ஞாயிறு, 27 நவம்பர், 2011
INTERNATIONAL DIVINE CENTRE, THENNANGUR
RADHE KRISHNA 28-11-2011
Radhe krishna 28-11-2011
Guruji (H.H.Swami Haridoss Giri Swamigal) - H.H.Gnanananda Swamigal
- Namaji ( Swami Namananda Giri Swamigal)
INTERNATIONAL DIVINE CENTRE, THENNANGUR
INTERNATIONAL DIVINE CENTRE
SWAMI HARIDOSS GIRI BHAKTHA MANADALI, NEYKUPPI VILLAGE (KALPAKKAM)
INTERNATIONAL DIVINE CENTRE
THENNANGUR
RADHE KRISHNA |
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About Us
Sathguru Swami Gnanananda Giri a diciple of Swami Sivaratna Giri
of Jothir Mutt, one of the four Amnaya Mutts established by
Adi Sankara, relinquished his Peetam and toured the length and
breadth of India,Ceylon and burma before He could establish an
abode for peace at Tapovanam in late 40s.
'Kalau Sankeerthya Kesavan' (chant the name of the Lord Kesava)
is the catchword for emancipation of human race from worldly
turmoil, said Sage Suka to king Parikshit. Then was born,
the namasankeerthanam.
Several Godmen descended this earth to propagate the ideals of
Namasankeerthanam; the celebrated Maharashtra Saints,
Sankeerthana Mummurthigal, Meera, Chaithanya Maha Prabhu,
Badrachala Ramados & others.-the line continues.
The crest jewel of Sankeerthana Tradiation of this century
is swami Haridhos Giri, affectionately called 'Guruji' who
lived for establishing Namasankeerthanam and made people
realise the words of Sage Suka.
Touring the world to spread the gospel of Swami Gnanananda Giri,
Guruji emphasised the need for a permanent establishment to
propagate Namasankeerthanam.
It was the command of His Master, Guruji chose Dakshina Halasyam
[Thennangur village] as the abode for spreading the knowledge of
Sanathana Dharma through the medium of Namasankeerthanam and at
the same time imparting education on ancient texts, such as
vedas,puranas etc. "Dakshina Halasyam" has a divine tale behind it.
it is the place where Goddess Meenakshi was found as a small child
by the Pandyan king. Hence it is called 'Halasyam' and as
Dakshina Halasyam.
It is but proper to install a temple for Goddess Meenakshi at
this place. Infact there existed Meenakshi Sundareswarar Temple
in days past, but become dilapidated and mingled with the mother
Earth. Human upliftment is achieved not only by spiritual pursuits
but also by extending help to the poor and down trodden. This was
the cardinal rule which Guruji adhered to till his last breath.
He therefore established this spiritual abode, with an accent on
social service to the poor. An old age home has now been constructed
with 50 independent rooms with all facilities together with big
Dormitory in the second floor. This permises is named as Lakshmi
Bhavanam' will remain a place of peace and tranquility, in an
atmosphere of divinity for those who had no help from their kith
and kin and need help at the evening of their lives.
Veda Patasala in the Gurukula system undertaken by the leadership
of late Brahmashree Sukabrahmam Sasthrigal, a doyen in the field,
is now functioning with 12 students on the rolls. Apart from Vedic
education, general proficiency in English and allied subjects are
imparted to students. A separate endowment is created for running
this instituation and this needs supplementation.
There is a saying in Tamil that 'one should not live in
a place where there is no temple'. Sri Guruji, in order to blend
the styles of North and South in Architecture has built a temple
for Pandurangan and Rukmayee in the style and form a puri
jagannath temple with front Gopurams on Pallava style of
Architecture. The temple is nearing completion and is being
consecrated on 9.2.96. This temple has an unique Art decoration,
first of its kind in India, where mural forms are embedded on
the walls and ceiling of ArdhaMantapam and Maha Mantapam
specially conceived and erected by Sri Natanam, the renowned
mural Architect. The temple will have the main deities in the
Garbagraham with Pancholoka Dwara Palaks at the entrance.
The temple is constructed by Sri Muthiah Sthapathy, a pioneer
in temple Architecture.
Guruji is still with us in His omnipotent form and He is depicted
in a formless-form as a Brindavan in the 'Matam' constructed in a
grand form.This 'Matam' is annexed to the temple of Guru Maharaj,
Sri Sadhguru Gnanananda Giri Swamigal.
The Brindavan will be facing Guru Maharaj. This Matam contains
a separate kitchen and four well constructed rooms and an
underground cell. This will be the place from where both
Sri Guru Maharaj and Guruji will shower Their Blessings to
the entire mankind.
'Food for thought' should always be supplemented by 'Food for
the body'. A huge Dining Hall and kitchen to feed more that
2000 persons at a time had already
been constructed and completed. This well equipped kitchen with
all appliances will serve the needy as well as the guests. Sri
Guruji has perpetuated a scheme known as 'PPF' which will
provide food for all those who come to Ashram as well as to the
inmates of old age home. This fund is contributed by the
Devotees from all over the world.
Tastes differ. In our Asram, People from all walks of life will
come for sipiritual knowledge. A good serene atmosphere is
needed. Cottages are constructed
in 'Santh Nagar', and each cottage is furnished with all
modern amenities for Yatri's comfort.
Luxury, though not required in Ashram life, it cannot be ignored.
Six luxury cottages each at a cost of over Rs.12 lakhs have been
constructed.
More cottages will be constructed after receipt of funds for the
same from the devotees and philanthrophists.
'Namasankeerthanam' is the keyword for Guruji. A hall with all the
Baghavatha Saints with their images have been decorated beautifully
and it is unique. It carries the message of Sage 'Suka' in its
physical form.
An auditorium to accommodate more than 1000 persons with a huge
stage and attendant implements in completed to conduct external
events, discourses and other like gatherings.
It is the blissful desire of Sri Guruji to build a multi-purpose
hospital to cater to the needs of the poor and needy and this project
is already taken up by the Trust. Yet another project in the vision of
Sri Guruji to open an educational centre to cater the poor and deserving
in scholastic and collegiate courses with due emphasis on the
Indian ancient culture.
This project is yet to begin. The nature and exprenses of the project
depend on the munifeicent donations from the devotees of Guru Maharaj
and Guruji. This complex will be an abode for spiritual upliftment to
the entire humanity without any discrimination of caste, creed or sex
and this will remain a fore-runner for future generations in
understanding and appreciating the catolicity of our Dharma and
the values of human life. A mere glance at the collossal way
Sri Guruji has set His Mission for the sake of humanity resounds
the words of Guru Maharaj.
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RADHE KRISHNA |
DAKSHINA BHAJAN SAMPRADAAYAM
SAMPRADAAYA BHAJAN
Preface:
DHYAAYAN KRUTE YAJAN YAJNAI:
THRETHAAYAAM DWAAPARERCHAYAN
YADAAPNOTHI THADHAAPNOTHI
KALOW SANKEERTHYA KESAVAM
In Krutha Yuga, Threthayuga and Dwapara Yuga, to reach
God, Tapas, Yagna, and Archana (Pooja) were the methods
followed respectively. In Kaliyuga Naama Sankeerthanam
(Bhajan) is the way out. How simple a method compared
to previous Yugaas! Our Rishis have foreseen that in
Kaliyuga, there will be no time for people to engage
(nor will they be interested) in religious activities
due to pre-occupation. This is clearly brought out by
this sloka:
KALOW KALMASHA CHITTHAANAAM
PAAPA DRAVYOPA JEEVINAAM
VIDHI KRIYA VIHEENAANAAM
GATHI: GOVINDA KEERTHANAM
In Kaliyuga, all jeevaas will be sunk in Kalmasha
Chittha - i.e. Kaama, Krodha, Lobha, Moha, Mada,
Mathsaryaadi Shatgunaas and will be full of anger,
Egoistic, self-centered, with envious feelings etc.
Every one will have to be after aggrandisement of
wealth and will be fully engrossed in pleasures that
can be bought by money (materialistic pursuits).
They will be bereft of any systematic, religious or
pious activities and will be unsystematic in their
approach. This is the fate accompli. No one can
escape this law. Even to such persons, there is Mukthi
promised, provided people chant/sing the name of Govinda,
(i.e) sing in praise of God and always engage in Naama
Smarana.
Why do Bhajan at all:
Every religious or philosophical activity is aimed
at human evolution. What is it? The origin of
every human being is the BRAHMAN, the Lord, who
has no name, no form, no bondage, no birth and
death and He is beyond the Kaala (time) & Desa
(space) principle. The human being called
JEEVAATHMA, bound by Vaasanaas gets entangled
in the MAAYA PRAPANCHAM (unreal world of matter)
and in ignorance identifies himself with the
material possessions and engages in aggrandisement
of wealth and in enjoying the fleeting joys
provided by such materialistic pleasures. He is
thrown into the sea of Samsaara due to his
materialistic pursuits which give him pleasure
and sorrow alternately - pleasure when he enjoys
the good results of his karma and pain when he
suffers from the bad results. This is because
he acts with expectation of certain results
(pleasures) but when the act is imperfect, he
gets pain. Our scriptures declare that "as you
sow so you reap". Every action (Karma) has a
reaction (Phala) and the reaction is directly
in proportion to the quality of the actions
performed. Thus, human beings have control
over their actions but not over the results,
which is decided by nature (fate). Bhagawan
Sri Krishna, in his Geethopadesam to Arjuna
makes this principle clear by this sloka:
KARMANYEVA ADHIKAARASTHE
MAABHALESHU KADAACHANA
In fact, every action is guided by the characteristic
of each human being, formed by action & reaction theory
of past karmaas.
Every Karma is guided by the Vaasanaas (desires in
rudimentary stage) and if we expect good results,
our Vaasanaas should be pure, i.e. if we are
materialistic, we get material pleasures or pains.
if our actions are guided by philosophical principles
prescribed by our Srutis and Smritis we shape up
our Gunaas (quality) to be Saathwic. Saathwic actions
produce Saathwic results. To shape up our Vaasanaas
into pure ones, we should always think about our origin,
which is beyond vaasanaas. Another way to purify
ourselves is to caste away our poorva vaasanaas by
burning them in the fire of Knowledge, which is achieved
through Bhakthi - through the Bhajan sampradaaya.
BHAJAN is derived from the
word "BHAJANAM", meaning "concentrate on Naama
or Roopa of God". Roopa Bhajanam requires one
to sit and meditate for a long time on a figure
of Ishtadaivam. This is little hard to practice,
as some rules have to be followed for good results.
Naama Bhajanam is repeating the name of Ishtadaivam.
This is very simple and can be done throught the day
and night without any effort or rules. Added to it,
if the Naama is uttered with Music (Sruti, Raaga and
Thaala), it gives a soothing effect and takes the mind
to "layam". It, therefore, makes it easy to get one
pointed attention and at the same time, it is more
pleasant to the ears of the audience, who are also
attracted towards this process. It becomes a collective
effort (group prayer) which is more effective. Hence,
singing in praise of God is the way of life one should
adopt in Kaliyuga. It is simple to follow. This should
be done with concentration, Bhakthi/Devotion and with one
pointed attention.
Santh Gnaneswar has given us a method of concentrating
on Lord's feet through his song "
Runu Junu Runu Junu Re Bhramara".
