Mahamantra – Ashtakshara Mantra meaning II Shri Krushna Sharanam Mamah II
The Ashtakshara Mantra or the 8 letter mantra,which is first given to the devotee who comes under Lord Shri Krishna, is no ordinary mantra. It has divine capabalities. The mantra says ” Shri Krishnah Sharnam Mamah:” literally meaning “Shri Krishna is my shelter.” On superficial view, these words may sound like ordinary ones, but they are definitely not so. They contain the meaning of the Vedas in them.The one who is bestowed with this mantra by the Grace of God and the Guru should be considered extremly fortunate.The vedas are treated as the highest authority among the ancient Indian scriptures.The four vedas along with the Bhagwad-Gita, Bhramasutras, and Shrimad Bhagwatam, collectively indicate that “Shri Krishna alone is the ultimate reality or the innermost soul of the whole universe” , he is “Purna-Purshottam”,”Paramatma”,”Para-Brahma”. Through this mantra, one comes under the protection of Lord Krishna, the ultimate reality. Once Shri Krishna, accepts one as his dasa, one doesn’t have to fear anything or anybody. Shri “Vitthalnathji”, who is popularly known as “Gosainji” has this to say about the “Ashtakshara mantra”. The one who remembers Shri Krishna is assured a place in “Vaikuntha” (adobe of Shri Krishna). (Vaikhuntam Tasya Mischitam) He further assures that Yama (deity of death) cannot even touch you if you always remember Him. All this because He loves His devotees very much. This mantra is not a man made mantra, nor is it derived from any of the scriptures. Instead, it is a mantra which was taught to Shrimad Vallabhacharya by Shri “Govardhannathji”. It is taught to those wanting an entry in Pushtimarg, in order to deviate them from worshiping any other deity apart from Shri Krishna , as no other deity has the qualities of Shri Krishna.The name Shri Krishna itself is capable of removing all sorts of worldly miseries.
“Shri” :
Suggests fortunes . “Shree” means Lakshmi which also means luck or fortune.Therefore, one who recites this name also becomes fortunate just like Lakshmi.
“Kru”:
Destroys all the sins that are performed by us in our previous lives and the current one.
“Shna”:
Keeps at bay all the miseries that one experiences in the world.
“Sha”:
Saves one from having to take birth again and again in thousands of forms and suffer miseries.
“Ra”:
Enables one to experience and understand the heavenly form and heavenly deeds of the Lord.
“Nam”:
Makes one’s devotion towards Shri Krishna strong.
“Ma”:
Initiates eternal love for Shri Krishna
“Mah”:
Enables one to enjoy accompaniment of Shri Krishna till eternity and keeps one from undergoing the the circle of life forever.
A person who chants this mantra loses his worldly attachments and develops heavenly bonds with Shri Krishna. He gains fortune and salvation. He also experiences eternal bliss. God alone becomes dear to him and he becomes dear to God. He has no fear of any kind of evil. The rough becomes smooth for him and the difficult becomes easy. The enemy becomes friend and no evil eye can affect him. He experiences no kind of pain or misery as in his heart resides Shri Krishna , who is “Eternel Bliss” Himself.
Therfore, one should chant this “Ashtakshara Mantra” with complete Faith and Devotion. God will fulfill wishes of all without fail.
Friday, August 6, 2010
Sunday, June 6, 2010
Yammunastakam
Shri Yamunastakam
Introduction
In V.S. 1548 at the age of 13 years, Shri Mahaprabhuji arrived in mathura during his first global tour; he resided at Vishram Ghat on the bank of Yamuna river. At this time he form Shri Yamunastakam which describes Shri Yamunaji�s divine description in "Pruthvi Chhand".
In Yamunastakam�s first eight shlokas, Shri Mahaprabhuji describes Shri Yamunaji�s eight fold powers, its divine & wonderful icon and her divine qualities. Shri Yamunaji is the daughter of divine Sun. Her purpose for coming to earth from heaven through Kalind mountain is to bless her devotees.
Her physical state as a river is also very attractive and charming. She is so kind that she even blesses evil people ! Shri Yamunaji blesses her devotees with eight fold powers. Even if an evil person, drinks water from the river Yamuna to quench their thirst, She blesses that person. So, if we humbly pray to her with knowledge and understanding, we should not be surprised if she blessed us also.
One of the example from Shri Mahaprabhuju�s 84 Vaishnavas, is of Kishoribai. Kishoribai was chanting only two lines from Yamunastakam with full faith. Shri Yamunaji blessed Kishoribai with all divine fruits.
Namami Yamuna Maham, Sakal Siddhi Hetum Muda,
Murari Padpankaj Sfuradamand, Renootkatam,
Tatastha Nav Kanana, Prakat Mod Pushpambunaa,
Suraa Sursu Poojitaha, Smara Pituh Shri yambibhrateem.
Shri Yamunaji is capable of giving all kind of achievements. This first shloka describes the physical state of the river. Its both banks are full of glittering sand which is believed to be as soft as lotus feet of Shri Murari Prabhu (Shri Krshna.) Also, there are various kind of gardens of the both banks of the river. The river water is full of scent due to flowers of the garden on her banks. Shri Yamunaji is also worshipped by two kinds of vraj devotees. I bow to Shri Yamunaji described above, full love and devotion. She is capable of giving fulfillment of all the desires of the devotee in enjoying God�s love.
Kalind Girimastake, Pata Damand Poorojjwalaa,
Vilas Gamanollasat, Prakatgand Shailonnata,
Sagoshagantidantura, Samadhiroodh Dolottama,
Mukund Rati Vardhinee, Jayati Padma Bandhoho Suta.
