was held yesterday at Wangkhem, a statement of the PRO of IGAR (S) informed.

The event organised jointly by the15 Assam Rifles of 9 Sector under IGAR (S) along with Association for Paona Memorial Arts and Rural Development Service (APMARDS), was attended by S Videshwor Sharma, secretary of MSKA, Imphal and Padmashri G Gourakishore Sharma as the guests of honour.

The event emphasised on the importance of reaching out to the populace, it stated.

Prizes and certificates for good performance were also distributed by the chief guest while various forms of indigenous martial arts, classical solo dance 'Shasha Avatar' were performed by the participants.

Such events organised at regular intervals would help in generating positive response from the youth towards the development of society, it stated.

Budgam Thang-Ta 'ship concludes

2012-06-08T15:17:00.003+05:30

with courtesy to: http://www.greaterkashmir.com/news/2012/May/31/budgam-thang-ta-ship-concludes-37.asp

Srinagar, May 30: The District Budgam Thang-Ta championship organised by District Thang-Ta Association concluded at Sir Syed Model School, Palapora, Budgam on Wednesday.

In the event around 200 players participated. Manager Budgam stadium, J&K State Sports Council, Sheikh Tulal was chief guest on the occasion and distributed prizes among the winners.

In sub-junior girls 29 kilogram category, Zainab Yaseen, Insha Hamid and Zeenat Zahoor bagged first three positions respectively while in sub-junior girls 33-kilogram, Sumaira, Mahak Nabi and Muzamil Majeed secured the first three positions respectively. In the sub-junior girls 37-kilogram category Danishta Bashir, Moiza Batool and Fancy Jan bagged first three places respectively.

In sub-junior boys 29-kilogram category Essa Mohi-ud-din, Hanan Bashir and Zahoor Rasool bagged first, second and third positions respectively while in sub-junior boys -33 kilogram category Zameer, Shahid Farooq and Wasem Maqbool bagged the first three positions respectively.

Raw hand-to-hand action USP of 'The Raid - Redemption' (IANS Movie Review - Rating: ***)

2012-05-12T22:37:00.003+05:30

Mumbai,Cinema/Showbiz, Fri, 11 May 2012

IANS

Film: 'The Raid - Redemption'; Cast: Iko Uwais, Ananda George and Ray Sahetapy; Director: Gareth Evans; Rating: 3/5

Simplistically speaking, there are two basic types of action films - super technological special effects fare and hand-to-hand physical action. While Hollywood has excelled in the former, the Asian countries have mastered the latter.

Thus, you have had different stars of the Orient, whose physicality shocked audiences as much as it thrilled them. Bruce Lee, Jackie Chan and more recently Tony Jaa have been actors born out of that mould. In 2011, another name was added - Iko Uwais, who in this film shows some of the meanest physical moves you would have seen in martial arts cinema history.

A police SWAT battalion raids a building full of criminals. They get in easily, but once deep inside the building, they realise their guns and grenades are no match for the raw brutality of the inmates, shunting them as they become small fish in a big, piranha infested pond.

As they fall, one after the other, Rama (Iko) realises he has to literally fight his way out.

No matter how good the cinematic world gets at special effects wizardry, raw hand-to-hand action will always find favour in the minds of men. While special effects are fantasy, hitting someone with your limbs in well coordinated movements is real and thus stimulates greater vicarious reaction from viewers.

Hence, despite their films being not so great cinematically, Bruce Lee, Jackie Chan and Tony Jaa became popular and it is for the same reason 'The Raid: Redemption', despite lacking a sensible story, plot or characterisation, will work.

Iko, a proponent of the traditional Indonesian martial art Silat, was discovered by Welsh director Gareth Evans while filming -a documentary. Taken over by Iko's charisma and great camera presence, he cast him as the protagonist in 'Merantau'.

'The Raid' is their second film together, which has garnered rave reviews from fans globally, something not seen since Tony Jaa's 'Ong Bak'.

The most important thing in an action film is the action. Director Gareth Evans and action director Iko get that right. That it is peppered with wit, both visual and aural, is an added advantage.

The action sequences are quick and well choreographed. Iko has a natural and graceful flair for action. If he plays his cards right, he will emerge as the next global action superstar.

The main problem with the film is the extra gore. One only wishes it were toned down. But that is perhaps the reason why the film will garner young fans, attuned as they are to this gore and blood in video games.

India not only has a rich history and tradition of martial arts, but it is believed to be their birth place. It has many forms practiced in many corners of the country from the well-known Kalaripayat in Kerala to Thang-Ta in Manipur from Gatkain Punjab to Kuttu Varisai in Tamil Nadu.

Hence, to see a country like Indonesia storm into the world of martial arts cinema with such a delectable fare, should make every Indian jealous. It is time some martial artist and some director take up the martial arts challenge in the country.

HLTA Samurou tops medal tally with 15 gold in State Thang-Ta Championships

2012-04-28T23:26:00.002+05:30

from website with courtesy: http://e-pao.net/ge.asp?heading=Sport1&src=270412

Source: Hueiyen News Service

Imphal, April 26 2012: As the 23rd State Thang-Ta Championships2012 organised by the Huyel Langlon Thang-Ta Association, Manipur at Khuman Lampak Indoor Stadium entered third day today, Huyen Langlon Thang-Ta Academy (HLTA), Samurou top the meda tally with 15 gold medals.

HLTA, Samurou won 22 medals including 15 gold, 6 silver and 1 bronze.

Meitei Nongsha Lallong, Heigrujam with 19 medals which includes 6 gold, 10 silver and 3 bronze was in the second spot while Bal Vidya Mandir, SAI Thoubal was in the third place with 11 medals.

They won 6 gold, 3 silver and 2 bronze so far.

The tournament will conclude tomorrow at Khuman Lampak Indoor Stadium.

unique training programs for speed and quickness

2011-09-10T20:30:00.000+05:30

I got a nice article on a website about Speed Training. This will be really nice to see this article on that real website. I am sharing that article with you with all courtesy to the website:

http://www.sport-fitness-advisor.com/speedtraining.html

This section of the website focuses on the key principles of speed training.

What is speed? It is the ability to reach a high velocity of movement in whatever mode of locomotion running, cycling, skating swimming etc (1).

Very often, agility is more relevant to successful sports performance than all-out speed. Agility is the ability to explosively brake, change direction and accelerate again.

Another element of fitness closely related to speed training is speed endurance. Many athletes must maintain a high velocity for longer than 6 seconds or produce repeated sprints with minimal rest periods in between.

The combination of speed, agility and speed endurance an athlete requires is determined by his or her sport. But regardless of the event, there are several modes of training that are integral to developing a fast athlete:

Strength & Power Training

Speed is chiefly determined by the capacity to apply a large amount of force in a short period of time. This is also known as power. Many athletic movements take place in 0.1 to 0.2 seconds but maximal force production takes 0.6 to 0.8 seconds. The athlete who can apply most force in the short period of available time is said to be the most powerful.

