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Mystic Songs of Meera
Mystic Songs of Meera
Description
Back of the Book

Mystic Songs of Meera presents (probably for the first time) the original text in Devanagari, side by side with English transliteration and English translation of 101 songs of Meera, the mystic saint of Rajasthan who lived in the 15th-16th century A.D.

Bridal mysticism marked Meera’s spiritual approach to God. Krishna, whom she endearingly called Giridhar, the Lord who upheld the mountain, was her Beloved, and she expressed the imagery of human love to delineate the agony of separation from Him and the intense desire to be united with Him.

Vadakaymadom, Krishna Iyer Subramanian (b. 1930, Kerala, India) is an eminent scholar, whose life mission is to present to the world the treasures of ancient India, in the fields of art, literature, philosophy and religion. He has already translated several ancient texts into English.

Introduction

Among the mystic saints of India, Meera, the royal princess of Rajasthan, occupies a pride of place. Women mystics are only a few among the many mystics who lived in various regions of India, in different periods of time and poured out their God-oriented devotional lyrics.

They are:

Karaikkal Ammaiyar, the Tamil saint who lived in the 5th century A.D.
Andal, the Tamil saint, who lived in the 7th century A.D.
Mahadevi Akka, the Karnataka saint who lived in the 12th century A.D.
Lal Ded (Lalla Yogeswari) of Kashmir who lived in the 14th century A.D.
Meera, the Rajasthani saint who lived in the 15th- 16th century A.D.

Bridal mysticism marked the approach to God of this quintet of women mystics, of which Meera is the most recent and most well-known. Loving God intensely through the spiritual path of devotion or Bhakti necessitates two things:

One: an image or a manifestation of Divinity (since God is spirit and loving requires a concretised object of love). Two: loving requires the adoption of an attitude. There can be five different types of attitude available in loving God:

1. Bridal mysticism or treating God as the Lover of Beloved.
2. Loving God as a parent
3. Loving God as a child
4. Loving God as a friend
5. Loving God as a servant would a Master Different mystics have adopted different attitudes.

As earlier stated, the women-mystics have all adopted bridal mysticism. Many male mystics like some Alwars and Nayanmars and even mystics like Raskhan and Rahim have also treated God as the Beloved.

Mystics like Vidyapati, Jayadeva, Chandidas, Chaitanya and others have invoked the person of Radha as a symbol of bridal mysticism to delineate the yearning of the individual soul for union with the Supreme.

In the beautiful words of Swami Vivekanada: “We are all women, there are no men in the world; there is but One Man and this is He, our Beloved.”

All the mystics who have adopted bridal mysticism have used the imagery of human love between man and woman to express their love for God and the restless yearning for union.

Meera is no exception. Hence, in all her songs, we find the pain of the separated lover seeking to unite with the Beloved and the description of joy in union.

The manifestation of God, which Meera chose adore, is Krishna, the cowherd lover, whom s endearingly calls Giridhar, the Lord who upheld mountain.

The mythical legend is that Indra, the chief celestials, was angry that the cowherds of Brindavan began to worship Krishna (and not him!) and threatened to drown them with torrential rain. When the threat materialised, Krishna held up the Govardhana mountain as an umbrella on his little finger and saved his cowherd friends.

Though Giridhar is the most frequently used term to refer to Krishna, her Beloved, she also calls Him occasionally as Ram or Ramaiyya, seeing the identity of the two incarnations.

But the exploits of her Beloved she mentions are all those of the Krishna incarnation. Biographical details about Meera are scanty and often mixed up with traditional myths and legends. But certain facts are widely accepted by scholars.

These are:

She was born in 1498 A.D. in a royal family of Mewar, Rajasthan. From childhood she became a devotee of Krishna.

She was married at the age of 8 to Bhojaraja, a son of Rana Sanga, who died while quite young.

Early widowhood helped Meera in her God- oriented ascetic life of prayer and devotion.

She was persecuted a lot by her husband’s brother while in Chittor. She was a contemporary of Saint Raidas (1500 A.D. — 1576 A.D.) as also of Surdas and Kabir. Meera became a disciple of Saint Raidas and invited him to Chittor.

Unable to bear the persecution of her brother-in-law, Meera ultimately left Chittor and went to Brindavan. Her last years were spent in Dwarka, Gujarat.