In this shloka, Shri Mahaprabhuji describes that how Shri Yamunaji can bless her devotees to increase their love towards Shri Mukund Prabhu. Also, Shri Mahaprabhuji describes the physical existence of Yamunaji as river. It flows enthusiastically from the top of Kalind mountain. The swirling waters appear to be as white as milk because of the force and flow of the river upstream. It seems like Shri Yamunaji is very eager to go in Vraj and meet Shri Krshna. It also gives impression as Shri Yamunaji is swinging in best kind of jhula. Victories to this most divine daughter of the Sun !!
Bhuvam Bhuvana Pawaneem, Adhigatamane Kashwanaihi,
Priyabhiriva Sevateam, Shuka Mayur Hansadibhihi,
Tarang Bhuj Kankana, Prakat muktikavaluka,
Nitambtat Sundareem, Namat Krushna Turya Priyam.
When Shri Yamunaji came to earth from the heavens, She blessed the whole globe by Her presence. All living beings, including birds such as parrots, peacocks and swans, serve Shri Yamunaji. Shri Mahaprabhuji visualize the glittering sand as her bangles of pearl and the waves upon the waters as beautiful divine hands of Shri Yamunaji, moving to and fro in a continuous manner. The meandering waters form beautiful banks on either side of the river, which look like the volupturous curves of a beautiful maiden. She is favorite fourth queen of Shri Krshna. And Shri Mahaprabhuji asks us to bow to her.
Anant Gunabhusite, Shiva Viranchi Devastute,
Ghanaghan Nibhe Sada, Dhruva Parasharaa Bhistade,
Vishuddha Mathura Tate, Sakal Gopgopi Vrute,
Krupa Jaladhi Sanshrite, Mama Manha Sukham Bhavayah.
In this shloka, Shri Mahaprabhuji describes the prayer to Shri Yamuna Maharani. O! Shri Yamunaji, you have infinite divine qualities. Even, Gods like Shiv and Brahama praise you. You have granted all the wishes of such great devotees as Dhruv and Parasher. Such holy cities as Mathura are on your banks. You are always with gopi�s and gopijans and you are always protected by blessings of Shri Krshna. O! Shri Yamunaji, I wish that you give me such a blessing that it gives peace and happiness to my mind. Chanting this shloka with pure and honest heart gives tremendous mental peace and eternal happiness.
Yaya Charan Padmajaa, Muraripoho Priyam Bhavuka,
Samaagamanto Bhavet, Sakal Siddhida Sevatam,
Taya Sadrushtamiyat, Kamalja Spatnee Vayat,
Hari Priya Kalindaya, Mansi Mesada Stheeyatam.
Shri Gangaji evolved from the lotus feet of Shri Bhagavan. Shri Gangaji became holy and pious due to merging with Shri Yamunaji at Triveni Sangam at Prayag (Allhabad), India. Shri Yamunaji made Shri Gangaji capable of giving all boons to her devotees. Amongst great goddesses, only Shri Laxmiji is equal and comparable to Shri Yamunaji in honor and power. I only wish that Shri Yamunaji, who can remove all worries of her devotees, and who is also the most favorite of Lord Shri Krshna, comes to stay in my heart and soul forever.
Namostu Yamune Sada, Tav Charitra Matyadbhutam,
Na Jaatu Yam Yatna, Bhavati Te Payaha Panatha,
Yamopi Bhaginee Sutan, Kathamuhanti Dushtanpi,
Priyobhavati Sevanaat, Tav Hareryutha Gopikaha.
O! Shri Yamunaji, I bow to you with my full body and heart. Your divine character is very wonderful. Just by drinking your water in Vraj, we do not have to worry about the pangs of death. Your devotees can become favorite of Shri Krshna just like the gopijanas who became His favorite by doing "Katyani Vrat" on your banks (Vrat = religious observance accompanied by fasting).
Mamastu Tav Sannidhau, Tanu Navatvam Etavata,
Na Durlabhatama Rati, Muraripau Mukundpriye,
Atostu Tav Lalna, Surdhunee Param Sangamaat,
Tavaiv Bhuvi Keertita, Na Tu Kadapi Pushti Sthitaihi.
O! Shri Yamunaji, who is the favorite of Shri Mukund Prabhu, I pray to you and respectfully request a divine body, fit enough for Shri Bhagvad Leela and also able to serve you. Only you are capable of granting such a boon. With such a divine body, I can serve Shri Mukund Prabhu very well. Pushti Margiya vaishnavas (Jivas) had never praised Shri Gangaji without your merging with Shri Gangaji.
Stutim tava karoti kha, kamalajasepatni priyae,
Hareryadanusevaya, bhavati sokhyamamokshatah,
Eeyam tava kathadhika, sakalegopikasangamah,
Smarashramajalanubhih, sakalegatrajaih sangamah.
O Thous daughter of the sun, Thou art worthy of all praises! Indeed, singing thy praises and living near thee is more desirable than Moksha (nirvana / liberation of the soul). Indeed, your sacredness was enhanced when the gopies of Vraj, along with Shri Krshna, bathed in thy waters after the Rasa. The sweat of their divine sports mixed with thy waters, enhancing your holy powers for all time to come.
Tavashtakamidam muda, pathati surasutae sada,
Samastaduritakshayo, bhavati vai Mukundae ratih,
Taya sakalesiddhayoo, Murarupushya santushyati,
Svabhavavijiyo bhavet, vadati Vallabhah Shrihareh.
This ashtaka (hymn of eight stanzas) of the daughter of the Sun, is recited on a regular basis, Shri Yamnunaji will grant such a boon so that the devotee's love for the Lord will increase day by day. What better blessing can we desire than that ! The Lord Murari will fulfill all the wishes of such a devotee and more over, one will be able to win over one's own nature. This is said by Swaminiji�s dear Shri Vallabhacharya. (Shri Mahaprabhuji)
Introduction
In V.S. 1548 at the age of 13 years, Shri Mahaprabhuji arrived in mathura during his first global tour; he resided at Vishram Ghat on the bank of Yamuna river. At this time he form Shri Yamunastakam which describes Shri Yamunaji�s divine description in "Pruthvi Chhand".