Strength training increases maximal force production. Assuming as a result, more force can be produced in the same period of time, strength training alone can increase power. However, it makes more sense to increase both maximal force production andthe rate of force development. This can be achieved through power training. Both strength and power training are integral to improvement of speed.

Speed Training

Practising moving and accelerating faster helps to condition the neuromuscular system to improve the firing patterns of fast twitch muscle fibers. Two variations of basic speed training are assisted and resisted speed training. Assisted training (also called overspeed training helps to improve stride frequency (2,3,4). Resisted speed training helps to improve speed-strength and stride length (2,3,4).

Agility Training

Most team sports consist of very few movements that occur only in a straight line. Nor do those movements occur at a fixed pace or for a fixed length of time. Agility and quickness training improves an athletes ability to change direction, brake suddenly and perform sport-specific skills with speed and dexterity.

Compare speed training to strength training for a moment. A sport-specific strength training program will first aim to develop basic strength. This is on the premise that a solid base of strength offers greater physical potential to work with when converting it to sport-specific strength later on. Basic speed training along with power training maximises the athletes ability to move rapidly. Agility training helps an athlete to apply their speed to sport-specific scenarios.

Top 10 Martial Arts Movies

2011-08-25T23:48:00.000+05:30

Way of the Dragon (1979)
This is the only finished film to be written and directed by Bruce Lee. (Game of Death is the other one but is unfinished) We could write a lot about the plot, characters or fight scenes…but all you really care about is watching Bruce Lee fight Chuck Norris in the final battle.
Martial Artists: Bruce Lee, Chuck Norris
Director: Bruce Lee

Shaolin Temple (1982)

Depicts the amazing history of the Shaolin Temple, the focal point for Chinese Martial Arts. Think of the Shaolin Monks as Jedi Knights (an elite group of fighters) and the rest of China as the messed-up universe that Star Wars takes place in (people who are afraid of the elite fighters and want to take them out of power). Much work to do, you have, young Jet Li. *picture Yoda’s accent on that one* Define Irony: A movie shot at the site of the Shaolin Temple, telling a story about the fall of the Shaolin Temple, sparks so much public interest that the temple was re-opened shortly after the movie released.

Martial Artist: Jet Li (His debut movie)

Director: Chang Hsin-Yen

Ong Bak (2003)

Raw action without wires, Tony Jaa brings a new martial arts style to the big screen and does so in style. Muay Thai (Thai Boxing) is stronger and more direct than the Chinese styles you’re used to seeing with Bruce Lee and Jackie Chan, giving a new look to how a martial arts movie can be done. You’ll be seeing more of him…guaranteed.
Martial Artist: Tony Jaa
Director: Prachya Pinkaew

Iron Monkey (1993)
Doctor by day, thief by night…Iron Monkey is your classic Robin-hood meets Kung Fu. It’s an action packed flick that can’t go 5 minutes without an excellent fight scene. It all comes down to a battle between Iron Monkey (ie Robin Hood) and an ex Shaolin Monk (remember, these guys are like the Jedi Knights of Chinese martial arts…they’re elite). Remember that guy Yuen Wo-Ping I mentioned? Well he’s the director in this one, so you know it’s good!
Martial Artists: Yu Rong-Guang, Donnie Yen
Director: Yuen Wo-PingAction Directors: Yuen Cheung-yan, Yuen Shun-yi

5 Deadly Venoms (1978)
No room form “martial arts beauties” in this one, there’s so much blood and action that they only cast male actors. Exit the traditional elaborate costumes and enter the muscular, skin-bearing, bloody martial arts style that would become a trademark for director Chang Cheh. Each cast member is trained in an art resembling one of 5 venemous creatures (Scorpion, Snake, Centipede, Gecko, Toad) with the 6th cast member being trained in all 5. Six main martial arts actors = LOTS OF ACTION!
Martial Artists: 6 Martial Artists (yes, 6 main characters)
Director: Chang Cheh

The Seven Samurai (1954)
One of the greatest classic kung-fu movies of all time and arguable Kurosawa’s best work. Some Samurai of the time were down on their luck (homeless) and willing to do anything for a meal. A village under attack by bandits recruits a group of seven such Samurai warriors and asks them to help defend their village. The movie is about the Samurai teaching the village how to fight and culminates in a massive battle between a village and almost 50 attacking bandits. The acting is superb, the emotions run high and Kurosawa keeps you hooked from beginning to end.
Martial Artists: 7 Martial Artists (all names you won’t know since this movie is so old)
Director: Akira Kurosawa

Legend of Drunken Master (1994)
Some will say this is the greatest martial arts movie of all time because of it’s balance between plot-line, comedy, drama and amazing kung fu sequences. Probably Jackie Chan’s best martial arts performance. You’re going to love the final scene where you learn what “Drunken Master” really means. We’re talking box-splitting, fire-spitting craziness!
Martial Artist: Jackie Chan
Director: Lau Kar-leung

Crouching Tiger Hidden Dragon (2000)
Based on a Pentalogy (yes, that’s 5 books) written by Wang Dulu, this movie covers mostly the 4th book. Critically acclaimed to cross international borders with it’s amazing character development, intricate plot, martial arts ideals, stunning special effects and quicker-than-the-eye fighting scenes, Crouching Tiger Hidden Dragon set a new standard for martial arts movies. Telling Zhang Ziyi (the lead female character and an amazing martial artist) to get back in the kitchen would likely cost you 50 punches to the “bags”. Be ready for subtitles, ‘cuz turning on the English track is like watching…uh…like watching a kung fu movie in English.
Main Martial Artist: Chow Yun-fat
Other Martial Artists: Zhang Ziyi, Michelle Yeoh, Chang Chen, Cheng Pei-peiDirector: Ang LeeAction Director: Yuen Wo-Ping

Kill Bill vol. 1 (2003)
You”re going to want your home theatre room for this one. It”s tough to beat beautiful women beating the crap out of each other in fast-paced, action-packed, make you cringe, bloody, gory, cut-’em-up (more buzz words go here) movie jam packed with as much martial arts death as possible. Tarantino expertly uses every camera angle and a plethora of special effects to deliver a better-than-real visual experience that gives this blood-and-guts thriller an artistic feel you’ll appreciate at the end. Did I mention is has Uma Thurman in it? (‘Kill bill vol. 2′ brings closure to the set, but hey…we had to choose one movie. Say “Five-Point-Palm Exploding Heart Technique” 5 times fast.
Actors: Uma Thurman, David Carradine, Lucy Liu, Daryl Hannah, Vivica A. Fox
Director: Quentin TarantinoAction Director: Yuen Wo-ping