Meera died in 1547 A.D.

Her childlike simplicity, deep devotion to God, intense spiritual yearning and soulful poetry make the God-intoxicated songs of Meera a national heritage of India, which have transcended regional, lingual and time barriers and are sung all over India.

Contents

Acknowledgements 13
Introduction 15
1. Tumre kaaran sab such cchoda – Raga: Bhoopali 21
2. Mai maine govind leeno mol - Raga: Mand 23
3. Harigun gaavat naachoongee – Raga: Jayjaywanti 25
4. Jaago bansiwaare – Raga: Lalat 27
5. Mane chaakar raakho jee – Raga: Misra Kapi 29
6. Hari tum harau – Raga: Durbari Kanada 31
7. Pag ghunghroo baandh – Raga: Malkauns 33
8. Mere to girdhar gopal – Raga: Jinjoti 35
9. Baso mere nainan mem nandlal – Raga: Peelu 37
10. Paayojee maine ram rattan – Raga: Pahadi 39
11. Man re parasi hari ke charan – Raga: Tilang41
12. Aaj main dekhyo girdhari – Raga: Bhimpalas 43
13. Jab te mohi nand nandan – Raga: Bhairavi45
14. Naina lobhee re bahuri – Raga: Pahadi 47
15. Dars bin dukhan laage nain – Raga: Des Bilampat 49
16. Main birahin baithee – Raga: Bihag 51
17. Neendladee naheem aaven saaree raat – Raga: Mand 53
18. Birahinee baavaree ree bhai – Raga: Jogiya 55
19. Bhuvan pati tum ghar aajyo ho – Raga: Bagesri 57
20. Nainaam more baan padee – Raga: Anand Bhairvai 59
21. Sakhi! Meree neend nasaanee ho – Raga: Pooriya Kalyan 61
22. De maa girdhari, mohi de maa girdhari – Raga: Prabhati 63
23. Mhaare janan maran raa saathee – Raga: Kosi 65
24. Pyaare darsan deejo aay – Raga: Asaveri 67
25. Karunaa suno syam meree – Raga: Peelu 69
26. Mat jaa mat jaa mat jaa jogee – Raga: Malkauns 71
27. Tum suno dayaal mhaaree arjee – Raga: Khamas73
28. Ab to nibhaayaam saregee – Raga: Dhana75
29. The to palak ughaado deenaanaath – Raga: Sooha 77
30. Mero man hari soon joryom – Raga: Jhanjhoti 79
31. Mero man laago hari jee soom – Raga: Bilawal 81
32. Tu mat barjai maidee – Raga: Brindavani Sarang 83
33. Ghar aangan na suhaave – Raga: Kafi 85
34. Maim roee roee akhiyaan raatee karoon 87
35. Raanaa jee mohe yah badnaamee – Raga: Jonpuri89
36. Chaalaam vaahi des preetam paavaam – Raga: Des91
37. Barjee maim kaahoo kee naahi rahoom – Raga: Neelambari 93
38. Jaldi khabar lenaa mehram meri – Raga: Yamuna Kalyani 95
39. Do din ka mijmaan – Raga: Patmanjari 97
40. Dhik hai jag mem jeevan – Raga: Ragasree 99
41. Hari mane paar utaar – Raga: Durbari 101
42. Karnaa fakiree tab kyaa – Raga: Devagiri 103
43. Mero man raam hi raam ratai – Raga: Saranga 105
44. Mere man raam naam base – Raga: Peelu 107
45. Piyaa tere naam lubhaanee ho – Raga: Darbari Kanada 109
46. Jo tum todo piyaa – Raga: Paras 111
47. Govind gaav man govind gaav – Raga: Agana 113
48. Hari jan dhobia ve mail manaa – Raga: Prabhati 115
49. Galee to chaaron handh hui – Raga: Jayjaywanti 117
