Darshans of Shrinathji

In addition to my earlier post, thought of collating the eight Darshans of Shrinathji, which is quite awesome! It is taken from the official Shrinathji website.

Mangla Darshan
This is the first darshan of the day. The name Mangla underlines auspiciousness of beginning the day with a glimpse of lord. In winter this darshan takes place before sunrise, while in summer, it is later.

During Mangla darshan, the main doors of the sanctum are kept closed and are only opened after the customary initial rituals. This ensures that the drowsy divine child is not startled by large crowds rushing in to see him. It also accords with the mood of the darshan, which is bala bhava, the feelings of a parent concerned about a child's well - being another idea underlying the closed doors is that the svarupa should not be tempted to play with his young companions as opening doors might tempt him to run out!

In summer, Shrinathji is clad simply in an adbandha, a light dhoti. In winter, he keeps warm with a quilted coat. His flute is not placed in his hand, for it is felt that if he were to play it early in the morning, everyone would be enchanted and all work would come to a standstill! Arti is offered to Shrinathji during this darshana. This ritual banishes the evil spirits which hover around in the darkness of the night, seeking to cause harm. This morning darshana is dedicated to the memory of paramandadas, one of the asthachhapa poets. The kiratans Sung at this time are in one of the classical morning ragas - Lalita, Bhairava or Vibhasa.

Shringara
The next darshana follows the first by hour and is called shringara. Shrinathji is dressed carefully from head to foot, and a garland of flowers is placed around his neck. A Mukhiya holds a mirror in front of him so that he can satisfy himself that, he is well dressed. This is his play hour like that of any other child, and he is offered dry fruits and sweets representing food brought to him by his beloved gopis. This explains why he is called gopivallabha.

It is only after this meal that Shrinathji's flute is placed in his hand, so that he can delight Swamiji - Shri Radha - with the tunes she loves. The ragas sung during this darshana are Ramakali, Gunakali and Bilaval. The poet Nandadas is considered the main singer.








Gwal
The third darshana takes place at the hour when the lord takes his cows to pasture. The Mukhiya of the Gaushala (Cowpen) of Nathdwara visits Shrinathji at this time to inform him that all his Cows are well. He is then offered makhan mishri, a light dish with a milk base. The refreshments offered at gwala darshana have to be light, since the lord is believed to have already eaten the comparatively rich foods offered to him by the gopis earlier. Neither flowers nor his flute are shown during this darshana it is assumed that he will be playing with his cowherd friends.










Rajbhog

The main meal of the day is offered to Shrinathji at Rajabhog. Vitthalnathji, the son of the founder of Pushti Marga, has planned this as the most elaborate darshana of all. A temple priest ascends to the terrace prior to the darshana and calls out, 'Mala Begi Laiyo!!' (bring the garland quickly). This loud call heard over a wide area, dates back to the time when Shrinathji was at Mount Govardhana. The flower garden of the temple used to be located at Chandra Sarovar, Nathdwara. 'The call for the Garland' is the signal for the darshan to be opened to the crowds waiting to catch a glimpse of the lord. The rhythmic sound of drums is heard, excitement mounts, and the doors are flung open. This Darshan is open for a longer time than all the other Darshans.

After the call for Shreeji’s Mala; Shivji is called for taking ShreeNathji’s Darshans. When ShreeNathji shifted to Nathdwara, Shivji also was pratishted in a mandir near the Banas River. At this Rajbhog Darshan, it is believed that sakshat Shivji is seated on the round semicircle before Shreeji, in the Dolti Bari doing ShreeNathji’s Darshans. That is why no one should step on this circle during these Darshans.

In this Jhanki, Shreeji stands with Lotus and a new Mala (garland). His triangle betel leaves are offered, His Venu (flute) and canes are also there. Aarti is performed in this Darshan.

Shrinathji is seen in all his regal splendor, holding lotus in one hand and wearing an elaborate garland. Beeda (folded betal leaves containing spices), are placed near him, along with a pitcher of water, his beloved flute, cane to play with Genda (Ball) and a mirror. Fine perfumes are sprinkled over the kalash on the roof, and the air is redolent with its scent.

At the end of this darshana the load retires for three hours. This period is known as Anavasara. Recalling his siestas with Swaminiji in meadows of Vrindavana. The chief kirtanakara of this darshana is Kumbhanadas.


Uttaphan
During the afternoon, around 3.30 p.m., Shrinathji is aroused from his nap. A Conch is blown, it is time for him to return home with his Cows. The vina is played followed by kirtana. Surdas, the celebrated blind devotee, mystic and poet, is supposed to be the chief singer of this darshana.

