He compares the mind to the bee, which always makes
Reenkaaram and flies with its wings till it gets the
flower bed with Madhu in it. The moment it sits on
the flower bed and starts licking the Madhu, it stops
the wing motion and the Reenkaara sound. The mind
with the two wings (characteristics of
AHAMKAAR and MAMAAKAAR) flies
around the world by making sounds (grieving,
complaining, etc.). To appease this wandering and get
settled down, it needs a place - Lord's Lotus Feet
(FLOWER BED) - and enjoy peace (MADHU). When thus
it enjoys the permanent joy & peace, it stops wandering
with its two wings and with the Reenkaara Sound. To
train the mind to meditate on the Lord's feet, we
need to repeatedly sing the Naama of the Lord with
devotion so that it gets one pointed attention on the
Naama. Once it settles, the worldly thoughts get
settled and the mind enjoys PURE BLISS - thoughtless
and without the Ego feelings.
Paddhathi:
Even though chanting or singing the Lord's name
without following any order of performance will
suffice (Deveotional Songs), systematic performance
will always benefit. Even for our worldly activities,
we list out the steps to be followed to achieve
anything. A Paddhathi is the method of doing any
act in a prescribed manner - step by step. Our
forefathers have given us the method for doing Bhajan.
As there are Trinities in Carnatic Music (Thyaagaraaja
Swamigal, Muthuswami Deekshithar & Shyama Sasthrigal),
so also in Bhajan field, there are three Gurus
(Govindapuram Bodhendra Swamigal, Thiruvisanallur
Shridhara Venkateswara Iyyavaal and Marudaanallur
Sadguru Swamigal). Bodhendra Swaamigal was the 59th
Pontiff of the Kanchi Kaaamakoti Peettam and he
propagated RAAMA NAAMA Japam as the way to achieve
salvation. Shreedhara Iyyavaal, who was a contemporary
to Sri Bodhendra Swamigal, was a Siva Bhaktha and
he has rendered many kritis in praise of Siva as also in
praise of Krishna. He was propagating Siva Bhakthi
through his Naama Prachaarams. Ideally both were
propagating Naama Japam. Whilst Bodhendra Swamigal
was a pontiff, Shridhara Iyyafaal was a Gruhastha
and moved, leaving his wealth and belongings, from
one place to another with his mother and wife, but
following his Nithya Karma as a Bhagavatha
(including daily Bhajans), till he settled in
Thiruvisanallur. He is said to be the incarnation
of Shiva.
Marudaanallur Sri Sadguru Swamigal (who was born to
Venkatasubramania dampathis after about 100 years of
Bodhendra Swamigal's Samaadhi and originally named
as Venkataramana) was said to be the re-incarnation
of Sri Raama. He was duly initiated into Brahmacharya
and Gruhastha Ashramaas, being married to Janaki.
Sadguru Swamigal was engaged in Bhakthi Maarga by
singing the
names of God. He was the one who identified the
Samaadhisthal of Bhagavannaama Bodhendra Swamigal
in the Cauveri river bed in Govindhapuram (Kumbakonam),
which was earlier washed away by flood waters and people
did not care for it. Ordained by fate, he decided to
discover the Samaadhi by tying his legs (nay he may
stamp on the samaadhi) and rolling on the river bed.
He heard the chanting of "Raama Raama" at one
particular location and decided that it should be
the samaadhisthal of Sri Bodhendraal, which he wished
to re-build surrounded by a beautiful Brindaavan.
However, Sadguru Swamigal, being a gruhastha with
no financial backing, approached the then Maratta
King Sri Sarabhoji Mahaaraja (the ardent disciple of
Samartha Raamadaas - a Raama Bhaktha), who financed
the project of diverting the flow of the river a little
away and to build an Adhishtaanam at the spot where the
Samaadhi was found.Thus,it was Sri Sadguru Swamigal who
brought to world the present Bhagavannama Bodhendra
Adhishtaaanam at Govindhapuram - a rare wealth for all
Bhakthaas.
Sri Sadguru Swamigal followed the Bhagavatha
Dharmaanushtanam meticulously and travelled throughout
India and observed and collected the songs sung by
many a bhakthaas throughout the entire Bhaaratha Desam
in different languages like Hindi, Maratti, Thelugu,
Kannada,Thamizh, the Pancha Bhaasha. The Bhakthaas
who have rendered/sung songs/slokaas can be
classified as: Thukkaraam, Naamdev, Gorakkumbha,
Santh Gnaneswar, Gnaanaabai, etc. in Maharashtra;
Purandaradas, Kanakadas etc. in Karnataka; Meerabai
in Rajasthan; Kabirdas, Thulsidas etc.in Uttar
Pradesh; Jayadevar in Orissa, Chaithanya Mahaa
Prabhu in Bengal; Raamadas, Annamaacharyar, Narayana
Theerthar etc. in Andhra;Sri Narsi Mehta in Gujarath;
Aazhvaargal, Naayanmaargal, Bondhendraal, Sridhara
Ayyavaal,Sadhasiva Brahmendral, Thyaagaraaja,
Gopalakrishna Bharathi etc.in Thamil Naadu,and many
others. He felt that to involve people in Bhakthi
Marga, there must be unity and he compiled the
songs sung by the above Bhakthaas in various
languages, codified them into a Paddhathi and made
it his daily routine. What a herculean task! This
brings out the theory of Unity in Diversity. What
a best method of National Integration.Marudaaanallur
Sadguru Swaamigal was the one who provided us a
well codified Dakshina Sampradaaya Bhajan paddhathi
by incorporating songs in different languages,
which came to stay as the basic Paddhathi Krama
that are in use today.
Even today, to show our indebtedness to these gurus,we
sing in praise of these three Gurus (a must) at the
beginning of our Bhajan Paddhathi (Guru Keethanam).
Normally, the Guru Keerthanams should be in praise of
these Gurus and not the songs sung by them.However,
if such keerthans in praise of them are not available
or not known to us, it is perfect if we sing the songs
rendered by them in Guru Keethanam.
Today there are a few Bhajana Sampradaayams in
existence, like (Bodhendra) Madatthu Sampradaayam,
Thiruvisa Nallur Sampradaayam, Marudaanallur
Sampradaayam, Pudukkottai Sampradaayam, Krishna
Premi Sampradaayam etc. Though there are slight
differences in these Sampradaayams, all of them
have the same main themeas provided by Sri Sadguru
Swamigal. Whichever Sampradaayam we follow, we
should do justification by following the tenets
prescribed by that Sampradaayam. We should not
indulge in grading these Sampradaayams. The authors
of these Sampradaayams were following them strictly
as per rules on a daily basis. In my opinion, a real
Bhagawatha has to perform, apart from his Nithyavrutthis,
the Unchavrutthi, Paddhathi Bhajan and, Dolothsavam
on a daily basis. The entire Bhajana Sampradaayam is
grouped into various Paddhathis. However, in the
present day situation, due to time factor and lack of
knowledge, the full paddhathi could not be/are not
being followed in toto but parts of which are performed
at different times. Based on the present state of affairs,
the various parts can be grouped under two major Groups:
PADDHATHI BHAJAN:(Basic)
THODAYA MANGALAM Ist Part
GURUDHYAANAM )
GEETHA GOVINDAM ) 2nd part
THARANGINI )
DAASARVAL KRUTIS )
POOJOPACHAARAM )
SPECIAL BHAJAN:
DHYAANAM 3rd Part
DIVYANAAMAM 4th Part
DOLOTHSAVAM 5th Part
UNCHAVRUTTHI 6th Part
POORNA ASHTAPADI )
KALYAANA UTHSAVAM )
VASANTHOTHSAVAM ) 7th Part
Significance of Sampradaayam:
Our Hindu culture prescribes Seven main Samskaaraas:
Jasthakaranam & Jaathakaranam, Chowlam, Upanayanam,
Marriage, Seemantham, Shashtiabhdha Poorthy,
Sathabhishekam. although the Samskaraas prescribed
by Sanatana Dharma vary from 16, 24 or 42 etc. as
per various schools of thoughts. Even in our
marriages, there is an Angam as SAPTHAPADI", which
is the proof of marriage, apart from Kanyaka Daanam
and Panigrahanam. (Unless Sapthapadi is conducted,
it is not considered as a valid marriage even by the
Hindu Law). Spiritual evolution (if proper spiritual
evolution is considered to be taking place) should
pass through these stages: Baalyam, Kawmaaram,
Brahmacharyam, Gruhastham,Vaanaprastham,Sanyaasam,
Samaadhi, which in Kaliyuga, is not attainable, as
the Dharmaas in each stage cannot be observed and the
samskaaraas are not being followed stictly.
Namasamkeerthana is said to be the Maarga for
salvation in Kaliyuga, which is simple to follow,
easy to observe and definite in its result. What
is required is sincereity in approach, concntration
and Bhakthi Bhaava, total surrender to the Lord without
Ego and with minimum Nithya Karmaanushtaanams prescribed
for Kaliyuga Dharma. As there are seven main samskaras
(minimum), so also I view the Sampradaaya Bhajan
Paddhathi grouped into seven parts as above, for
attaining salvation. This sampradaayam is a
conglomoration of Slokams & Keethanams composed
ands ung by various Bhakthaas/Sanths/Bhagavathaas
with a definite meaning and purpose. If we want
to follow them, naturally we have to adhere to the
rules set therein.
The Sampradaayam prescribed by Sadguru Swaamigal is
found in original Ola Chuvadi in the Mattam and at
Bodhendral Mattam and about 60 years ago it was
publshed in Grandhaksharam by Thillai Sthanam
Narasimha Bhagavathar under the title :
BHAJANOTHSAVA PADDHATHI. Later, in Chennai Sri
Kothandarama Swamigal published an elaborate
Paddhathi in Thelugu. Again, Thiruvayaar Nagaraja
Bhagavathar brought out a short publication of this
in Thamizh for the first time. Later Udumalaipettai
Ramakrishna Bhagavathar has brought out a somewhat
elaborate Paddhathi in Thamizh, which used to be
followed widely all over India. The Sampradaayam
was propagated in the 19th/20th centuries by a few
Bhagavathaas like Maruthanallur Venkatrama
Bhagavathar, Pudukkottai Gopalakrishna Bhagavathar
(lovingly known as APPA by his followers),
T.V.Narayana Sasthri, T.M.Ramakrishna Iyengar,
Abhedananda etc., to mention only a few, who have
published Sampradaaya Bhajan Padhathi books with
a few additions of songs rendered by other
Bhaagavathaas of their time, according to the
time change. These Bhagavathaas followed the
Bhagavatha Dharma strictly. They have spread
Sampradaaya Bhajans throughout India. Swami Haridas
Giri has propagated this in India and abroad and he
has followers everywhere even now.
About Sri Appa and his contribution:
Sri Appa was born on Friday 04.10.1892 (Nandana
Varuzham Purattasi Maadham 30th day Krishna
Paksha Navami in Aashlesha Nakshathram) to
Smt.Meenakshi Ammal and Sri Sundaresa Ayya staying
in Vallavari Village (Aranthangi Taluka, Trichy Dist.,
Tamil Nadu) and he was named as Venkata
Gopalakrishnan. In his early age itself he learnt
Thelugu, Sankrit, Thamizh languages, Music and had
Manthropadesam from his brother-in-law. He used to
visit various bhajan programmes of learned
Bhagavathaas of his time and got involved in it.
