Kshetra Krithis of Muthuswamy Dikshithar

Muthuswamy Dikshithar's birthday falls in the tamil month of Panguni in Krithikai Nakshathram - It happened to be yesterday (March 17, 2012) , and there was a thematic concert of his Kshetra Krithis by Mrs. Seetha Rajan and her disciples, at the Music Academy Mini Hall.

 

The concert was packed with 22 sahityams and chosen with great care and variety.. It simply left me stunned and amazed, as I learnt more and more about the great composer. It was a whirlwind of temple darshanam throughout 3 hours; Brilliant and concise details about each Kshetra, its just a glimpse for now to learn more and more later!

 

What is awesome about the Kshetra Kritis or any of his Kritis is that the compositions are comprehensive - it offers you all the details - about the temple, dieties, pooja, methods or customs followed in the temple, its architecture, in some cases dress and jewellery, temple vimanam, background about the history in addition to the name of ragam and his "Guru guha" mudra!  A capsule in sanskrit - The depth and soulfulness of each composition is so deep that we can learn only as we evolve in music.

 

Muthuswami Dikshitar was born in Thiruvarur and his parents prayed for a child in Vaitheeswarn Kovil and was named after Lord Murugan of the temple called as "Muthukumaraswamy". He had learnt sanskrit, vedas and preliminary musical education from his father; he went on a pilgrimage to Kasi with his guru Chidambaranatha yogi and while bathing in the Ganges river, it is said that Sarawathi herself blessed and gave a Veena to Dikshitar.

 

His guru asked him to visit Tiruttani, and while he was immersed deep in meditation in the temple, an old man appeared before him and dropped a "Karkandu" in his mouth - It was none other than Lord Subramanya himself and the very first krithi he composed was in the  praise of the same deity -  “ShrI nathAdi guruguho jayati” in the  rAgam Mayamalava gaula. Dikhsithar incorporated the phrase  “guruguha” as a  mudra (signature) in all his compositions..

Here's the list of Sahityams sung yesterday:

1. Sri Nathadi Guruguho Jayati jayati - Ragam Mayamalava Gowla
2. Narasimha Agacha para-brahma puccha- Ragam Mohanam ( When he visited the famous Yoga Narsimha Swamy temple temple at Katikachalam - what we know as Sholingur today)
3. Cintaya mA kanda mUla kandaM- -cEtaH SrI sa-umA-skandam in  - Ragam Bhairavi ( He then vists kanchi and composed songs on Ekambareshwarar and Kamakshi; Here, Lord Shiva was worshipped as "Prithvi Lingam" - in the form of earth by Parvathi ; This is one of the Pancha Bhuta Krithis and this composition describes Shiva as "Somaskandar" (along with Parvathy and Skanda) under a mango tree.
4. Ananda Natana Prakasham - Ragam Kedaram (From Kanchi, Dikshitar visits Chidambaram, enroute Tiruvarur. Chidambaram is the shrine where Lord Nataraja is worshipped as the Lord of space and performs cosmic dance (ananda thandavam) along with his consort Sivagamavalli; He is referred as "Kedara" meaning Kedaranatha and also as the name of this ragam)
5. Sri Kumara Swaminam - Ragam Asaveri (He visits Vaideeswaran kovil and this song is composed on Muthukumara swamy himself and mentions that he "bows to the lotus like feet of Kumara Swami the Guruguha)
6. Sankaram abhirāmī manōharam, śaśi dharamm amruta ghatēśvaramm bhajēham- Ragam Manohari (He then visits Thirukadaiyur, where sings about Amruta Gateshwarar and Markandeya, and this song is very similar to his other famous composition "kanchadalayadakshi kamakshi" in Kamala manohari)
• Watch Ramakrishnan's murthy's rendition at http://www.youtube.com/watch?v=_4z-Sv6TPmo) 
7. DAkSAyaNi abhayAmbikE, varadAbhayahastE namastE - Ragam Thodi  (Next he visits Mayavaram, and this song is a part of 8 Krithis composed in praise of Goddess abhayAmbA)
8. ShrI bAlasubrahmaNyA agacchAgragaNya ( Ragam Bilahari) - on the Lord of Swamimalai.
• (Watch Ganesh-Kumaresh's rendition of this song at http://www.youtube.com/watch?v=ZdRqQTOxGwU)
9. Shri Maha Ganapathy Ravathumam, Siddhi vinayagam - Ragam Gaulai (This was composed on Lord Ganesha, who adorns a corner of the Kamalalayam pond, and Muthuswamy Dikshitar used to have a first glimpse of this Pillayar on his daily visits to the temple; Since Lord Ganesha appeared to testify the purity of the gold to Sundarar here he is known as "Mattru Uraitha Pillayar" and is referred in the song as "kamalalaya Thada NivasO" and "suvarNAkarSaNa vighnarAjO "
• (Watch Trichur Ramachandran's rendition at http://www.youtube.com/watch?v=xgGRf3goqjU)
10. TyAgarAja mahadhvajArOha - Ragam Shri (This  composition serves as a comprehensive guide to Tiruvarur temple, and gives details about the Vasantothsavam and Rathothsavam – what all to see in a Kshetram, what is the significance, description of temple festivals in great detail - it talks about the pooja methods, darshanam method (pada darshanam)
11. KamalAmbAM bhajarE rE mAnasa  - (Ragam Kalyani) - (Dikshitar was also a Sri Vidya Upasakar and composed krithis called "Kamalamba Nava Varanams" on the adhi-devatha Kamalamba, consort of Thyagarajaswami of Tiruvarur.These 9 kritis are treasures which embodies the technical brilliance of Dikshitar combined with bhakti, gnAna and vidwat.
• Watch Vijay Siva's rendition at http://www.youtube.com/watch?v=PkYsQlFUO1I
12. Shri Viswanatham Bhajeham - (a master piece of caturdasha rAgamAlika consisting of  14 ragams - shrI, Arabhi, gauri, nATa, gauLa, mOhanam, sAma, lalita, bhairavaM, sAraHNga, shaHNkarAbharaNam, kAmbhOji, dEvakriya, bhUpALaM)
•  The sequence of fourteen Ragas that appear in this Ragamalika are Sriragam, Arabhi, Gowri, Nata, Gowla, Mohanam, followed by viloma swaras (rendering of swaras in the reverse order of Ragas).
• The second half contains Sama, Lalita, Bhairavam, Saranga, Sankarabharanam, Kambhoji, Devakriya, Bhoopalam, followed again by viloma swaras, and finally ending in the commencing Raga, Sriragam) -  This composition is in praise of Lord Viswanathar of Kuzhikarai temple (Dakshina Kasi) located near Tiruvarur
• Listen to MLV's awesome rendition of this masterpiece - http://www.youtube.com/watch?v=IzSmI8UVGAk
13. shRHNgAra shaktyAyudha dhara sharavaNasya -  -Ragam Rama Manohari (This is composed on Sikkal Singaravelar)
14.  bRhadIshvarO rakSatu mAm hari - Ragam  gAnasAmavarALi (Dikshitar composed this song for the Lord of Thanjavur temple, Brihadeeswara, on the request of his disciples, the Thanjavur Quatret)
15. ShrI mAtRbhUtam trishiragri nAtham- Ragam Kannada  (Dikshitar composed this song when he visits Trichy Malaikottai - Shri Thayumanava Swamy and gives the gist of the story of the temple in just a line "vaishya jAti strIvESa dharaNam" -
• Listen to vijay Siva's rendition and explanation on http://www.youtube.com/watch? v=vx0TRzelaLM
16. shrI raHNganAthAya namastE - Ragam Dhanyasi - (This composition is on Lord Ranganathar of Srirangam, who has a pranava roopa vimanam)
17. JambUpatE mAm pAhi nijAnandAmRta bOdham dEhii - Ragam Yamuna Kalyani - ( This kriti is a part of the Pancha Bhuta Kritis and describes "Jambu nathar" who is the Appu lingam in the Thiruvanakaval temple and this song flows like the river yamuna.)
• Listen to TM Krishna's rendition - http://www.youtube.com/watch?v=8zQAnKcl4wU
18. Pahimam Ratnachala Nayaka - Raga Mukhari - (This was composed when he visits  Rathnachalam also called as Iyer Malai, near Kulithalai. This kriti gives details about the Lord's consort, Aralakeshi and also describes the old customs, which are still followed in the temple - like "The one whose form is bathed in the waters of the Kaveri, brought by the brahmanas"..
19. MAmava meenakshi rAjamAtaHNgi - Raga Varali - (In this composition on Madurai Meenakshi, who was his dear deity of Srividya upasana, Dikshitar says "mAmava mInAkSI rAjamAtaHNgi mANikyavallakIpANi madhuravANi varALivENi"
• Goddess Meenakshi is referred to as "Raja Mathangi" - who has a dark complexion and resides in the vishuddhi chakra at the throat - who is invoked for command over speech and knowledge and holds an emerald studded veena.
• He describes the Goddess as "The one possessing an emerald studded vINa ("mANikyavallakI") in Her hands. The one with a mellifluous voice ("madhuravANi") and the one with dark hued hair ("vENi") that resembles a swarm of bees ("varALi")."
• Listen to Sudha's renditon of this song at http://www.youtube.com/watch?v=DCKY5G0YxDY
20. MAmava raghuvIra - Ragam Mahuri - (After this, he goes via Rameswaram to meet his brother Baluswami Dikshitar at Ettayapuram (Sattur). In Rameswaram he composes a rare krithi in the ragam Mahuri - " MAmava raghuvIra " for Ramanathaswami.
21. AnandAmRtAkarshiNi - Ragam  amRta varshiNi - (A popular anecdote about this raga is that while visiting Ettayapuram, Muthuswamy Dikshitar was anguished to see the drought-hit land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He requests Devi to bring rain and alleviate the plight of the drought-hit people, and addresses Her as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.
• Listen to Maharajapuram Santhanam's rendition at http://www.youtube.com/watch?v=bfBXJXKwF0Y
22. MInAkSi mE mudaM dEhi- Ragam gamakakriyA - (The final song was about Dikshitar's final moments - and a moving one, could see tears rolling down from mine and fellow rasikas, wiping their eyes discreetly, both while listening to the story and the song.. Dikshitar attained samadhi at Ettayapuram on Naraka chaturdashi (Deepavali day, 1835) - He did pooja and has his Ganga Snanam on Deepavali day and asked his students to sing the song "Meenakshi Me Mudam" in the raga Poorvikalyani. As his students sang the lines along with Veena, "Meena lochani pasa mochani" he raised his hands and saying "Sive Pahi" and left his mortal coil..