Fist of Legend (1994)
A classic story of Chinese vs. Japanese martial arts, Fist of Legend is actually a remake of the original Bruce Lee movie, Fist of Fury. If Bruce Lee is like the original James Bond, Jet Li is the Pierce Brosnan. He’ll never be the original, but the modern film-making and larger budget bring the entertainment value just a hair above the original Fist of Fury. (The ghost of Bruce Lee is probably going to strike me down for writing that) The Yuen Brothers are known for amazing action choreography, and they totally deliver on this one. (Casting Jet Li may have helped them a little too.)
Martial Artist: Jet Li
Director: Gordon ChanAction Directors: “The Yuen Brothers”

link with courtesy to: http://www.experiencemartialarts.com/articles/10-greatest-martial-arts-movies-of-all-time/

Here we are sharing with you Top 10 Martial Arts Movies. Different people have different thoughts about it so we are sharing different rated movies with their links: Courtesy to all these websites.

http://www.experiencemartialarts.com
tells us the Top 10 Martial Arts Movies are

Yoga

2011-08-25T15:01:00.000+05:30

Yoga is a so vast subject to tell all in a blog post or in a blog. Whether we'll try to tell you all possible information on Yoga and its different types.

here we're sharing with you an article that we found on a nice Yoga website. its better to check that website. to courtesy http://www.a2zyoga.com/

Yoga word comes from Sanskrit Language's word YOG, it means union. It is the merging of the individual with the universal. It is the oneness of all Consciousness. People are rediscovering this. Yoga is a path that assists people in knowing in their being this universal Truth.

a2z yoga is a resource for the understanding and spreading of this sacred science.
The word Yoga comes from Indian philosophy, it literally means union, and in this context refers to the union of the individual's soul with the universal.

Yoga is an ancient philosophy of life as well as a system of exercises that encourages the union of mind, body, and spirit. In the words of Patanjali, author of the Yoga Sutras, "yoga is the ability to focus the mind on a single point without distraction." Yoga is a physical discipline; it uses the body and breathing to develop self-awareness and mental clarity.
There is simply no other discipline quite like yoga because it utilized the body, mind and spirit, all in one practice. Yoga is indeed a spiritual path that is based on ancient sacred philosophy, but one does not need to make an ethical decision when practicing yoga, rather finding your own path is wholly accepted. The holistic benefits of yoga are suitable for the young or old, sick or well, with any religious background. The secrets of yoga are inwardness, concentration, and purification of mind and body with cleansing thoughts and food.

There are different types of Yoga, here we are sharing some of them. forgive us if we forgot to mention anyone of them. Courtesy to : http://www.yogapoint.com/info/typesofyoga.htm

Bhakti Yoga

Bhakti is a Yoga of devotion or complete faith. This faith is generally in the God or supreme consciousness in any of the forms. It may be Lord Rama, Krishna, Christ, Mohammed, Buddha etc. It may be a Guru for his disciples.

Important thing is the person interested in following this path should have very strong emotional bond with the object of faith. The flow of emotional energy is directed to this object. Mostly people suppress their emotions and that often reflects in the form of physical and mental disorders. This Bhakti Yoga releases those suppressed emotions and brings the purification of inner self.

Continuous meditation of God or object of faith gradually decrease the ego of the practitioner, which further prevents new distractions, fickleness or even pain and induces strong bonds of love. Slowly the practitioner looses the self identity and becomes one with the object of faith, this is a state of self realization.

Karma Yoga

Karma Yoga is a path of devotion to the work. One looses his identity while working, only selfless work remains. This state is very difficult to achieve. Generally some rewards or incentives or outcome follows the work and one is attached to this reward or incentive. This is not the Karma Yoga. Non-attachment with the work and becoming the perfect instrument of the super consciousness in this manifested universe is the ultimate aim of Karma Yoga.

In the initial stages of Karma Yoga, individual possesses strong sense of ego and consciously or unconsciously he is attached to the fruits of his efforts or at least praise or recognition but by continuous involvement in the work and change in mental attitude, one can surely disassociate himself from the ego and his own personality. In this state the work becomes worship to the God, it becomes spiritual, also the individual becomes expert, skilled and Yogi. He achieves stability of mind in all conditions, he is not disturbed or excited or happy in any of the situations. He becomes divine & his actions represent God's will.

The essence of Karma Yoga as extracted from 'Bhagvad Gita' says: The world confined in its own activity except when actions are performed as worship of God. Therefore one must perform every action sacramentally and be free of your attachments to the results.

Jnana Yoga

Jnana Yoga is the process of converting intellectual knowledge into practical wisdom. It is a discovery of human dharma in relation to nature and the universe. Jnana Yoga is described by tradition as a means to obtain the highest meditative state and inner knowledge.

Jnana literally means 'knowledge', but in the context of yoga it means the process of meditative awareness which leads to illuminative wisdom. It is not a method by which we try to find rational answers to eternal questions, rather it is a part of meditation leading to self-enquiry and self-realisation.

Some of the components of Jnana Yoga are :
1.
Not believing but realising
2.
Self-awareness leading to self-analysis
3.
Experiencing knowledge
4.
Realising the personal nature
5.
Developing intuitive wisdom
6.
Experiencing inner unity

Hatha Yoga

The term Hatha Yoga has been commonly used to describe the practice of asana (postures). The syllable 'ha' denotes the pranic (vital) force governing the physical body and 'tha' denotes the chitta (mental) force thus making Hatha Yoga a catalyst to an awakening of the two energies that govern our lives. More correctly the techniques described in Hatha Yoga harmonise and purify the body systems and focus the mind in preparation for more advanced chakra and kundalini practices.

The Hatha Yoga system includes asana along with the six shatkarmas (physical and mental detox techniques), mudras and bandhas(psycho-physiological energy release techniques) and Pranayama (pranic awakening practices). Fine tuning of the human personality at increasingly subtle levels leads to higher states of awareness and meditation.
1.
Yogasana (Yoga positions)
2.
Six shatkarmas (physical and mental detox techniques)
3.
Mudras and Bandhas (psycho-physiological energy release techniques)
4.
Pranayama (Pranic awakening practices)

Kundalini Yoga (From the Tantras)

This system of Yoga is concerned with awakening of the psychic centers or chakras, which exists in every individual. (Please refer to the figure) There are six main chakras in the human beings.

The mind is made up of different subtle layers. Each of these layers progressively are associated with the higher levels of consciousness. Each of these levels are related to the different chakra or psychic center located throughout the psychic body. There are no of other chakras apart from the six main, which are associated with planes below the human level. In all we have chakras that connect us to animal levels of mind, to the instinctive realms of being or to the sublime heights of consciousness.

In Kundalini Yoga, higher-level chakras are awakened and also the activities associated with these higher psychic centers.The basic method of awakening involves deep concentration on these chakras and forcing their arousal. Asanas, pranayama, mudra and bandha and other forms of Yoga such as Mantra Yoga are also used to stimulate the awakening.

Swara Yoga

Swara is Sanskrit word, meaning sound or note. It is also a continuous flow of air through one nostril. Yoga means union, so Swara yoga is a science which is realization of cosmic consciousness through control and manipulation of breath.

