Shiva Kavacha Stotram

Shiva Kavacha Stotram

Shiva Kavacham Benefits:

Shiva Mantra is mainly used to dispel fear; particularly the fear of change. Shiva mantra is chanted for the protection against diseases, sorrows, fears etc. Recitation of this Mantra gives success and Siddhis. Shiva Mantra has the power to boost a person's inner potential and strength. Shiva Mantra helps to cleanse the body, mind and soul of all the stress, rejection, failure, depression and other negative forces that we face in our daily lives. Shiva Mantra is to be chanted when one feels weak and drained of energy; both mental as well as physical. Shiva Mantra Japa is also an astrological remedy to ward of the negative influences of the Maraka planet in the birth horoscope.

Shiva Kavacham:
(Armour of Shiva)

(Rishbha (deva) was born as a king in the family of Swayambhuva manu. He married Meru devi and had one hundred children,. When they grew up, he entrusted the kingdom to his eldest son and retired to the forest. He became a great sage and a great devotee of Lord Shiva. He met in the forest a prince called Bhadraayu, who was driven out from his kingdom along with his mother by his enemies. Rishabha deva taught him the Shivakavacha, using which Bhadarayu regained his king dom. This story forms a part of Skanda purana This Kavacham (armour) addressed to Lord Shiva is unique and very important.)

Asya Shiva Kavacha stotr maha manthrasya
Brahma rishi, Anushtup Chanda, Sri Sada shiva rudro devatha, Hreem Shakthi , Ram keelakam , Sreem, hreem, Kleem Bheejam
Sri Sada shiva preethyarthe Shiva kavacha stotra Jape Viniyoga.

For the great chant of Shiva’s armour,
The sage is Brahma, the meter is Anushtup, The god addressed is Sada Shiva Rudra , the strength is “hreem”, the nail is “ram”,and the root is “Sreem, hreem , kleem.”
The Shiva Kavacha is being chanted to please Lord Sada Shiva.

( Another version:-
Asya sree Shiva Kavacha stotra maha manthrasya
Rishabha Yogeeswara rishi,
Anushtup Chanda, Sri Samba sada shivo devatha, Om Bheejam Nama Shakthi , Shivayethi keelakam Mama Samba sada shiva preethyarthe viniyoga.

For the great chant of Shiva’s armour,
The sage is Rishabha muni, meter is anushtup, The god addressed is sAmba Sada Shiva ,
Root is “om”, the nail is “shiva” and
This is being chanted to please my God Samba sada shiva.)

Adha nyasa
Om namo bhagawathe jwala jwaala maline
Om hraam sarva shakthi daamne eesanathmane angushtabhyam nama.

Om salutations to the dazzling and shining God, Om Hraam God who gives all powers,
Oh soul of God , salutations by the thumb.

Om namo bhagawathe jwala jwaala maline
Om nam rim nithya thruptha dhamne thath purushatmane tharjaneebhyam nama.

Om salutations to the dazzling and shining God, Om Nam Rim who grants perennial satisfaction , Oh soul of Purusgha, salutations by the forefinger

Om namo bhagawathe jwala jwaala maline
Om nam rum anadhi shakthi dhamne aghorathmane madhyamabhyam nama,

Om salutations to the dazzling and shining God, Om Nam Rum, who gives the power of the ancient, the soul of Aghora salutations by the middle finger.

Om namo bhagawathe jwala jwaala maline
Om shim raim swthanthra shakthi dhamne vamadevathmane anamikabhyam nama.

Om salutations to the dazzling and shining God, Om Shim raim , one who gives independent power and the soul of Vama deva salutations by the ring finger

Om namo bhagawathe jwala jwaala maline
Om vam roum aluptha shakthi dhamne sadhyojathmane kanishtikabhya nama.

Om salutations to the dazzling and shining God, Om vam roum , he who grants strength of aluptha, the soul of SAdhyojadha, salutations by the little finger.

Om namo bhagawathe jwala jwaala maline
Om yam ra anadhi shakthi dhamne sarvathmane kara thala kara prushtabhya nama.

Om salutations to the dazzling and shining God ,Om tam ra he who he grants primeval power , soul of all salutations by palm and back side of hand.

Yevam Hrudhayadhi.nyasa adha dhyanam

After Telling like this , do meditation.

( Another version
Kara nyasa
Om Sada shivaaya angushtabhyam nama
Nam Gangadharaya tharjaneebhyam nama
Mam mruthyunjayaya madhyamabhyam nama
Shim sollapanaya anamikabhyam nama
Vaam Pinaka panay kanishtikabhyam nama
Yam umapathaye Kara thala kara prushtabhyam nama

Om salutations to Sadashiva by the thumb
Nam Salutations to Gangadhara by the fore finger
Bam salutations to victor over death by the middle finger
Shim salutations to he who holds iron rod by the ring finger
Vaam salutations to he who holds Pinaka by the little finger
Yam salutations to consort of Uma and the palm and back of the palm.

Hrudaya nyasa
Om Sada shivaaya hrudayaya nama
Nam Gangadharaya Shirase swaha
Mam mruthyunjayaya shikayayai vashat
Shim sollapanaye kavachaya hoom
Vaam Pinaka panaye nethra thrayaya voushat
Yam umapathaye asthraya phat
Om ithi Digbandha

Om salutations to the heart of Sadashiva
Nam salutations to the head of he who carries Ganga
Mam salutations to the tuft of he who won over death
Shim salutations to he who holds iron rod and the armour
Vaam salutations to he who holds the Pinaka’s eyes
Yamm salutations to the arrow of consort of Uma
Thus you tie yourself up with directions)

Adha Dhyanam
Then meditation

Vajra damshtram trinayanam kala kanda marindhamam,
Sahasrakara mathyugam, vande Shambhum umapathim. 1

I salute Shambu the consort of Parvathi,
Who has diamond like teeth and three eyes,
Who has black neck and kills his enemies,
And who has thousands of fearful hands.

Adhoparam sarva purana guhyam ,
Nissesha papougha haram pavithram,
Jayapradham Sarva vipath pramochanam,
Vakshyami shaivam kavacham hithaya they. 2

For your benefit I would tell you the “armour of Shiva”,
Which is very secret among the Puranas,
Which is holy and removes all the sins that are committed,
Which leads to victory and prevents all dangers.


Pancha pooja:-
Five worships:-

Lam Pruthvyathmane Gandham samarpayami
Ham Akasathmane pushpam poojayami
Yam Vayvathmane dhoopam agrahayami
Ram Agneyathmane deepam darasayami
Vam amtuthathmane amrutham maha naivedyam nivedayami
Sam sarvathmane sarvopachara poojam samarpayami

Lam spirit of earth, I offer you sandal paste
Ham spirit of sky , I worship you with flowers
Yam Spirit of wind I salute you with smoke incense
Ram spirit of fire , I show you a lit lamp
Vam spirit of deathlessness , I offer you nectar
Sam spirit of all souls I am offering you comprehensive worship

Rishabha Uvacha:-
Rishabha said:-

Namskrythwa maha devam viswa vyapeenameeswaram,
Vakshye Shiva mayam varma sarva raksha karam nrunaam. 3

After saluting the great God who is spread through out,
I would tell you the “armour of Shiva, which protects all men.

Suchou dese samaaseeno yadavath kalpithasana,
Jithendriyo jitha pranas chinthayeth shivamavyayam. 4

You should sit in a clean place ,
Assume the proper sitting position,
Win over your senses , control your desires,
And meditate on Shiva who is forever stable.

Hruth pundarikaantha sannivishtam,
Swatheja saavyaaptha nabhovakasam,
Atheendriyam sookshmamananthamadhyam,
Dyayeth parananda mayam mahesam. 5

I meditate on the great lord , who is full eternal joy,
Who lives in the lotus of one’s heart,
Whose innate luster spreads all over the sky,
And who is beyond the senses and is micro and also end and beginning less.

Dhyannavadhoothakhila karma bandha,
Schiram chidwananda nimagna chetha,
Shadakshara nyasa samahithathma,
SAivena kuryath kavachena rakshaam. 6

By deep meditation cutting off the ties of Karma,
For a long time and getting drowned in the divine joy,
With chant of the six letter mantra of Lord Shiva,
You have to protect your self with Shiva’s armour.

Maam pathu devo akhila devathathma,
Samsara koope pathitham gabheere,
Thannama divyam paramanthra moolam,
Dhunothu may sarvamagham hrudhistham. 7

May I, be saved by The God of all devas,
From this deep chasm called domestic life,
And his sacred divine names ,
Which are the basis of all great mantras,
Destroy all the sins in my heart.

Sarvathra maam rakshathu viswa moorthir,
Jyothir mayananda ghanaschidathma,
Anoraniyanuru shathireka,
Sa iswara pathu bhayad aseshath. 8

Let me be protected everywhere by the Lord of the universe,
Who is full of the light of happiness, who is the divine soul,
Let the God ,who is micro among micros, who is all powerful,
Protect me completely from all sort of fears.

Yo bhoo swaroopena bhibharthi viswam,
Paayath sa bhoomer gireeso ashta moorthi,
Yopaam swaroopena nrunaam karothi,
SAnjeevanam sovathu maam jalebhya. 9

Let him who in the form of earth looks after the earth,
Look after me from, the fear of land related issues,
Let him who gives life to all beings in the form of water,
Protect me from everything concerning water.