Later he travelled all over India and participated
in many Bhajans. The additions and changes made by
him to the original Pddhathi is praiseworthy. He
added more songs composed by Bhagavathaa/Sanths of
his time all over India in various languages and
expanded the original Paddhathi. A few Kruthis of
Oothukkadu Venkatasubbayyar, which are famous for
their bhava & Bhakthi were added as they are also
best suited for Abhinaya. Sri Appa strictly
followed the Bhagavatha Dharma literally by doing
Nithyavrutthi, Raama Naama Japam, Unchavrutthi,
Bhajan and Dolothsavam. He excelled in these
activities through total involvement with Bhaava
and Bhakthi and with Dance and Abhinaya in the
Bharata Naatya method, which he had learnt. This
has attraced many Bhakthaas and followers towards
him, because even those who are not able to follow
the verses sung or not knowing the meaning of them
could involve themselves fully while attending his
Bhajans. Because of his total involvement and
Bhakthi/ Bhaava, his abhinaya conveyed the meanings
of these songs. Today, visual education is easier
than vocal and this method is followed in almost
all walks of life. Sri Appa achieved this
objective very efficiently in his Bhajans.
His eyes had a tremendous Vasya (attraction)
power, which poured anugraha to Bhakthaas. After
Kanchi Mahaa Periyavaal and Sri Ramana Maharshi,
I have seen the powerful eyes only with Sri Appa.
As he followed the Bhagavatha Dharma, he imbided
certian occult powers(Tapo Phalam)
which he never propagated. But those blessed ones
who are destined to be cured/blessed by Sri Appa,
automatically got it. His compassion, Daya,
Daakshinya, Egoless status, Samabhaava, Santha
Swabhaava etc. established him as a real Santh.
He was a staunch Narasimhopaasaka & was
conducting till his niryaana, Bhaagavatha
Sammelan every year in Pudukkottai, which he
chose as his abode.
Vasanthothsavam consisting of Vasantha Kelikkai
and Pavvalimbu are Paddhathis to be performed
necessarily after any Kalyaana Paddhathi. It
describes the lamentation of a Bhaktha in the
form of Padmavathi, who, longs for the darshan
of Her beloved Lord Venkateswara and tells Her
maid to fetch him. She wonders how the spring
time flowers and scenery in the Gardens can adorn
Him with flowers and beautify Him. She sees His
face in every flower and His figure in every plant
and enjoys the scene by describing it to Her maid.
They both pluck the various types of flowers from
the garden. When the maid brings Him to the scene,
they welcome him by pouring flowers, sprinkling
scents, doing Pooja to Him and singing in praise
of Him. This is called VASANTHA KELIKKAI. There
are about 24 songs in Pawwalimbu Paddhathi. While
singing each, separate Nivedhyams are to be
offered to Lord at the end of each song. These
songs describe the Lord's beauty, His fame and
they throw flowers and sprinkle Panneer, Athar
and other scents on Him and She plays Veena in
His presence. The maid is requesting the Lord
to enter in Sayana Gruha with Padmavathy and
appease her hunger for his presence. Various
Palahaarams are kept inside the Sayana Gruha
for the couple to taste along with Milk, Betal
Leaves and Nuts etc. The maid is requesting
the couple to remain together and bless the
world whilst they are in the Bliss state.
Praakaara Rakshanam songs are sung to request
Bhagavathaas to guard the four gates of the
Sayana Gruha for some time. Later, the
bhakthaas sing the prabhodana Songs to wake
up the couple and pray to Them for the well
being of the world. Then Lord Venkateswara
gives darshan to Bhakthaas in the form of a
Konanki who arrives at the scene and merges
with the Lord. Bhakthaas then know that Lord
Himself has appeared as Konanki.
Sri Appa, knowing the import of these songs,
and the Bhakthirasam in them, enacted it and
enjoyed the essence of it in the philosophical
sense. Sri Appa has revolutionised the
Dolothsava Paddhathi of Saint Thyaagaraaja by
adding important and apt songs from Pawwalimbu
Uthsavam to it, in order to enjoy the essense
of it on a daily basis, instead of on Kalyaanams
or after finishing 24 Ashtapadi songs. This is
indeed a treasure for bhakthaas who excel in
Bhakthi and enjoy the essence of Lord's Leela.
Sri Appa attained the Lord's feet on Friday,
30/04/1971 Virodikruthu Varzham Chithirai
month 17th day). Late Sri Pudukkottai Sanjeevi
Bhagavathar (son of Sri Gopaala Krishna
Bhagavathar), followed his father's footsteps
in spreading Nama Sankeerthan with daily
Upaasana till the end of his lifetime. Sri
Haridas Giri also strived to spread the
Bhajana Sampradaayam by his Bhajans and
Upanyaasams in India & Abroad during his
lifetime. He established various samajams
called "Gnananada Samaajams.
Present Status of Bhajan Samradaaya Prachaaram:
At present, various sampradaayams established
by these Mutts and Bhagavathaas as stated
above are followed by many Bhajana Samaajams
/groups and individuals, though may or may
not be following the Bhagavatha Dharma
strictly due to the style of living.
Although there are many Bhagavathaas who have
propagated the Dakshina Sampradaaya Bhajan
Paddhathi after Sri Marudanallur Satguru
Swamigal, I would like to name a few of the
individuals/ samaajams, with whom I have come
in contact. This does not exclude various other
famous Bhagavathaas who have contributed in this
direction and about whom I have no details.
Delhi Subbarama Bhagavathar, Bhopal A.L.
Krishnamoorthy Bhagavathar, Sethu Madhava Rao,
Kanpur Mahadeva Bhagavathar, Sathalapathy
Govindaraaja Bhagavathar, Thiruvisanallur
Ramakrishna Bhagavathar, Naamananda Giri,
Sri O.S.Sundar, Erode Rajamani, Odayalur
Kalyaana Raaman,Thanjavur Thyaagaraajan,
Srivanchiyam Murali, are engaged in the
promotion of Sampradaaya Bhajan thoroughout
India or/and abroad. Kovai Jayaraman,
Manjapra Mohan, Bombay Murthy and a few
others are spreading Naama Sankeerthana
through mainly their Devotional Songs
programmes, though they some times do
Deepapradakshinam & Kalyaanams. Sri
Jaikrishna Dikshithar Avargal is promoting
Nama Sankeerthan through his discourses on
Bhaktha Vijayam and Bhajans.Sri Thukaraam
Ganapathy Avargal is spreading Naama Bhakthi
through his Abhang songs with Upanyaasam on
Bhakta Vijayam.
In Mumbai, Sri Nurani Chuppamani Avargal
(instrumental in spreading Deepa Pradakshinam
in Mumbay), Rangnathan Avargal of Hariharaputhra
Bhajan Samaj, Bombay Hari Avargal, Borivli
Srinivasan Avargal, Mulund Bhajan Samaj, Sri
Pudukkottai Narasimha Jayanthi Kainkarya Samithi,
Gnanananda Mandali, SriSri Anna Bhajana Mandalis,
Ghrodianagar Bhajan Samaj, to mention a few, have
been involved in spreading Sampradaaya Bhajan.
Abhang Ratna Sri Ganesh Kumar Avargal of Mumbai
is engaged in Naama sankeethana prachaaram through
his Abhang Bhajans. Late Kalyan Krishnamoorthy
Avargal had strived to unite many samaajams and
individuals in spreadding the Pudukkottai
Paddhathi. There are many other samaajams
conducting regular Bhajans in their Samajam
premises.
Sri Krishna Premi Maharaj's (lovingly called
ANNA), contribution to the propagation of
Bhajans Sampradaayam through his Bhagavatam
discourses and Bhajans, Deepa Pradakshinams
and Raadha Kalyaanams embracing all the
Sampradaayams need a special mention. The
books written by him on our culture are
innumerable, the translations provided for
many Grandhaas are immeasurable, the Bhajana
songs composed by him in different languages
are uncountable and the discourses rendered
by him are incalculable. He has composed
innumerable books on Puranic/Philosophical
topics and has brought out a Unique Bhajan
Paddhathi followed by his followers today,
mainly in Sanskrit. He is engaged in
Puranuddhaaranam work of Govindapuram,
Thiruvisanallur and Marudanallur mattams,
which have been neglected and are in a bad
shape. He has also collected books containing
Raamanaamas writen by devotees and have
deposited in the Raama Naama Banks at Nasik,
Pandarpur, Brindawan, Chitrakud, Govindapuram
etc., which goes into Crores of Raama Naamas.
He has recently - in April 2003 - found out the
Adhishtaanam of Sri Vijayagopaala Swamigal, who
sung various songs in divyanaama sankeerthanam
and particularly the song "Devesa gana Araadhitha
divyaambhuja paadhaa" in thodaya mangalam. It
exists in Polagam, which is a small village in
Nagapattinam Taluk near Thirupugazhur and
ThiruKannapuram. It is gathered that fifty
years back the Aradhana of Sri Vijaya Gopala
swamy used to take place in Polagam and the
Adhishtanam used to exist in the banks of river
Thirumalrayan in Polagam. Really a great
achievement in a life time of Sri Sri Anna.
Thus he is rendering yeoman service to the
Bhajana Sampradaaya and Naama Prachaara.
Philosophical view of of the Paddhathi:
As I see it, having perfected ourselves with
Sathwic Vichaar, enabled by the Pooja Paddhathi
& Dhyaanam, we qualify for a vision of the Lord.
By performing Deepa Pradakshinam, we get the vision
of the Lord, go close to the Lord by enacting His
leelaas and by being in company with Him through
Bhakthi Bhaava. Through Gopikaa Geetham, we enjoy
the Madhura Bhaava, suffer the pangs of separation
due to our Ego, practice Bhakthi and total surrender
and get the knowledge that Jeevaathma and
Paramaathma are one and without Paramaathma, nothing
exists. Through Dolothsavam, we merge with the Lord
in the form of Nidhidhyaasan and get established in
the Paramaathma Tathwa. This is possible only if we
grasp the Philosophical meaning of these paddhathis
and put them into practice. Let me hasten to add that
while externally we may, through singing/abhinaya/
dance, depict the various bhaavaas, inwardly we should
be able to keep the above Vedantic stature for a full
experience of spiritual anubhavam.
While we cannot avoid doing work to earn our
livelihood and do our Dharma as a Gruhastha,
we should always bear in mind that our(Jeevaathmaas')
origin is Paramaathma Thathwa and we should always
aim at spiritual evolution by doing our karma in
the world with pure mind, unattached, without Ego,
with Daya towards others, serving humanity in
whatever way we can and singing in praise of God
always, lead a pious and simple life, so that our
real AIM is ever shining in our mind and we try to
achieve it before casting away this body in this
birth. The only way for this is
NAAMA SANKEERTHANAM as prescribed
by elders.
Conclusion:
A detailed description of the following Paddhathis
are dealt with in separate articles for which
Bhajan Topic links are provided at the end of
this page.:
PADDHATHI BHAJAN (BASIC)
GEETHA GOVINDAM (ASHTAPADI)
DEEPA PRADAKSHINAM
GOPIKAA GEETHAM
DOLOTHSAVAM
Separate Attavanais are also provided puddhathiwise
as above, for which, click on the
Bhajanattavanai link below.
