courtesy:http://muralisudha.blogspot.in/2011/11/bhajana-sampradaayam.html
BHAJANA SAMPRADAAYAM
http://www.achalam.com/bhajanasampradaayam/sampradaayam.htm
Even though chanting or singing the Lord's name without following any order of performance will suffice (Deveotional Songs), systematic performance will always benefit. Even for our worldly activities, we list out the steps to be followed to achieve anything. A Samprdaayam is the established practice or custom or method of doing any act in a prescribed manner Thus came the Sampradaayam in Bhajan also.
Our Gurus have evolved a method for doing Bhajan, which we have to follow meticulously, if we have to derive the benefit. The Songs, Lyrics, Raagaas and the method of singing them etc. should be strictly followed as each of these elements have a definite meaning and purpose. The Raagaas chosen have a direct relationship with the lyrics and the lyrics have a definite meaning, which is in praise of the Lord or will be a prayer from the Bhaktha to the Lord. If we try to change the lyrics or raagaas, the entire purpose or objective of the songs is lost. Moreover, we are not competent to correct or change what is given by our Gurus, who have prepared them with self-experience and after going through the Bhava Rasa. Moreover, the Sampradaayam was evolved to the shape what it is today by our Gurus after a great amount of reasearch and analysis and the present Sampradaayam is a comprehensive system encompassing various practices followed by many bhakthaas in all over India. Our Gurus have travelled throughout India and collected the great works of Bhakthaas and Sanths and have given a well codified systematic Sampradaayam, which we have no right to alter.
For different topics, please click on the above links and read them as you choose. For knowing about different Paddhathis, please click on the links given below and go to the respective sections. May you flourish in Bhakthi by following the Sampradaayam strictly as given by our Gurus.
RADHEY KRISHNA
Origin
As there are Trinities in Carnatic Music (Thyaagaraaja Swamigal, Muthuswami Deekshithar & Shyama Sasthrigal), so also in Dakshina Bhajan Sampradaayam field, there are three Gurus (Govindapuram Bodhendra Swamigal, Thiruvisanallur Shridhara Venkateswara Iyyavaal and Marudaanallur Sadguru Swamigal), who have prescribed Naama Japam and Bhajan as the only source for Mukthi in Kaliyuga. They knew that in Kaliyuga people will not be able to engage themselves in Dhyana, Yaaga, Yajna, Tapas, Pooja etc. etc. as done in Krita, Thretha and Dwapara Yugaas, which are too time consuming and needs more spending. They have evolved a method which is so easy to follow and is definite in results.
Bodhendra Swaamigal was the 59th Pontiff of the Kanchi Kaaamakoti Peettam, who came in the lineage of Aadi Sankara Bhagawat Paada. He propagated RAAMA NAAMA Japam as the way to achieve salvation. Being a Sanyasi, he had to restrict himself by giving out upadesa. He preached that Naama is superior to Naami, i.e. the name is first and then the roopam. The name Raama has an origin prior to the birth of Raama and was selected by Rishi Vasista. The sanctity of RAAMA Naama is that when we utter "RAA", the mouth opens which allows all our sins to go out and when we utter "MA", the mouth closes so that no more evil speech or though will enter into us. He stated that the name Raama denotes "always in Bliss", which is not pleasure that we enjoy at our Body, Mind and Intellectual level.
Shreedhara Venkateswara Iyyavaa was a contemporary to Sri Bodhendra Swamigal, was a Siva Bhaktha and he has rendered many kritis in praise of Siva as also in praise of Krishna. He was propagating Siva Bhakthi through his Naama Prachaarams. Shreedhara Iyyavaal was a Gruhastha and moved, leaving his wealth and belongings, from one place to another with his mother and wife, but following his Nithya Karma as a Bhagavatha (including daily Bhajans and Unchavruthi). Finally he settled in the village Thiruvisanallur. He is said to be the incarnation of Siva
Once, while performing Shraadha for his father, Shreedhara Iyyavaal offered the food prepared for the Brahmins to a Bhikshaka, who was hungry and who was an outcaste. This shows that Shree Sridhara Iyyaaval was so deep rooted in Bhakthi and compassion towards the sufferings of others irrespective of what comes to him, even a sin. At the behest of the Purohits assembled there, he was to take bath in ganges and re-prepare the food and do shradha again. Though to show his devotion and spiritual power, it is said that through his song, composed and sung by him with deep rooted Bhakthi, he could bring Ganges into the well at his residence, which occasion is being celebrated even today once in a year.