Swara Yoga is science which is a complete study, observations, control and manipulation of breath or Swara. Pranayama is only related to control of breath in various ways. In swara yoga, you will find association of breath in relation to activities of sun, moon, various seasons, physical and mental conditions of individuals etc. So Swara Yoga is more comprehensive in theory and practices related to breath.

Raja Yoga

Raja Yoga usually refers to the system of yoga that is described in the Yoga Sutras of Sage Patanjali. In this ancient text Sage Patanjali describes eight stages of yoga which are known collectively as Raja Yoga.

Raja Yoga is a comprehensive yoga system which deals with the refinement of human behaviour and personality through the practice of the yamas (restraint) and niyamas (disciplines); attainment of physical health and vitality through asanas (postures) and pranayamas (pranic breathing techniques); management of mental and emotional conflicts and development of awareness and concentration through pratyahara (sensory withdrawal) and dharana (concentration); and developing the creative aspect of consciousness for transcendental awareness through dhyana (meditation) and samadhi (absorption in the universal identity).

Kriya Yoga

The word kriya means 'activity' or 'movement' and refers to the activity or movement of consciousness. Kriya also refers to a type of practical or preliminary practice leading to total union, the final result of practice. Kriya Yoga does not curb mental fluctuations but purposely creates activity and awakening in consciousness. In this way all faculties are harmonised and flower into their fullest potential.

Kriya Yoga originated in antiquity and evolved over time through practise and experience. The full form of Kriya Yoga consists of over 70 kriyas out of which only 20 or so are commonly known.

The kriya practices are inscribed in numerous tantric texts written in Sanskrit. To date only a few of these have been translated into other languages. The most authoritative magna opus on the subject of Kriya.

The practices of Kriya Yoga were propagated by Swami Satyananda Saraswati from secret teachings described in the Yoga and Tantra Shastras. The kriyas, as taught by Satyananda Yoga™, are one of only two systems of Kriya Yoga recognized the world over, the other being that of Paramahamsa Yogananda.

Mantra Yoga

Japa Yoga, Requirements, State of Consciousness in Matra Yoga, Methods of Chanting, Effects of Mantra, How to Practice & Rules of Mantra Chanting)
Mantra Yoga has its origin in Vedic Sciences and also in Tantra, infact all the verses in Vedas are called mantras, it is said that any person who can chant or sing Vedas can achieve the ultimate salvation or union with supreme consciousness only by chanting the mantras, which is the aim Mantra Yoga

Ashtanga Yoga (Patanjali's Ashtanga Yoga - Eight limb / step yoga)

The basis of ashtanga yoga is the Yoga sutras (Sanskrit Verses) of Patanjali. We will consider the different aspects of yoga while remaining under the guiding principles of Patanjali's Yoga (Ashtanga Yoga). The Asana, Pranayama, Dharana, Dhyan & Samadhi or the Yama and Niyama are systematically described by Patanjali in his Sanskrit Sutras (verses).
1.
Yama (Principles)
2.
Niyama (Personal Disciplines)
3.
Asana (Yoga Positions or Yogic Postures)
4.
Pranayama (Yogic Breathing)
5.
Pratyahara (Withdrawal of Senses)
6.
Dharana (Concentration on Object)
7.
Dhyan (Meditation)
8.
Samadhi (Salvation)

History of War in India: Vimanas (Ancient Aeroplanes)

2011-08-21T18:18:00.000+05:30

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http://www.bibliotecapleyades.net/vimanas/esp_vimanas_11a.htm

Aerial Warfare

“The ancient Hindus could navigate the air, and not only navigate it, but fight battles in it like so many war-eagles combating for the domination of the clouds. To be so perfect in aeronautics, they must have known all the arts and sciences related to the science, including the strata and

~ Col. Henry S Olcott (1832 – 1907)

American author, attorney, philosopher, and cofounder of the Theosophical Society in a lecture in Allahabad, in 1881.

"No question can be more interesting in the present circumstances of the world than India’s contribution to the science of aeronautics. There are numerous illustration in our vast Puranic and epic literature to show how well and wonderfully the ancient Indians conquered the air.

To glibly characterize everything found in this literature as imaginary and summarily dismiss it as unreal has been the practice of both Western and Eastern scholars until very recently. The very idea indeed was ridiculed and people went so far to assert that it was physically impossible for man to use flying machines. But today what with balloons, airplanes…..”

Turning to Vedic literature, in one of the Brahmanas occurs the concept of a ship that sails heavenwards. The ship is the Agnihotra of which the Ahavaniya and Garhapatya fires represent the two sides bound heavenward, and the steersman is the Agnihotrin who offers milk to the three Agnis. Again in the still earlier Rg Veda Samhita we read that the Asvins conveyed the rescued Bhujya safely by means of winged ships. The latter may refer to the aerial navigation in the earliest times.

In the recently published Samarangana Sutradhara of Bhoja, a whole chapter of about 230 stanzas is devoted to the principles of construction underlying the various flying machines and other engines used for military and other purposes.

The various advantages of using machines, especially flying ones, are given elaborately. Special mention is made of their use at one’s will and pleasure, of their uninterrupted movements, of their strength and durability, in short of their capability to do in the air all that is done on earth. Three movements are usually ascribed to these machines, - ascending, cruising thousands of miles in different directions in the atmosphere and lastly descending.

It is said that in an aerial car one can mount up to Suryamandala, ‘solar region’ and the Naksatra mandala (stellar region) and also travel throughout the regions of air above the sea and the earth. These cars are said to move so fast as to make a noise that could be heard faintly from the ground. The evidence in its favor is overwhelming.

An aerial car is made of light, wood looking like a great bird with a durable and well-formed body having mercury inside and fire at the bottom. It had two resplendent wings, and is propelled by air. It flies in the atmospheric regions for a great distance and carries several persons along with it. The inside construction resembles heaven created by Brahma himself.

Iron, copper, lead and other metals are also used for these machines. All these show how far art and science was developed in ancient India in this direction. Such elaborate description ought to meet the criticism that the vimanas and similar aerial vehicles mentioned in ancient Indian literature should be relegated to the region of myth.

The ancient writers could certainly make a distinction between the mythical which they designated as daiva and the actual aerial wars designated as manusa.

After the great victory of Rama over Lanka, Vibhisana presented him with the Puspaka vimana which was furnished with windows, apartments, and excellent seats. It was capable of accommodating all the vanaras besides Rama, Sita and Lakshman. Again in the Vikramaurvaisya, we are told that king Puraravas rode in an aerial car to rescue Urvasi in pursuit of the Danava who was carrying her away.

Similarly in the Uttararamacarita in the flight between Lava and Candraketu (Act VI) a number of aerial cars are mentioned as bearing celestial spectators. There is a statement in the Harsacarita of Yavanas being acquainted with aerial machines. The Tamil work Jivakacintamani refers to Jivaka flying through the air.

Kathasaritsagara refers to highly talented woodworkers called Rajyadhara and Pranadhara. The former was so skilled in mechanical contrivances that he could make ocean crossing chariots. And the latter manufactured a flying chariot to carry a thousand passengers in the air. These chariots were stated to be as fast as thought itself. (source:India Through The Ages: History, Art Culture and Religion - By G. Kuppuram p. 532-533).