Unchavrutthi, Kalyaanams and Vasanthothsavam will
be dealt with later.
LOKAH: SAMASTHA: SUKHINO BHAVANTHU
SanathanaDharma
SanathanaDharma.com
GLOSSARY
COMMONLY USED SANSKRIT
WORDS AND THEIR MEANINGS
ABHYASA
Spiritual practice
ACHARYA
Perceptor
ADHARMA
Non-righteous conduct, in thought, word, or deed
ADHIKARI
A person with the requisite qualifications to undertake spiritual
study or practice. The qualifications are four-fold, for which
refer tatwa-bodha or vivekachudamani
ADWAITA
Non-duality. The most popular philosophy in India today.
"Brahman alone is real, the phenomenal world is an illusion,
and the individual soul is none other than the Supreme Reality"
is the essence of Adwaita.
AHAMKARA
Egoism. This is not pride, but the simple feeling of agency
in action, like "I am doing," "I am eating" etc.
ARTHA
Wealth – in fact, anything I consider as "mine" is
my wealth.
ASHRAMA
The four orders or stages of life, namely, Brahmacharya,
Grihastha, Vanaprastha, and sanyasa. Also means a hermitage
or where a Sanyasi stays
ATHARVA VEDA
One of the four Vedas. It mainly deals with magic formulae,
the Tantras, and other forms of esoteric knowledge. This Veda
is said to have prepared the way for the subsequent scientific
knowledge in India.
BRAHMA
The first of the Hindu Trinity – the creative aspect of the
Supreme Reality, Brahman.
BRAHMACHARI
A Celebate – a disciplined student who leads an austere life
devoted to studies. A person who is in the first Ashrama of life.
BRAHMACHARYA
A life of celibacy, discipline, devotion to studies and God.
The first of the four orders or stages of life.
BRAHMAN
The Absolute Reality, the substratum for everything –
the Supreme God – head without qualities or attributes.
BRAHMANA
The first of the four castes, the category of people who are sober,
refined, intellectual, learned and devoted.
BUDHI
The power of intellection.
CHAITANYA
Pure Consciousness
CHARVAKA
The leader of the school of material philosophy in India.
CHIT
Consciousness
DAMA
Restraining of the sense organs
DANA
Charity
DARSHANA
A vision
DEVA
The illumined a celestial
being
DEVATA
A deity
DEVI
Divinity in its female aspect.
DHARMA
Righteous conduct in thought, word, and
deed
DHARMA SHASTRA
Scriptures dealing with the righteous conduct
DHYANA
Meditation
DISCIPLE
A person who follows a discipline.
DWAITA
The philosophy of dualism, the chief exponent of which was Madhwacharya
DWAPARA YUGA
The third of the four Hindu time cycles. A period
of 8,64,000 years. A period while only two quarters of Dharma reigns.
EASHWARA
The personal concept with attributes, of the impersonal Brahman. Same as Ishwara.
EKAGRATA
One pointedness of the mind.
GANDHARVA
A class of celestial beings supposed to be highly proficient in
music, dance and fine arts. The most sacred ‘Mantra’ in Sanatana
Dharma, consisting of twentyfour letters in three lines of eight
letters each. It is considered to be the quintessence of the Vedas.
"GAYANTAM TRAYATE ITI GAYATRI" it redeems, by chanting and meditation
on it, hence called Gayatri. The name of the metre in which this
mantra is composed is itself called ‘Gayatri’ and is considered to
be the most elegant and sacred among the thousands of metres in Sanskrit.
This Gayatri is devoted to the Sun god, and hence this common mantra is
called "Savitri Gayatri". Adorations to the several deities come in the
form of their respective Gayatries. Hence we have Devi Gayatri,
Rudra Gayatri, Brahma Gayatri, Hamsa Gayatri, and several others
in the Vedas.
GRUHASTA
A householder, who sticks to the path of Dharma
GRUHASTASHRAMA
The second of the four stages or orders of life.
The life of the householder
GURU
The teacher or Perceptor who removes the darkness
of ignorance from the mind of the disciple.
HATHA YOGA
This is part of Raja Yoga, physical and psychical
control.
HIMSA
Violence, or injury of any kind, physical or mental
INDRA
The Lord of the celestials, also applies to the mind, the king
of Indriyas or the sense organs.
INDRIYA
The sense organs, any of the five organs of perception or the
five organs of action.
ISHWARA
The personal concept with attributes, of the impersonal Brahman.
Same as eeshwara
ITIHAS
The Hindu Epics- the Ramayana and the Mahabharata
JAGRUT
The Wakeful state. The state in which all the three bodies namely,
gross, subtle and causal and functioning. When the self by means of
one or more of its fourteen organs (the four inner organs namely
Manas, Budhi, Chitta and Ahamkara; the five organs of perception
namely hearing, touch, sight, taste and smell; and the five organs
of action namely; speech, grabbing, movement, excreting and
procreation.) perceives gross objects in the respective fields
of its experiences such as Shabda, Sparsha, Roopa, Rasa, and
Gandha and reacts to them, then the Jiva is said to be in its
Jagrut or Wakeful state, in other words, when the Supreme Reality
reflects through the Vasanas at the level of the Body, Mind and
Intellect, as the Perceiver, Feeler, and Thinker, in the world of
Objects, Emotions and Thoughts, then the self is in the wakeful state.
JAPA
Continuous repetition of the Lord’s name with devotion and
concentration.
JIVA
The individual soul.
JIVANMUKTA
One who has realised the self, even while living in this body.
JNANA
The knowledge of the Self.
JNANENDRIYAS
The five organs of perception; eyes, ears, tongue (taste), skin,
and nose.
KALI YUGA
The last of the four Hindu time cycles, the current
one, duration 4,32,000 years, period when only one quarter of
Dharma reigns.
KALPA
A time cycle of 4,32,000,0000 years, on of the Vedangas,
the authority on religious rites.
KAMA
Desire for anything
KARMA
All expressios of activity, by thought, word or deed,
the first of the two Doctrines on which Hindu religion
and philosophy are based, the Law of Casuality in the
spiritual world, the theory that every action has a
reaction an that none can escape the result of his own actions.
KARMA KANDIN
One who strictly believes in and observes the rituals and
duties enjoined in the Scriptures, without question.
KARMA YOGA
The Yoga (the spiritual path) of selfless service, without
any attachment to the fruits of one’s actions
KARMENDRIYAS
The organs of action namely, tongue (speech), hands, legs,
anus, and the genitals
KRUTA YUGA
Also called Satya Yuga, the first of the four Hindu time
cycles, a duration of 17,28,000 years, a period when Dharma
reigns in full, it is said that in this period, the word
‘Satya’ (truth) will be unknown, because the concept of
‘Asatya’ (untruth) will not be there.
KSHATRIYA
An individual belonging to the ruling caste, a person devoted
to righteous conduct and protection of other peoples’ person,
honour and property, when they deserve it.
MAHABHARATA
The latter and the more voluminous of the two great Hindu epics,
author Sage Veda Vyasa, consists of 1,00,000 stanzas, Bagavad
Geeta or the Lord’s Celestial Song occurs in this epic
MAHAYUGA
Also called ‘Charutyuga’, the four Yugas or the time cycles put
together, duration 4320,000 years
MANTRA
An incantation, generally for chanting with devotion and
concentration.
MOKSHA
Liberation from identification with things other than the self.
MUKTA
The liberated person.
MUMUKSHU
One who yearns to get liberated from all earthly
attachments and bondage.
NADA
A mystic sound
NIRGUNA
Without qualities or attributes
NIRVIKALPA SAMADHI
Super conscious stage where the mental modifications
completely cease to exist.
NIYAMA
Observances, the second of the eight limbs of the yoga path.
OJAS
The spiritual energy in man
OM
This is the sacred mono syllable that symbolizes Brahman,
also called ‘Pranava’. It is said that this is ‘Gayatri’
condensed into one letter of three sounds which stand for
the three states in which we eke out our experiences namely
the waking, dream and deep sleep states, and represent in
the three sounds all the basic sounds the human vocal system
is capable of producing. The esoteric significance and
knowledge that lie concealed in this concentrated symbol,
are so vast, that it defies a condensation here. It is said
that the Vedas are summed up in the Gayatri, and the Gayatri
is summed up in the Pranava (that is om) and the Pranava is
the expression of the infinite and the Absolute.
PRAJAPATI
The creator, another name for Brahma, the creative
aspect of Brahman
PRAKRUTI
Mother nature
PRAMANA
Authority. eg. The Upanishads are the pramana for
Vedanta
PRANA
The vital air in the system
PRANAVA
This is the sacred mono syllable that symbolizes Brahman,
also called ‘Pranava’. It is said that this is ‘Gayatri’
condensed into one letter of three sounds which stand for
the three states in which we eke out our experiences namely
the waking, dream and deep sleep states, and represent in
the three sounds all the basic sounds the human vocal system
is capable of producing. The esoteric significance and
knowledge that lie concealed in this concentrated symbol,
are so vast, that it defies a condensation here. It is said
that the Vedas are summed up in the Gayatri, and the Gayatri
is summed up in the Pranava (that is om) and the Pranava is
the expression of the infinite and the Absolute.
PRASHNATRAYA PRASTHANATRAYA
The collective name for the thee canonical works, the Upanishads,
the Brahma sutras, and the bhagavad geeta.
PUJA
Worship the performance of a religious rite in which
any deity is invoked
PURANAS
A class of Hindu scriptural literature, considered
mythological, yet highly philosophical.
PURUSHARTHA
The four goals of human life, namely dharma, artha, kama,
and moksha, that is righteous conduct, acquiring of wealth
and possessions, satisfaction of desires, and finally liberation.
RAJAS
One of the three gunas, marked by activity and dynamism
agitations also is a part of it
RAMAYANA
The anterior of the two great epics of the Hindus, author Sage
Valmiki, the story of Rama and Sita, consisting of 24000, stanzas.
RAJA YOGA
The royal science, the eight limbed yoga of Sage Patanjali
RISHI
A seer
RIG VEDA
The first of the four Vedas, the oldest book known to man,
mainly consists of hymns of praise and the precious
collections of the Aryans of the day.
SAGUNA
With attributes or
qualities
SAMADHANA
Single pointed ness of the mind
SAMA VEDA
The most voluminous of the four Vedas, deals with the melodies,
contains the songs to be chanted at the rites and sacrifices
with their correct modulations and intonations, a purely
liturgical collection.
SANATANA
Eternal
SATVA
One of the three gunas marked by purity, calmness,
tranquility and all that is good in human nature.
SINDHU
The river of that name, now known as Indus, another
meaning, the ocean
SMRUTIS
Man realized, brought forth from recollection, deal
with the practical application of the eternal
principles according to the need of the changing
times and places.
SHRADHA
Faith in the words of the guru and in the
scriptural injunctions
SHRUTIS
The Vedas, believed to be god- revealed, deal with the
eternal principles which hold good for all time and all places
SHUDRA
The serving class that contribute the labour for the
well being of the society
SUSHUPTI
The deep sleep state where only the causal body is functioning.