Kalpavasane bhuvanaani dhagdwa ,
Sarvaani yo nruthyathi bhoori leela,
SA kala rudhro vathu maam davagner,
Vathyadhi bheethorakhilascha thapath. 10

Let the death like Kala Rudhra , who dances,
At the end of ages after burning the universe.
With playfulness protect me from problems.
Created by forest fire and cyclone.

Pradheeptha vidhyuth kanakava bhaso,
Vidhya vara bheethi kutara pani,
Chathurmukha sthath purushasthri nethra,
Prachyam sthitham rakshathu mamajasram. 11

Let him who shines like gold and the glittering lightning,
Who holds in his hand symbols of knowledge, boon, protection and sword,
And who has four faces and three eyes,
Be in the east and protect me there.

Katara vedhamkusa pasa soola,
Kapala dakkaksha gunaan dhadhaana,
Chathurmukho neela ruchistrinethra,
Payadghoro disi dakshinasyam. 12

Let Aghora who holds the sword , Vedas , goad , rope, trident,
Skull , drum and Rudraksha in his eight hands,
And who is blue in colour and has four faces,
Protect me from the southern side.

Kundendu sankha sphatikaava bhaso,
Vedaksha mala varada bhayanka,
Triksha chatur vakthra uru prabhava,
SAdhyodhi jatho aavathu maam pratheechyam. `13

Let him who shines white like jasmine , moon . conch and crystal,
Who holds Veda, chain of beads , protection and boon in his hands,
And who shines with three eyes and four necks,
And who is called Adhijatha* protect me from the west.
* Born in the beginning

Varaksha mala abhaya tanga hastha ,
Saroja kinjathka samana varna,
Trilochanas charu chaturmukho,
Maam payad udechyam disa vama deva. 14

Let him who holds chain of beads and axe in his hand,
And shows sign of boons, protection by his other hands,
Who is of the colour of the tendrils of lotus flower,
And who has three eyes and four heads,
And is called Vama deva protect me from north.

Veda abhayeshtangusa pasa tanga ,
Kapala dakkakshaka soola pani.
Sithadhyuthi pancha mukhova,
Thwnmaeesana oordhwam parama prakasa. 15

Let him who is holding Veda goad , rope , axe , Skull, Rudraksha
And hatchet in his hands and showing signs of protection by one hand,
Who is of white colour and who has five faces and is shining,
And is called Eesana murthi protect me from above.

Moordhana mavyanmamam chandra mouli ,
Phalam mamavyadhadha phala nethra,
Nethremamaavyadh bhaga nethra haaree,
Naasam sada rakshathu Viswanadha. 16

Let him who has moon on his head protect my head,
Let him who has eyes on his forehead protect my forehead,
Let the destroyer with Sun as eyes protect my eyes,
And let Lord of the universe protect my nose.

Payachsruthirmay sruthi Geetha keethi,
Kapola mavyaathsa thatham kapali,
Vakthram sada rakshathu pancha vakthra,
Jihwam sada rakshathu veda jihwa. 17

Let my ears be protected by him who is sung about by Vedas,
Let Kapali (God with skull) protect my cheeks,
Let the five necked one protect my neck,
And let the God with Veda as toungue protect my toungue.

Kandam gireesovathu Neela kanda,
Pani dhwayam pathu Pinaka pani,
Dhor mola mavyan mama dharma bahur,
Vaksha sthalam Daksha makhanda kovyath. 18

Let the Lord of mountain with a blue neck protect my neck,
Let my both hands be protected by he who holds Pinaka bow,
Let the god having Dharma as hands protect my arm pits,
Let my bosom be protected , by him who destroyed the yaga of Daksha,

Mamodharam pathu Gireendra dhanwa,
Madhyam mamaavyanmadanathakari,
Heramba thatho mama pathu nabhim,
Payath kateem doorjateeswaro may. 19

Let my belly be protected by him, who made a bow out of the mountain,
Let my middle part be protected by him , who killed the God of love,
Let the father of Ganesa protect my navel,
And my hips be protected by him, who has difficult plaited hair.

Oorudwayam padu kubheramithra,
Janu dhwayam may Jagadheeswaravyath,
Janga yugam pungava kethuravyath,
Padou mamavyath sura vandhya pada. 20

Let the friend of Kubhera* protect both my thighs,
Let both my knees be protected by Lord of universe,
Let my both calves be protected by he who rides a bull,
Let my feet be protected by he, whose feet is worshipped by devas.
*Lord of wealth

Maheswara pathu dhinadhi yame,
Maam madya yame aavathu vama deva,
Trilochana pathu thritheeya yame,
Vrusha dwaja padu dinandya yame. 21

Let the great God protect me during the first quarter of the day,
Let Vama deva protect me during the second quarter of the day,
Let the three eyed one protect me during the third quarter of the day,
And let he who rides a bull protect me during the last quarter of the day

Paayan nisadhou sasi shekharo maam,
Gangadharo rakshathu maam niseedhe.
Gowripathi pathu nisavasane,
Mruthyunjaya rakshathu sarva kalam. 22

Let him, who wears the moon protect me during first part of night,
Let him, who carries Ganga protect me during the middle of the night,
Let the consort of Gowri protect me during last part of night,
Let the God who won over God of death protect me at all times.

Anthasthitham rakshathu Sankaro maam,
Sthsanu sadaa pathu bahi sthitham maam,
Thadanthare [athu pathi passonaam,
Sada shivo rakshathu sarva kalam. 23

Let me protected when I am inside, by Shankara,
Let Sthanu (stable one) protect me when I am outside,
Let the lord of all beings protect me when I am in between,
And Sada Shiva protect me all ways and at all times.

Thishtanthamavyath bhuvaanaika nadha,
Payad vrujantham pramadhathi nadha,
Vedantha vedhyovathu maam nishannam,
Mamavyaya pathu Shiva sayaanaam. 24

Let the lord of all the worlds protect me when I am standing,
Let the lord of Pramadhas protect me when I am walking,
Let the Lord studied by Vedantha protect me when I am sitting,
And let Lord Shiva protect me when I am lying down.

Margeshu maam rakshathu neelakanda,
Shailadhi durgeshu purathrayari,
Aranya vasadhi maha pravase,
Payad mruga vyadha udhara shakthi. 25

Let the blue necked one protect me when I am on my way,
Let the destroyer of three towns protect me when I am in mountain or forts,
Let him, who lives in the forest protect me during journey
Let the hunter of deers who is extremely strong protect my strength of digestion.

Kalpantha katopa patu prakopa,
Sphutattahasochali thanda kosa.
Ghorari senarnava dur nivara,
Maha bhayad rakshathu Veera bhadhra. 26

Let me be protected from the great fear,
Due to the attack of the army of enemies,
By Veerabhadra who burns , like the fire of deluge,
And who due to his anger turns the universe up and down.

Pathyaswa mathanga ghatavaroopa,
SAhasra lakshayutha koti bheeshanam,
Akshouhineenaam satha matha thayinam,
Chindhyan mrudo ghora kutaradharaya. 27

Let Mruda break with the terrible white axe,
The innumerable army of the enemies,
Which consists of several formations,
Of soldiers and horses, elephant and chariot borne troops.

Nihanthu dasyun pralayanalarchir,
Jwalath trisoolam tripuranthakasya,
Saardhoola simaraksha vrukaadi himsraan,
Santhraasaya thweesa dhanu pinaka. 28

Let the trident of the God who destroyed the three cities,
Which burns like the fire of the deluge destroy my enemies.
Let the Pinaka bow of Lord Shiva drive away.
Tiger, lion , bear , wolf and other wild animals.

Duswapna du shakuna durgathi dourmanasya,
Durbiksha durvyasana dussaha dooryamsi,
Uthpatha thapa visha bheethi ma sadgraharthi,
Vyadheemscha nasayathu may Jagatham adheesa. 29

Let the Lord of the different worlds protect me from,
Bad dreams , bad omens , bad fate , bad conduct,
Famines, bad grief , unbearable bad fame,
And fear from comet , poison , effects of planets and diseases.

Om namo bhagwwathe , sad shivaya , sakala thathwathmakaya, sarva manthra swaroopaya, sarva Thathwa vidhooraya , brahma rudravatharine , neelakandaya , Parvathi manohara priyaya , soma suryagni lochanaya,

Om salutations to him who is God, eternal shiva, personification of all principles, personification of all holy chants , one who is far away from philosophy, one who takes the form of Brahma and Rudra, One who has blue neck, One who is dear to pretty Parvathi, One who has fire Sun and Moon as eyes,

Bhasmodhoolitha vigrahaya, maha mani makuta dharanaya, Manikhya bhooshanaya, Srushti sthithi pralaya kala rouudhravatharaya, Daksha dwara dwamsakaya, Maha kala bhedanaya, moola dharaika nilayaya, Thathwatheethaya,

One who applies ash all over, one who wears the great gem studded crown, One who wears Manikhya(ruby) as ornament, He who takes the angry form and does creation upkeep and destruction at deluge, he who destroyed the fire sacrifice of Daksha, He who broke the great God of death , He who stays in Mooladhara chakra , He who is above principles,

Gangadharaya , sarva devadhidevaya, shadasrayaya, vedantha saaraya , trivarga sadhanaya, Anantha koti brahmanda nayakaya, Anantha Vasuki Thaksha, karkodaka Sankha kulika, padma Maha padmayeshta maha naga kula bhooshanaya,