The Priests and Bhagawathaas in the village complained to the King that Shreedhara Iyyavaal is converting everyone sas Shaivites and wanted to punich him. While the procession of Sri Krishna was taken out in the village and when it came to the door steps of the house of Shreedhara Iyyaval, he came out and offered prasaadam to Lord and took Aarati. Thus he proved that there is no diffrerence in Shivites and Vaishnavites and both Gods are the same. He has composed songs in various gods, which are being sung today in our Sampradaayams. It is the Maruthanallur Satguru Swamigal who gave us the original Sampradaayam, which is being followed by the present day Bhajanists, though with additions made by later Bhagavathaas.
arudaanallur Sri Sadguru Swamigal, born to Venkata- subramania dampathis after about 100 years of Bodhendra Swamigal's Samaadhi and originally named as Venkata- ramana, was said to be the re-incarnation of Sri Raama. He was duly initiated into Brahmacharya and Gruhastha Ashramaas, being married to Janaki.
Sadguru Swamigal was engaged in Bhakthi Maarga by singing the names of God. He was the one who identified the Samaadhisthal of Bhagavan Naama Bodhendra Swamigal in the Cauveri river bed in Govindhapuram (Kumbakonam), which was earlier washed away by flood waters and people did not care for it. Ordained by fate, he decided to discover the Samaadhi by tying his legs (nay he may stamp on the samaadhi) and rolling on the river bed. He heard the chanting of "Raama Raama" at one particular location and decided that it should be the samaadhisthal of Sri Bodhendraal, which he wished to re-build surrounded by a beautiful Brindaavan. However, Sadguru Swamigal, being a gruhastha with no financial backing, approached the then Maratta King Sri Sarabhoji Mahaaraja (the ardent disciple of Samartha Raamadaas - a Raama Bhaktha), who financed the project of diverting the flow of the river a little away and to build an Adhishtaanam at the spot where he Samaadhi was found.
Sri Sadguru Swamigal followed the Bhagavatha Dharmaanushtanam meticulously and travelled throughout India and observed and collected the songs composed and sung regularly by various Bhakthaas/Sants in their own languages such as Hindi, Maratti, Thelugu, Kannada, Tamizh,Malayalam and Sanskrit, the Saptha Bhaasha. The Bhakthaas who have rendered/sung songs/slokaas can be classified as: Thukkaraam, Naamdev, Gorakkumbha, Santh Gnaneswar, Gnaanaabai, etc. in Maharashtra; Purandaradas, Kanakadas etc. in Karnataka; Meerabai in Rajasthan; Kabirdas, Thulsidas etc.in Uttar Pradesh; Jayadevar in Orissa, Chaithanya Mahaa Prabhu in Bengal; Raamadas, Annamaacharyar, Narayana Theerthar etc. in Andhra; Sri Narsi Mehta in Gujarath; Aazhvaargal, Naayanmaargal, Bondhendraal, Sridhara Ayyavaal,Sadhasiva Brahmendral, Thyaagaraaja, Gopalakrishna Bharathi etc.in Thamil Naadu, and many others.
He felt that to involve people in Bhakthi Marga, there must be unity and he compiled the songs sung by the above Bhakthaas in various languages, codified them into a Paddhathi and made it his daily routine. What a herculean task! This brings out the theory of Unity in Diversity. What a best method of National Integration. Marudaaanallur Sadguru Swaamigal was the one who provided us the basic Dakshina Sampradaaya Bhajan paddhathi by incorporating songs in different languages, which came to stay as the basic Paddhathi Krama that are in use today.The Sampradaayam prescribed by Sadguru Swaamigal is found in original Ola Chuvadi in the Mattam and at Bodhendral Mattam and about 60 years ago it was publshed in Grandhaksharam by Thillai Sthanam Narasimha Bhagavathar under the title : BHAJANOTHSAVA PADDHATHI. Later, in Chennai Sri Kothandarama Swamigal published an elaborate Paddhathi in Thelugu. Again, Thiruvayaar Nagaraja Bhagavathar brought out a short publication of this in Thamizh for the first time. Later Udumalaipettai Ramakrishna Bhagavathar has brought out a somewhat elaborate Paddhathi in Thamizh, which used to be followed widely all over India.
Thus, Sri Maruthanallur Satguru Swamigal is the one who has given us the Basic Bhajana Sampradaaya Paddhathi, though added and developed by the later Bhagavathaas as said above. Even today, there is his Mattam in Maruthanallur Village, which is administered by his lineage, who are spreading the fame of Satguru Swamigal.
Even today, to show our indebtedness to these Bhajan Trinities, we sing in praise of these three Gurus (a must) at the beginning of our Bhajan Paddhathi (Guru Keethanam). Normally, the Guru Keerthanams should be in praise of these Gurus and not the songs sung by them. However, if such keerthans in praise of them are not available or not known to us, it is perfect if we sing the songs rendered by them in Guru Keethanam.