When the fourteen (see Jagrut organs cease from activity and
there is the absence of differentiated knowledge, that is,
when even the mind and the other inner organs do not function,
consciousness by itself remaining alone without any object for
support, then the jiva is said to be in its sushupti or dreamless
sleep. In other words, when the perceiver, feeler, thinker has
withdrawn from the world of objects, emotions and thoughts,
but is ignorant of its state being still in ‘avidya’ (ignorance)
then the self is said to be in the deep sleep state, that is sushupti.
SUTRAS
Short aphorisms which serve as memory aids, Brahma sutras,
Jaimini sutras, Narada bhakti sutras are examples.
SWAPNA
Dream state where the gross body does not function, only
the subtle and the causal bodies function, when even in the
absence of the fields, like shabda, sparsa, roopa, rasa and
gandha, that is, though the organs of the senses are inactive,
the self, not divested of its desires for them, experiences by
means of the four inner organs namely manas, budhi, chitta and
ahamkara, the objects in the fields aforesaid in the form of
desires, then the jiva that is the individual soul is in the
state of swapna or dream. In other words, when the Supreme
Reality reflects through the vasanas at the level of the mind
and intellect (body excluded ) as the perceiver, feeler, thinker
in the world of objects, emotions and thoughts then the self is
said to be in the dream state. The thinking in dream comes from
the desire or attachment to sense objects, caused by impressions
consciously or unconsciously left in the mind by the accumulated
karma, good or bad, either in the past lives, or even from current
experiences in the waking state.
TAMAS
One of the three gunas, marked by inertia, inactivity and ignorance.
TAPASYA
Practice of austerities
TIRTHA
Holy waters, also sacred place
TITIKSHA
Capacity to endure heat or cold, pain or pleasure (and such opposites),
without the least distress or lamentation.
TREAT YUGA
The second of the four Hindu time cycles, duration12,96,000 years,
only three quarters of Dharma reigns in this period.
TURIYA
When the essence of consciousness which manifests itself as and in
the three states of waking, dream and deep l\sleep, is a witness of
the states, but is itself devoid of the states, and remains in the
state of non separation and oneness, then it is spoken of as the
turiya state, which is the state of the Absolute, devoid of any
sense of duality. In other words, when the perceiver feeler, thinker
has withdrawn from objects emotions and thoughts, and is aware of the
state, having transcended avidya (that is ignorance of the self) and
therefore the vasanas, and has realized its identity with the supreme
reality, then that state is called turiya. In fact that is the real
state of man, and the other three namely waking, dream and deep sleep
are only modifications, due to avidya and functioning under maya
UPANISHADS
Generally the philosophical portions containing the esoteric knowledge,
at the end of each veda, said to be 1179 in number in all the four
Vedas put together.
UPARAMA
Strict observance of one’s own dharma
UPAVEDAS
A class of sacred literature subordinate to the Vedas
VAIRAGYA
Determination to achieve or reach, a quality essential in a
spiritual sadhaka
VAMA
Colour, distinct characteristics, the four different castes,
not on the basis of birth or parentage, but on individual’s
tendencies and actions
VASANA
The inherent tendencies or predilections
VEDA
The shrutis, god-revealed, the four Vedas, Rig, Yajur,
Sama, and Atharva
VEDANGA
The limbs of the Vedas, phonetics, grammar, vedic glossary,
religious rites, prosody, and astronomy
VEDANTA
The hypothetical conclusions arrived at in the Vedas, especially
in the concluding portions, the Upanishads, the esoteric philosophy
VEDA-UPANGS
The sub limbs of the Vedas, the six Darshanas, Nyaya, Vyseshika,
Samkhya, Yoga, Meemamsa and Vedanta
VISISHTASWAITA
Qualified non-dualism, the philosophy that preaches
that we are a part of god, the chief exponent Ramanujacharya
VIVEKA
Capacity to discriminate between the good and bad
VYASYA
One of the four castes, the trading class that supply the need
of the society
YAJURVEDA
One of the four Vedas, generally deals with the sacrificial
formulae and contains special directions for the conduct of
religious rites and ceremonies.
YOGA
Means merging of the individual soul with the universal soul,
physical exercise is only an infinitesimal part of it, it is
primarily the control of the mind and its modifications as
defined by Sage Patanjali
YOGASANA
Conducive postures for the practice of psychic control
SanathanaDharma
SanathanaDharma.com
EACH GOD IN HINDUISM HAS A
VEHICLE OF HIS OWN.
SOME OF THE VEHICLES OF
VARIOUS GODS AND GODDESSES ARE DESCRIBED BELOW:
Ganapathi - Mouse
Adityas - Seven horses / Agni
Indra -Elephant Airavata
Varuna - Seven Swans
Vayu - Thousands of horses
Vishnu - Garuda, the eagle and Adi Shesha, the Serpent
Yama - He-buffalo
Brahma - Hamsa when sitting or Seven swans
Shiva - Nandi, the Bull
Saraswathi - Hamsa or swan or sometimes peacock.
Lakshmi - Lotus flower and the owl
Maheswari - Bull
Durga - Lion
These vehicles actually represent the various energies that
exists in the universe as well as in human beings. Each god or
goddess is in-charge of a particular energy which he or she rides
and controls at his or her will.These energies are present in man
also, mostly as wild animal energies and they need to be controlled
and channeled properly in order to transform the lower self and
establish divine consciousness in him. For this he has to propitiate
different gods who if satisfied with his supplication arise or
descend into his consciousness and help him master them. We present
below a few example in support of this belief. Brahma's vehicle is
Hamsa which stands for the buddhi and for the creative and
discretionary energies in man. The word " Hamsa" is a combination
of two words, "aham"+ "sa" , which mean "I am He". This awareness
that one is God exists only in enlightened persons. Rightly Brahma
is the friend and philosopher of all the enlightened beings in the
world and he has the power to give us this knowledge about our true
nature.The bird hamsa is also very beautiful, peaceful and graceful.
It is suggestive of the fact that Brahma is the master of all the
beauty and grace in the world, and He can help us in our effort to
acquire these qualities.It is also believed that the bird has the
capacity to separate milk from water. This symbolically means that
Brahma can help us to transform our intelligence, or the buddhi, or
our ability to discriminate the right from the wrong so that we can
select the correct path to achieve salvation.
The bird moves
in waters, especially lake waters that are placid. The water
symbolically stands for our consciousness and the lake itself for a
limited consciousness such as ours. Brahma moves in our consciousness
on his vehicle hamsa and purifies it with his touch and grace.Shri
Saraswathi, the consort of Brahma is shown riding either hamsa or the
peacock. The peacock is a graceful and beautiful bird and is known for
its dance before the rain. This denotes that Shri Saraswathi can
immensely help those who want to pursue art and dance. The peacock
also eats snakes, which symbolically means that she can help those who
are accustomed to eating desires or for a better expression pursuing
desires, by providing them with the divine knowledge and learning for
which she is famous. Lord Vishnu is seated on Adi Shesha, the primal
serpent god, who represents the desire consciousness in us. Lord Vishnu
can help us either to fulfill these desires or control them. When He
travels, Lord Vishnu rides on Garuda, the giant bird. The bird
represents the human thoughts which can fly in all directions at
incredible speed. Lord Vishnu can help us to control our thoughts.
Shri MahaLakshmi rides on an owl called Uluka. The owl is a solitary
creature, that remains awake in darkness and asleep during the day
time. It rarely trust human beings and seldom seen in the company of
any other bird. It in fact stays away from people as if it has no
interest in the humanity.Those who pursue riches should be aware
of these negative qualities and pray to Shri Mahalakshmi so that she
would inculcate in them the qualities of trust, generosity and social
responsibility and would make them popular among people. She would
also help them come out of the darkness of ignorance, avarice and
selfishness,which are generally associated with the pursuit of
materialism. The owl is also regarded as an inauspicious image by
the Hindus, who believe that if an owl visits a house in which people
live, it is an ill omen.
Shri Mahalakshmi with her grace can remove all negative, inauspicious
and adverse influences from our lives. If some one is suffering from
adversity, they should pray to her because she, who controls all
ill-omens and adversities can ward them off and bring them prosperity.
Thus She has rightly been shown as using a rare bird like an owl
as her vehicle.
Lord Siva rides the Bull, Nandi, which stands for the bullying,
aggressive, blind and brute power in man. It also stands for unbridled
sexual energy, kama. Only Lord Siva can help us control these and
transform them.His consort Shri Parvathi, variously called Uma,
Chandi, Durga or Kali uses lion as her vehicle. Lion stands for
cruelty, mercilessness, anger, violence and hostility
towards other beings. Pravathi with her grace can help man to
control all these qualities in him and become an enlightened being
like Lord Siva. Ganapathi uses as his carrier a very small mouse,
which represents the fear and nervousness in man, the feeling of doubt
and weakness that overwhelm usbefore we start a venture. By praying to
Ganapathi, his devotees can overcome such feelings from their minds
and go about their task confidently, with the assured feeling that
Vignaraja (Lord of obstacles) alone can remove obstacles
from our minds.
Thus we can see that the vehicles of the gods are
actually the energies on which they have absolute control.
By praying to them we can also learn to control
these energies in ourselves.
SanathanaDharma.com
THE FOUR ASHRAMS
There are four distinct stages in man’s life according to the
Indian tradition. They are the following four ashramas.
1. Brahmacharya (celibacy)
2. Grahasta (household)
3. Vanaprastha (recluse)
4. Sanyasa (mendicancy)
The four ashramas corresponds to these four stages of life.
Brahmacharyashrama is the early period of life when the young boy
is initiated in thee study of the scriptures. The religious master
(guru) takes him as full-time disciple and personally imparts
the sacred knowledge of Vedanta to him. The brahmachari
(celibate) observes the vow of celibacy and takes in the knowledge
in a spirit of surrender and worship. The initiation is usually
done between the age of six and eight years and the training
imparted for about 12 years. When the boy returns after
completing his studies (called samavarthanam) he is fully
charged with spiritual knowledge. He is well equipped to
face any situation or challenge of life and work himself
up to realisation of his supreme Self.
The brahmachari goes through the initiation or upanayana
ceremony when his intellect matures. That is the time when
he is able to think independently. The parents of the boy
conduct this ceremony in their home. The hair on the boy’s
head is shaven off leaving a small tuft at the back.
The sacred thread consisting of three white cotton strands
is put around his neck and waist like a cross belt.
The verse from a hymn of Rigveda called Gayatri mantra
is whispered in his ear. Soon after the ceremony is over
the boy is sent to gurukul (guru’s residence) for spiritual
education. The word ‘upanayana’ literally means "bringing near"
(upa = near, nayanam = bringing). The ceremony is meant to
bring the disciple near the master both physically and
spiritually. The disciple is guided carefully and taken
gradually to the highest spiritual awakening in which
his guru revels.
The shaving of the head indicates the removal of desires.
When the disciple approaches the teacher he is expected to
leave behind all material and sensual desires and bring with
him only a few spiritual desires. They are desires to serve
the master, learn from him, apply his teachings to his own
life and realise his supreme Self. The hair that is removed
represents the material and spiritual desires while the tuft
left behind symbolises a few spiritual desires that he needs
to carry to his master for his ultimate realisation.
The tying of the two ends of thee sacred thread around his neck
and waist signifies the boy’s determination to unite his finite
personally to the infinite Self that he really is. The three
strands of cotton comprising the sacred thread may be taken as
representing the sattwic, rajasic and tamasic gunas which are
the tree states in the mind that every man is composed of, or
they could be taken as the waking dream and deep sleep which
are the three states of consciousness that man goes through.