He who carries the Ganga, He who is God to all devas, He who is the basis of the six adhara Chakras, He who leads to three types of fulfillment, He who is the chief of the endless billions of universes, He who wears ornaments of the eight great serpents viz Anantha, Vasuki, Thaksha, Karkodaka, SAnkha , Kulika , Padma and Mahapadma,

Pranava swaroopaya, chidakasaya, Aakasa dik swaroopaya, Graha nakshatra maline, Sakalaya, Kalanka rahithaya, Sakala lokaika karthre, Sakala lokaika bharthre, Sakala lokaika samharthre, SAkala lokaika gurave, Sakala lokaika Sakshine, Sakala nigama guhyaya,

He who is the form of “Om”, He who is the divine ether, He who is personification of sky and directions, He who wears stars and planets as Garlands, He who is everything, He who does not have any dark spot, He who creates all the world, He who manages all the worlds, He who destroys all the worlds, He who is the teacher of all the world, He who is a witness of all the world, He who is hiding in all reasoning,

Sakala Vedantha paaragaya, Sakala lokaika vara pradhaya, Sakala lokaika sankaraya, Sasanku shekaraya, Sasvatha nija vasaya, Nirabhasaya, niramayaaya, nirmalaya , nirlobhaya, nirmadhaya, nischinthaya, Nirahankaraya, Nirangusaya, Nishkalankaya,

He who is expert in all Vedas, He who gives boons to all the world, He who gives all good things to every one, He who has collected the moon, He who is perennially in existence, He who shines always. He who is pervaded in everything, He who is clean,
He who is generous, He who does not have exuberance, He who does not have pride, He who cannot be stopped, He who does not have anything bad,

Nirgunaya, Nishkaamaya, Nirupaplavaya, Niravadhyaya, Nirantharaya, Nishkaranaya, Nirathangaya, Nishprapanchaya, Nissangaya, Nirdwandwaya, NIradharaya, Neeraagaya,
Nishkrodhaya, Nirmoolaya, Nishpapaya, Nirbhayaya, Nivikalpaya, Nirbhedhaya, Nishkriyaya, Nisthoolaya, Nissamsayaya, Niranjanaya, Nirupamavibhavaya,

He who does not have any properties, He who does not have any desires, He who is separate from all dangers, He who is permanent, He who does not have any cause, He who does not have any worry, He who is different from the world, He who is not in any group, He who is not plural, He who does not have any basis, He does not have likes, He who is not angry, He who does not have any roots, He who is above all sins, He who is not afraid, He who is not bound by time, He who does not differentiate, He who is action less, He who is above all , He who does not have any doubts, He who is without stains, He who has matchless assets,

Nithya shudha budhi paripoorna sachidaanadadwayaya, Parama santha swaroopaya, Thejo roopaya, Thejomayaya,

He who is perennially clean, completely wise , complete , divinely joyous and without second, He who is extremely peaceful, He who has a shining form, He who is full of light,

Jaya jaya Rudhra, Maha roudhra, bhadravathara, maha bhairava, Kala Bhairava, Kalpanthaka Bhairava, Kapala maladhara, Gadwanga, Gadga charma pasa angusa Damaru soola Chapa Bana Gadha Shakthi Bindi pala thomara musala mudgara, Pasa parigha Bhoosundi SAthagni Chakradhyaudha , Bheeshanakra Sahasra Mukha Damshtra karala vadana,

Victory ,victory to Rudra, He who is very angry, He who protects, great Bhairava , The Bhairava at the time of deluge, He who wears garland of skulls, He who is armed with sword, He who is very fearsome armed with sword, Shield, rope, goad , drum , trident, arrow, mace, Shakthi , catapult, iron mace , iron pestle , stick of thorns, rope, iron beam, spear, and fire wheel, He who is extremely fearsome , he who has thousand faces, He who is fearsome face due to protruding teeth,

Vikatattahasa visamharitha brahmanda mandala, nagendra kundala , nagendra hara, nagendra valaya, nagendra charma dhara, Mruthyunjaya, Tryambaka, Tripuranthaka, Viswaropa, Viroopaksha, Visweswara, Vrushabha vahana, Visha vibhooshana, Viswathomukha,

He who due to his fearsome roar breaks the universe , He who wears the king of snakes as ear stud, He who wears the snake king as garland, He who wears snake king as armlet, he who wears the skin of the snake king, He who has defeated the God of death, He who has three eyes, He who destroyed the three cities, He who has a form as big as universe, He who has fearsome slanted eyes, He who is the Lord of the universe, He who rides on the bull, He who wears poison as an ornament, he who has universe as face,

Sarvatho raksha raksha maam,
Jwala jwala maha mrutyu bhayam nasaya nasaya,
Chora bhayamuthsadaya muthsadaya,
Visha sarpa bhayam samaya samaya,
Choran marya maraya,
Shathroon uchadaya uchadaya,
Trisoolena vidharaya vidharaya,
Kutarena bhindi bhindi,
Gadgena chindi chindi,
Gadwangena vipodhaya vipodhaya,
Musalena nishpekshaya nishpekshaya,
Banai santhadaya santhadaya,
Rakshamsi bheeshaya bheeshaya,
Bhoothani vidhravaya vidhravaya,
Koosmanda Vetala mareecha brahma rakshasa ganan santhrasaya santhrasaya,
Mam abhayam kuru kuru,
Vithrastham mam aaswasaya aaswasaya,
Naraka maha bhayan Maam udharoudhara,
SAnjeevaya sanjeevaya,
Kshuthrubhyam mamapyaya yapyaya,
Dukhathuram Maam Aananadanandaya,
Shiva kavache namaschadhaya yachadhaya,
Mruthyunjaya Trimbakka SAdashiva namasthe namasthe

Save , save me everywhere,
Shine , shine , destroy , destroy, the great fear of death,
Remove , remove the fear of theft and robbery,
Put out, put out , the fear for snakes with poison,
Kill, kill thieves,,
Drive away, drive away my enemies,
Split, split with trident,
Kill , kill with white axe,
Cut , cut with the sword,
Hit , hit with the skull stick,
Powder, powder with the steel pestle,
Strike, strike with arrows,
Scare , scare Rakshasas,
Drive away drive devils,
Scare away scare away Koosmandas, Vetalas Mareechas and Brahma Rakshas (evil spirits)
Give me, give me protection,
Console , console , who am afraid,
Lift me up, lift me up from fear of hell, Keep me alive , keep me alive,
Save me, save me from effects of hunger and thirst,
Make me who is sad happy,
Cover and protect me with armour of Shiva,
Hey victor over death, Thee eyed one , ever peaceful one , my salutations to you.

Poorva vath Hrudhayadhi nyasa, pancha pooja bhoorbuwaswarom ithi Dig vimoka

After wards after performing nyasa starting from the heart and performing the worship of five deities , you are getting free by chanting boo, bhuva , suva …etc.

Phala Sruthi:-
Benefit of reading:-

Rishaba Uvacha:-
Rishabha said:-

Ithyedath kavacham shaivam varadam vyahrutham mayaa,
Sarva bhadha prasamanam , rahayam sarva dehinaam. 30

This protective armour of Lord Shiva as spoken by me ,
Removes all ills and bad things, and is secret for all beings.

Yasaada dharayen marthya saivam kavachamuthamam,
Na thasya jaayathe kwapi bhayam shambhoranugrahath. 31

That man who wears this greatly divine armour of Shiva,
Due to the blessing of Lord Shiva will never have any fear.

Ksheenayu praptha mruthyurva Maha roga gahathopivaa,
Sadya sukhamavapnothi , deergatuscha vindathi. 32

People whose life is about to be over,
Or the one nearing death,
Or the one who is afflicted by leprosy,
Would get rid of those problems,
And would be blessed with long life.

Sarva daridrya samanam soumagalya vardhanam,
Yo dathe kavacham saivam sa devairapi poojyathe. 33

If any one wears this armour,
Which removes all poverty,
And increases good luck,
He would be worshipped even by devas.

Maha pathaka sangathair muchyathe chopa pathakair,
Dehanthe mukthi maapnothi shiva varmanu bhavatha. 34

He with the greatness of the armour of Shiva,
Would be saved from great as well as minor sins,
And at death would be blessed with salvation.

Thwamapi sradhaya vathsa , shaivam kvachamuthamam,
Dharayaswa maya datham sadhya sreyohyavapsyasi. 35

Oh young man, you also wear this armour given by me,
And by wearing it you would see good things coming to you.

Sootha Uvacha:-
Sootha said:-

Ithyukthwa Rishabho yogi thasmai Parthiva soonave,
Dadhou Sankham Maharaavam Gadganchari nishoodhanam. 36

Punascha basma sammanthrya thadangam parithosprusath,
Gajaanaam Shad sahasraya dwigunasya balam dadhou. 37

Telling thus the sage Rishabha gave the son of the king,
A conch which makes loud noise and a sword which cuts well.

Then he applied the ash made divine by the chant all over him,
And gave him further the strength of 12000 elephants.

Basma prabhvad sampraptha balaiswaryadruthi smruthi,
Sa raja puthra shushubhe saradarka iva sriya. 38

Due to the effect of the ash applied on his body,
The prince got strength, wealth , courage and memory,
And shined like the Sun of the autumn.

Thamaha pranjalim bhooya sa yogi nrupanandanam,
Yesh gadgo maya dathasthapo manthranubhavitha, 39

Then the sage told the prince saluting him,
This sword given by me has the strength ,
Of the holy chants as well meditative power.