Growth
Pudukkottai Sri Gopalakrishna Bhagavatha Swamy, born on Friday 04.10.1892 (Nandana Varuzham Purattasi Maadham 30th day Krishna Paksha Navami in Aashlesha Nakshathram) to Smt.Meenakshi Ammal and Sri Sundaresa Ayya staying in Vallavari Village (Aranthangi Taluka, Trichy Dist., Tamil Nadu) and he was named as Venkata Gopalakrishnan. In his early age itself he learnt Thelugu, Sankrit, Thamizh languages, Music and had Manthropadesam from his brother-in-law. He attained the Lord's feet on Friday, 30/04/1971 Virodikruthu Varzham Chithirai month 17th day).
Appa strictly followed the Bhagavatha Dharma literally by doing Nithyavrutthi, Raama Naama Japam, Unchavrutthi, Bhajan and Dolothsavam on a daily basis.. He was a staunch Narasimhopaasaka & was conducting till his niryaana, Narasimha Jyanthi every year in Pudukkottai, which he chose as his abode. His compassion, Daya, Daakshinya, Egoless status, Samabhaava, Santha Swabhaava etc. established him as a real Santh.
After Sri Maruthanallur Satguru Swamigal, in recent times, Pudukkottai Sri Gopalakrishna Bhagavatha Swamy (fondly known as Appa) has done an yeoman service to the world of Bhajan by addiding to and propagating the original Sampradaayam prescribed by the trinities of Bhajan. He used to visit various bhajan programmes of learned Bhagavathaas of his time and got involved in it. Later he travelled all over India and participated in many Bhajans.
The additions and changes made by him to the original Pddhathi is praiseworthy. He added more songs composed by Bhagavathaas & Sanths of his time all over India in various languages and expanded the original Paddhathi. A few Kruthis of Oothukkadu Venkatasubbayyar, which are famous for their bhava & Bhakthi were added as they are also best suited for Abhinaya. Sri He excelled in these activities through total involvent with Bhaava and Bhakthi and with Dance and Abhinaya in the Bharata Naatya method, which he had learnt. This has attraced many Bhakthaas and followers towards him, because even those who are not able to follow the verses sung or not knowing the meaning of them could involve themselves fully while attending his Bhajans. Because of his total involvement and Bhakthi/ Bhaava, his abhinaya conveyed the meanings of these songs. Today, visual education is easier than vocal and this method is followed in almost all walks of life. Sri Appa achieved this objective very efficiently in his Bhajans. His eyes had a tremendous Vasya (attraction) power, which poured anugraha to Bhakthaas. After Kanchi Mahaa Periyavaal and Sri Ramana Maharshi, I have seen the powerful eyes only with Sri Appa. As he followed the Bhagavatha Dharma, he imbided certian occult powers(Tapo Phalam) which he never propagated. But those blessed ones who are destined to be cured/blessed by Sri Appa, automatically got it.
Sri Appa has revolutionised the Dolothsava Paddhathi of Saint Thyaagaraaja by adding important and apt songs from Pawwalimbu Uthsavam to it, in order to enjoy the essense of it on a daily basis, instead of on Kalyaanams or after finishing 24 Ashtapadi songs. Many of the songs from Pawwalimbu do fit in well in the Dolotsavam,. Knowing the import of these songs, and the Bhakthirasam in them, he enacted it and enjoyed the essence of it in the philosophical sense. This is indeed a treasure for bhakthaas who excel in Bhakthi and enjoy the essence of Lord's Leela. He had initiated a few deserving Bhajnists into Suthropadesam and I am one of those lucky ones.
The Sampradaayam:
Today there are a few Bhajana Sampradaayams in existence, like (Bodhendra) Madatthu Sampradayam Thiruvisa Nallur Sampradaayam, Marudaanallur Sampradaayam, Pudukkottai Sampradaayam, Krishna Premi Sampradaayam etc. Though there are slight differences in these Sampradayams, all of them have the same main theme as provided by Sri Sadguru Swamigal. Whichever Sampradaayam we follow, we should do justification by following the tenets prescribed by that Sampradaayam. We should not indulge in grading these Sampradaayams. The authors of these Sampradaayams were following them strictly as per rules on a daily basis. In my opinion, a real Bhagawatha has to perform, apart from his Nithyavrutthis, the Unchavrutthi, Paddhathi Bhajan and, Dolothsavam on a daily basis. The entire Bhajana Sampradaayam is grouped into various Paddhathis. However, in the present day situation, due to time factor and lack of knowledge, the full paddhathi could not be/are not being followed in toto but parts of which are performed at different times. Based on the present state of affairs, the various parts can be grouped under two major Groups: I have based the following Padhdhathi mainly based on Sri Appa's Paddhathi.