The determination of the student indicated here is his
commitment to transcending these three states of the mind or
the three states of consciousness and reaching the fourth state
called turiya in Sanskrit which is his supreme state of Realisation.
The second stage of life is that of the grahastashrama.
The grahasti (householder) leads his life with his wife and
children performing his obligatory duties. He fulfils his
sacramental rites to ancestors and gods in submission to
the spiritual authority of the brahmins. The husband and
wife live a normal marital life- disciplined, never indulgent.
Both of them find a beautiful opportunity to live a life based
on "giving rather than taking" and learn to love, to serve, to
sacrifice. In short, married life is an ideal field for one to
develop the noble qualities necessary to lead a true religious
life.
Having imbibed such qualities through a disciplined life the
grahasti enters the third stage called vanaprashatashrama.
In this stage the married man continues his companionship with
his family members but develops more mental abstinence and
detachment. The vanaprasthi (recluse) gains greater spiritual
maturity. He practises the art of living in a spirit of
dispossession amidst his possessions. He maintains a sense
of detachment in all his transactions of life. With the coming
of age of his sons he even renounces worldly possessions and
family life and retires to solitude for contemplation and
meditation.
The last stage of life is the sanyasashrama. The sanyasi
(mendicant) is a homeless beggar-saint. He renounces the
world and fully attunes himself to the pure Consciousness
within him. He wears an orchre-coloured robe. Orchre is the
colour of fire. His ochre robes are therefore meant to indicate
that his body is burnt away and he has no right to claim
anything from society. He wants nothing from world. His
life is dedicated to giving to service, to sacrifice, for
the betterment of humanity.
Even though there are the above four stages of life man need
not mechanically go through all the stages. Some men may be
qualified to skip over the stage of householder if they have
no vasanas or tendencies to go through martial experience.
Others may lead a true life of a sanyasi without having to
go through a ritual of taking ochre robes of a sanyasi. In
other words, the four categories enumerated above are only
meant to picturise the different stages of development of a
normal human being and the necessary training is needed at
each stage to escalate him to the realisation of the Self.
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SANT EKNATH
SANT EKNATH is like a bridge between his predecessors Dnyaneshwar
and Naamdev and successors Tukaram and Ramdas. His philosophy is
a synthesis of the quest for the immanent and living with the imminent.
This great saint of Maharashtra was born sometime around 1530 AD
in an illustrious Brahmin family of Pratisthan (present Paithan).
Sant Bhanudas, who brought back the sacred image of Lord Pandurang,
from Vijaynagar to Pandharpur, was Eknath’s great grandfather.
Eknath was born under the star sign of ‘Mula’ in sagittarius
constellation, traditionally considered a bad omen for the parents
of the child. In reality also, Eknath’s father Suryanarayan and
mother Rukmini died shortly after his birth and Eknath was
brought up by his grandparents, Chakrapani and Saraswatibai.
Due to this Eknath had to suffer taunts from other children.
As a result, Eknath avoided their company and devoted his time
in devotional practices. When about twelve years old, Eknath
heard about. Janardanswamy. This great scholar lived in Devgiri
renamed as Daulatabad by the Muslim rulers of the time. Eager to
become his disciple, Eknath trudged all the way to Devgiri.
Janardaswamy was amazed by this extra-ordinarily gifted boy
and readily accepted him as his disciple. He taught Eknath Vedanta,
Nyaya, Meemansa, Yoga etc. and most importantly, Sant Dnyaneshwar’s
works. Janardanswamy was a devotee of Lord Dattatreya,
the son of Atrimuni and his wife Anasuya. ‘A-tri’ signifies
‘atmabodh’, which transcends the "trigunas", viz., sattwaraja
and tamah.
‘An-asuya’ means devoid of ‘asuya’, i.e., ill feelings of the
mind. "Dattatreya" thus symbolizes ‘atmabodh’ and purity of mind.
with the guidance of the Guru as well as his own untiring efforts,
very soon Eknath also accomplished his "Dattadarshan", i.e.,the
realization of "atmabodh" and purity of mind.
The Guru then asked Eknath to proceed on pilgrimage. He
himself accompanied Eknath upto Nasik-Tryambakeshwar.here,
Eknath wrote his famous treatise on Chatushloki Bhagavat.
He explained the significance of these four sacred shlokas of
the holy "Bhagavat" in 1036 specially metered verses known
as "ovee"s.
After completing hispilgrimage of various holy places of west and
north India, Eknath returned to Paithan. His grandparents
were extremely delighted to see him again and implored him to marry.
Eknath and his wife Girija were truly made for each other and
established an ideal examples of ethical living. In time,
the couple was blessed with two daughters, Godavari and Ganga
and a son Hari. During the intervening period of about 250 years
between Dnyaneshwar and Eknath, various invaders ravaged
Maharashtra. Defeats after defeats had completely demoralized people.
The great legacy of Dnaneshwar was nearly forgotten. Eknath devoted
himself to change this situation. His first task was to locate the
"samadhi" of "nyaneshwar and trace the undistorted version of
"Dnyaneshwari". In fact, without Eknath’s all-out efforts, the legacy
of Dnyaneshwar could well have been lost to the succeeding generations.
He also devoted him self in fighting against cartelism and other ills,
which were rotting the society.
Eknath’s teachings may be summarized as "Vichar, Uchchar and Achar" –
i.e., purity of thought, speech and practices. Exemplifying the way of
ethical living, he practiced what he preached. His works, verses and
preaching kindled hope among the people at a time when they needed it
most. At last following the example of his idol, Dnyaneshwar, he left
for his heavenly abode by embracing "jalsamadhi" in sacred Godavari on
the Krishna Shasthi day of Phalguna in the year Shaka 1521 (1599AD).
INTERNATIONAL DIVINE CENTRE
DAKSHINA BHAJANA SAMPRADAAYAM
RADHE KRISHNA |
DAKSHINA BHAJANA SAMPRADAAYAM
DAKSHINA BHAJANA SAMPRADAAYAM
(By Achala Bhakthan)
GOPIKAA GHEETHAM
Gopikaa Geetham is the
celestial song sung by Vruja Gopis in praise of Lord Krishna. This
projects the depth of Viraha Thaapam suffered by Gopis when Krishna
diappears and their pure Prema Bhakthi and the highest spiritual heights
attained by them. This song also brings out the Sringaara Rasam of Gopis
with Krishna. This finds its place in the midst of DEEPA
PRADKSHINAM, .The same tathwa is given in the form
of RAASAKREEDA in the Tenth
Skantham(middle) of Bhaagavatham. This is to be sung with devotion, in
rapt attention and reverence without any Thaala or sounds. Tears should
flow from the eyes in Bhakthi. Normally this is sung in
CHENCHURUTTI & PUNNAGAVARAALI raagaas which are so
touching and denotes
devotion.
The mythological story
goes like this:- Gopis who enthralled in the presence of Krishna with
ecstasy during the Raasa Leela, thoughtless about their worldly duties,
relations and existence and always longed for Krishna's company, had
developed an EGO, i.e. each Gopi claiming that Krishna is hers and hers
alone and He likes/loves her only. This possessiveness is Saathwic Ego as
it relates to Possessiveness towards Lord. Krishna considers it the right
time to help Gopis caste away this EGO too and give them the Knowledge
(i.e. make them realise the real nature). He disappears temporarily from
there midst and made Himself not reachable by them. At this time, Gopis
felt loneliness and could not concentrate on their work and grieved over
the absence of Krishna. They realised that without Krishna, nothing moves,
nor is it possible to do anything. And it is the presence of Krishna that
made them happy and active. Even Living became a torture without Krishna.
Having realised this, they started wandering in the Kaalindhi River bank,
where they used to be in the company of Krishna and craved for his
appearance by admitting all their ignorance and egotism. The opening sloka
brings out the import: size=3>
THATVICHESHTAA:
THADAATHMIKAA:
THADGUNAAN EVA
GAAYANTHYA:
NA AATHMAAKAARAANI SASMARU
PUNA:
PULINAM
AAGATHYA
KAALINDYAA: KRISHNA BHAAVANAA:
SAMAVETHA JAGU:
KRISHNAM
THADAAGAMANA KAANSHITHAA:
Meaning:
Thinking about THAT,
Singing about the Gunaas of THAT, Remembering about the Leelaas
(Playfulness) of THAT, Concentrating on THAT, Singing in praise of
THAT, without a bit of self-feeling (loss of EGO), (Gopis) kept on
visiting Kaalindhi river banks again and again (repeatedly) always
in the memory of Krishna and finding in every Sthaavara Jangama
Vasthus Krishna's figure only, longing for the return (appearance)
of Krishna, of course by singing the Gopikaa Geetham song.
The word 'THAT' used here refers to Paramaathma Thathwa,
i.e. in the form of KRISHNA here.
The Song : JAYATHI THEDIKAM KRISHNA JANMANAA VRUJA: is
to be sung in full, in raaga Chenchurutti & Punnagavaraali
by sitting around the Deepam. Despite their cry,
Krishna did not appear.
YETHESUJAATHA CHARANAAMBRUHAM
STHANESHU BHEETHA:
SANAI: PRIYA DADHEE MAHI
KARKASESHU
THENAAADAVEEM ATASI THAD VYATTHATHE NA
KIMSWITHU
KOORPADIBHI: BHRAMATHI DHEE: BHAVADAAYUSHAM NA:
Then Gopikaas sung the
song of Saranaagathi (total surrender) -
(to be sung in raaga Sinhendra Mahyamam):
THWAM EVA MAMA SARANAM KRISHNA
THWAAM VINAA ANYAM NA JAANE
Philosophical Import of
Gopikaa Geetham:
Though Mythology
projected Gopikaa Geetham as the song sung by Gopis, there is a message
for all of us. Gopis are the embodiment of Bhakthi towards Krishna.All of
us, the Jeevaathmaas, must become Gopis to attain Paramaathma (Krishna).
Jeevaathma is a spark coming out of the Paramaatma (self-willed leela of
Paramaathma) but having got entangled in the Samsaara Chakra by Maaya,
forgot about the real nature and is sunk in the materialistic pleasures
which are impermanent. Jeevathma should realise the real nature and try
to attain Mukthi, i.e. the knowledge of the Brahman and ultimately
should reach the abode of Paramaathma. This should be our aim while
singing Gopikaa Geetham. The Poorva Sloka before Gopikaa Geetham is
full of philosophical import and conveys as to how the Bhaktha should
address the Lord and what Bhaava one should have while singing
Gopikaa Geetham.
Every human being entangled by the worldly pleasures possesses Ego,
a basic negativequality, which hinders the human evolutionary process.
A Bhaktha may cast away all worldly pleasures and relationship with
the materialistic world and live an ascetic life but cannot discard
the EGO, which the Lord alone can help to discard. The Gopikaa Geetham
song is the way by which God helps Gopis (Jeevaathma) to cast away the
EGO. The Lord helps Bhakthaas only when they, in total surrender,
calls for His help, without AATHMA
ABHIMAANA, i.e. without identification with Deha, Manas, Chittham,
Buddhi,
Ahamkaar.
Pleased with the
Bhakthi and total surrender of Gopis, Krishna appears before them.