In Yamunastakam�s first eight shlokas, Shri Mahaprabhuji describes Shri Yamunaji�s eight fold powers, its divine & wonderful icon and her divine qualities. Shri Yamunaji is the daughter of divine Sun. Her purpose for coming to earth from heaven through Kalind mountain is to bless her devotees.
Her physical state as a river is also very attractive and charming. She is so kind that she even blesses evil people ! Shri Yamunaji blesses her devotees with eight fold powers. Even if an evil person, drinks water from the river Yamuna to quench their thirst, She blesses that person. So, if we humbly pray to her with knowledge and understanding, we should not be surprised if she blessed us also.
One of the example from Shri Mahaprabhuju�s 84 Vaishnavas, is of Kishoribai. Kishoribai was chanting only two lines from Yamunastakam with full faith. Shri Yamunaji blessed Kishoribai with all divine fruits.
Namami Yamuna Maham, Sakal Siddhi Hetum Muda,
Murari Padpankaj Sfuradamand, Renootkatam,
Tatastha Nav Kanana, Prakat Mod Pushpambunaa,
Suraa Sursu Poojitaha, Smara Pituh Shri yambibhrateem.
Shri Yamunaji is capable of giving all kind of achievements. This first shloka describes the physical state of the river. Its both banks are full of glittering sand which is believed to be as soft as lotus feet of Shri Murari Prabhu (Shri Krshna.) Also, there are various kind of gardens of the both banks of the river. The river water is full of scent due to flowers of the garden on her banks. Shri Yamunaji is also worshipped by two kinds of vraj devotees. I bow to Shri Yamunaji described above, full love and devotion. She is capable of giving fulfillment of all the desires of the devotee in enjoying God�s love.
Kalind Girimastake, Pata Damand Poorojjwalaa,
Vilas Gamanollasat, Prakatgand Shailonnata,
Sagoshagantidantura, Samadhiroodh Dolottama,
Mukund Rati Vardhinee, Jayati Padma Bandhoho Suta.
In this shloka, Shri Mahaprabhuji describes that how Shri Yamunaji can bless her devotees to increase their love towards Shri Mukund Prabhu. Also, Shri Mahaprabhuji describes the physical existence of Yamunaji as river. It flows enthusiastically from the top of Kalind mountain. The swirling waters appear to be as white as milk because of the force and flow of the river upstream. It seems like Shri Yamunaji is very eager to go in Vraj and meet Shri Krshna. It also gives impression as Shri Yamunaji is swinging in best kind of jhula. Victories to this most divine daughter of the Sun !!
Bhuvam Bhuvana Pawaneem, Adhigatamane Kashwanaihi,
Priyabhiriva Sevateam, Shuka Mayur Hansadibhihi,
Tarang Bhuj Kankana, Prakat muktikavaluka,
Nitambtat Sundareem, Namat Krushna Turya Priyam.
When Shri Yamunaji came to earth from the heavens, She blessed the whole globe by Her presence. All living beings, including birds such as parrots, peacocks and swans, serve Shri Yamunaji. Shri Mahaprabhuji visualize the glittering sand as her bangles of pearl and the waves upon the waters as beautiful divine hands of Shri Yamunaji, moving to and fro in a continuous manner. The meandering waters form beautiful banks on either side of the river, which look like the volupturous curves of a beautiful maiden. She is favorite fourth queen of Shri Krshna. And Shri Mahaprabhuji asks us to bow to her.
Anant Gunabhusite, Shiva Viranchi Devastute,
Ghanaghan Nibhe Sada, Dhruva Parasharaa Bhistade,
Vishuddha Mathura Tate, Sakal Gopgopi Vrute,
Krupa Jaladhi Sanshrite, Mama Manha Sukham Bhavayah.
In this shloka, Shri Mahaprabhuji describes the prayer to Shri Yamuna Maharani. O! Shri Yamunaji, you have infinite divine qualities. Even, Gods like Shiv and Brahama praise you. You have granted all the wishes of such great devotees as Dhruv and Parasher. Such holy cities as Mathura are on your banks. You are always with gopi�s and gopijans and you are always protected by blessings of Shri Krshna. O! Shri Yamunaji, I wish that you give me such a blessing that it gives peace and happiness to my mind. Chanting this shloka with pure and honest heart gives tremendous mental peace and eternal happiness.
Yaya Charan Padmajaa, Muraripoho Priyam Bhavuka,
Samaagamanto Bhavet, Sakal Siddhida Sevatam,
Taya Sadrushtamiyat, Kamalja Spatnee Vayat,
Hari Priya Kalindaya, Mansi Mesada Stheeyatam.
Shri Gangaji evolved from the lotus feet of Shri Bhagavan. Shri Gangaji became holy and pious due to merging with Shri Yamunaji at Triveni Sangam at Prayag (Allhabad), India. Shri Yamunaji made Shri Gangaji capable of giving all boons to her devotees. Amongst great goddesses, only Shri Laxmiji is equal and comparable to Shri Yamunaji in honor and power. I only wish that Shri Yamunaji, who can remove all worries of her devotees, and who is also the most favorite of Lord Shri Krshna, comes to stay in my heart and soul forever.
Namostu Yamune Sada, Tav Charitra Matyadbhutam,
Na Jaatu Yam Yatna, Bhavati Te Payaha Panatha,
Yamopi Bhaginee Sutan, Kathamuhanti Dushtanpi,
Priyobhavati Sevanaat, Tav Hareryutha Gopikaha.