50. He ree maim to prem diwaanee – Raga: Malkauns119
51. Cchod mat jaajyo jee maharaj – Raga: Tilak Kamod 121
52. Aao manmohanaa jee jovoon thaaree baat – Raga: Todi 123
53. Aalee re mere nainaa baan padee – Raga: Kamod 125
54. Syaam sundar par vaar – Raga: Peelu 127
55. Baadaldekh dare ho syaam – Raga: Gaund Malhar 129
56. Aisee lagan lagaaye kahaan tu jaasee – Raga: Behag 131
57. Hari mere jeevan praan aadhaar – Raga: Hamir 133
58. Aise parabhu jaan na deejay ho – Raga: Multani 135
59. Bade ghar taalee laagee re – Raga: Peelu Barva 137
60. Main girdhar ke ghar jaaoon – Raga: Gunkali 139
61. Helee mhaasyoon hari binaa – Raga: Pahadi 141
62. Meera magan bhaee hari ke gun gay – Raga: Khamas 143
63. Dekhat raam hanse sudaamaa – Raga: Peelu 145
64. Param snehee raam kee nit oloom – Raga: Pooriya Dhanasree 147
65. Maim girdhar rang raatee – Raga: Dhani 149
66. Hari bin kyoom jeevoom – Raga: Saveri 151
67. Sakhee mhaaro kaanoodo – Raga: Chaya Todi 153
68. Ab so nibhaayaam saregi – Raga: Mand 155
69. Aalee mhaane laage brindavan neeko – Raga: Brindavani Sarang 157
70. Yaa braj mem kacchu dekhyo ree tonaa – Raga: Madhumagh Sarang 159
71. Re samvaliyaam mhaare – Raga: Nat Bilawal 161
72. Raam naam ras peeje manua – Raga: Pooriya Kalyan 163
73. Sisodyo roothyo to mhaare koi – Raga: Phadi 165
74. Mhaare ghar aao preetam pyaaraa – Raga: Cchaya Todi 167
75. Aao saheliyam ralee karaam – Raga: Hamir 169
76. Girdhar roosanoon jee kon gundaa – Raga: Bagesri 171
78. Ree mere paar nikas gayaa – Raga: Sahana 173
79. Piyaaa mohi darsan deeje ho – Raga: Des 177
80. Prabhujee the kahaan gayaa – Raga: Darbari 181
81. Maai mhaare hari jee na boojhee baat – Raga: Behag 183
82. He mero man mohana aayo nahim – Raga: Sarang 185
83. Mhaare ghar hotaa jaajyo raj – Raga: Simh Bhairvai187
84. Mharee sudh jyoom jaano – Raga: Huseni 189
85. Aalee saamvare kee drishti – Raga: Hams Narayan 191
86. Ho gaye syaam dooj ke chanda – Raga: Durga 193
87. Bhaj man charan kamval – Raga: Chaayaa Nat 195
88. Ho jee hari kit gaye neh laggay – Raga: Saurashtra 197
89. Papaiya re piv kee vaani no bol – Raga: Savani Kalyan 199
90. Daaree gayo manmohan paasee – Raga: Ramdasee Malhar 201
91. Hamaro pranaam baanke bihaaree ko – Raga: Lalit 203
92. Chalo man ganga Yamuna teer – Raga: Sooha 205
93. Tanak hari chitavojee mori – Raga: Jonpuri 207
94. Koi kahiyo re prabhu aavan kee – Raga: Kosi Kanada 209
95. Jogiya som preer kiyaam dukh hoi – Raga: Jogiya 211
96. Koi kachu kahe man laagaa re – Raga: Bihag 213
97. Maim to teree saran pari re – Raga: Peelu 215
98. Nainan banaj bassavvon – Raga: Rajasree 217
99. Nand nandana bilmaaee – Raga: Madhumagh Sarang 219
100. Meha barasavo kare re – Raga: Des 221
101. Tum bina meri kaun khabaraa le – Raga: Sree 223