History of War in India: Army and Army Divisions

2011-08-20T22:29:00.000+05:30

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The Game of Chess and the Four-Fold Force

Owing to peculiar geographical features, with her vast plains interspersed with forests, the ancient Indian States had to make extensive use of mounted forces which comprised cavalry, chariots, and elephants. This does not mean that infantry was neglected. Hindu India possessed the classical fourfold force of chariots, elephants, horsemen, and infantry, collectively known as the Caturangabala.

Students also know that the old game of chess also goes by the name of Caturanga. Chess is a game of war, and in each game there are a king, a councilor,

two elephants, two horses, two chariots, and eight foot-soldiers. From the references to this game in the Rg Veda and the Atharva Veda and in the Buddhists and Jaina books, it must have been very popular in ancient India. The Persian term Chatrang and the Arabic Shatrang are forms of the Sanskrit Chaturanga.

The famous epic Mahabharata narrates an incidence where a game called Chaturang was played between two groups of warring cousins. In some form or the other, the game continued till it evolved into chess.

H.J.R. Murray, in his work titled “A History of Chess”, has concluded that,

“chess is a descendant of an Indian game played in the 7th century AD”. The Encyclopedia Britannica states that “we find the best authorities agreeing that chess existed in India before it is known to have been played anywhere else.”

On the whole the board is 8 X 8 squares. According to Taylor, the game of chess was the invention of some Hindu who devised a game of war with the astapada board as his field of battle. From the reference to the game in the Rig Veda and the Arthava Veda and in the Buddhist and Jaina books, it must have been very popular in ancient India. It is to be noted that the relative values of the chess pieces were analogous to or identical with the relative values of different arms as laid down by Kautalya, Sukra, and Vaisampayana.

The organization of the Indian army which came to be known as Caturanga, both in epic Sanskrit and Pali literature, was based on the ancient game.

The Chariots

Chariots were used in warfare from very remote times. There are many references to chariots in the Samhitas and in the Brahmanas. The chariot was an indispensable instrument of war in the days of the Vedas, and on its possession depended victory. In the Rg Veda there is a hymn addressed to the war chariot: ' Lord of the wood, be firm and strong in body: be bearing as a brave victorious hero.

Show forth thy strength, compact with straps of leather and let thy rider win all spoils of battle.' Chariots were of different types and materials. In the Ramayana and the Mahabharata their use is largely in evidence. Each chariot was marked off by its ensign and banner. Besides flags, umbrellas (chattra, atapatra), and fans were a part of the paraphernalia of the war chariot.

Sukra mentions an awe-inspiring chariot of iron with swift-moving wheels, provided with good seats for the warriors and a seat in the middle for the charioteer; the chariot was also equipped with all kinds of offensive and defensive weapons.

The conception of the sun-god in Indian tales is of value to the student of ancient Indian military history. The idea is that the sun-god wants to destroy darkness. Therefore he dons a lustrous armor and marching in his swift flying chariot drawn by seven powerful steads, Aruna (dawn) being his charioteer. The whole image presents a life-like portrait of the military dress as well as the march against an enemy.

Elephants

The next important force of war consisted of elephants. The numerous representations of the animal on coins and in architectural sculptural works from Gandhara to Ramesvaram as well as bronze figures in Indonesia are an indication of the esteem in which it was held by the ancient Indians, clearly on account of its usefulness.

There is a reference in the Rg Veda to two elephants bending their heads and rushing together against the enemy, which is a fairly early reference to the animal being used in war. By the time of the Yajur Veda Samhita the art of training elephants had become common. The Arthasastra mentions a special officer of the State for the care of elephants and lays down his duties.

Megasthenes explains how the elephants were hunted, and how their distempers were cured by simple remedies such as cow's milk for eye-disease and pig's fat for sores. A Jataka story throws some light on how fire-weapons were used in ancient India.

"Once a king mounted on an elephant and led an attack on the city of Benares. The soldiers who offered defenses from within the city gates discharged a shower of missiles against the enemy at which the elephant was frightened a little."

The use of burning naphtha balls thrown against on rushing elephants to frighten them and make them turn back on their own side, is mentioned by early Mohammadan historians as a feature of the warfare between the Rajputs and the Turkish invaders from the North-West. (Elliot and Dowson, vol. I).

Cavalry

We hear from the Kautaliya and Megasthenes that there was a well-organized and efficient cavalry force in the army of Chandragupta. In the ArthaVeda we hear of dust-raising horsemen. In this connection it is interesting to consider the oft-repeated statement that horses are non-Indian. It is not the whole truth. They were known to the Asuras of Vedic literature. There is a legend narrated in the third book of the Hariharacaturanga (though this is work of the late 12th century A.D., the tradition recorded is very ancient). In the epoch of the epics and the Arthasastra, we find that the cavalry occupied as important a place in the army as any other division.

We may remark in passing that Abhimanyu's horses were only three years old.

We hear from the Kautaliya and Megasthenes that

there was a well-organized and efficient cavalry force in the army of Chandragupta.

In the ArthaVeda we hear of dust-raising horsemen.

How important the science of horses was to the ancient Indians is best seen from the Laksanaprakasa which quotes from several important old authorities some of which are probably lost to us. Among them are the Asvayurveda and Asvasastra, the former attributed to Jayadeva and the latter to Nakula. Both the Puranas and the epics agree that the horses of the Sindhu and Kamboja regions were the finest breed and that the services of the Kambojas as cavalry troopers were requisitioned in ancient wars.

In the

Infantry

The next important division of the army was the infantry, or foot-soldier. The Arthasastra speaks of the infantry as a separate army department under the charge of a special officer of the State. This receives confirmation from Megasthenes statement. Besides the maula or hereditary troops which formed a considerable portion of the army, there were,

the bhrta or mercenaries

the sreni or soldiers supplied by the different group and guild organizations

the mitra or soldiers supplied by allies

the amitra or deserters from the enemy ranks

the atavi recruited from forest tribes

According to the Sukraniti and the Kamandakanitsara, the army was to be made as imposing as possible to frighten the enemy by its size. The Agni-purana says that victory ever attends the army where foot-soldiers are numerically strong.

The Sukraniti also mentions that foot-soldiers possessed fire-arms when they fought.

In their left hand they carry bucklers made of undressed ox-hide which are not so broad as those who carry them but are about as long. If we turn to the ancient nations and especially the ancient Egyptians we meet with almost a similar description.

The Commissariat

The Caturanaga was a classical division of the army accepted by tradition. But in the epoch of the epic we hear of a Sadanga or the six-fold army, including commissariat and admiralty. The use of commissariat can be traced to the epic age. This belonged to the category of administrative division of troops as against the combatant. We are told that this division of the army into two categories was first seen in the battle of Mansikert (1071 A.D.)