Bhog

Sixth darshana of the day takes place an hour after Utthapana. A light meal is served to Shrinathji. A Chhadidara stands guard formally dressed in a Pagha (Turban), a Pataka (Sash) and a Gheradar Jama (A Garment with a Flaring Skirt). He holds a staff and wears a golden kada, anklet. The Chhadidara's function is to inform Swaminiji of Shrinathji's arrival, so that she can obtain his darshana and arrange to milk the Cows.

Shrinathji is fanned and a morchhala is waved beside him to remove the possible effects of the evil eye cast while he has been in full view of many people. The main singer for this period is Chaturbhuadas.










Sandhya Aarti
Sandhya Aarti is the evening darshana. This darshana takes place at dusk, when krishna use to bring his Cows home from the fields. The predominant mood is matrubhava (motherly love). The fear of any ill effects resulting from his wonderings in the woods and protects from harm.

After the day’s exertions, his garments now are light. He is offered his flute so that he can enchant his devotees and his Cowherd friends.

To signal end of the day, sudarshana chakra on the roof of the haveli is offered consecrated food, and the seven Dhvajas (flags) are wrapped round their sticks until the next day. Chhitaswami is considered the chief musician for this darshana.







Shyan
The Final Darshana of the day commences only after rasoiya boli, when the priest ascends the terrace of the haveli and calls out - Cook, come early the following day. After this, drumming heralds Darshana. Since it is time for Lord to retire, various eatables are offered to Shrinathji. A singer praises lord in his kiratana, which may take form of an expression of a beloved's emotion and is offered to both Shrinathji and Swaminiji. Paan-Beeda (betal leaves with spices) are again offered to him.

As Shrinathji is about to retire for the night, various arrangements have to be made. His bed chameber is readied for him, with a container of food, a pitcher of drinking water and Paan-Beedas. It is supposed that Shri Radha will join him during the night, her garments and jewels too are kept in readiness.

A carpet is spread on the ground leads from the image of Shrinathji to his bed chamber. It is presumed that he will walk on it in his spiritual, subtle form. The wooden platforms places in Doltibari for the devotees to stand on during darshanas are removed. This ensures that Shrinathji does not encounter any obstacles at night. To enjoy his lilas with his beloved gopis, if he desires the canopies stretched over the open courtyards to protect people from the scorching afternoon sun are also removed. This darshana is usually not held for the six months, from Chaitra Shukla 1 to Ashvin Shukla 9, when Shrinathji is suppose to visit Vraja and reveal himself to the Vrajavasis(residents of vraja).The chief singer of this darshana is Krishanadas.

Shrinathji

Srinathji, the presiding deity at Nathdwara, is the form of seven year old Krishna – who lifted the Govardhana hill to protect Vrindavan from a downpour of rain sent by Indra. It is believed that Lord Krishna’s arms and face first emerged out of the Govardhana hill, and you can see that in Shrinathji’s Moorthi roopam! - He appears with his left hand raised and the right hand closed in a fist and resting on his hip as Bala –Krishna. He lifted the Govardhan hill for 7 days on his left small finger and this we see in Sheenathji’s swaroopam.

The great Sri Vallabacharyar initiated Shrinathji’s worship in the Vaishanava sampradaya of Pushtimarg and built a temple in Mount Govardhan in AD 1519.The legends have it that the idol of the Lord Krishna was being transferred to safer place from Vrindaban to protect it from the destructive wrath of the Mughal Emperor Aurangzeb. And the Lord chose this place, Shri Nathdwara (a pathway to Lord Shri Krishna), 20 miles away from Udaipur.

The Lord is worshipped by everyone in the form of sevas which are offered out of sheer love for the deity, than the formal pujas and this process of spontaneous development of love for Krishna is referred to as “Pushti Marga” or the nourishing path. Shrinathji is worshipped as a living deity at his Haveli at Nathdwara. The total worship is done as had established by Shri vallabacharya – his clothing, food preparations, way of seva, celebration of festivals etc., His dress follows many styles - Muslim, Brajwasi, Rajasthani; as He has followers from a long time ago in many states and religions.

Shrinathji gives Darshan eight times a day – Ashtyaam sewa, and each darshanam timings are no more than 15 minutes. He lives in the form of a small child, all His Darshans are regulated accordingly. From morning when he is woken up till he goes to bed – there are eight Darshans open to bhakthas – Mangla, Shringar,Gwala, Rajbhog, Utthapan, Bhog, Sandhya Aarthi and Shayan. As Govardhan Parvat has eight doors. Shrinathji has Ashta Sakha-s – They are the eight poet friends, who wrote and sang various bhajans on Shrinathji and each are used today with each Darshan.