Mystic Songs of Meera

Item Code:
NAC639
Cover:
Paperback
Edition:
2010
Publisher:
ISBN:
8170174589
Language:
(Transliterated Sanskrit and Tibetan Texts Only)
Size:
8.5 Inch X 5.5 Inch
Pages:
223
Other Details:
Weight of the Book: 260 gms
Price:
$22.50   Shipping Free
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Back of the Book

Mystic Songs of Meera presents (probably for the first time) the original text in Devanagari, side by side with English transliteration and English translation of 101 songs of Meera, the mystic saint of Rajasthan who lived in the 15th-16th century A.D.

Bridal mysticism marked Meera’s spiritual approach to God. Krishna, whom she endearingly called Giridhar, the Lord who upheld the mountain, was her Beloved, and she expressed the imagery of human love to delineate the agony of separation from Him and the intense desire to be united with Him.

Vadakaymadom, Krishna Iyer Subramanian (b. 1930, Kerala, India) is an eminent scholar, whose life mission is to present to the world the treasures of ancient India, in the fields of art, literature, philosophy and religion. He has already translated several ancient texts into English.

Introduction

Among the mystic saints of India, Meera, the royal princess of Rajasthan, occupies a pride of place. Women mystics are only a few among the many mystics who lived in various regions of India, in different periods of time and poured out their God-oriented devotional lyrics.

They are:

Karaikkal Ammaiyar, the Tamil saint who lived in the 5th century A.D.
Andal, the Tamil saint, who lived in the 7th century A.D.
Mahadevi Akka, the Karnataka saint who lived in the 12th century A.D.
Lal Ded (Lalla Yogeswari) of Kashmir who lived in the 14th century A.D.
Meera, the Rajasthani saint who lived in the 15th- 16th century A.D.

Bridal mysticism marked the approach to God of this quintet of women mystics, of which Meera is the most recent and most well-known. Loving God intensely through the spiritual path of devotion or Bhakti necessitates two things:

One: an image or a manifestation of Divinity (since God is spirit and loving requires a concretised object of love). Two: loving requires the adoption of an attitude. There can be five different types of attitude available in loving God:

1. Bridal mysticism or treating God as the Lover of Beloved.
2. Loving God as a parent
3. Loving God as a child
4. Loving God as a friend
5. Loving God as a servant would a Master Different mystics have adopted different attitudes.

As earlier stated, the women-mystics have all adopted bridal mysticism. Many male mystics like some Alwars and Nayanmars and even mystics like Raskhan and Rahim have also treated God as the Beloved.

Mystics like Vidyapati, Jayadeva, Chandidas, Chaitanya and others have invoked the person of Radha as a symbol of bridal mysticism to delineate the yearning of the individual soul for union with the Supreme.

In the beautiful words of Swami Vivekanada: “We are all women, there are no men in the world; there is but One Man and this is He, our Beloved.”

All the mystics who have adopted bridal mysticism have used the imagery of human love between man and woman to express their love for God and the restless yearning for union.

Meera is no exception. Hence, in all her songs, we find the pain of the separated lover seeking to unite with the Beloved and the description of joy in union.

The manifestation of God, which Meera chose adore, is Krishna, the cowherd lover, whom s endearingly calls Giridhar, the Lord who upheld mountain.

The mythical legend is that Indra, the chief celestials, was angry that the cowherds of Brindavan began to worship Krishna (and not him!) and threatened to drown them with torrential rain. When the threat materialised, Krishna held up the Govardhana mountain as an umbrella on his little finger and saved his cowherd friends.

Though Giridhar is the most frequently used term to refer to Krishna, her Beloved, she also calls Him occasionally as Ram or Ramaiyya, seeing the identity of the two incarnations.

But the exploits of her Beloved she mentions are all those of the Krishna incarnation. Biographical details about Meera are scanty and often mixed up with traditional myths and legends. But certain facts are widely accepted by scholars.

These are:

She was born in 1498 A.D. in a royal family of Mewar, Rajasthan. From childhood she became a devotee of Krishna.

She was married at the age of 8 to Bhojaraja, a son of Rana Sanga, who died while quite young.

Early widowhood helped Meera in her God- oriented ascetic life of prayer and devotion.

She was persecuted a lot by her husband’s brother while in Chittor. She was a contemporary of Saint Raidas (1500 A.D. — 1576 A.D.) as also of Surdas and Kabir. Meera became a disciple of Saint Raidas and invited him to Chittor.

Unable to bear the persecution of her brother-in-law, Meera ultimately left Chittor and went to Brindavan. Her last years were spent in Dwarka, Gujarat.

Meera died in 1547 A.D.

Her childlike simplicity, deep devotion to God, intense spiritual yearning and soulful poetry make the God-intoxicated songs of Meera a national heritage of India, which have transcended regional, lingual and time barriers and are sung all over India.