The following slokas, detail the reappearance of the Lord:
ITHI GOPYA: PRAGAAYANTHYA:
PRALAPANDYASCHA CHITHRADHAA
RURUDU: SUSWARAM RAAJAN
KRISHNA DARSANA LAALASAA:
THAASAAM AAVEERA BHOOCCHOWRI:
SMAYAMAANA MUKHAMBUJA:
PEETHAAMBARADHARA: SRAGVEE
SAKSHAATH MANMATTHA MANMATTHA:
Meaning:
When Gopis lamented
thus by singing in praise of Him in touching raaga and laya, without Ego
and in total surrender, they visualised the Lord, who appeared before them
with a most beautiful figure, with a smiling face, wearing Peethambaram,
conquering Manmattha (the Lord of Love) in beauty.
THAM VILOKYA AAGATHAM PRESHTTAM
PREETHUTHPHULLA DHRUSO ABALAA:
UTTHASTTHU: YUGAPATH SARVAA:
THANWA: PRAANAM IVAAGATHAM
Meaning:,p> color=brown>On getting the darshan of the Lord, who
appeared before them (Self-willed), the Gopis got up in a jerk
as if their bodies were inert (dead) and suddenly as though the
Praana entered their body again.
KRISHNASYA MUKHA
LAAVANYA-
SUDHAAM NAYANA
BHAAJANAI:
APEEYA APEEYA NA
ATHRUPYAN
SANTHA: THATHCHARANAM YETTHA
Meaning:
Looking at the beauty
of Krishna's face and the moving eyes in smile, they enjoyed the scene
again and again, as though they are ever unsatisfied and wanted more and
more of it. They never wanted to come out of that Ecstasy and remained in
His presence in total BLISS.
Then Krishna through
Raasakreeda, makes them realise that each one is of Krishna Swaroopa,
i.e. He is in every one and also stays alone (in Fullness) as unattached
and unbound.
This is clearly brought out in the song after Gopikaa Geetham:
ANGANAAM ANGANAAM ANDHARE MAADHAVA:
MAADHAVAM MAADHAVAM CHA ANDHARENA ANGANAA
ITTHAM AAKALPITHE MANDALE MADHYAGA:
SANJAGOW VENUNAA DEVAKI NANDANA:
This is the description
of RAASAKREEDA Scene in Brindhaavan
wherein Krishna formed a circle by placing in between two Gopis
(Anganaam) One Krishna and in between two Krishnaas one Gopi (Angana)
and finally in the Center of the circle Krishna again and made them
all feel the one-ness and enjoy total BLISS. This shows that
Paramaathma is present (unattached and unbound) in every Jeevaathma
and at the same time the Paramaathma, in fullness, is also in the
center of all activities. This is the greatest Philosophical Thathwa
we should learn from this celestial song. In our scriptures,
there is a mantra, bringing out this theory clearly:
POORNAMATHA: POORNAMIDAM
POORNAATH POORNAM UTHASCHYATHE
POORNASYA POORNAM AADAAYA
POORNAMEVA AVASISHYATHE
Brahman, the Poorna
Swaroopa is here and there (but unbound and unattached) in Poornathwa and
when thus divided, the divisions are all Poornam and what is left behind
also remains as Poornam. Meaning: God is everywhere in fullness (unbound
and unattached) and also stays as the center of activities in
fullness.
The songs that follow
are all explained in Deepa Pradakshina Paddhathi, which is concluded with
the other sampradaaya songs.
Then we perform
Dolothsavam, the Union with God (Aatma Nivedhanam). Full description of
Dolothsavam is handled in a separate article.
: SWASTHIRASTHU
:
PADHDHATHI BHAJAN
HIS HOLINESS SRI SRI SWAMY HARIDOSS GIRI SWAMIGAL
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM
GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA
GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA
SADHGURU GNANA VINAYAKA MURTHYKI -- JAI
SARADA DEVIKI -- JAI
VALLI DEVA SENA KANTHASMARANAM --
JAI JAI SUBRAMANYAM
NAMA PARVATHI PATHAYE -- HARA HARA MAHADEVA
SRI DURGA DEVIKI -- JAI
GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA
SRI MAHALAKSHMI DEVIKI -- JAI
SRI SITA RAMACHANDRA MURTHYKI -- JAYA JAYA RAMA RAMA
GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA
PUNDARIKA VARADA -- HARI VITTALE
THYAGARAJA SWAMIKI -- JAI
ANJANEYA MURTHYIKI -- JAI
VAINADEYA MURTHYKI -- JAI
SWAMIYE -- SARANAM IYYAPPA
SAMASTHA SADHU MANDALAKI -- JAI
RADHE KRISHNA RADHE KRISHNA RADHE KRISHNA
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-I
THODAKA MANGALAM
GURU DYANAM
SRI SRI GNANANDA GIRI SWAMIGAL KEERTHANAIGAL
SRI SRI SWAMY HARIDOSS GIRI SWAMIGAL KEERTHANAIGAL
SRISADHGURU SWAMIGAL KEERTHANAIGAL
SRIDHARA VENKATESA IYYAVAL SWAMIGAL KEERTHANAIGAL
SRI BHODHENDRA SWAMIGAL KEERTHANAIGAL
SRI ADHI SANKARA BAGAVATH PATHAL
SRI CHANDRASEKARENDRA SWAMIGAL
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-II
SRI JAYADEVAR ASHTAPATHI / SRI GEETHA GOVINDHA MAHA KAVYAM
SRI NARAYANA THEERTHA SWAMIGAL THARANGINI
SRI SADHASIVA BRAHMENDRAL KEERTHANAIGAL
SRI BHADRACHALA RAMADOSS SWAMIGAL KEERTHANAIGAL
SRI PURANDARA DASAR SONGS
SRI RAGAVENDRAR KEERTHANAGALU
SRI VIJAYA GOPALA SWAMIGAL GURU DYANAM
SRI KRISHNA CHAITANYAR KEERTHANAIGAL
TAMIL GURU KEERTHANAIGAL
TELUGU GURU KEERTHANAS
MARATHI GURU KEERTHANAIGAL
UTHUKKADU MAHA KAVI KEERTHANAS
HINDI BAJANS
KANNADA GURU KEERTHANAGALU
SADHGURUKKAL MAHIMA
SRI GOPALAKRISHNA BHARATHIYAR KEERTHANAIGAL
SRI SADHGURU THYAGARAJA SWAMIGAL KEERTHANAIGAL
PRACHINA SAMPRADAYA BAJANAMRUTHAM PART - III
POOJOPACHARA KEERTHANAIGAL
SHETHRA MAHATHMIYAM
UPACHARA KEERTHANAIGAL
DIVYA PRABANDHAM
SRI GANESHA DYANAM
SRI SARASWATHI DYANAM
SRI SUBRAMANYA DYANAM
SRI SAMBASIVA DYANAM
SRI SMBAL DYANAM
SRI VISHNU DYANAM
SRI MAHALAKSHMI DYANAM
SRI RAMA DYANAM
SRI SITA DYANAM
SRI KRISHNA DYANAM
SRI PANDURANGA DYANAM
SRI NARASIMHA DYANAM
SRI VENKATESA DYANAM
SRI HARIHARA PUTHRA DYANAM
BENGALI KEERTHANAIGAL
MARATHI KEERTHANAIGAL
MALAYALA KEERTHANAIGAL
SRI ANJANEYA DYANAM
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-IV
DIVYA DEEPA PRADHAKSHINAM
GOPIKA GEETHAM
RASAKREEDAI
KOLATTAM
GUMMI
PAMBHATTI SIDDHAR PADALGAL
KADUVELI SIDDHAR PADALGAL
VEDANTHA ODAM
PANDURANGA DYANAM
SRI NATARAJA DYANAM
DASAVATHARA DYANAM
ANJANEYA DYANAM
NAMA GOSHAM
DEEPA SAMAROPANAM
HARI BHAKTHI MAHIMAABHANGAM
SADHGURU MAHIMA (ABHANGAM) PRADAKSHINAM
PRARTHANA GEETHANGAL
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-V
DOLOTHSAVAM ( SAYANOTHSAVAM)
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-VI
MANGALA CHARANAM SLOKAS
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-VII
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM
PART-VIII
SRI RADHA KALYANAM
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM
PART - IX
SRI RUKMANI KALYANAM
PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-X
SRI SITA KALYANAM
OM GANESHAYA NAMAHA
According to ancient Indian through each Yuga has its special
features as designed by the cosmic intelligence. Kali Yuga is
characterized by unbounded desires, extreme pulling pressure
towards worldly existence, breaking down of Brahma Tej (Value
System) and dilution of Kshatriya Tej (King's Dharma) bringing
about chaotic conditions for the common man. Yet, all is not
lost in this Yuga.
It is opined that in Kali yuga, the path to "liberation"
(Nirvana) is the easiest as compared to other Yugas. If one's
final destination is to reach Him; with virtually minimal
efforts, Kali Yuga offers the best opportunity. Great minds
that have examined the nature of this Yuga have come up with
a simple remedy for the common man to push ahead in Kali Yuga.
A remedy that is easily accessible and capable of being
practiced by every one. Leading to joy in living amidst
disturbances and taking one towards the goal of Godhead.
This remedy is popularly known as the Namasankirthana Marga.
This webpage highlights the details of this method and how
it is being re-introduced for us all to benefit form, to help
us to face the challenges that lie ahead. For, now we stand
at the portals of 21st Century, where the effects of Kali Yuga
perhaps may reach the flash point.
WHY NAMASANKIRTHAN? Easy way to Adopt
Unless the mind is at peace, no thought of God would enter
the portals of one's heart.
Meditation calls for concentration, which requires a
deliberate effort on the individual. Yoga marga calls for
physical fitness and control of the senses. These methods
are verily possible ; but not for many steeped mundane concern
and worry. Yet, amidst all such concern and worry the natural
activity of breathing goes on and on.Namasankirthan is akin to
such a natural process of our daily living.
Thus, it does not call for any initiation nor training and
could be carried on. Naturally. Easily.
Like a Rhyme
When a child is disturbed, to pacify, the mother starts of with a lullaby. As the child
enters the school, the child is introduced to nursery rhymes to sing and
dance along with other children. This enables the child to cope with the
new environment away from home and to feel secure. Only when the child
feels secure does it start absorbing what is being taught. The lullaby and
the nursery rhymes by no means are great pieces of literature or music.
Yet, could any society do away with them? The pressure of living has left
us all insecure like young children away from home. The need of the hour,
therefore is nursery rhymes i.e. Namasankirtan.
Reminder of Home
Theologically speaking, it is believed that taking birth is a difficult
choice; and that the innate desire of every individual is to get back
to the comfort of the home. Yet as a child who is absorbed in it's
escapades, oblivious to the home, only when the thought of home crosses
its mind, the danger of staying our crosses it's mind. Namasankirtan
is a gentle reminder of the home so that we do not overdo the adventure
in our wordly existence.
Guru to the Rescue
Having stayed out and lost our way in the wilderness of the world,
though the thought of the home has come to us, many have already
lost their way. Gurus come along to guide us back to where we belong;
His Kingdom. The Kingdom of God.
The Role of Guru
God's Incarnation
All of us are familiar with the celestial song Bhagavat Gita and
particularly the stanza on God incarnating every yuga to restore
balance.