Shitha dharamimam Gadgam yasmai darsaye sphutam,
Sa sadhyomriyathe shathru saaksad mruthyurapi swayam. 40

If you show and shake this very sharp sword.
The enemy who sees it would die immediately.

Asya shankhasya nirhradham ye srunwanthi thavahithaa,
They moorchithaa pathishyanthi nyastha shasthra vichethana. 41

Those enemies who happen to hear the sound of this conch,
Would faint immediately and would fall down leaving all arms.

Gadga shankhavimou divyou para sainya vinasinou,
AAthma sainyasya pakshaanam sourya thejo vivardhanou. 42

This sword and conch which are divine destroy enemy’s army,
And bless one’s own army with bravery and great power.

Yethayoscha prabhavena shaivena kavachena cha,
Dwishat sahasra nagaanaam balena mahathapi cha. 43

These along with the power of the armour of Shiva,
Has greater strength than 12000 elephants.

Basma dharana samarthyath shathru sainyam vijayishyasi,
Prapya simhasanam pithryam gopthasi prithveemimaam. 44

Due to these and by the strength given by the sacred ash,
You would regain the throne of your father and riule over earth.

Ithi bhadrayusham samyag anusasya samathrukam,
Thaabhyaam sampoojithaa sodha yogi swaira f=gather yayou. 45

Thus encouraging the prince called Bharayus,
Who was hearing these along with his mother,
The sage called Rishabha departed the way he wanted.

Ithi Sri Sanda purane Bramothara Kande, Shiva kavacha prabhava varnanam nama dwadasodhyayam samaptham

Thus ends the armour of Shiva which occurs in the twelfth Brahmothara chapter of Skanda purana which deals with the power of the armour of Shiva.

In Telugu:


శివ కవచమ్

అస్య శ్రీ శివకవచ స్తోత్ర\మహామంత్రస్య ఋషభయోగీశ్వర ఋషిః |
అనుష్టుప్ ఛందః |
శ్రీసాంబసదాశివో దేవతా |
ఓం బీజమ్ |
నమః శక్తిః |
శివాయేతి కీలకమ్ |
మమ సాంబసదాశివప్రీత్యర్థే జపే వినియోగః ‖

కరన్యాసః
ఓం సదాశివాయ అంగుష్ఠాభ్యాం నమః | నం గంగాధరాయ తర్జనీభ్యాం నమః | మం మృత్యుంజయాయ మధ్యమాభ్యాం నమః |

శిం శూలపాణయే అనామికాభ్యాం నమః | వాం పినాకపాణయే కనిష్ఠికాభ్యాం నమః | యం ఉమాపతయే కరతలకరపృష్ఠాభ్యాం నమః |

హృదయాది అంగన్యాసః
ఓం సదాశివాయ హృదయాయ నమః | నం గంగాధరాయ శిరసే స్వాహా | మం మృత్యుంజయాయ శిఖాయై వషట్ |

శిం శూలపాణయే కవచాయ హుం | వాం పినాకపాణయే నేత్రత్రయాయ వౌషట్ | యం ఉమాపతయే అస్త్రాయ ఫట్ | భూర్భువస్సువరోమితి దిగ్బంధః ‖

ధ్యానమ్%
వజ్రదంష్ట్రం త్రినయనం కాలకంఠ మరిందమమ్ |
సహస్రకరమత్యుగ్రం వందే శంభుం ఉమాపతిమ్ ‖
రుద్రాక్షకంకణలసత్కరదండయుగ్మః పాలాంతరాలసితభస్మధృతత్రిపుండ్రః |
పంచాక్షరం పరిపఠన్ వరమంత్రరాజం ధ్యాయన్ సదా పశుపతిం శరణం వ్రజేథాః ‖

అతః పరం సర్వపురాణగుహ్యం నిఃశేషపాపౌఘహరం పవిత్రమ్ |
జయప్రదం సర్వవిపత్ప్రమోచనం వక్ష్యామి శైవమ్ కవచం హితాయ తే ‖

పంచపూజా%
లం పృథివ్యాత్మనే గంధం సమర్పయామి |
హం ఆకాశాత్మనే పుష్పైః పూజయామి |
యం వాయ్వాత్మనే ధూపమ్ ఆఘ్రాపయామి |
రం అగ్న్యాత్మనే దీపం దర్శయామి |
వం అమృతాత్మనే అమృతం మహానైవేద్యం నివేదయామి |
సం సర్వాత్మనే సర్వోపచారపూజాం సమర్పయామి ‖

మంత్రః

ఋషభ ఉవాచ

నమస్కృత్య మహాదేవం విశ్వవ్యాపినమీశ్వరమ్ |
వక్ష్యే శివమయం వర్మ సర్వరక్షాకరం నృణామ్ ‖ 1 ‖

శుచౌ దేశే సమాసీనో యథావత్కల్పితాసనః |
జితేంద్రియో జితప్రాణశ్చింతయేచ్ఛివమవ్యయమ్ ‖ 2 ‖

హృత్పుండరీకాంతరసన్నివిష్టం స్వతేజసా వ్యాప్తనభోఽవకాశమ్ |
అతీంద్రియం సూక్ష్మమనంతమాద్యం ధ్యాయేత్ పరానందమయం మహేశమ్ ‖

ధ్యానావధూతాఖిలకర్మబంధ- శ్చిరం చిదానంద నిమగ్నచేతాః |
షడక్షరన్యాస సమాహితాత్మా శైవేన కుర్యాత్కవచేన రక్షామ్ ‖

మాం పాతు దేవోఽఖిలదేవతాత్మా సంసారకూపే పతితం గభీరే |
తన్నామ దివ్యం పరమంత్రమూలం ధునోతు మే సర్వమఘం హృదిస్థమ్ ‖

సర్వత్ర మాం రక్షతు విశ్వమూర్తి- ర్జ్యోతిర్మయానందఘనశ్చిదాత్మా |
అణోరణియానురుశక్తిరేకః స ఈశ్వరః పాతు భయాదశేషాత్ ‖

యో భూస్వరూపేణ బిభర్తి విశ్వం పాయాత్స భూమేర్గిరిశోఽష్టమూర్తిః |
యోఽపాం స్వరూపేణ నృణాం కరోతి సంజీవనం సోఽవతు మాం జలేభ్యః ‖

కల్పావసానే భువనాని దగ్ధ్వా సర్వాణి యో నృత్యతి భూరిలీలః |
స కాలరుద్రోఽవతు మాం దవాగ్నేః వాత్యాదిభీతేరఖిలాచ్చ తాపాత్ ‖

ప్రదీప్తవిద్యుత్కనకావభాసో విద్యావరాభీతి కుఠారపాణిః |
చతుర్ముఖస్తత్పురుషస్త్రినేత్రః ప్రాచ్యాం స్థితో రక్షతు మామజస్రమ్ ‖

కుఠారఖేటాంకుశ శూలఢక్కా- కపాలపాశాక్ష గుణాందధానః |
చతుర్ముఖో నీలరుచిస్త్రినేత్రః పాయాదఘోరో దిశి దక్షిణస్యామ్ ‖

కుందేందుశంఖస్ఫటికావభాసో వేదాక్షమాలా వరదాభయాంకః |
త్ర్యక్షశ్చతుర్వక్త్ర ఉరుప్రభావః సద్యోఽధిజాతోఽవతు మాం ప్రతీచ్యామ్ ‖

వరాక్షమాలాభయటంకహస్తః సరోజకింజల్కసమానవర్ణః |
త్రిలోచనశ్చారుచతుర్ముఖో మాం పాయాదుదీచ్యాం దిశి వామదేవః ‖

వేదాభయేష్టాంకుశటంకపాశ- కపాలఢక్కాక్షరశూలపాణిః |
సితద్యుతిః పంచముఖోఽవతాన్మాం ఈశాన ఊర్ధ్వం పరమప్రకాశః ‖

మూర్ధానమవ్యాన్మమ చంద్రమౌలిః భాలం మమావ్యాదథ భాలనేత్రః |
నేత్రే మమావ్యాద్భగనేత్రహారీ నాసాం సదా రక్షతు విశ్వనాథః ‖

పాయాచ్ఛ్రుతీ మే శ్రుతిగీతకీర్తిః కపోలమవ్యాత్సతతం కపాలీ |
వక్త్రం సదా రక్షతు పంచవక్త్రో జిహ్వాం సదా రక్షతు వేదజిహ్వః ‖

కంఠం గిరీశోఽవతు నీలకంఠః పాణిద్వయం పాతు పినాకపాణిః |
దోర్మూలమవ్యాన్మమ ధర్మబాహుః వక్షఃస్థలం దక్షమఖాంతకోఽవ్యాత్ ‖

మమోదరం పాతు గిరీంద్రధన్వా మధ్యం మమావ్యాన్మదనాంతకారీ |
హేరంబతాతో మమ పాతు నాభిం పాయాత్కటిం ధూర్జటిరీశ్వరో మే ‖

ఊరుద్వయం పాతు కుబేరమిత్రో జానుద్వయం మే జగదీశ్వరోఽవ్యాత్ |
జంఘాయుగం పుంగవకేతురవ్యాత్ పాదౌ మమావ్యాత్సురవంద్యపాదః ‖

మహేశ్వరః పాతు దినాదియామే మాం మధ్యయామేఽవతు వామదేవః |
త్రిలోచనః పాతు తృతీయయామే వృషధ్వజః పాతు దినాంత్యయామే ‖