Contents

Acknowledgements 13
Introduction 15
1. Tumre kaaran sab such cchoda – Raga: Bhoopali 21
2. Mai maine govind leeno mol - Raga: Mand 23
3. Harigun gaavat naachoongee – Raga: Jayjaywanti 25
4. Jaago bansiwaare – Raga: Lalat 27
5. Mane chaakar raakho jee – Raga: Misra Kapi 29
6. Hari tum harau – Raga: Durbari Kanada 31
7. Pag ghunghroo baandh – Raga: Malkauns 33
8. Mere to girdhar gopal – Raga: Jinjoti 35
9. Baso mere nainan mem nandlal – Raga: Peelu 37
10. Paayojee maine ram rattan – Raga: Pahadi 39
11. Man re parasi hari ke charan – Raga: Tilang41
12. Aaj main dekhyo girdhari – Raga: Bhimpalas 43
13. Jab te mohi nand nandan – Raga: Bhairavi45
14. Naina lobhee re bahuri – Raga: Pahadi 47
15. Dars bin dukhan laage nain – Raga: Des Bilampat 49
16. Main birahin baithee – Raga: Bihag 51
17. Neendladee naheem aaven saaree raat – Raga: Mand 53
18. Birahinee baavaree ree bhai – Raga: Jogiya 55
19. Bhuvan pati tum ghar aajyo ho – Raga: Bagesri 57
20. Nainaam more baan padee – Raga: Anand Bhairvai 59
21. Sakhi! Meree neend nasaanee ho – Raga: Pooriya Kalyan 61
22. De maa girdhari, mohi de maa girdhari – Raga: Prabhati 63
23. Mhaare janan maran raa saathee – Raga: Kosi 65
24. Pyaare darsan deejo aay – Raga: Asaveri 67
25. Karunaa suno syam meree – Raga: Peelu 69
26. Mat jaa mat jaa mat jaa jogee – Raga: Malkauns 71
27. Tum suno dayaal mhaaree arjee – Raga: Khamas73
28. Ab to nibhaayaam saregee – Raga: Dhana75
29. The to palak ughaado deenaanaath – Raga: Sooha 77
30. Mero man hari soon joryom – Raga: Jhanjhoti 79
31. Mero man laago hari jee soom – Raga: Bilawal 81
32. Tu mat barjai maidee – Raga: Brindavani Sarang 83
33. Ghar aangan na suhaave – Raga: Kafi 85
34. Maim roee roee akhiyaan raatee karoon 87
35. Raanaa jee mohe yah badnaamee – Raga: Jonpuri89
36. Chaalaam vaahi des preetam paavaam – Raga: Des91
37. Barjee maim kaahoo kee naahi rahoom – Raga: Neelambari 93
38. Jaldi khabar lenaa mehram meri – Raga: Yamuna Kalyani 95
39. Do din ka mijmaan – Raga: Patmanjari 97
40. Dhik hai jag mem jeevan – Raga: Ragasree 99
41. Hari mane paar utaar – Raga: Durbari 101
42. Karnaa fakiree tab kyaa – Raga: Devagiri 103
43. Mero man raam hi raam ratai – Raga: Saranga 105
44. Mere man raam naam base – Raga: Peelu 107
45. Piyaa tere naam lubhaanee ho – Raga: Darbari Kanada 109
46. Jo tum todo piyaa – Raga: Paras 111
47. Govind gaav man govind gaav – Raga: Agana 113
48. Hari jan dhobia ve mail manaa – Raga: Prabhati 115
49. Galee to chaaron handh hui – Raga: Jayjaywanti 117
50. He ree maim to prem diwaanee – Raga: Malkauns119
51. Cchod mat jaajyo jee maharaj – Raga: Tilak Kamod 121
52. Aao manmohanaa jee jovoon thaaree baat – Raga: Todi 123
53. Aalee re mere nainaa baan padee – Raga: Kamod 125
54. Syaam sundar par vaar – Raga: Peelu 127
55. Baadaldekh dare ho syaam – Raga: Gaund Malhar 129
56. Aisee lagan lagaaye kahaan tu jaasee – Raga: Behag 131
57. Hari mere jeevan praan aadhaar – Raga: Hamir 133
58. Aise parabhu jaan na deejay ho – Raga: Multani 135
59. Bade ghar taalee laagee re – Raga: Peelu Barva 137
60. Main girdhar ke ghar jaaoon – Raga: Gunkali 139
61. Helee mhaasyoon hari binaa – Raga: Pahadi 141
62. Meera magan bhaee hari ke gun gay – Raga: Khamas 143
63. Dekhat raam hanse sudaamaa – Raga: Peelu 145
64. Param snehee raam kee nit oloom – Raga: Pooriya Dhanasree 147