O! Shri Yamunaji, I bow to you with my full body and heart. Your divine character is very wonderful. Just by drinking your water in Vraj, we do not have to worry about the pangs of death. Your devotees can become favorite of Shri Krshna just like the gopijanas who became His favorite by doing "Katyani Vrat" on your banks (Vrat = religious observance accompanied by fasting).
Mamastu Tav Sannidhau, Tanu Navatvam Etavata,
Na Durlabhatama Rati, Muraripau Mukundpriye,
Atostu Tav Lalna, Surdhunee Param Sangamaat,
Tavaiv Bhuvi Keertita, Na Tu Kadapi Pushti Sthitaihi.
O! Shri Yamunaji, who is the favorite of Shri Mukund Prabhu, I pray to you and respectfully request a divine body, fit enough for Shri Bhagvad Leela and also able to serve you. Only you are capable of granting such a boon. With such a divine body, I can serve Shri Mukund Prabhu very well. Pushti Margiya vaishnavas (Jivas) had never praised Shri Gangaji without your merging with Shri Gangaji.
Stutim tava karoti kha, kamalajasepatni priyae,
Hareryadanusevaya, bhavati sokhyamamokshatah,
Eeyam tava kathadhika, sakalegopikasangamah,
Smarashramajalanubhih, sakalegatrajaih sangamah.
O Thous daughter of the sun, Thou art worthy of all praises! Indeed, singing thy praises and living near thee is more desirable than Moksha (nirvana / liberation of the soul). Indeed, your sacredness was enhanced when the gopies of Vraj, along with Shri Krshna, bathed in thy waters after the Rasa. The sweat of their divine sports mixed with thy waters, enhancing your holy powers for all time to come.
Tavashtakamidam muda, pathati surasutae sada,
Samastaduritakshayo, bhavati vai Mukundae ratih,
Taya sakalesiddhayoo, Murarupushya santushyati,
Svabhavavijiyo bhavet, vadati Vallabhah Shrihareh.
This ashtaka (hymn of eight stanzas) of the daughter of the Sun, is recited on a regular basis, Shri Yamnunaji will grant such a boon so that the devotee's love for the Lord will increase day by day. What better blessing can we desire than that ! The Lord Murari will fulfill all the wishes of such a devotee and more over, one will be able to win over one's own nature. This is said by Swaminiji�s dear Shri Vallabhacharya. (Shri Mahaprabhuji)
AARTI
General reasons for Arti
Arti is done for two reasons.
1) to ward off the evil eye.
As the Lord is so handsome and so charming, the evil eye may inadvertently fall from even those who love the Lord - viz the devotes. The arti takes away the evil - eye (nazar) and it also keeps any malicious spirits that may be in the vacinity at bay. Light being the oppressor of darkness, it represents conquest of good over evil.
2) to allow us to see the Lord.
Less than 50 years ago, temples usually did not have electric lights in the inner sanctum. As the svarups are usually small, and inner sanctum rather dark, it was difficult to see the Lord's svarup. Arti was one way devotees could "see" the svarup of the Lord - hence the importance of getting there for the arti part of the darshan.
It is also for this treason that we usually "take arti" at the end of the darshan. It is an expression of our gratitude to the "arti" for allowing us to have a darshan of the Lord.
As we now have bright / electric lights in most temples, there is no need to rush for the arti .
Arti is still an important ritual, but only as a personal inter-action between Yashoda and Nanada-nandan.
Arti as used in Pushti Marg
Unlike other Indian temples, havelis use bells very discreetly.
As a haveli is essentially a "private residence" of the Lord, just like a "private residence", there are no bells in the main hall or courtyard for people to ring.
In the inner sanctum, during mangal arti, bells are not rung and the jalar is struck in muted tones - so as to be as gentle on the ears of the Lord as possible. Afterall, no one wants to be woken up with a loud bang ! For the same reason, Utthapan darshan is also accompanied by little or no music.
Later artis, especially the raj-bhog one has the full musical compliment of bells, jalar, drums, the whole lot !
While the priests are doing raj-bhog arti in the inner sanctum, drummers and trumpeters make their own music at the main gate in Nagar-Khana, announcing the main darshan of the day to all Vaishnavs in the town.
In Pushti Marg, we do not "take" the arti after its offered to the Lord.
In Pushtimargiya Havelis Aarati is performed four times, twice in the morning session of seva and twice in the evening session. In the morning session it is performed during ‘Mangala Darshan’ and during "Rajbhog Darshan’. In the evening session, it is performed in ‘Bhog-Sandhya Darshan’ and ‘Shayan Darshan’.
The concept is generally to ward off any evil eyes that might have fallen upon Him. While the ‘Mangala Aarati’ and ‘Sandhya Aarati’ is performed with the ‘bhavana’ of ‘Yashoda Maiya’, who performs ‘Aarati’ to ward off any evil effect of a bad dream that her ‘Laalan’ may have seen in the night, or to ward off the evil eyes of any evil creatures while the ‘Laalan’ was busy looking after the cows in the jungle.
The ‘Rajbhog Aarati’ and ‘Shayan Aarati’ is performed with the ‘bhavana’ of the ‘Gopis’ or ‘Vraj Bhakt’ who are in the service of ‘Swaminiji’. They perform ‘Rajbhog Arati’ to remove the ‘Viraha-taap’ that they experienced while He was away. This is the reason why we do not ‘take’ the ‘Aarati’ once it is performed.
Once the ‘taap’ is removed, it is not to be taken back as it is the time for ‘Sanyog’.