But, centuries before, the Indian army leaders had realized the value of such a division. It is said that when the Pandava army marched to Kurukshetra it was followed by 'carts and transport cars, and all descriptions of vehicles, the treasury, weapons and machines and physicians and surgeons, along with the few invalids that were in the army and all those that were weak and powerless. This was purely a civil department attached to the army. Care was also given to wounded animals.

The numerous references in our authorities to the Commissariat demonstrate beyond doubt that wars were planned methodically and conducted systematically.

The Admiralty

The Admiralty as a department of the State may have been a creation of Chandragupta but there is evidence to show that the use of ships and boats was known to the people of the Rig Veda. In the following passage we have reference to a vessel with a hundred oars.

"This exploit you achieved, Asvins in the ocean, where there is nothing to give support, nothing to rest upon, nothing to cling to, that you brought Bhujya, sailing in a hundred-cared ship, to his father's house." (refer to Naval warfare section).

Cartography

There is no special word in Sanskrit for a 'a map.' There is, however, reason to believe that in ancient India a map or chart was regarded as a citra or alekhya, i.e., 'a painting, a picture, a delineation'. That maps were made in ancient India seems to be quite clear from the evidence of the New History of the T'ang Dynasty which gives an account of the Chinese general Wang Hiuen-tse's exploits in India in the year 648 A.D.

With reference to the knowledge of map-making among the people of India, especially the Dravidians of the South:

"The charts in use by the medieval navigators of the Indian Ocean - Dravidas, Arabs, Persians, were equal in value, if not superior, to the charts of the Mediterranean. Marco Polo (1498) found them in the hands of his Indian pilot, and their nature is fully explained in the Mohit or 'the Encyclopaedia of the Sea'"

Hindu Valor

The Hindus were declared the by the Greeks to be the bravest nation they ever came in contact with. (source: History of India - by Mountstuart Elphinstone p. 197).

It was the Hindu King of Magadha that struck terror in the ever-victorious armies of Alexander.

Abul Fazal, the minister of Akbar, after admiring their noble virtues, speaks of the valor of the Hindus in these terms:

“Their character shines brightest in adversity. Their soldiers (Rajputs) know to what it is to flee from the fields of battle, but when the success of the combat becomes doubtful, they dismount from their horses and throw away their lives in payment of the debt of valor.”

Francois Bernier, a 17th century traveler says that:

“The Rajputs embrace each other when on the battlefields as if resolved to die.”

The Spartans, as is well known, dressed their hair on such occasions. It is well known that when a Rajput becomes desperate, he puts on garments of saffron color, which act, in technical language, is called kesrian kasumal karna (donning saffron robes). (source: Hindu Superiority - By Har Bilas Sarda p. 79 - 91).

History of War in India: Silambam – Indian Stick Fighting

2011-08-20T22:25:00.000+05:30

I found a really interesting article on a website, with courtesy to this nice website I am sharing a part of the article, if you wanna know more go to that website:

http://www.bibliotecapleyades.net/vimanas/esp_vimanas_11a.htm

The art Nillaikalakki Silambam, which exists for more than five thousand years, is an authentic art which starts with the stick called Silambamboo (1.68 meters long). It originates from the Krunji mountains of south India, and is as old as the Indian sub-continent itself.

The natives called Narikuravar were using a staff called Silambamboo as a weapon to defend themselves against wild animals, and also to display their skill during their religious festivals. The Hindu scholars and yogis who went to the Krunji mountains to meditate got attracted by the display of this highly skilled spinning Silambamboo. The art Nillaikalakki Silambam therefore became a part of the Hindu scholars and yogis training, as they were taught by the Narikuravar.

They brought the art to the royal court during the reign of the Cheran, Cholan and Pandian emperors, once powerful rulers of India. (source: Silamban – Indian Stick Fighting).

History of War in India: Martial Arts - Fighting without weapons

2011-08-20T22:23:00.000+05:30

I found a really interesting article on a website, with courtesy to this nice website I am sharing a part of the article, if you wanna know more go to that website:

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"Fighting without weapons was a specialty of the Ksatreya (caste of Ancient India) and foot soldier alike. For the Ksatreya it was simply part and parcel of their all around training, but for the lowly peasant it was essential. We read in the Vedas of men unable to afford armor who bound their heads with turbans called Usnisa to protect themselves from sword and axe blows.

"Fighting on foot for a Ksatreya was necessary in case he was unseated from his chariot or horse and found himself without weapons. Although the high ethical code of the Ksatreya forbid anyone but another Ksatreya from attacking him, doubtless such morals were not always observed, and when faced with an unscrupulous opponent, the Ksatreya needed to be able to defend himself, and developed, therefore, a very effective form of hand-to-hand combat that combined techniques of wrestling, throws, and hand strikes.

Tactics and evasion were formulated that were later passed on to successive generations. This skill was called Vajramukhti, a name meaning "thunderbolt closed - or clasped - hands." The tile Vajramukti referred to the usage of the hands in a manner as powerful as the vajra maces of traditional warfare. Vajramukti was practiced in peacetime by means of regular physical training sessions and these utilized sequences of attack and defense technically termed in Sanskrit nata."

Kalaripayattu, literally “the way of the battlefield,” still survives in Kerala, where it is often dedicated to Mahakali. The Kalari grounds are usually situated near a temple, and the pupils, after having touched the feet of the master, salute the ancestors and bow down to the Goddess, begin the lesson. Kalari trainings have been codified for over 3000 years and nothing much has changed.

The warming up is essential and demands great suppleness. Each movement is repeated several times, facing north, east, south and west, till perfect loosening is achieved. The young pupils pass on to the handling of weapons, starting with the “Silambam”, a short stick made of extremely hard wood, which in the olden times could effectively deal with swords. The blows are hard and the parade must be fast and precise, to avoid being hit on the fingers!

They continue with the swords, heavy, and dangerous, even though they are not sharpened any more, as they are used. Without guard or any kind of body protection; they whirl, jump and parry, in an impressive ballet. Young, fearless girls fight with enormous knives, bigger than their arms and the clash of irons is echoed in the ground. The session ends with the big canes, favorite weapons of the Buddhist traveler monks, which they used during their long journey towards China to scare away attackers.

The “Urimi” is the most extraordinary weapon of Kalari, unique in the world. This double-edged flexible sword which the old-time masters used to wrap around the waist to keep coiled in one hand, to suddenly whip at the opponent and inflict mortal blows, is hardly used today in trainings, for it is much too dangerous.

This indigenous martial arts, under the name of Kalari or Kalaripayit exists only in South India today. Kalarippayat is said to be the world's original martial art. Originating at least 1,300 years ago, India's Kalaripayit is the oldest martial art taught today. It is also the most potentially violent, because students advance from unarmed combat to the use of swords, sharpened flexible metal lashes, and peculiar three-bladed daggers.

themselves against the frequent attacks of bandits. In time, the monks became famous all over China as experts in bare-handed fighting, later known as the Shaolin boxing art.More than 2,000 years old, it was developed by warriors of the Cheras kingdom in Kerala. Training followed strict rituals and guidelines. The entrance to the 14 m-by-7 m arena, or kalari, faced east and had a bare earth floor. Fighters took Shiva and Shakti, the god and goddess of power, as their deities. From unarmed kicks and punches, kalarippayat warriors would graduate to sticks, swords, spears and daggers and study the marmas—the 107 vital spots on the human body where a blow can kill. Training was conducted in secret, the lethal warriors unleashed as a surprise weapon against the enemies of Cheras.