పాయాన్నిశాదౌ శశిశేఖరో మాం గంగాధరో రక్షతు మాం నిశీథే |
గౌరీపతిః పాతు నిశావసానే మృత్యుంజయో రక్షతు సర్వకాలమ్ ‖

అంతఃస్థితం రక్షతు శంకరో మాం స్థాణుః సదా పాతు బహిఃస్థితం మామ్ |
తదంతరే పాతు పతిః పశూనాం సదాశివో రక్షతు మాం సమంతాత్ ‖

తిష్ఠంతమవ్యాద్ భువనైకనాథః పాయాద్వ్రజంతం ప్రమథాధినాథః |
వేదాంతవేద్యోఽవతు మాం నిషణ్ణం మామవ్యయః పాతు శివః శయానమ్ ‖

మార్గేషు మాం రక్షతు నీలకంఠః శైలాదిదుర్గేషు పురత్రయారిః |
అరణ్యవాసాది మహాప్రవాసే పాయాన్మృగవ్యాధ ఉదారశక్తిః ‖

కల్పాంతకాలోగ్రపటుప్రకోప- స్ఫుటాట్టహాసోచ్చలితాండకోశః |
ఘోరారిసేనార్ణవ దుర్నివార- మహాభయాద్రక్షతు వీరభద్రః ‖

పత్త్యశ్వమాతంగరథావరూథినీ- సహస్రలక్షాయుత కోటిభీషణమ్ |
అక్షౌహిణీనాం శతమాతతాయినాం ఛింద్యాన్మృడో ఘోరకుఠార ధారయా ‖

నిహంతు దస్యూన్ప్రలయానలార్చిః జ్వలత్త్రిశూలం త్రిపురాంతకస్య | శార్దూలసింహర్క్షవృకాదిహింస్రాన్ సంత్రాసయత్వీశధనుః పినాకః ‖

దుః స్వప్న దుః శకున దుర్గతి దౌర్మనస్య- దుర్భిక్ష దుర్వ్యసన దుఃసహ దుర్యశాంసి | ఉత్పాతతాపవిషభీతిమసద్గ్రహార్తిం వ్యాధీంశ్చ నాశయతు మే జగతామధీశః ‖

ఓం నమో భగవతే సదాశివాయ

సకలతత్వాత్మకాయ సర్వమంత్రస్వరూపాయ సర్వయంత్రాధిష్ఠితాయ సర్వతంత్రస్వరూపాయ సర్వతత్వవిదూరాయ బ్రహ్మరుద్రావతారిణే నీలకంఠాయ పార్వతీమనోహరప్రియాయ సోమసూర్యాగ్నిలోచనాయ భస్మోద్ధూలితవిగ్రహాయ మహామణి ముకుటధారణాయ మాణిక్యభూషణాయ సృష్టిస్థితిప్రలయకాల- రౌద్రావతారాయ దక్షాధ్వరధ్వంసకాయ మహాకాలభేదనాయ మూలధారైకనిలయాయ తత్వాతీతాయ గంగాధరాయ సర్వదేవాదిదేవాయ షడాశ్రయాయ వేదాంతసారాయ త్రివర్గసాధనాయ అనంతకోటిబ్రహ్మాండనాయకాయ అనంత వాసుకి తక్షక- కర్కోటక శంఖ కులిక- పద్మ మహాపద్మేతి- అష్టమహానాగకులభూషణాయ ప్రణవస్వరూపాయ చిదాకాశాయ ఆకాశ దిక్ స్వరూపాయ గ్రహనక్షత్రమాలినే సకలాయ కలంకరహితాయ సకలలోకైకకర్త్రే సకలలోకైకభర్త్రే సకలలోకైకసంహర్త్రే సకలలోకైకగురవే సకలలోకైకసాక్షిణే సకలనిగమగుహ్యాయ సకలవేదాంతపారగాయ సకలలోకైకవరప్రదాయ సకలలోకైకశంకరాయ సకలదురితార్తిభంజనాయ సకలజగదభయంకరాయ శశాంకశేఖరాయ శాశ్వతనిజావాసాయ నిరాకారాయ నిరాభాసాయ నిరామయాయ నిర్మలాయ నిర్మదాయ నిశ్చింతాయ నిరహంకారాయ నిరంకుశాయ నిష్కలంకాయ నిర్గుణాయ నిష్కామాయ నిరూపప్లవాయ నిరుపద్రవాయ నిరవద్యాయ నిరంతరాయ నిష్కారణాయ నిరాతంకాయ నిష్ప్రపంచాయ నిస్సంగాయ నిర్ద్వంద్వాయ నిరాధారాయ నీరాగాయ నిష్క్రోధాయ నిర్లోపాయ నిష్పాపాయ నిర్భయాయ నిర్వికల్పాయ నిర్భేదాయ నిష్క్రియాయ నిస్తులాయ నిఃసంశయాయ నిరంజనాయ నిరుపమవిభవాయ నిత్యశుద్ధబుద్ధముక్తపరిపూర్ణ- సచ్చిదానందాద్వయాయ పరమశాంతస్వరూపాయ పరమశాంతప్రకాశాయ తేజోరూపాయ తేజోమయాయ తేజోఽధిపతయే జయ జయ రుద్ర మహారుద్ర మహారౌద్ర భద్రావతార మహాభైరవ కాలభైరవ కల్పాంతభైరవ కపాలమాలాధర ఖట్వాంగ చర్మఖడ్గధర పాశాంకుశ- డమరూశూల చాపబాణగదాశక్తిభిందిపాల- తోమర ముసల ముద్గర పాశ పరిఘ- భుశుండీ శతఘ్నీ చక్రాద్యాయుధభీషణాకార- సహస్రముఖదంష్ట్రాకరాలవదన వికటాట్టహాస విస్ఫారిత బ్రహ్మాండమండల నాగేంద్రకుండల నాగేంద్రహార నాగేంద్రవలయ నాగేంద్రచర్మధర నాగేంద్రనికేతన మృత్యుంజయ త్ర్యంబక త్రిపురాంతక విశ్వరూప విరూపాక్ష విశ్వేశ్వర వృషభవాహన విషవిభూషణ విశ్వతోముఖ సర్వతోముఖ మాం రక్ష రక్ష జ్వలజ్వల ప్రజ్వల ప్రజ్వల మహామృత్యుభయం శమయ శమయ అపమృత్యుభయం నాశయ నాశయ రోగభయం ఉత్సాదయోత్సాదయ విషసర్పభయం శమయ శమయ చోరాన్ మారయ మారయ మమ శత్రూన్ ఉచ్చాటయోచ్చాటయ త్రిశూలేన విదారయ విదారయ కుఠారేణ భింధి భింధి ఖడ్గేన ఛింద్ది ఛింద్ది ఖట్వాంగేన విపోధయ విపోధయ ముసలేన నిష్పేషయ నిష్పేషయ బాణైః సంతాడయ సంతాడయ యక్ష రక్షాంసి భీషయ భీషయ అశేష భూతాన్ విద్రావయ విద్రావయ కూష్మాండభూతవేతాలమారీగణ- బ్రహ్మరాక్షసగణాన్ సంత్రాసయ సంత్రాసయ మమ అభయం కురు కురు మమ పాపం శోధయ శోధయ విత్రస్తం మాం ఆశ్వాసయ ఆశ్వాసయ నరకమహాభయాన్ మాం ఉద్ధర ఉద్ధర అమృతకటాక్షవీక్షణేన మాం- ఆలోకయ ఆలోకయ సంజీవయ సంజీవయ క్షుత్తృష్ణార్తం మాం ఆప్యాయయ ఆప్యాయయ దుఃఖాతురం మాం ఆనందయ ఆనందయ శివకవచేన మాం ఆచ్ఛాదయ ఆచ్ఛాదయ

హర హర మృత్యుంజయ త్ర్యంబక సదాశివ పరమశివ నమస్తే నమస్తే నమః ‖

పూర్వవత్ - హృదయాది న్యాసః |

పంచపూజా ‖

భూర్భువస్సువరోమితి దిగ్విమోకః ‖

ఫలశ్రుతిః%
ఋషభ ఉవాచ ఇత్యేతత్పరమం శైవం కవచం వ్యాహృతం మయా |
సర్వ బాధా ప్రశమనం రహస్యం సర్వ దేహినామ్ ‖

యః సదా ధారయేన్మర్త్యః శైవం కవచముత్తమమ్ |
న తస్య జాయతే కాపి భయం శంభోరనుగ్రహాత్ ‖

క్షీణాయుః ప్రాప్తమృత్యుర్వా మహారోగహతోఽపి వా |
సద్యః సుఖమవాప్నోతి దీర్ఘమాయుశ్చ విందతి ‖

సర్వదారిద్రయశమనం సౌమాంగల్యవివర్ధనమ్ |
యో ధత్తే కవచం శైవం స దేవైరపి పూజ్యతే ‖

మహాపాతకసంఘాతైర్ముచ్యతే చోపపాతకైః |
దేహాంతే ముక్తిమాప్నోతి శివవర్మానుభావతః ‖

త్వమపి శ్రద్దయా వత్స శైవం కవచముత్తమమ్ |
ధారయస్వ మయా దత్తం సద్యః శ్రేయో హ్యవాప్స్యసి ‖

శ్రీసూత ఉవాచ

ఇత్యుక్త్వా ఋషభో యోగీ తస్మై పార్థివ సూనవే |
దదౌ శంఖం మహారావం ఖడ్గం చ అరినిషూదనమ్ ‖