All his bhog is prepared to the various seasons and days – only black pepper and rock salt is used in his food, and no chillies. A lot of sugar is added for his sweet preparations; during hot summer months he is offered water with chandan and rose and in winters with Kesar. No one is allowed to watch Him when he takes His meals. There have been times when He refuses to accept certain ornaments or vastra. It is believed that if he has pushed them away three times, it is assumed that Shrinathji does not want this. A new pair of the same is always kept ready, which is then used. New Vastra are used daily for Shrinathji and none of his clothes are repeated! Unlike the other Hindu temples, there is no Gopuram on the the top; over his Nij Mandir there is a roof top with the Dhajaji flying, and His Sudarshan Chakra.

In addition to the eight Darshanams, the eight-syllable mantra, śri kṛṣṇaḥ śaraṇaṃ mama (Lord Krishna is my refuge) of Shri Vallabacharyar is the main mantra which will get rid of all the impurities of the soul. Srimad Vallabacharya belonged to a telugu family and his bhakti was more than devotion and he sees Lord everywhere and everything. The Madhurashtakam, composed by Sri Vallabhacharya (1478 A.D), is a unique stotra, describing the Sweetness of Lord Sri Krishna. It is interesting to note that in Madhurashtakam, which is an eight stanza hymn in Sanskrit – one adjective - "Madhuram" is repeated seven times each in stanza!

Adharam Madhuram, Vadanam Madhram,
Nayanam Madhuram, Hasitham Maduram,
Hrudhayam Madhuram, Gamanam Maduram,
Madhuradhipather Akhilam Madhuram.

Sweet are thine lips, Krishna,
So are thine sweet cherubic face,
Sweet are thine jet black eyes, Krishna
So is thine soulful laugh,
Sweet is thine loving heart, Krishna
So is thine beautiful gait,
Hey king of all sweetness in this world,
Everything about Thee is sweet.

Whilst listening to a discourse of Bhakta Meera of Vishaka Hari, she narrated a story of Surdas at Srinathji temple. Surdas was a blind poet and he was sitting behind the curtain with the rest of the people, waiting for the Lord to be dressed up and the curtain to be opened. Surdas started describing the Lord, the clothes and decorations He was wearing. After the curtain was opened the description in the song fit the Lord exactly!

May the Lord bless us all to have all the eight Darshans when in Nathdwara!

Navagrahas – Suryan – Part I

The word “Nava” in Sanskrit means the number 9, and certainly there is some spritual magic attached to this number. We come across Navarathri, Navanidhi, Navagrahs, Navaratnams, Navarasam, Nava dhanyam..etc etc

This post is essentially about Navagrahas – who are the most powerful influencers in our lives, next to the Trinity! Some cosmic connections and with the blessings of the Cosmic dancer, Lord Shiva gave us an opportunity to offer worship at all the Navagraha Sthalams in one day – in and around Chennai.

Navarathri refers to the 9 nights and day worship to Devi

Navanidhi refers to treasures of Kuberan which are padma (lotus), mahapadma (great lotus), sankha (conch shell), makara (marine animal or fish), kachchhapa (tortoise), mukunda (kettle drum), nanda (joy), nila (a dark color or blue), and kharva (dwarf).

Navaratnams refer to the nine gemstones related to the nine planets as per vedic astrology. It is supposed to ward off negative energies and strengthens the positive influence of planets to the wearer.

Navarasam refers to the nine emotional states of humans, which is depicted in music and dance

And finally, Navagrahams are the nine planets of the constellation, which are considered to be the nine planetary deities namely – Suryan, Chandran, Angarakan (Chevvai), Budhan, Guru (Brihaspathi), Sukhran, Sanishwaran, Raghu and Kethu. The first seven are divine deities and Raghu and Kethu are supposed to be shadow planets.

Suryan



The great Lord is also called as Aditya, son of Sage Kashyapar and Adhiti. He is the solar chief and takes the central place among Navagrahas. Suryan’s athidevatha is Agni, and prathyutha Devatha - Rudran. He claims the first pooja in siva puja and yaga puja.

His colour is red and his vahana is a chariot drawn by seven horses named as uchchaishrawa. The grain associated with his is wheat; the flower - lotus, yerukku; fabric - red clothes; gem - ruby; food - wheat, rava, chakkara pongal.

He has two wives – Sanjana and Chaya Devi. His sons are Manu, Shani and Yama and daughter is Yamuna. In Ramayana, Surya is mentioned as Sugriva’s father and in Mahabaratha, as Karnan’s father.