Father and founder of Zen Buddhism (called C’han in China), Boddidharma, a Brahmin born in Kacheepuram in Tamil Nadu, in 522 A.D. arrived at the courts of the Chinese EmperorLiang Nuti, of the 6th dynasty. He taught the Chinese monks Kalaripayattu, a very ancient Indian martial art, so that they could defend

The Shaolin temple which has been handed back a few years ago by the communist Government to the C’han Buddhist monks, inheritors of Boddhidharma’s spiritual and martial teachings, by the present Chinese Government, is now open to visitors. On one of the walls, a fresco can be seen, showing Indian dark-skinned monks, teaching their lighter-skinned Chinese brothers the art of bare-handed fighting.

On this painting are inscribed:

“Tenjiku Naranokaku” which means: “the fighting techniques to train the body (which come) from India…”

Kalari payatt was banned by the British in 1793. (source: The Boddhisattva Warriors: The Origin, Inner Philosophy, History and Symbolism of the Buddhist Martial Art Within India and China - By Terence Dukes/ Shifu Nagaboshi Tomio p. 3 - 158-174 and 242. A Western Journalist on India: a ferengi's columns - By Francois Gautier Har-Anand Publications January 2001 ISBN 8124107955 p. 155-158).

History of War in India:Artillery - India Taught Europe

2011-08-20T22:19:00.000+05:30

I found a really interesting article on a website, with courtesy to this nice website I am sharing a part of the article, if you wanna know more go to that website:

http://www.bibliotecapleyades.net/vimanas/esp_vimanas_11a.htm

Artillery was introduced into Europe by the Roma (Gypsies), who were none else than the Jats and Rajputs of India. This has been revealed in a study by a reputed linguist, Weer Rajendra Rishi, after an extensive tour of Roma camps in Europe.

He explains that the Romas, who are the Gypsies of Europe, also taught the use of artillery to Europeans. These Roma belonged to the Jat and Rajput clans who left India during the invasions by Mohamud Ghaznavi and Mohammad Ghori between the 10th and 12th centuries of the Christian era.

He says the use of artillery was known in Asia, notably in India, from time immemorial, while it was introduced to the Europeans much later.

Mr. Rishi reveals that the Roma had helped different countries of Europe in making artillery.

“Evidence of this is given as early as 1496 by a mandate of that date granted by Wadislas, King of Hungary, wherein it is said that Thomas Polgar, chief of 25 tents of wandering Gypsies had, with his people, made at Funfkirchen musket-balls and other ammunition for Bishop Sigismond.

“In 1546 when the English were holding Boulogne against the French the latter took the help of two experienced Romas of Hungary to make great number of cannons of greater caliber than earlier guns. The Hungarian Roma of the 16th century possessed fuller knowledge of fabricating artillery than the races of Western Europe.

There were also records that the Roma were employed as soldiers by some countries of Europe. Dr. W. R. Rishi, is the author of the book, Roma - The Panjabi Emigrants in Europe, Central and Middle Asia, the USSR, and the Americas - published 1976. Mr. Rishi is a well-known linguist of India and was awarded the honour of 'Padmashri' by the President of India in 1970 for his contributions in the field of linguistics. He is also the Founder Director of the Indian Institute of Romani Studies. (source: Diamonds, Mechanism, Weapons of War, Yoga Sutras - By G. R. Josyer. p. 179-182).

To conclude with the words of Sir George Birdwood:

" For a variety, extent, and gorgeousness, and ethnological and artistic value, no such collection of Indian arms exists in this country (England) as that belonging to the Prince of Wales. It represents the armorer's art in every province of India, from the rude spear of the savage Nicobar islanders to the costly damascened, sculptured, and jewelled swords, and shields, spears, daggers, and match-locks of Kashmir, Kutch and Vizianagaram. The most striking object in the collection is a suit of armor made entirely of the horny scales of the Indian armadillo, or pangolin, encrusted with gold, and turquoise, and garnets."

(source: The Industrial Arts of India pp. 171-2).

History of War in India:

2011-08-20T22:15:00.000+05:30

I found a really interesting article on a website, with courtesy to this nice website I am sharing a part of the article, if you wanna know more go to that website:

http://www.bibliotecapleyades.net/vimanas/esp_vimanas_11a.htm

Amukta Weapons

The first of the Amukta weapons was the Vajra or the thunderbolt. The origin of this weapon is given in the Rirthayatra portion of the Mahabharata. It was made out of the backbone of the Rishi Dadhici which was freely given by him to Indra. Originally perhaps it had six sides and made a terrible noise when hurled.

The Parasu is the battle-axe attributed to Parasu-rama, of great fame. Its blade was made of steel and it had a wooden handle. There were six ways of manipulating it to one's own advantage.
The Gada is a heavy rod of iron with one hundred spikes on the top. One of the four cubits was able to destroy elephants and rocks. It could be handled in twenty different ways. By means of gun powder it could be used as a projectile weapon of war. Its principal use was to strike the enemy either from a raised place or from both sides and strike terror into the enemy especially of the Gomutra array.
The Mudgara was a staff in the shape of a hammer. It was used to break heavy stones and rocks. This is again a movable machine according to Kautalya.
The Sira was a bucket-like instrument curved on both sides and with a wide opening made of iron. It was as long as a man's height. The Pattisa is a razor like weapon.
The Sataghni, literally means that which had the power of killing a hundred at a time. It looked like a Gada and is said to be four cubits in length. It is generally identified with modern cannon and hence was a projectile weapon of war.

"sataghni tu catustala lohakantaka samcita yastih! iti Kesavah."

It was generally placed on the walls of a fort and is included among the movable machines by Kautalya.
Asi or the Swords - The best sword measured fifty inches. They were usually made of Pindara iron found in the Jangala country, black iron in the Anupa, white iron in the Sataharana, gold colored in the Kalinga, oily iron in the Kambhoja, blue-colored in Gujarat, grey-colored in the Maharashtra and reddish white in Karnataka. The aSi si also known as Nistrimsa, Visamana, Khadga, Tiksnadhara, Durasada, Srigarbha, Vijaya and Dharmamula, meaning respectively cruel, fearful, powerful, fiery, unassailable, affording wealth, giving victory, and the source of maintaining dharma. And these are generally the characteristics of a sword.

It was commonly worn on the left side and was associated with thirty-two different movements. It measured 50 thumbs in length and four inches in width. In the Santi-parva (166,3 ff; 82 ff). Bhisma being asked as to which weapon in his opinion was the best for all kinds of fighting, replies that the sword is the foremost among arms (agryah praharananam), but the bow is first (adyam).