పునశ్చ భస్మ సంమంత్ర్య తదంగం పరితోఽస్పృశత్ |
గజానాం షట్సహస్రస్య త్రిగుణస్య బలం దదౌ ‖

భస్మప్రభావాత్ సంప్రాప్తబలైశ్వర్య ధృతి స్మృతిః |
స రాజపుత్రః శుశుభే శరదర్క ఇవ శ్రియా ‖

తమాహ ప్రాంజలిం భూయః స యోగీ నృపనందనమ్ |
ఏష ఖడ్గో మయా దత్తస్తపోమంత్రానుభావతః ‖

శితధారమిమం ఖడ్గం యస్మై దర్శయసే స్ఫుటమ్ |
స సద్యో మ్రియతే శత్రుః సాక్షాన్మృత్యురపి స్వయమ్ ‖

అస్య శంఖస్య నిర్హ్రాదం యే శృణ్వంతి తవాహితాః |
తే మూర్చ్ఛితాః పతిష్యంతి న్యస్తశస్త్రా విచేతనాః ‖

ఖడ్గశంఖావిమౌ దివ్యౌ పరసైన్యవినాశకౌ |
ఆత్మసైన్యస్వపక్షాణాం శౌర్యతేజోవివర్ధనౌ ‖

ఏతయోశ్చ ప్రభావేన శైవేన కవచేన చ |
ద్విషట్సహస్ర నాగానాం బలేన మహతాపి చ ‖

భస్మధారణ సామర్థ్యాచ్ఛత్రుసైన్యం విజేష్యసే |
ప్రాప్య సింహాసనం పిత్ర్యం గోప్తాఽసి పృథివీమిమామ్ ‖

ఇతి భద్రాయుషం సమ్యగనుశాస్య సమాతృకమ్ |
తాభ్యాం సంపూజితః సోఽథ యోగీ స్వైరగతిర్యయౌ ‖

ఇతి శ్రీస్కాందమహాపురాణే బ్రహ్మోత్తరఖండే శివకవచ ప్రభావ వర్ణనం నామ ద్వాదశోఽధ్యాయః సంపూర్ణః ‖ ‖

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Traditional Games of India

Traditional Games of India


Lagori, Kancha, Gilli-danda, Kho Kho,Five stones,Ashtapada,Kite Fighting,Moksha Patam,Pallanguzhi,Pittu Garam,Poshampa,Kith Kith,Krida-patram,Kalari,Chaupat,Hide and seek,Lambs and Tigers,Dog and the Bone,Maram Pitthi  These are Amazing Childhood Games Do You Know? Recognize any of these names? Here's a clue - they are an integral part of Indian culture and have been around for centuries.

Confused? They are traditional games that have been played since time immemorial in India. Born in 80’s kids will know these games.However, with the advent of video games and gadgets, people, especially the younger generations, have forgotten these games. We take a closer look at some of them to revive fond memories and give our children a glimpse of the past.It’s time to pass on the magic of these childhood games to our current generation which tends to live in a virtual world.

Sports and games have always been an integral part of India’s rich culture and history. Sadly, today’s kids are so engrossed in playing video games that traditional games like Pallanguzi, Lippa, Kabaddi, Gilli-danda have been completely forgotten. Gone are the days when kids simply couldn’t wait to go out and play a few rounds of Pithoo or Kith-Kith (Hopscotch) with their friends. The reduction in physical activity has given rise to a host of health issues in kids. Therefore, reviving traditional games will provide a host of health benefits.

Indian Traditional Indoor Games:

1.Ashtapada:

Ashtapada is an Indian board game which predates chess. Chess was invented in India and originally called as Ashtapada(sixty-four squares). Later this game came to be known as Chaturanga. It could be played by two to four participants and data used to determine the amount of houses to be moved in the board.

It’s believed that this game might have originated around 7th-8th century AD. “Ashtapada” in Sanskrit denotes a spider -“a legendary being with eight legs” and this game was played with a dice on an 8×8 checkered board. Back then the chess board were not black and white checkers, unlike the one we see now.

Other Indian boards included the 10×10 Dasapada and the 9×9 Saturankam. Later this game came to be known as Chaturanga. The Sanskrit name Chaturanga means ‘quadripartite’ — the four Angas (divided into four parts) which symbolize “the 4 branches of the army”, which has been said in the Amarakosh, an ancient indian dictionary. Like real Indian armies at that time, the pieces were called elephants, chariots, horses and foot soldiers. Unlike modern chess, Chaturanga was mainly a game of chance where results depended on how well you rolled the dice. Played on an authentic cloth  by 2, 3 or 4 players, Chaturanga combines the basic strategy of chess with the dynamic challenge of chance as each move is determined by the random roll of a wooden dice.

Rules of Game:
The game begins with all the pieces  off the board. Each player throws the dice. If using four sticks, the score is the number of light sides facing up, if cowrie shells are used, the mouths are counted instead. All four back sides facing up count as 8. The player who throws highest starts the game, play passing to her left when she has completed her turn. A player starts her turn by throwing the dice repeatedly, noting the throws made, until a two or three is thrown. Once the series of throws ending in two or three is complete, the pieces can be entered and moved, using in any order the throws noted.A piece not already on the board can only be entered using a throw of 1, in which case it is placed on the player’s own right hand X marked box.If a player has no pieces on the board, any throws made before a 1 are discarded. A piece already on the board may be advanced along it using any of the throws individually or combined.The order in which the numbers were thrown is not significant except as noted in rule 7.A piece does not move twice; when combining two or more throws to move one piece, the piece moves the total number of squares without stopping on any intervening squares.If one of the throws is 1, a piece may, however, enter the board and advance in the same turn.Each player’s pieces follow a path starting on their own right hand X marked box. The route is shown in the diagram. Every throw in a series must be used, if possible.Any number of the same player’s pieces may occupy the same square.A player’s piece on an X marked box is safe and cannot be landed on by an opponent and knocked off.There are no special rules for triplets or quadruplets. If a piece lands on a square occupied by enemy pieces, those enemy pieces are removed from the board and handed back to their owner.Such captured pieces must re-enter the board as if they had never been on it.After capturing, a player is granted another turn. So after completing her moves she again proceeds as per rule 4 on wards. Twins can be captured only by other twins. Single pieces landing on twins will simply share the same square as if it were a palace or the keep.Twins being captured are separated and re-entered as single pieces.Twins may capture singletons.The keep is at the end of each player’s course, and may only be entered by an exact throw.Twins entering the keep are there regarded as two individual pieces.When a player has all her pieces in the keep, she may start bearing off.On a throw of one, a piece completes its journey and is removed from the board (borne off).When a player has borne off all of her pieces, the game is over and she is declared the winner.

The game is relatively simple but still involves some tactical skill. The first thing to take advantage of is the differing chances of each of the throws: 2 is the most common, followed by 1 and 3, followed by 4 and 5. Positioning a piece two squares behind an opponent, threatening capture, is a good way to force the opponent to move that piece. Similarly, you should avoid leaving a piece in an unprotected square when an enemy pieces is two squares behind.

The path around the board is easy to remember, but the difficulty comes in recognizing (and remembering) that the opponents paths are not the same as your own: they are rotated versions of it. It is easy to forget this, and make plays to threaten enemy pieces that in actuality you can never reach.

2.Moksha Patam:



The game had its origin in India and was called Moksha Patam or Parama Padam or Mokshapat. It was used to teach Hindu Dharma and Hindu values to children. In the original game square 12 was faith, 51 was Reliability, 57 was Generosity, 76 was Knowledge, and 78 was Asceticism. These were the squares were the ladder was found. Square 41 was for Disobedience, 44 for Arrogance, 49 for Vulgarity, 52 for Theft, 58 for Lying, 62 for Drunkenness, 69 for Debt, 84 for Anger, 92 for Greed, 95 for Pride, 73 for Murder and 99 for Lust. These were the squares were the snake was found. The Square 100 represented Nirvana or Moksha.

Also known as ‘paramapadam’, there are a hundred squares on a board; the ladders take you up, the snakes bring you down. The difference here is that the squares are illustrated. The top of the ladder depicts a God, or one of the various heavens (kailasa, vaikuntha, brahmaloka) and so on, while the bottom describes a good quality. Conversely, each snake’s head is a negative quality or an asura (demon). As the game progresses, the various karma and samskara, good deeds and bad, take you up and down the board. Interspersed are plants, people and animals.

The game serves a dual purpose: entertainment, as well as dos and don’ts, divine reward and punishment, ethical values and morality. The final goal leads to Vaikuntha or heaven, depicted by Vishnu surrounded by his devotees, or Kailasa with Shiva, Parvati, Ganesha and Skanda, and their devotees. In this age of moral and ethical degeneration, this would be a good way of teaching values to children who think they already know more than their parents.

If paramapadam teaches moral values, pallankuli develops skill and quick thinking. Two players compete on a board consisting of between seven and twenty pits per player; each player has to collect the coins or shells or seeds with which the game is played, the player with the maximum number being the winner. There are nine variations of this game, each a ‘pandi’, with regional, caste and religious variations. It was very popular among women and required a good memory and alertness, as they had to count and remember the number of coins or seeds accumulated by the opponent.

The British took the game to England in 1892 and named it Snakes and Ladders and changed it according to Victorian values.