Only in Nathdwara, at ‘Shrinathji’ the ‘Aarati’ is taken because ‘Shrinathji’ is ‘Jagat-Uddharak’. In Vitthalnathji too, after ‘Rajbhog Aarati’ a conch full of water is waved around ‘Shri’ and the water is then sprinkled over the visitors. This ritual is performed to keep the promise given to the ‘Batuk Shastri’ who brought the ‘Swaroop’ of Shri Vitthalnathji on the day of Gosainji’s ‘Prakatya’. He had requested Shri Mahaprabhuji to let this ritual (of taking Aarati) continue on his behalf, therefore instead of ‘taking’ the actual ‘Aarati’, this ‘Sheetal Aarati’ is taken.
This ‘Sheetal Aarati’ symbolizes the cool relief of ‘Sanyog’ after the removal of ‘Viraha Taap’.
Arti is the outer manifestation of the inner viraha tapa - the intense fire of sorrow caused by our seperation from the Lord. This pain of being away from the Lord is what we should "realise" and realise that the real joy is in being with Him.
The viraha tapa, when it becomes truly intense, eventually consumes the very being (ego etc) of the devotee and as a result, the Lord comes to them out of grace. As darshan is the fruit of viraha tapa, it is much desired and all vaishnavs look forward to a time when their own viraha tapa will eventually result in a darshan of the Lord.
Till than we use the arti, an outer manifestation of the virah tapa, which allows us to do the darshan of the Lord.
Just as in life, once our beloved is before us, we must abandon the pain of seperation and enjoy the moments together. So, once the darshan is achieved, the viraha tapa, the arti, must be put away and the saiyog of the Lord must be enjoyed. As the arti represents the viraha tapa, it is not to be "taken" in Pushti Marg. It would be like taking back the pain you have just put away !
Only in ShriNathji's Haveli is it permitted for people to "take" the arti. As ShriNathji is Sarvo-dharak and Daivo-dharak, aswell as Bhakto-dharak, He has permitted some Sanatan rituals to be allowed in His Haveli, arti being one of them. Here, the arti is being taken as a prasad of the Lord and not as viraha taap.
Arti is done for two reasons.
1) to ward off the evil eye.
As the Lord is so handsome and so charming, the evil eye may inadvertently fall from even those who love the Lord - viz the devotes. The arti takes away the evil - eye (nazar) and it also keeps any malicious spirits that may be in the vacinity at bay. Light being the oppressor of darkness, it represents conquest of good over evil.
2) to allow us to see the Lord.
Less than 50 years ago, temples usually did not have electric lights in the inner sanctum. As the svarups are usually small, and inner sanctum rather dark, it was difficult to see the Lord's svarup. Arti was one way devotees could "see" the svarup of the Lord - hence the importance of getting there for the arti part of the darshan.
It is also for this treason that we usually "take arti" at the end of the darshan. It is an expression of our gratitude to the "arti" for allowing us to have a darshan of the Lord.
As we now have bright / electric lights in most temples, there is no need to rush for the arti .
Arti is still an important ritual, but only as a personal inter-action between Yashoda and Nanada-nandan.
Arti as used in Pushti Marg
Unlike other Indian temples, havelis use bells very discreetly.
As a haveli is essentially a "private residence" of the Lord, just like a "private residence", there are no bells in the main hall or courtyard for people to ring.
In the inner sanctum, during mangal arti, bells are not rung and the jalar is struck in muted tones - so as to be as gentle on the ears of the Lord as possible. Afterall, no one wants to be woken up with a loud bang ! For the same reason, Utthapan darshan is also accompanied by little or no music.
Later artis, especially the raj-bhog one has the full musical compliment of bells, jalar, drums, the whole lot !
While the priests are doing raj-bhog arti in the inner sanctum, drummers and trumpeters make their own music at the main gate in Nagar-Khana, announcing the main darshan of the day to all Vaishnavs in the town.
In Pushti Marg, we do not "take" the arti after its offered to the Lord.
In Pushtimargiya Havelis Aarati is performed four times, twice in the morning session of seva and twice in the evening session. In the morning session it is performed during ‘Mangala Darshan’ and during "Rajbhog Darshan’. In the evening session, it is performed in ‘Bhog-Sandhya Darshan’ and ‘Shayan Darshan’.
The concept is generally to ward off any evil eyes that might have fallen upon Him. While the ‘Mangala Aarati’ and ‘Sandhya Aarati’ is performed with the ‘bhavana’ of ‘Yashoda Maiya’, who performs ‘Aarati’ to ward off any evil effect of a bad dream that her ‘Laalan’ may have seen in the night, or to ward off the evil eyes of any evil creatures while the ‘Laalan’ was busy looking after the cows in the jungle.
The ‘Rajbhog Aarati’ and ‘Shayan Aarati’ is performed with the ‘bhavana’ of the ‘Gopis’ or ‘Vraj Bhakt’ who are in the service of ‘Swaminiji’. They perform ‘Rajbhog Arati’ to remove the ‘Viraha-taap’ that they experienced while He was away. This is the reason why we do not ‘take’ the ‘Aarati’ once it is performed.
Once the ‘taap’ is removed, it is not to be taken back as it is the time for ‘Sanyog’.
Only in Nathdwara, at ‘Shrinathji’ the ‘Aarati’ is taken because ‘Shrinathji’ is ‘Jagat-Uddharak’. In Vitthalnathji too, after ‘Rajbhog Aarati’ a conch full of water is waved around ‘Shri’ and the water is then sprinkled over the visitors. This ritual is performed to keep the promise given to the ‘Batuk Shastri’ who brought the ‘Swaroop’ of Shri Vitthalnathji on the day of Gosainji’s ‘Prakatya’. He had requested Shri Mahaprabhuji to let this ritual (of taking Aarati) continue on his behalf, therefore instead of ‘taking’ the actual ‘Aarati’, this ‘Sheetal Aarati’ is taken.