65. Maim girdhar rang raatee – Raga: Dhani 149
66. Hari bin kyoom jeevoom – Raga: Saveri 151
67. Sakhee mhaaro kaanoodo – Raga: Chaya Todi 153
68. Ab so nibhaayaam saregi – Raga: Mand 155
69. Aalee mhaane laage brindavan neeko – Raga: Brindavani Sarang 157
70. Yaa braj mem kacchu dekhyo ree tonaa – Raga: Madhumagh Sarang 159
71. Re samvaliyaam mhaare – Raga: Nat Bilawal 161
72. Raam naam ras peeje manua – Raga: Pooriya Kalyan 163
73. Sisodyo roothyo to mhaare koi – Raga: Phadi 165
74. Mhaare ghar aao preetam pyaaraa – Raga: Cchaya Todi 167
75. Aao saheliyam ralee karaam – Raga: Hamir 169
76. Girdhar roosanoon jee kon gundaa – Raga: Bagesri 171
78. Ree mere paar nikas gayaa – Raga: Sahana 173
79. Piyaaa mohi darsan deeje ho – Raga: Des 177
80. Prabhujee the kahaan gayaa – Raga: Darbari 181
81. Maai mhaare hari jee na boojhee baat – Raga: Behag 183
82. He mero man mohana aayo nahim – Raga: Sarang 185
83. Mhaare ghar hotaa jaajyo raj – Raga: Simh Bhairvai187
84. Mharee sudh jyoom jaano – Raga: Huseni 189
85. Aalee saamvare kee drishti – Raga: Hams Narayan 191
86. Ho gaye syaam dooj ke chanda – Raga: Durga 193
87. Bhaj man charan kamval – Raga: Chaayaa Nat 195
88. Ho jee hari kit gaye neh laggay – Raga: Saurashtra 197
89. Papaiya re piv kee vaani no bol – Raga: Savani Kalyan 199
90. Daaree gayo manmohan paasee – Raga: Ramdasee Malhar 201
91. Hamaro pranaam baanke bihaaree ko – Raga: Lalit 203
92. Chalo man ganga Yamuna teer – Raga: Sooha 205
93. Tanak hari chitavojee mori – Raga: Jonpuri 207
94. Koi kahiyo re prabhu aavan kee – Raga: Kosi Kanada 209
95. Jogiya som preer kiyaam dukh hoi – Raga: Jogiya 211
96. Koi kachu kahe man laagaa re – Raga: Bihag 213
97. Maim to teree saran pari re – Raga: Peelu 215
98. Nainan banaj bassavvon – Raga: Rajasree 217
99. Nand nandana bilmaaee – Raga: Madhumagh Sarang 219
100. Meha barasavo kare re – Raga: Des 221
101. Tum bina meri kaun khabaraa le – Raga: Sree 223
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Leadership Secrets From The Mahabharata
by Meera Uberoi
Paperback (Edition: 2003)
Penguin Books India Pvt. Ltd.
Item Code: NAF109
$11.50
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THANK YOU SO MUCH for your kind generosity! This golden-brass statue of Padmasambhava will receive a place of honor in our home and remind us every day to practice the dharma and to be better persons. We deeply appreciate your excellent packing of even the largest and heaviest sculptures as well as the fast delivery you provide. Every sculpture we have purchased from you over the years has arrived in perfect condition. Our entire house is filled with treasures from Exotic India, but we always have room for one more!
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The altar arrived today. Really beautiful. Thank you
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I am very satisfied with my order, received it quickly and it looks OK so far. I would order from you again.
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We received the order and extremely happy with the purchase and would recommend to friends also.
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The statue arrived today fully intact. It is beautiful.
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