3.Chaupar/Pachisi:


Pachisi, a board game, was quite popular in ancient India. The game finds its mention in the Mahabharata. Akbar and his descendants also played this game. It involves two to four players who strategise their pawn’s moves on a piece of cloth designed in the shape of a symmetrical cross to win the game.Chopat is claimed to be a variation of the game of dice played in the epic poem Mahabharata between Yudhishthira and Duryodhan.Pachisi is often referred to as the national game of India. The game originated in Ancient India and it is one of the best known games from it's era.

The name of the game comes from the Hindi word - pachis, meaning twenty-five - this is also the largest score that can be thrown with the cowrie shells. The game is also known by the name Twenty-Five. Pachisi was at its height during the Mogul period, in the 16th to the 19th centuries, when the emperor - Akbar played games with human pieces on boards of inlaid marble, the remains of which may still be seen.There are also other well known versions of the game - chausar, chaupar, chaupur or caupur.

Chaupar is also a board game which was invented around the 4th century. It includes two to four players who use cowry shells and wooden pawns to plan their manoeuvres and win the game. The contemporary version of Pachisi/Chaupar is Ludo which you might have played in your childhood.

Rules:
Pachisi is played on a cross-shaped board. The middle space is the start and finish point for all BEADs. Each arm of the cross has a middle column and two outside columns, the outside columns are a track. Each player owns one middle column. There are 12 s Pachisi requires 6 cowrie shells. You can use 6 dice; odd numbers representing 1, and even numbers 0. Moves are calculated as the sum of the dice (2 – 6) or 10 for a roll of 1 odd number. If a throw shows 6 even numbers, the players moved 25.  Each player selects four BEADs the colour of their choice. BEADs start off the board. Players decide who begins by rolling the dice. Play occurs in a counter-clockwise direction.

How to play:
A player must roll a grace (a 6, 10 or 25) to put a BEAD on the center of the board.Anytime a grace is rolled, a player receives another roll.In turn, each player rolls the die and moves their BEAD the number of spaces indicated down their column and then around the full track counter-clockwise, before proceeding back up their column.Players must use the full number of moves on a single BEAD or forfeit their turn.Players can choose not to use their roll. Players can land on a square that is occupied by one of their own BEADs. If a player lands on a square that is occupied by their opponent’s BEAD, the opponent’s BEAD is removed from the board, requiring a roll of a grace to move the BEAD back into play. If a player removed an opponent’s BEAD, they receive another turn. BEADs cannot be captured if they are a square marked with an X. Players require an exact roll to land on the centre square and finish.

How to Win:
To win, a player must move their BEADs around the board and proceed up their home column back onto the centre square.

4.Pallankuzhi:


It is one of the famous games which was played in ancient South India. Pallankuzhi is believed to have originated in Tamil Nadu and later spread to other places like Andhra Pradesh, Karnataka, Kerala, and even Malaysia and Sri Lanka. Variations of the game are called Kuzhipara in Malayalam, Ali Guli Mane in Kannada and Vamana Guntalu in Telugu. The game includes a rectangular board, divided into two horizontal rows and seven vertical columns. Thus, there are 14 cups on the board and 146 counters. Usually, cowry shells or tamarind seeds function as counters. Two people can play this game at a time.

The word "pallankuzhi" is also used in Tamil according to Balambal Ramaswami as a generic name for mancala games that are mostly played by Tamil women in South India and northern Sri Lanka.

Pal means in Tamil "many" and kuzhi means "pit" and could literally be translated as many pits, a fitting description of the mancala boards used to play mancala games.

Pallankuzhi plays an important role in Tamil literature (see the Kriti below). There is even a film about women poets called "SheWrite", which has a famous Pallankuzhi scene.

The game is popular among children and older people. It is encouraged for children to learn to count and to improve the eye-hand coordination while playing.

Pallankuzhi is also played in Sri Lanka, Trinidad, Guyana and Singapore, with a sizable Indian population living in those countries.

Pallankuzhi Song:

O Ruler of Ayodhya, of the inestimable form! 
I have the desire to listen 
To my hearts fill and my ears delight, your sweet speech 
That you and Sita and spoke with true love and understanding, 
Gazing at each other, when you played a game of Pallanguzhi 
With her and won, which was heard by Bharata and Hanuman. 

In this Kriti (Hindu devotional music popular in southern India) Rama demonstrates the superiority of males by winning in the woman's domain.

5.Gutte/Five Stones:
Gutte is a fun game can be played by both adults and kids. It generally requires five pebbles or small stones. There is no limit on the number of players who can play this game at a given time. The player needs to spin a stone up in the air and gather the remaining stones lying on the floor with one hand without allowing the one in the air to fall to the ground. Next, the player has to throw two stones up in the air and collect the rest and so on. The player who finishes eight steps in the minimum number of tries is the winner.

6.Antakshari:
Antakshari is an entertaining Indian desi game is often played by grown-ups and children alike. It originated in Indian and is now played worldwide with alterations. Variations can be made to the original idea to suit the occasion such as family gathering, weddings, parties, etc. To play this game, two teams are made. One team sings a song, typically a Bollywood song. The other team has to sing a song beginning with the last consonant of the song sung by the first team. Both the teams keep taking turns until one can’t think of a song and thus loses.

7.Krida-patram:
The popular game of cards originated in ancient India and was known as Krida-patram. It was one of the favorite pastimes of Indians in ancient times. This game was patronized especially by the royalty and nobility. In medieval India, playing cards was known as Ganjifa cards which were played in practically all royal courts. Cards were known as Krida-patram in ancient India. These cards were made of cloth and depicted motifs from the Ramayana, Mahabharata, etc. A tradition carried on today with floral motifs and natural scenery.

8.Lambs and Tigers:
Lambs and Tigers Game locally referred as Aadu Puli aatam is a strategic, two-player (or 2 teams) leopard hunt game that is played in south India. The game is asymmetric in that one player controls three tigers and the other player controls up to 15 lambs/goats. The tigers ‘hunt’ the goats while the goats attempt to block the tigers’ movements..
Played by: two-player or 2 teams

9.Lattoo:
Lattoo is a game that involves spinning a wooden top (lattoo), which has grooves in it lower half and a nail at the bottom, on which it spins. A thick string  is wrapped around the grooves on lower half and pulling the string makes the top spin.
Played by: one or more people

10.Chidiya udd: 
We even have a game for our index fingers! A quick game for two or more, this one tests your brain like no other. We have made dogs and chairs fly while playing this game too.

Indian Traditional Out Door Games:

1.Gilli Danda/Lippa:
An amateur sport, Gilli Danda is one of the most thrilling games invented on the Indian Subcontinent thought to be originated 2,500 years ago.

Gilli Danda is an older version of modern-day baseball and cricket. Its fame once matched that of cricket in India. All it requires is two unevenly sized sticks. The smaller stick(oval-shaped wooden piece) is called the Gilli and the longer one which is used to strike the Gilli is called the Danda. Standing in a small circle, the player balances the gilli on a stone in an inclined manner somewhat like a see-saw with one end of the gilli touching the ground while the other end is in the air. The player then uses the danda to hit the gilli at the raised end, which flips it into the air. While it is in the air, the player strikes the gilli, hitting it as far as possible.Having struck the gilli, the player is required to run and touch a pre-agreed point outside the circle before the gilli is retrieved by an opponent. This aspect of the game is similar to runs in cricket or home-runs in baseball.The secret of winning this game is all in the technique of raising and hitting Gilli.

One of the amazing things about the game is that there are no strict rules about the upper limit of the number of players. It can be played between four players all the way up to 100 or even more players.
Played by: many people at the same time.

2.Pittu Garam or Seven Stones

Pittu Garam (Seven Stones) is a traditional South Asian game played between two teams. The game requires a tennis ball and set of seven stones which can be stacked up to form a small tower. The aim of the game is to be able to break the tower and then rebuild it before getting hit by one of the opponent.There are two teams of players. One player of the attacking team needs to strike the pile of stone with the ball to knock them over in three shots. Then the whole team has to try and restore the pile before being hit by the ball and declared ‘out’.
Played by: two teams, with a minimum of 3 players and a maximum of nine on each team.

3.Satoliya/Lagori:
Lagori is a game which is a popular game in India. It is called Dappa Kali in the northern parts of Kerala, especially in Kannur. This game requires a considerable amount of physical exercise and is mainly played by boys. This game is played between two teams. It consists of 10 marble pieces piled one above the other. One team targets this pile and once they strike it then their next aim is to keep it back while the other team has to block the opposing side from arranging it back. This is almost same as Seven Stones game.
Played by:two teams

4.Kancha/Goli:
Kancha was one of the most popular games among children in the neighborhood. It is played using marbles called ‘Kancha’ or ‘Goli’. The players are to hit the selected target ‘kancha’ using their own marble ball.This is an One of the exciting childhood games played in India was Kancha.It began during the Harappan age. The game involves the use of round glass marbles or kanchas. Several people can participate in this game. The objective is to collect the maximum number of marbles by striking the chosen kancha with another one. The winner gets to take home all the marbles of the other players.The marble is held between the right hand and the forefinger of the left hand. The finger is pulled backward and is released with pressure almost in a spring action.

Rules:
There are various versions of the game ranging from easy all the way to the more complicated ones.
In simpler game, the player has to target a marble among other ones in the circle from a distance. Then in another version, Kancha is almost played like a miniature version of golf where the player has to send his marble into a hole a couple of yards away from him/her.