This ‘Sheetal Aarati’ symbolizes the cool relief of ‘Sanyog’ after the removal of ‘Viraha Taap’.
Arti is the outer manifestation of the inner viraha tapa - the intense fire of sorrow caused by our seperation from the Lord. This pain of being away from the Lord is what we should "realise" and realise that the real joy is in being with Him.
The viraha tapa, when it becomes truly intense, eventually consumes the very being (ego etc) of the devotee and as a result, the Lord comes to them out of grace. As darshan is the fruit of viraha tapa, it is much desired and all vaishnavs look forward to a time when their own viraha tapa will eventually result in a darshan of the Lord.
Till than we use the arti, an outer manifestation of the virah tapa, which allows us to do the darshan of the Lord.
Just as in life, once our beloved is before us, we must abandon the pain of seperation and enjoy the moments together. So, once the darshan is achieved, the viraha tapa, the arti, must be put away and the saiyog of the Lord must be enjoyed. As the arti represents the viraha tapa, it is not to be "taken" in Pushti Marg. It would be like taking back the pain you have just put away !
Only in ShriNathji's Haveli is it permitted for people to "take" the arti. As ShriNathji is Sarvo-dharak and Daivo-dharak, aswell as Bhakto-dharak, He has permitted some Sanatan rituals to be allowed in His Haveli, arti being one of them. Here, the arti is being taken as a prasad of the Lord and not as viraha taap.
PADA AND KIRTANS OF PUSHTIMARG
Pada and Kirtans of Pushti Marg
Poetry sung in the haveli reflects on the wonderful literary achievements of poets of a bygone era. Most frequently sung are the poets of the 15th and 16th century, who wrote at the time of Shri Vallabhacharyaji and Shri Gosaiji. During the tenure of Shri Gosaiji, he created a very select group of singers and musicians in the main haveli at mount Goverdhan. These were led by eight main poet singer devotees of the time - Surdas, Kumbhandas, Parmanad-das, Nanadadas, Krishnadas, Chitswami, Chaturbhujdas, Govindswami.
By the grace of the Lord and their Guru, these great devotees wrote down the lilas of the Lord that they actually saw and hence their words are still capable of evoking the divine mood in us all. Often their words stir the deepest emotions in us and help lift us off this mundane world into a divine world full of divine play of the Lord.
Variously, they saw the Lord's lilas as a friend, parent or a lover. Many wrote about the gopi bhava that Pushti Marg instilled in them. Of all the various bhavas that a bhakta can have, gopi and vattsalya bhava are the most popular in Pushti Marg.
Sung in classical ragas appropriate to the moods, seasons, settings and situations, the padas of Pushti Marg made a very valuable contribution to the literary movement of their time.
One of the main tanents of Pushti Marg as envisioned by Shri Gusaiji is "Raga". Raga means, "attachment" and "musical modes".
Since the time of Shri Vallabhacharyaji, music was seen as one of the key components of daily worship. In his own time, He initiated the likes of Kubhandas, Surdas, Paramanandas and Krishnadas into the sect and entrusted the work of writing new devotional songs to them. As true visionaries, these great poet saints sung the lilas of the Lord as they witnessed them. These were no flights of fancy or imagination, but factual descriptions of what they saw the Lord doing in the wonderful world of spiritual Vraj. Simple, yet powerful, words of their poetry speak of this "eye-witness" nature of the padas.
Shri Gusaiji added four more poet saints to the original group of four ( Nanadadas, Chitswami, Chaturbhujdas, and Govindswami) and created the celebrated "Ashta chhap" group of 8 divine poets and singers of ShriNathji's court. Mirroring the equally celebrated gems of Akber's court, the Ashta Chhap were well known and respected by all their contemporaries. Emperor Akber was known to have invited a number of them to sing at his court. Indeed, one of the sons of Shri Gosaiji was a permanent member of the Imperial court and helped win a number of farmans (Imperial Proclamations) in favor of Pushti Marg and Hindus in general.
The Astha Chhap singers wrote truly inspirational devotional poetry. They mostly wrote in VrajBhasha and composed in traditional, classical ragas. The poetry composed by the Ashta Chhap is known as "pada". "Drupad" was favored mode of their music, hence "Drupad" style of singing is often considered to be synonymous to the "haveli" style of music.
Traditionally, all darshans in main Havelies of Pushti Marg are accompanied by poetry composed by the Ashta Chhap. Atleast one pada from the Ashta Chhap is sung at each darshan. Sadhan Dipika (by Shri Gopinathji), clearly states that all expressions of joy - singing and dancing included, should accompany seva and especially seva during festivals and special functions.
Padas are written in accordance with seasons, moods, times of day, bhavas etc. Each Nidhi svarup has padas written for it by the Ashta Chhap in accordance with the bhavas relating to the svarup. For example, Navnit Priyaji has padas written with vattsalya bhava (Lord viewed as a baby) - hence padas describe the Lord crawling on all fours on the floor of Shri Nadababa's palace. Other padas describe the Lord playing with his toys or being rocked in his cradle.
Reading these padas and indeed absorbing their mood is a highly spiritual experience.
Poetry sung in the haveli reflects on the wonderful literary achievements of poets of a bygone era. Most frequently sung are the poets of the 15th and 16th century, who wrote at the time of Shri Vallabhacharyaji and Shri Gosaiji. During the tenure of Shri Gosaiji, he created a very select group of singers and musicians in the main haveli at mount Goverdhan. These were led by eight main poet singer devotees of the time - Surdas, Kumbhandas, Parmanad-das, Nanadadas, Krishnadas, Chitswami, Chaturbhujdas, Govindswami.