The planetary position of the Sun governs a person's confidence, authority, and status. The sun is also the presiding deity of the eyes and rules the sign Leo.

Surya Namaskaram is the yogic salutation offered to Surya - which is all around exercise physically and mentally. Surya, the supreme light is said to be an Ashta murti of Lord Shiva. Vayu Puranam states that the sun does not move; nor does it rise or set. Rising and setting imply appearance and disappearance.

The famous temples of the Sun god are the Konark and the Surya narayanar temple near Kumbakonam. In Suryanar Kovil, Surya takes the central sannidhi and all other navagrahams are in the outer praharam with separate sannidhis.

Three powerful hymns are associated with Sun God – The powerful Gayathri mantram, Ādityahṛdayam, both in sanskrit and KOLaru Pathigam in Tamizh.

The Gayatri Mantram is addressed to God as the divine life-giver, symbolized by Savitr (the sun), and is recited at sunrise and sunset. Reciting this mantra bestows wisdom and enlightenment, through the vehicle of the Sun (Savitr), who represents the source and inspiration of the universe. Imparting this manta to young male is in important part of the Upanayanam (thread ceremony).The Gayatri Mantra is a 24-syllable hymn from the Rig Veda , and is a confluence of 24 Beej Aksharas which has an hypnotizing effect on the chanter's consciousness. The language of the mantra is a moresymbolic and metaphysical one.

Aditya Hrdayam is a hymn associated with Aditya or the Sun God and was recited by the sage Agastya to Rama on the battlefield before fighting with Ravana. This historic hymn worships the Sun god for strenght to defeat the shatrus or enemies.

Thiru Gnana Sambanda Swami's "Kolaru Pathigam" invokes Lord Siva's help for protection from planetary wrath. Reciting this pathigam is not just for removing the ill effects of planets and stars, it is used as a reassuarance against all forms of evils, harms,dangers, obstacoles. 'KOL' means planets and also evil. 'aRu' means 'that which cuts, shreds, separates'.

This slokam has 11 verses or stanzas and for Adiyars of the Supreme Lord Siva, all the various forms of evils will certainly turn good and do good. (Nalla Nalla Avai Nalla Nalla Adiyar Avarku migave) - this line is reiterated again and again in every one of the verses of the KOLaRu Padhigam.

Thiru Kacham Kurichi - Maha Vishnu temple

One of amazing temples I visited in Kerala, this trip.. After we had the darshan at Pallasena - Meenkulathi Amman Bhagavathy temple - we noticed a signboard of this temple - Thiru KachamKurichi Mahavishu temple - which is just around 7 kms from Pallasena - and decided to drive down to have a darshan.. And it was a feast to our eyes and soul!

Thiru-Kachamkurichi, an ancient place of worship, is situated at the foot of the Anamalai range of the Western Ghats, at the village of Payyalur, edging the township of Kollengode, in Kerala.

It is believed, that when Parasurama threw his axe in an arc across the seas and created Kerala, he also cleaved the great Western Ghats with the same axe, dividing and sweeping them from left to right into two ranges – ‘Thenmala’ and ‘Vademala’. Geographically known as the Palakkad Gap, this place, in myths and legends, has been referred to as ‘Vidharanabhoomi’ (the land that was split)

Attracted by the serenity and breath-taking beauty of the hills and forests of these high ranges, Sage Kashyapa, an ardent devotee of 'Vishnu' chose to meditate here, at the hill of Govindamala. The Lord is said to have appeared before him and the idol of Mahavishnu was consecrated by Sage Kashyapa himself.

The idol is ‘Daaru Vigraham’ – of sacred wood - which is very rare. On the same pedestal as the deity, visible to the viewer only through reflective mirrors, are the images of Sridevi and Bhoodevi – consorts of Vishnu. All around are carved the Devas and Rishis – spectators and attendants at the ‘heavenly audience’.

The Deity of Thiru-Kachamkurissi is ‘Chaturbahu’ Mahavishnu, holding Sankhu, Chakra, Gada and Padma. He is seen, seated on the coils of Ananta, in ‘Chakravarthy’ posture – akin to Sri Rama at his Pattabhishekham.

The main prasadam in the temple is the "Adiya Ennai" which is the abshikem oil (gingelly oil), which is said to have miraculous cure for ailments. The gopuram is round like an umbrella and the main shrine is ciruclar (like Vadukkanthan temple). Amazing Kerala murals on the outer circumference depict the story of Ramayana - right from Puthra kameshti yagam to Sri Rama Pattabhiskem.

A visit to this temple will definitely make you regenerated..