Paritraanaya Sadhoonam Vinashaaya Cha Dushkritham
Dharmasamsthapanarthaya Sambhavami Yuge Yuge.
Everytime one finds adharma for which no remedy is available
one tends to wait for the arrival of the Lord to incarnate.
however, he does not incarnate at our will. Instead, in His
infinite wisdom He sends messengers in the form of Gurus
who are charged with the onerous task of changing the
negative tendencies among people and to lead them through
the journey of terrestrial among existence. For, He is the
Director of the play of life and only on rarest of rare
occasions does He take on the role of an actor. When it is
demanded that he should incarnate to save the universe from
cataclysmic catastrophy.
Who is guru ?
The word guru means one who removes darkness; darkness from
our minds. In our everyday life among our friends we find
some one different from others. Oftentimes, it happens
he has a greater sense of wisdom, perception and clarity.
He might have indulged along with us in all our pranks;
yet our inner sense always told us that he is different.
Such people evolve faster and take on the mantle of
spiritual leadership.
There are sets of individuals who belong to religious order
and trained to become leaders. Like in a Business school,
such individuals are scouted for and initiated into the
order to become religious heads to guide humanity towards
Godhead.
Also, there are men who have had the wisdom from childhood,
who on their own volition turn their efforts towards
"inward search" and become enlightened.
Amidst such people one also finds a host of men who are
yet to evolve and are still insecure like us all but
who out o ignorance assume the role of Gurus, even before
they are ready for the task.
Who Seeks Whom?
One has, therefore to exercise extreme caution before
one accepts a Guru. Indeed the truth is, the Guru searches
after his disciples and not the otherway around. Thus,
until the time arrives for us to know our Guru whom else
to turn to, other than Lord Narayana,- the ultimate Guru
for us all. Thus, through Namasankirthan, the Adi Devata
Sri Panduranga vittala, is ready to guide us in our search
for a Guru. Namasankirthan is the way to find our guide
who would lead us back to our original abode.
The Kingdom of God.
Recommendation by all Gurus
All Gurus of renown have preached and practiced the
same universal truth. The vehicles they have adopted
might have been many to fulfil their mission to bring
about order in the world as per His bidding.
Most of us cling on to the vehicle and do not travel
to the destination shown. Despite such limitations
in our mindsall these great men have advocated in a
singular voice the benefit of Namasankirthan.
The easy way to evolve. Thus in this marga, there is
no theology; no class distinctions; no merit of
learning or scholarship. All are equal. For the evolved
as well for those evolving. Thus the universal Advice
of Gurus is same : take to Namasankirthan to attain
joy and peace.
NAMAM AND NAMI
Which is powerful, Lord, "Thy name or Thyself" queried
Narada.
The Lord replied:
Naham Vasami Vaikunte
Na Yogi
Hridhaye Ravow
Madh Bakthaha Yathra Gayanthi
Tatra Thishtami
Narada
"I lie neither in vaikunta nor in the heart of Yogis.
I stand before my Bakthas when they call me (sing)
in love for me"
Sri Suka Maharishi, the cvenerable son of
Veda Vyasa proclaimed that:
Kalow Sankeerthya Kesavam
"Singing the glory of Lord Kesava is perhaps the easy
way to attain emancipation in the age of Kali".
THE TRINITY OF NAMASANKIRTHAN
Number Three
The number three has a special significance in matters
relating to the divine. In numerology this number
represents Jupiter - known as Gurugraham -
the absolute benefit planet.
Trinity of Cosmic Play
The cosmic play is
enacted by the Trinity - Brahma, Vishnu, and Shiva -
for their three fold role of creation, preservation
and rejuvenation.
Music Trinity
Similarly, when we talk of music we recall the trinity -
Thyagayya, Muthuswamy dikshidar and Shyama Shastri.
One always goes back to their contributions to get
enriched in music.
Trinity of Namasankirthan
Namasankirthan,
similarly has a trinity of wisemen who codified the
system. Reverentially known as the Sathguru
Sri Bodhendra Swamigal, Sathguru Sridhara Venkatesa
Ayyaval and Maruthanallur Sri Sathguru Swamigal.
If Namasankrithan has
no format as per definition, then to talk about
the trinity of men who condified it, might appear
as a contradication. A little reflection would
prove the contrary.
Padhadhi
Language has limitations - as one tends to indulge
in semantic differences. If one could read the
word codification as an equivalent of padhadhi the
cinfusion disappears.
Trynity of Great Renaissance
The trinity of great men brought about a renaissance
in the practice of Namasankirthan. In this lies their
signal contribution. Meeting the needs of humanity
they had toserve.
Sathguru Bodhendra Swamigal
Sri Bodhendra Swamigal adopted the simplest format of Ramanama sankirthna as the only
necessary step. His padhadhi was know as the Rama Nama Siddantham. The
concept he adopted was simple. If Saint Valmiki, who by even chanting MARA
instead of RAMA could achieve such great heights of evolution, then there
was no need to search for any other nama. Sri Bodhendra Swamigal's life's
mission was to spread the two syllable name of RAMA to be chanted with all
its possible variants to express different emotive communication with the
creator in various ragas and in classical styles. He believed and rightly
so, that when the Taraka Mantra is available, why search for more namas.
The repetition of the same nama in different styles appeals to both the
learned, musically inclined and to the commoner. This is called the Rama
Nama Siddantam meaning achieving Siddi through Rama Nama.
In Support of this claim, non other than Iswara proclaims in Vishnu Sahasranama thus:
Sri Rama Rama Ramethi Rame Raame Manorame
Sahasranama Thathulyam Rama Nama Varanane.
One who is sweet to mind. Called endearingly Rama Rama,
In Him I reside. And Rama Nama is equal To His thousand other names"
Sathguru Sridhara Ayyaval
Sathguru Sridhra Ayyaval, the next in line did not differ from Swami Bodhendra. However, in
tune with the expanding need for Namasankirthan he adopted a neo-classical
style for this movement and claimed "call whatever name you want to; but
never cease to call" This is a deliberate departure as people even
belonging to other sects, who strongly believed in theur Ishta Devatas
could be drawn to this movement. His style was not rigid but the concept
of emotive appeal in call was the dominant proposition.
Sri Sathguru Swamigal
Sri Sathguru Swamigal went on step further. He toured the length and breadth of the country; collected both rustic and other forms of Namasankirthan and compiled them into compendiums; the virtual store house for this movement, for others to emulate and to refer to. He claimed that each on could call the several Namas of God and dance around in unison in whatever way each one was used to and as taught to them in their nativity. As long as the purpose was served of calling Him was fulfilled, the movement would pick-up momentum. The Abhanga form of North India could be classified under Sathguru Padhadhi.
With communication expanding, the world has become narrower. Thus, today Namasankirthan is being followed as recommended by Sri Sathguru Swamigal in contemporary style throwing open the flood gates as it were, for all to take to it not only in India but around the globe.
The World Movement
Sri Sathguru Swamigal's padhadhi had all features to make it a world movement. The honour of engaging in this divine task feel on the lot of Swami Sri Haridhos Giri, the chief disciple of Seami Gnanananda Giri of
Tapovanam. On initiation into sanyasa, the young Sri Haridhos Giri
Swamigal had nothing else to seek except the lotus feet of his Guru
Maharaj. His guru bakthi knew no bounds. Truly he practiced in his own
life the padhadhi categorized by Sri Sathguru Swamigal as Guru Vandanam -
viz., sining the Guru's praise with love, devotion and
dedication.
Knowing intuitively that Swami Haridass Giri was going to
make a mark in the world arena in the field of Namasankirthan, Sri
Gananananda Giri Swamigal after giving him the Deeksha, charged him with
the task of spreading this master got all that there was to know, so also
it happened to swami Sri Haridhos giri. From his master - through the
touch of his master's lotus feet on his head. Energised thus, the last
three decades had seen Namasankrithan being spread all over the globe, by
Swami Haridhos Giri who is endearingly called by his devotees as
GURUJI.
SIGNS AND
GREETINGS
A world movement needs its own visual means of recognition. Also when the fraternity meets to bring about a sense of camaraderie, special greetings will have to be exchanged.
The Namasankithan movement piloted n\by Swami Sri Haridhos Giri has adopted the sign of the index finger and the middle finger of the right hand streatched making a formation of the alphabet "V" with other fingers turned inside towards the plam. This symbol does not denote the theological concept of dualism. Nor does it indicate the alphabet V to denote victory.
The two fingers represent symbolically the prakrithi represented by Radha and the Parampurusha represented by Krishna. All of us are parts of prakrithi - the female principle in creation. The only true purusha in Krishna. The gopikas represent in Krishna Leela the Dasya Marga adopted by the Rishis to reach the Parampurusha. Namasankirthan is a branch of Bakthi Marga in Dasya Bahva(looking upto Krishna as the dominant male) to love Him, as a female would pine for her lover to bring about the union with the
Parampurusha.
In Bakthi Marga four different ways to communicate with the Lord are prescribed viz., The Matru Bhava (God as Motehr) Vatsalya bhava (God as a child) Sakya Bhava(God as a friend) and Dasys Bhava (God as one's husband). In the Namasankirthan route the calling out the divine names should lead one to ecstatic height of joy and to forget the temporal care and concern. To raise one to such emotive empathy would be possible only under the Dasya Bhava. Therefore, Swami Sri Haridhos Giri chose the sign as explained and designated the Greetings among his followers as Radhe Krishna.
HOW NAMASANKIRTHAN WORKS
The human mind keeps generating thoughts. It is like the waves in the ocean. It is like the waves in the ocean. Constant. Everpresent. However, in side the waves it is calm. Thus, instead of trying to control the thought process which in any case would be a futile exercise, accept that the thought waves like the waves in the seas would exist always. Yet , if one wants to keep away the effects of the ways, one should transcent it. Go under the waves.
It would be common experience that when one gets under the water, no waves are perceived nor felt. Since we hold our breadth, the concentration is intense on the "breadth". In a similar fashion, in ecstatic mood of signing or dancing in love for thelord, one transcends the mind, for one's concentration is on the Lord and steeped in Dasya Bhava when all other things around disappear. Including the care and concerns of our mundane life. In a therapeutic sense, Namasabkirthan would bring about the benefit of a better sense of purpose existence leading to a more attitude towards life. The mind would be charged with the faith that the Lord is ever present with us to solve our problems. Thus, a sense of well being and security descends. One is thus
prepared now well to face the world. By and by the involvement with god
takes over. Transcending other bondages and desires. Thus, Heaven is
perceived in one's environs-inside. The impact of the outside world
gradually tapers down leading to a sense of neutrality to all things. One
does not pass judgement nor express rancour.
Sense control becomes automatic as the joy experienced through Namasankirthan becomes a preferred pursuit for satisfaction replacing the gratification through senses. Mind becomes alert and one also develops a sensitivity towards the right and wrong and the travel through life becomes an enjoyable experience.
Namasankirthan ashas been explained is a free for all mode of reaching an ecstatic state of union with God through verbal expressions with feelings thrown in as the music component of this practice. All of us have in us the innate capability to express rythm, layam, raagam etc. All these are nothing but the manifested form of our emotions and feelings. Thus in namasankirthan one does not have to learn anything. One has to only tap the resourses from within.
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