By the grace of the Lord and their Guru, these great devotees wrote down the lilas of the Lord that they actually saw and hence their words are still capable of evoking the divine mood in us all. Often their words stir the deepest emotions in us and help lift us off this mundane world into a divine world full of divine play of the Lord.
Variously, they saw the Lord's lilas as a friend, parent or a lover. Many wrote about the gopi bhava that Pushti Marg instilled in them. Of all the various bhavas that a bhakta can have, gopi and vattsalya bhava are the most popular in Pushti Marg.
Sung in classical ragas appropriate to the moods, seasons, settings and situations, the padas of Pushti Marg made a very valuable contribution to the literary movement of their time.
One of the main tanents of Pushti Marg as envisioned by Shri Gusaiji is "Raga". Raga means, "attachment" and "musical modes".
Since the time of Shri Vallabhacharyaji, music was seen as one of the key components of daily worship. In his own time, He initiated the likes of Kubhandas, Surdas, Paramanandas and Krishnadas into the sect and entrusted the work of writing new devotional songs to them. As true visionaries, these great poet saints sung the lilas of the Lord as they witnessed them. These were no flights of fancy or imagination, but factual descriptions of what they saw the Lord doing in the wonderful world of spiritual Vraj. Simple, yet powerful, words of their poetry speak of this "eye-witness" nature of the padas.
Shri Gusaiji added four more poet saints to the original group of four ( Nanadadas, Chitswami, Chaturbhujdas, and Govindswami) and created the celebrated "Ashta chhap" group of 8 divine poets and singers of ShriNathji's court. Mirroring the equally celebrated gems of Akber's court, the Ashta Chhap were well known and respected by all their contemporaries. Emperor Akber was known to have invited a number of them to sing at his court. Indeed, one of the sons of Shri Gosaiji was a permanent member of the Imperial court and helped win a number of farmans (Imperial Proclamations) in favor of Pushti Marg and Hindus in general.
The Astha Chhap singers wrote truly inspirational devotional poetry. They mostly wrote in VrajBhasha and composed in traditional, classical ragas. The poetry composed by the Ashta Chhap is known as "pada". "Drupad" was favored mode of their music, hence "Drupad" style of singing is often considered to be synonymous to the "haveli" style of music.
Traditionally, all darshans in main Havelies of Pushti Marg are accompanied by poetry composed by the Ashta Chhap. Atleast one pada from the Ashta Chhap is sung at each darshan. Sadhan Dipika (by Shri Gopinathji), clearly states that all expressions of joy - singing and dancing included, should accompany seva and especially seva during festivals and special functions.
Padas are written in accordance with seasons, moods, times of day, bhavas etc. Each Nidhi svarup has padas written for it by the Ashta Chhap in accordance with the bhavas relating to the svarup. For example, Navnit Priyaji has padas written with vattsalya bhava (Lord viewed as a baby) - hence padas describe the Lord crawling on all fours on the floor of Shri Nadababa's palace. Other padas describe the Lord playing with his toys or being rocked in his cradle.
Reading these padas and indeed absorbing their mood is a highly spiritual experience.
SEVA
Seva
Seva, it means "voluntary service", service without any expectation of reward or recognition. It is service with a smile, a genuine heart-felt, heart-warming smile. When we perform seva of the Lord, we give our love and attention to Him, out of our "asakti" (attachment) for Him. Just as we treat out child, with asakti, and devote a lot of time and energy, without even thinking of it as such, similarly, we should devote our life to God without thinking of it as being an "effort". It should be "sahaj" - effortless, almost second nature to us. We are so devoted to our lover / child / parent, we can almost tell what they are thinking before they even have a chance to say it. Even if we are doing something, we can tell when the child is up to some mischief. It is our attachment to the person that makes us to one with that person, that we can self-associate with them and know what they are feeling or thinking even without the use of spoken language.
Just think, if we can do this with mortal humans, and have such a sense of love and fulfilment, how much greater will the sense of fulfilment be when we can do this with the immortal God !?! If only we can associate with God in the same way that we associate with our human relations, we can "tell" what He is thinking, how is He feeling !! What a buzz that would be !
This is how the great rishies tapped into the feeling of the universe and could understand the pain and pleasure of every creature. It is a great responsibility and a great burden to have this knowledge - self association with the universe is a major achievement. This is the sarvatma bhav of the great Acharyas of India. It is this that Shri Vallabh exhorts us to achieve.
In seva, our oneness with the Lord should be such, that we can "feel" the Lord communicating with us. We can "hear" Him asking us for things, just as our child / lover would. He can play mischief with us, we can scold Him, and make-up with Him too ! It is a great feeling ! As seva is from the heart, how can anyone write about it ? Your feelings are your own, and no one, but no one can tell you how your seva will pan out.
Having said this, a good many of us do not communicate with the Lord in this way.
For us, the seva performed by the great Acharyas is the guide as to how seva should be done. We emulate the seva, as offered to the Lord by the great Acharyas of the past and present. In all havelies, like Nathadwara, there are extensive records of which seva was performed on what day by which Acharya of Pushti Marg. Accordingly, those of us who are not yet directly inspired by the Lord, offer the same seva as offered in the past.
However, this should not be a limitation on us and we should strive to achieve that oneness with the Lord, so that we too can perform true seva to the Lord. Seva, in which the Lord Himself is an active participant !
Seva, it means "voluntary service", service without any expectation of reward or recognition. It is service with a smile, a genuine heart-felt, heart-warming smile. When we perform seva of the Lord, we give our love and attention to Him, out of our "asakti" (attachment) for Him. Just as we treat out child, with asakti, and devote a lot of time and energy, without even thinking of it as such, similarly, we should devote our life to God without thinking of it as being an "effort". It should be "sahaj" - effortless, almost second nature to us. We are so devoted to our lover / child / parent, we can almost tell what they are thinking before they even have a chance to say it. Even if we are doing something, we can tell when the child is up to some mischief. It is our attachment to the person that makes us to one with that person, that we can self-associate with them and know what they are feeling or thinking even without the use of spoken language.