  

Yaksha Prashna - Gems of wisdom

Acquisition of knowledge is always through the asking of questions, especially in Hinduism. In the spiritual spheres too, it is questions which have revealed to seers the esoteric truths about themselves and their Maker. An entire Upanishad, the Kenopanishad, is in the form of questions and answers thereto, which teach us all that we need to know about the Lord and His attributes. "Keno" means "to ask"...

 

This story of Yaksha Prashna is from Mahabharatha's Aranya Kanda - Toward the end their 12 year exile, in the quest of mysterious circumstances, the Pancha Pandavas venture to fetch water from a lake. The lake was devoid of any living creature except a crane (Baka) and the crane tells Pandavas that if anyone consumes water without answering its questions, the water will turn into poision killing them - Sahadeva, Nakula, Arjuna and Bheema do not heed and die - Yudishtra, in search of his brothers, answers these questions and finally the Crane reveals itself as Dharmaraj (Yama) in the form of a Yaksha - These are the 18 questions which are a store house of knowledge and termed as Yaksha Prashna..

 

This question and answer session are gems of wisdom which lay framework for Bhagavad Gita, and which have guided the lives of Hindus for a thousand and more years.. May these questions and answers inspire our children to shape their lives too.. Read on...
 

Question No. 1:

Yaksha : Who makes the sun to rise and ascend in the skies? Who moves around the Sun? Who makes the sun set in the horizons? What is the true nature of the Sun and where is the sun established?

Yudhisthira answered: Brahma makes the sun rise and ascend. The Gods perambulate about the Sun. The Dharm sets the Sun. Truth is the actual Sun and the Sun is established in truth only.

 Question No. 2:

Yaksha : What instills 'divinity' in Brahmins? What is the quality of virtuousity in a Brahmin? What is the humanlike quality of a Brahmin? What is the conduct akin to a non-virtuous person in a Brahmin?

Yudhisthira replied: The self-study (Swadhyana) of the Vedas is divinity in a Brahmin. Penance is the quality like a virtuous person in a Brahhmin. Death is human-like quality in a Brahmin. Criticising others is conduct in a Brahmin like a non-virtuous person.