Kancha was a hit amongst youngsters considering that the marbles were inexpensive and the game could be played on any surface and weather.

5.Chain:
Chain is another delightful children’s game. This game is more fun to play when there are more players. The ‘denser’ has to catch the other members. When the denser catches someone, he joins hands with the denser to form a chain. Together they try to catch the other remaining members. Thus, the caught members keep joining to form a chain till all the players have been caught.

6.Poshampa:
Two people stand with their hands locked together above their heads and sing a song. The other kids pass from under that bridge and the one who gets caught (when the hands come down like a cage at the end of the song) is out.

7.Four Corners:
Four corners is a game often played by primary school children. Four corners are designated, and a player is chosen as being “it”. The remaining players have to swap corners without being caught by “it”. If a player is caught by “it” or is without a free corner to stand in, he becomes “it”.
Played by: 5 people

8.Langdi:
Langdi is a popular childhood game, especially in the state of Maharashtra. The game consists of two teams, and the team that wins the toss defends first. The opposing team sends a player to tag as many defenders as he can, while hopping on one foot. The team that tags the most defenders wins.
Played by: two teams, 12 players each

9.Kith Kith or Pandi Attam/Nondi/Hopscotch:
Nondi or Pandi Attam is a very funny hopping game played by the girls in many rural villages of Tamil Nadu. It is known as Tokkudu Billa/Tangidi Billa in Andrapradesh and Kunte Bille in Karnataka it is played by the girls in many villages, even today. A popular playground game in which players toss a small object into numbered spaces of a pattern of rectangles outlined on the ground and then hop or jump through the spaces to retrieve the object. This popular game is also played in other countries and is loved by all.

10.Hide and Seek/Chhupam Chhupai/Kannamoochi:
The origin of this game is unknown. It is commonly played all over the world under different names. The players hide in a previously decided marked area. The ‘denner’ has to shut his eyes and announce numbers loudly while the other players get time to hide. Then, the denner has to find the hidden players. Any number of people can play this game.It isn’t only children who enjoy it – a natural instinct for parents is to play a facial form of hide and seek with their children from the earliest age, as it teaches children about attachment and detachment in a safe and caring environment. Leaving aside the psychology, however, the outdoor game provides wonderful interaction amongst children is easy to play and never gets boring.
Played by: any number of people

11.Chor-Sipahi:
The game is the Indian equivalent of the western game “Tag.” There are two teams in the game – one team of thieves (chor) and the other team of sipahi (police). The sipahi try and catch the chor, after which the turn changes (that is, the chor become the sipahi and vice versa)
Played by: two teams, any number of people

12.Dog and the Bone:
The game consists of two teams, and an object such as a bottle or handkerchief, tick is designated as the ‘bone’etc., which is designated as the “bone.” A player from each team comes forward and attempts to take the bone (placed at the center of the playing area) back to his team. The player who fails to take the bone has to go out of the game.The aim is to retrieve the bone without being caught by the other player.
Played by: two teams of usually 5-10 members each.

13.Kabbadi:
Kabbadi is a contact sport that originated in Ancient India. In the international team version of kabaddi, two teams of seven members each occupy opposite halves of a field of 10 m × 13 m in case of men and 8 m × 12 m in case of women. Each has three supplementary players held in reserve. The game is played with 20-minute halves and a five-minute halftime break during which the teams exchange sides.
Played by: two teams of 7 members each

14.Vish Amrit:
It is the Indian version of the game “lock and key”. The aim of the denner is to touch the other players, giving them vish. As soon as vish is given the person stays there until teammates come to give him/her amrit. The game ends when all players have been caught and there is no one left to give amrit.
Played by: any number of players

15. Kalari:
Kalari is considered to be the most complete and scientific martial art and is the mother of all martial arts. Bodhidharma, a Buddhist monk from India, introduced Kalari into China and Japan in the 5th century. He taught this art in a temple. This temple is today known as the Shaolin temple.

16.Maram Pitthi:
Maram Pitthi is similar to dodgeball. It comprises of two teams with any number of players. A large area is required to play this game. Players from one team form a circle and hit the opposing team members who enter the circle with a ball((usually made of sponge)). The opposing team players have to try and evade being hit by the ball and those who get hit by the ball are declared ‘out’.( Once a player is hit, he is out of the game. Passing between players of the same team is also allowed.)
Played by: two teams, any number of members

17.Kho Kho:
The game consists of two teams, who are required to chase down and tag the players of the opposite team to win the game. The chasing team sends out nine players onto the field, who sit in a straight line with alternate players facing opposite sides. The chasers have to make sure they catch the runners (who enter the field one at a time) before time runs out.
Played by: two teams of nine players each.

18.Dhopkhel:
Dhopkhel, also transliterated dhop khel and dhoop khel is a popular game in Assam. The game is played between two eleven member teams on a 125m by 80m field bounded by four flags, dhop is the name given to a rubber ball used by these two teams. The players take turns throwing the ball at the opponent to knock them out of the game, while seeking to catch the ball and evade other players. It is a test of speed, stamina, and acrobatic skills.

19.Kite Fighting:
Fighter kites are kites used for the sport of kite fighting. Traditionally most are small, unstable single line flat kites where line tension alone is used for control, and an abrasive line is used to cut down other kites.

These are mention of games above like Pallankuzhi,Vish Amrit,Kancha, Chhupam Chhupai,Lagori, and Kho Kho is sure to make you nostalgic about your own childhood.

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Pradhan Mantri Innovative Learning Programme Dhruv

Pradhan Mantri Innovative Learning Programme Dhruv



Pradhan Mantri Innovative Learning Programme- 'DHRUV'

The Pradhan Mantri Innovative Learning Programme - DHRUV has been started by Ministry of Human Resource Development, Government of India to identify and encourage talented children to enrich their skills and knowledge. In centres of excellence across the country, gifted children will be mentored and nurtured by renowned experts in different areas, so that they can reach their full potential.

SALIENT FEATURES OF DHRUV:

The programme is named after a pole star called DHRUV TARA. The main objective of the program is to allow students to realize their complete potential and contribute to the society.
  • The program aims to cover two areas namely Science and Arts.
  • The program is to be launched from Indian Space Research Organisation (ISRO).
  • Around 60 students are selected broadly from Class 9 to Class 12 all over the country.
FIRST BATCH OF DHRUV PROGRAMME:

The first batch of DHRUV programme was implemented during October 2019.

60 outstandingly talented students were selected in the first batch of DHRUV programme. To begin with, two areas i.e., Science and Performing Arts were covered. There were 60 students in all, 30 from each area. The 60 students came from across the country. The students have been broadly chosen from classes 9 to 12, from all schools including government and private.

A 14 days programme was organized for these students in which the science and performing arts students were separated into two groups. The science students were further divided into 3 groups of 10 each and also the performing arts students into 3 groups of 10 each. Each group from science stream were required to produce a project under the mentorship of experts from the field of science. Similarly, each group in performing arts were mentored by icons from the field of culture and were required to choreograph a programme. All the six teams were given themes relevant to issues being faced globally like environment change, pollution, terrorism, etc.

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Mehendi Designs Latest

Mehendi Designs Latest

Indian weddings are incomplete without the mehndi ceremony. The ritual of mehndi ceremony is followed in every part of the country where the hands of the bride are adorned with the lovely red color of the mehndi. On these festive or wedding occasions mostly traditional Indian designs are made on the hands of the bride.

The art of applying henna in hands and feet is known as Mehndi and it is a very old custom and ancient art form of the Asian subcontinent. The propagators were the Mughals. The Mughals taught us all about the history of Mehndi and introduced it to India during 12th century AD. During that period the royal and rich use to decorate themselves with it. The patterns were intricately made by the artists or the beauticians.

The origin can be from Egypt because it was one of the art forms in Egypt. Henna has the power of medicine was also used as a cosmetic and for its healing power for ages. The beautiful patterning prevalent in India today has emerged only in the 20th century. India, most of the women from that time in India is depicted with their hands and feet with red stain designs. The art of Mehndi has existed for centuries. No exact place of its origin is identified because of people in different cultures moving through the continents and taking their art forms with them and therefore sharing their art with everyone along the way.

Henna patterns will be beautiful and have four different styles:
1. The Middle Eastern style is mostly made up of floral patterns similar to the Arabic paintings.
2. The North African style follows the shape of the hands and feet using floral patterns.
3. The Indian and Pakistani designs include lines patterns and teardrops.
4. The Indonesian and Southern Asian styles were a mix of Middle Eastern and Indian designs using blocks of color on the very tips of their toes and fingers.

Some latest mehndi designs:









Mehandi designs video:

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Monkey on mini bike tries to snatch a child Viral video

Monkey on mini bike tries to snatch a child Viral video


The 15-second video is believed to be from Indonesia. The clip shows a monkey coming in on a perfectly functional mini motor bike. The monkey then gets off the bike near a bench where people were sitting. It jumps on the bench and tries to snatch a toddler.

The toddler falls down and gets out of the grasp of the monkey. However, the monkey comes back, holds the baby's hand, and starts dragging it. Within a few seconds, the monkey grabs the baby’s hair and again starts pulling it.

After covering a little distance, the monkey leaves the baby as it sees people coming towards it. The baby then gets up and walks back to the bench.

This is the most bizarre thing that we have seen. Basketball player Rex Chapman also shared the video with the caption, "Can't remember the last time I saw a monkey ride-up on a motorcycle and try to steal a toddler. It's been ages."

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