Just think, if we can do this with mortal humans, and have such a sense of love and fulfilment, how much greater will the sense of fulfilment be when we can do this with the immortal God !?! If only we can associate with God in the same way that we associate with our human relations, we can "tell" what He is thinking, how is He feeling !! What a buzz that would be !
This is how the great rishies tapped into the feeling of the universe and could understand the pain and pleasure of every creature. It is a great responsibility and a great burden to have this knowledge - self association with the universe is a major achievement. This is the sarvatma bhav of the great Acharyas of India. It is this that Shri Vallabh exhorts us to achieve.
In seva, our oneness with the Lord should be such, that we can "feel" the Lord communicating with us. We can "hear" Him asking us for things, just as our child / lover would. He can play mischief with us, we can scold Him, and make-up with Him too ! It is a great feeling ! As seva is from the heart, how can anyone write about it ? Your feelings are your own, and no one, but no one can tell you how your seva will pan out.
Having said this, a good many of us do not communicate with the Lord in this way.
For us, the seva performed by the great Acharyas is the guide as to how seva should be done. We emulate the seva, as offered to the Lord by the great Acharyas of the past and present. In all havelies, like Nathadwara, there are extensive records of which seva was performed on what day by which Acharya of Pushti Marg. Accordingly, those of us who are not yet directly inspired by the Lord, offer the same seva as offered in the past.
However, this should not be a limitation on us and we should strive to achieve that oneness with the Lord, so that we too can perform true seva to the Lord. Seva, in which the Lord Himself is an active participant !
Sunday, May 30, 2010
Mahaprabhujis last message
All around there is Kaliyuga. Shri Mahaprabhuji delivered the last message to his own fellowmen. Let us remember those words again. Because 99% in present age, Shruti is vanished from the memory.
Yada Bahirmukha Yuyam Bhavishyath Kathamchan I
Tada Kal Pravahstha Dehchittadayopyut II1II
Sarvatha Bhakshachishyanti yushmaniti matirmam I
Na Laukikah Prabhu Krishno Manu te Naiv Laukikam II2II
Bhavsttrapyasmadiyah Sarvsvashche hisshchve sah I
Parlokashcha tenayam sarv bhaven sarvatha II3II
sevyah s eva Gopisho Vidhyasyatyakhilam hi nah II4II
Everyone knows how hardly Shri Vallabh's orders are being adhered to by his own progeny. Shri Vallabhadhish did not cross the ocean or the river Saraswati and taught all to learn from this. Instead of concentrating on 'Swarup', chaos is created by running all around making on astray from Seva-Swarup and increase in obstacles for the attainment of the Lord. Shri Gusaiji 2nd Acharya was invited by kings andregining authorities as he was the 'Judge' a title conferee! by Samrat Akbar. Compared to that, todayone has to rush to an ordinery administrator of the govt. and has to be addressed as 'Sir', instead of Lord residing in devotee's home (home=ghar=in Sanskrit it means temple). When public temples are created more and more acharyas will be forced into uncompromising situations, mental tension arising out of litigations and order from the govt. will eat away the words what Shri Vallabh teached. What devotees can expect in such times ? Mediocre Bhagvat Saptah and 'Loti' mahotsavs eat away precious times and people get lost in such ordinary enjoyment. Thus in such a time, I am very happy to make you remember that path of taking the soul and to reach him to Shri Thakorji the one took by queen of 'Mahavan' and achieved the status of lila abode by adhering to Charan-Kamal (Lotus) of Shri Vallabh. Whatever joy you receive once you touch this road, I offer the same to my Guru Shri Rajubawa (bhuleshwar)
Yada Bahirmukha Yuyam Bhavishyath Kathamchan I
Tada Kal Pravahstha Dehchittadayopyut II1II
Sarvatha Bhakshachishyanti yushmaniti matirmam I
Na Laukikah Prabhu Krishno Manu te Naiv Laukikam II2II
Bhavsttrapyasmadiyah Sarvsvashche hisshchve sah I
Parlokashcha tenayam sarv bhaven sarvatha II3II
sevyah s eva Gopisho Vidhyasyatyakhilam hi nah II4II
Everyone knows how hardly Shri Vallabh's orders are being adhered to by his own progeny. Shri Vallabhadhish did not cross the ocean or the river Saraswati and taught all to learn from this. Instead of concentrating on 'Swarup', chaos is created by running all around making on astray from Seva-Swarup and increase in obstacles for the attainment of the Lord. Shri Gusaiji 2nd Acharya was invited by kings andregining authorities as he was the 'Judge' a title conferee! by Samrat Akbar. Compared to that, todayone has to rush to an ordinery administrator of the govt. and has to be addressed as 'Sir', instead of Lord residing in devotee's home (home=ghar=in Sanskrit it means temple). When public temples are created more and more acharyas will be forced into uncompromising situations, mental tension arising out of litigations and order from the govt. will eat away the words what Shri Vallabh teached. What devotees can expect in such times ? Mediocre Bhagvat Saptah and 'Loti' mahotsavs eat away precious times and people get lost in such ordinary enjoyment. Thus in such a time, I am very happy to make you remember that path of taking the soul and to reach him to Shri Thakorji the one took by queen of 'Mahavan' and achieved the status of lila abode by adhering to Charan-Kamal (Lotus) of Shri Vallabh. Whatever joy you receive once you touch this road, I offer the same to my Guru Shri Rajubawa (bhuleshwar)
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