Question No. 3:

Yaksha asked: What instills 'divinity' in Kshatriyas? What is the quality of virtuousity in a Kshatriya? What is the humanlike quality of a Kshatriya? What is the conduct akin to a non-virtuous person in a Kshatriya?

Yudhisthira replied: The art of archery is the divinity in a Kshatriya. Oblation is Kshatriya's quality of virtuousity in Kshatriya. Fear is his humanly quality. Abandoning people under protection of the Kshatriya is conduct like a non-virtuous person in the Kshatriya.

Question No. 4

Yaksha asked: What is that thing which is like a Mantra in the performance of oblations (Yajnya)? Who is the performer of rites and ceremonies during Yajnya? Who accepts the offerings and oblations of a Yajnya? What is that which even a Yajnya can not transgress?

Yudhisthira replied: 'Breath' is like a Mantra in the performance of rites. 'Mind' is the performer of all rites in the course of Yajnya. Only Shlokas of the Vedas, termed rucha or the richa accept oblation. The Yajnya can not surpass nor transgress the richas.

Question No. 5

Yaksha asked: What is heavier than earth, higher than heavens, faster than the wind and more numerous than straws?

Yudhishthira: One's mother is heavier than the earth; one's father is higher than the mountains. The mind is faster than wind and our worries are more numerous than straws.

Question No. 6

Yaksha asked: Who is the friend of a traveler? Who is the friend of one who is ill and one who is dying?

Yudhishthira: The friend of a traveler is his companion. The physician is the friend of one who is sick and a dying man's friend is charity.

Question No. 7 t

Yaksha asked: What is that which, when renounced, makes one lovable? What is that which is renounced makes happy and wealthy?

Yudhishthira: Pride, if renounced makes one lovable; by renouncing desire one becomes wealthy; and to renounce avarice is to obtain happiness.

Question No. 8

Yaksha asked: What enemy is invincible? What constitutes an incurable disease? What sort of man is noble and what sort is ignoble?

Yudhishthira: Anger is the invincible enemy. Covetousness constitutes a disease that is incurable. He is noble who desires the well-being of all creatures, and he is ignoble who is without mercy.

Question No. 9

Yaksha asked: Who is truly happy? What is the greatest wonder? What is the path? And what is the news?

Yudhishthira: He who has no debts is truly happy. Day after day countless people die. Yet the living wish to live forever. O Lord, what can be a greater wonder? Argument leads to no certain conclusion, the Srutis are different from one another; there is not even one Rishi whose opinion can be accepted by all; the truth about Dharma and duty is hid in caves of our heart: therefore, that alone is the path along which the great have trod. This world full of ignorance is like a pan. The sun is fire, the days and nights are fuel. The months and the seasons constitute the wooden ladle. Time is the cook that is cooking all creatures in that pan (with such aids); this is the news..

Tulsidas and Hanuman Chalisa

Hanuman Chalisa - "Forty chaupais on Hanuman", a devotional song on Lord Hanuman as the model devotee is one of the most recited slokams in Indian households.

Tulsidas, who was acclaimed in his lifetime as an reincarnation of Valmiki, was the composer of this great slokam. He is best known for the great epic Ramcharitmanas and Hanuman Chalisa amongst other great literary works - Both were composed in the vernacular Awadhi.

 

Legend goes that Tulsidas was born after staying in the womb for twelve months, he had all thirty two teeth in his mouth at birth, his health and looks were like that of a five-year old boy, and he did not cry at the time of his birth but uttered "Rama" instead. He was named "Rambola" - literally, who uttered Rama, as Tulsidas himself states in Vinayapatrika. Tulsidas wrote twelve books and the most famous one is his Ramayan "Ram-charit-manas" —in Hindi. He wrote this book under the directions of Hanuman and this is read and worshipped with great reverence in every Hindu home in North India.The greatest of poets in Hindi and Indian literature, hints at several places in his works, that he had met Hanuman and Rama face to face.