Heights of melody - Reetigowlai

This time I am back with another favourite ragam of mine - Reetigowlai!

Listening to this ragam tugs your heat - You call it melody, harmony whatever - but it creates a recognizable pattern, a shape, a direction.. Blissful..

Some of my favourites in carnatic are Guruvayur Appane Appan, Janani Ninuvina..

I've put together some tamizh film's evergreen melodius numbers based on this ragam. (Please add your favourites too in this list..)

I think this ragam is unique and magical. These numbers vouch for themselves! Just simply enjoy, folks!

Bala Kanakamaya

Two amazing variations of the evergreen "Balakanaka Mayachela" - Just can't stop admiring this song, lyrics and poetic presentation. Music is universal and its life!

This song is a composition of Thyaragarjar, when he has the darshan of the young prince Lord Rama and Lakshamana alongwith with sage Vishwamitra. Set in Atana Ragam, "Ela Nee Daya radu" is spun into fleeting images of child Rama.

Malladi brothers rendering this song for 2009 Marghazi utsavam for Bhagavat Satchakara Krithis, which brings out the spirit of the composer and his experience!



The second clip is from the movie "Salangai Oli" aka "Sagara Sagamam" where Manju Bhargavi & Kamal Haasan occupy the stage to dance away to this golden splendour - Amazing peformance.. I love especially the words and bhavam in the words "Ra Ra Devaadideva" - Enjoy!

Muthuswamy Dikshithar

Muthuswamy Dikshitar's portrait, over 170 years ago..

Muthuswami Dikshitar was born in Tiruvarur, He was named after the temple deity, Lord Muthukumaraswamy of Vaideeswaran Kovil.

As a young man, Sri Muthuswami Dikshitar went through rigorous training in vocal music and veena playing. He soon embarked on his first pilgrimage to Kashi along with his spiritual teacher, Sri Chidambaranatha Yogi. Prior to leaving Kashi, he entered the river Ganga and a veena fell onto his outstretched hands. This veena, which has 'Sri Ram' inscribed on it in Devanagari script, is still there in the house of Balaswamy Dikshitar, a descendant of Sri Muthuswami Dikshitar.

His first brilliant composition of Sri Nathathi Gurugoho, in Mayamalava Gowlai has a scintillating story behind it :

On his way back from Kashi, Dikshitar stopped at Thiruttani, the abode of Lord Karthikeya. Here, it is said that Lord Subramanya appeared in front of Dikshitar, asked him to open his mouth and presented him with a piece of sugar candy. With this, Dikshitar burst forth the brilliant krithi "srI nAthAdi guruguhO". Since Guha (Lord Subramanya) came as Guru and initiated him into Sangeetha Kavitvam, Dikshitar uses guruguha as his mudra (signature) in all his compositions.



On Deepavali day,in the year 1835, Dikshithar performed puja as usual and asked his students to sing the song "Meenakshi Me Mudam" in the raga Gamakakriya.As his students sang the lines "Meena lochani pasa mochani" he raised his hands and saying "Sive Pahi" left his mortal coil.

Listen to MSS's soulful rendering in this link -
http://popup.lala.com/popup/937030201816665443

Brindavana Saranga - Ragam

I am hooked to this ragam and its so lilting and soothing to listen to the songs in this ragam.. Please take some time to enjoy the songs I put together!

Carnatic Songs RaNgapura vihAra - Muthuswami Dikshitar’s master piece on the Lord of Sri Rangam, in the mellifluous voice of MSS..Who else other than MS Subbalakshmi can render this better?



Also listen to Ranjani & Gayathri -



Manamayakkum Isai pole Shenkolai - Aruna Sairam’s divine voice in Oothukkadu Venkatasubbaiyyar’s lyrics, one of my favourite Viruthams! ( Especially the way she renders “Amme” is astounding)…



Kaliyugha Varadhan – Periyasamy Thooran’s song - Listen to MS Goplakrishnan’s melodious violin

http://www.raaga.com/player4/?id=54366&mode=100&rand=0.5381354948061215

Bhakta Jana Vatsale – Namdev’s abhang on the Vittal, by OS Arun

Kakkai Siranginele – Subramanya Bharathiar’s evergreen song by Unnikrishnan http://www.raaga.com/play/?id=48268

Shashank’s flute mesmerizes you in this song




Tamil Film Songs based on this ragam..

Ninjakootil Neeye Nirkiraai from the movie Dishyum



Colonial Cousins – Indian Rain – Hariharan and Leslie Lewis



Pon ondru kanden – from the movie Padithal Mattum Poruma – the duet of legendry TMS and PBS.. From airtel supersinger 2008 contentstants..