B.K. Sarkar says that the secret of manufacturing the so-called Damascus blade was learnt by the Saracens from the Persians, who, in their turn, had learnt it from the Hindus. Early Arabic literature provides us with a curious illustration of the esteem with which Indian swords were looked upon in Western Asia.

An early Arabic poet, Hellal, describing the flight of the Hemyarites, says:

"But they fled under its (ie. the clouds) small hail of arrows quickly, whilst hard Indian swords were penetrating them." and again: "He died and we inherited him; one old wide (cuirass) and a bright Indian (sword) with a long shoulder-belt."

(Hindu Achievements in Exact Science - By B. K. Sarkar p. 45).

Note: Hindus made the best swords in the ancient world, they discovered the process of making Ukku steel, called Damascus steel by the rest of the world (Damas meaning water to the Arabs, because of the watery designs on the blade). These were the best swords in the ancient world, the strongest and the sharpest, sharper even than Japanese katanas. Romans, Greeks, Arabs, Persians, Turks, and Chinese imported it.

The original Damascus steel - the world's first high-carbon steel - was a product of India known as wootz. Wootz is the English for ukku in Kannada and Telugu, meaning steel. Indian steel was used for making swords and armor in Persia and Arabia in ancient times. Ktesias at the court of Persia (5th c BC) mentions two swords made of Indian steel which the Persian king presented him. The pre-Islamic Arab word for sword is 'muhannad' meaning from Hind. So famous were they that the Arabic word for sword was Hindvi - from Hind.

Wootz was produced by carburizing chips of wrought iron in a closed crucible process.

"Wrought iron, wood and carbonaceous matter was placed in a crucible and heated in a current of hot air till the iron became red hot and plastic. It was then allowed to cool very slowly (about 24 hours) until it absorbed a fixed amount of carbon, generally 1.2 to 1.8 per cent," said eminent metallurgist Prof. T.R. Anantharaman, who taught at Banares Hindu University, Varanasi.

"When forged into a blade, the carbides in the steel formed a visible pattern on the surface."

To the sixth century Arab poet Aus b. Hajr the pattern appeared described 'as if it were the trail of small black ants that had trekked over the steel while it was still soft'. In the early 1800s, Europeans tried their hand at reproducing wootz on an industrial scale. Michael Faraday, the great experimenter and son of a blacksmith, tried to duplicate the steel by alloying iron with a variety of metals but failed.

Some scientists were successful in forging wootz but they still were not able to reproduce its characteristics, like the watery mark.

"Scientists believe that some other micro-addition went into it," said Anantharaman.

"That is why the separation of carbide takes place so beautifully and geometrically."

The crucible process could have originated in south India and the finest steel was from the land of Cheras, said K. Rajan, associate professor of archaeology at Tamil University, Thanjavur, who explored a 1st century AD trade centre at Kodumanal near Coimbatore. Rajan's excavations revealed an industrial economy at Kodumanal. Pillar of strength The rustless wonder called the Iron Pillar near the Qutb Minar at Mehrauli in Delhi did not attract the attention of scientists till the second quarter of the 19th century.

The inscription refers to a ruler named Chandra, who had conquered the Vangas and Vahlikas, and the breeze of whose valour still perfumed the southern ocean. "The king who answers the description is none but Samudragupta, the real founder of the Gupta empire," said Prof. T.R. Anantharaman, who has authored The Rustless Wonder. Zinc metallurgy travelled from India to China and from there to Europe. As late as 1735, professional chemists in Europe believed that zinc could not be reduced to metal except in the presence of copper.

The alchemical texts of the mediaeval period show that the tradition was live in India. In 1738, William Champion established the Bristol process to produce metallic zinc in commercial quantities and got a patent for it. Interestingly, the mediaeval alchemical text Rasaratnasamucchaya describes the same process, down to adding 1.5 per cent common salt to the ore. (source: Saladin's sword - By The Week - June 24, 2001 - http://netinfo.hypermart.net/telingsteel.htm).

History of War in India:Other Weapons

2011-08-20T22:11:00.000+05:30

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The Bindipala and the nine following are minor weapons of this class. Probably this was a heavy club which had a broad and bent tail end, measuring one cubit in length. It was to be used with the left foot of the warrior placed in front. The various uses of this weapon were cutting, hitting, striking and breaking. It was like a kunta but with a big blade. It was used by the Asuras in their fight with Kartavirya Arjuna.

The Nalika is a hand gun or musket rightly piercing the mark. It was straight in form and hollow inside. It discharged darts if ignited. As has been already said, Sukracarya speaks of two kinds of nalika, one big and the other small. The small one, with a little hole at the end, measured sixty angulas (ie. distance between the thumb and the little finger) dotted with several spots at the muzzle end.

Through the touch hole or at its breach which contained wood, fire was conveyed to the charge. It was generally used by foot-soldiers. But the big gun had no wood at the breach and was so heavy that it had to be conveyed in carts. The balls were made of iron, lead or other material. Kamandaka uses the word nalika in the sense of firing gun as a signal for the unwary king. Again in the Naisadha, a work of the medieval period, Damayanti is compared to the two bows of the god of love and goddess of love, and her two nostrils to the two guns capable of throwing balls.

Thus there is clear evidence of the existence and use of firing guns in India in very early times. The Cakra, the next weapon in the category, is a circular disc with a small opening in the middle. It was of three kinds of eight, six and four spokes. It was used in five or six ways. It resembled the quoid of the Sikhs today. Lord Vishnu is popularly addressed as Sankha-cakra-gada-pani, that is having Sankha or conch, Cakra or disc, and Gada or mace in three of his four hands.The various uses of a disc were felling, whirling, rending, breaking, severing, and cutting. It is one of the instruments peculiar to Lord Vishnu. Kautalya speaks of it as a movable machine. The Cakra belongs to the category of a missile. According to the Vamanapurana, the Cakra has lustrous and sharp edges. The Tomara is another weapon of war frequently mentioned in all kinds of warfare. It was of two kinds, an iron club (sarvayasam) and a javelin. . According to the Agni Purana it was to be with the help of an arrow of straight feathers, and was powerful in dealing blows to the eyes and hands of an enemy.

The Dantakanta, is another weapon of war, perhaps the shape of a tooth, made of metal, of strong handle and a straight blade. It had two movements.

The Pasa, which is a noose killing the enemy at one stroke, of two or tree ropes used as a weapon attributed to the god Varuna. It was triangular in shape and embellished with balls of lead. It was associated with three kinds of movements. In the Agni Purana are described eleven ways of turning it to one's own advantage by dexterity of hand. The Masundi, was probably an eight sided cudgel. It was furnished with a broad and strong handle. It apparently comes from the root-meaning to cleave or break into pieces, and perhaps akin to the Musala. All these and more found used in one battle or another both in the Mahabharata and the Ramayana.