According to this reference, Tulsidas used to visit the woods outside Varanasi for his morning ablutions with a water pot. On the way back, he used to splash the remaining water to a certain tree, which quenched the thrist of a "Preta" or a ghost in that tree, thristy for water! The ghost offered a boon to Tulsidas and he said that he wished to see Rama with his eyes.. The Preta guided Tulsidas to Hanuman, who could grant the boon he asked for. The Preta told that Hanuman comes everyday disguised as a leper to listen to Ramayana in the spot - where the famous "Sankat Mochan" temple at Varanasi stands today. At the beginning of the Ramcharitmanas, Tulsidas bows down to this particular Preta and asks for his grace  in Doha 1.7!

 

 

Navagrahams - Chandran

Chandran (The Moon) the second “graham” among the Navagrahas is a lunar deity, also known as “Soma”. He presides over Somvar or Monday, he is of “Satva Guna” and represents the Mind, feminine nature, beauty and happiness. Since he rules your mind, the mental stability and wellbeing of an individual to a larger extent depends on the placement of moon in horoscope.

Chandran is one of the most handsome of deities , very fair and white in colour. His clothes are white, his chariot and his horses are also white and he wears a golden crown and a necklace of pearls. Silver is his favourite metal. 

He is married to daughters of Daksha Prajapathi. He has therefore 27 wives, representing twenty seven Nakshatras (constellations). Budha (the planet Mercury) was born to Soma and Taraka.

Puranas mention that Chandra is the son of Atri and Anusuya.  When the Devas and Daanavaas churned the sea of milk, Chandra and Lakshmi were born out of the sea. So Chandra is the brother of Lakshmi and also described as the left eye of Lord Vishnu. During the churning of the sea of milk, elixir was produced. Lord Vishnu, in disguise as Jaganmohini, distributed the elixir among the gods. Two daanavas by name Rahu and Kethu stealthily joined the gods and tried to drink the elixir. At that time, Chandra hinted to Lord Vishnu about the cheating of Rahu and Kethu and Lord Vishnu beheaded both with his Sudarshana Chakram. That is why Rahu and Kethu entertain a grudge on Chandra and trouble him on some days by eclipsing him!

The “Purusha Suktam” mentions Chandra as having come out of the mind of the primeval Purusha. It is believed that Chandra was born from the intelligence of the almighty. That is why Chandra is the controller of the mind according to astrology. Human mental status also fluctuates just like the changes that take place in Chandra during the full moon and new moon fortnights. .  The word "luna" (moon) can be found in the word "lunacy" (madness), and it has been observed that crime levels, accidents and murders increase during the full moon when Chandra's energy is really strong!   The realm he rules over is called the world of the moon or "Chandra Lokam".  It is where our souls go to rest when we die before ascending to higher planes or reincarnating. 

The crescent moon has always been a symbol associated with the Indian/ Hindu iconography, Lord Shiva’s forehead is adorned with a crescent moon; Devi Lalitha Tripurasundari is always depicted as adorned with a crescent. The crescent, symbolizing the re-birth or regenerative aspect of the Moon, which is symbolic of feminine power and womanhood.

The folloing verses from “Bilwashatakam” depict Shiva as “Chandramouliswarar” ..

"Daridrya dukha haranam , ravi chandra analekshanam,
Mrugapanim , Chandra moulim , Eka bilvam Shivarpanam"

(I offer one leaf of Bilwa to Lord Shiva, who destroys the sorrow of poverty,
Who has sun, moon and fire as eyes , Who holds a deer and has moon as a crest)

Chandran worshipped Lord Shiva as Somnath Jyotirlingam in Saurastra to regain his beauty and radiance which waned due to a curse by his father-in-law Daksha Prajapati. Daksha cursed Chandra Deva for showing favor to only one of his 27 wives (named Rohini) and neglecting the others.

Somavaara Vratham (Fasting on Mondays), worshipping of Lord Shiva, adorning pearls on the body, donating rice, white clothes, silver, white sandal, sugar, oxen, etc., should be done to please Chandran.

Chandra Mantram

Dadhishamkha Trrisharambham ksheero Daarnava Sambhavam 
Namaami Shashinam somam shambormukuta bhooshanam

I bow down to the Moon whose hue resembles the hue of curds, a conch and the color of snow. I bow down to the one who sprang out from the milky ocean. I bow down to one who beautifies and adorns the crest of Siva, and who is of the form of nectar.

Color: White
Day: Monday
Metal: Silver
Direction: North West
Element:  Water
Gemstone:  Pearl and Moonstone
Food: Rice
Flower: Jasmine
Fruit: Lemon

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.