PADDHATHI BHAJAN:(Basic)
THODAYA MANGALAM Ist Part
GURUDHYAANAM )
GEETHA GOVINDAM ) 2nd part
THARANGINI )
OTHER GURUS )
POOJOPACHAARAM 3rd part
DHYAANAM 4th part
SPECIAL BHAJAN:
DIVYANAAMAM 5th Part
DOLOTHSAVAM 6th Part
UNCHAVRUTTHI )
KALYAANA UTHSAVAM )
VASANTHOTHSAVAM ) 7th Part
Poorna Ashtapathi Paddhathi is prescribed to be peformed before Kalyana Utsavam.
Significance of Sampradaayam:
Our Hindu culture prescribes Seven main Samskaaraas: Jasthakaranam & Jaathakaranam, Chowlam, Upanayanam, Marriage, Seemantham, Shashtiabhdha Poorthy, Sathabhishekam. although the Samskaraas prescribed by Sanatana Dharma vary from 16, 24 or 42 etc. as per various schools of thoughts. Even in our marriages, there is an Angam as SAPTHAPADI", which is the proof of marriage, apart from Kanyaka Daanam and Panigrahanam. (Unless Sapthapadi is conducted, it is not considered as a valid marriage even by the Hindu Law). Spiritual evolution (if proper spiritual evolution is considered to be taking place) should pass through these stages: Baalyam, Kawmaaram, Brahmacharyam, Gruhastham, Vaanaprastham, Sanyaasam, Samaadhi, which in Kaliyuga, is not attainable, as the Dharmaas in each stage cannot be observed and the samskaaraas are not being followed stictly. Namasamkeerthana is said to be the Maarga for salvation in Kaliyuga, which is simple to follow, easy to observe and definite in its result. What is required is sincereity in approach, concntration and Bhakthi Bhaava, total surrender to the Lord without Ego and with minimum Nithya Karmaanushtaanams prescribed for Kaliyuga Dharma. As there are seven main samskaras (minimum), so also I view the Sampradaaya Bhajan Paddhathi grouped into seven parts as above, for attaining salvation. This sampradaayam is a conglomoration of Slokams & Keethanams composed ands ung by various Bhakthaas/Sanths/Bhagavathaas with a definite meaning and purpose. If we want to follow them, naturally we have to adhere to the rules set therein.
Vedantic view of of the Paddhathi:
As I see it, having perfected ourselves with Sathwic Vichaar, enabled by the Pooja Paddhathi & Dhyaanam, we qualify for a vision of the Lord. By performing Deepa Pradakshinam, we get the vision of the Lord, go close to the Lord by enacting His leelaas and by being in company with Him through Bhakthi Bhaava. Through Gopikaa Geetham, we enjoy the Madhura Bhaava, suffer the pangs of separation due to our Ego, practice Bhakthi and total surrender and get the knowledge that Jeevaathma and Paramaathma are one and without Paramaathma, nothing exists. Through Dolothsavam, we merge with the Lord in the form of Nidhidhyaasan and get established in the Paramaathma Tathwa. This is possible only if we grasp the Philosophical meaning of these paddhathis and put them into practice. Let me hasten to add that while externally we may, through singing/abhinaya/dance, depict the various bhaavaas, inwardly we should be able to keep the above Vedantic stature for a full experience of spiritual anubhavam.
While we cannot avoid doing work to earn our livelihood and do our Dharma as a Gruhastha, we should always bear in mind that our(Jeevaathmaas') origin is Paramaathma Thathwa and we should always aim at spiritual evolution by doing our karma in the world with pure mind, unattached, without Ego, with Daya towards others, serving humanity in whatever way we can and singing in praise of God always, lead a pious and simple life, so that our real AIM is ever shining in our mind and we try to achieve it before casting away this body in this birth. The only way for this is NAAMA SANKEERTHANAM as prescribed by elders.
Propagation/Pracharam
The Sampradaayam was propagated in the 19th/20th centuries by a few Bhagavathaas like Maruthanallur Venkatrama Bhagavathar, Pudukkottai Gopalakrishna Bhagavathar (lovingly known as APPA by his followers), T.V.Narayana Sasthri, T.M.Ramakrishna Iyengar, Abhedananda etc., to mention only a few, who have published Sampradaaya Bhajan Padhathi books with a few additions of songs rendered by other Bhaagavathaas of their time, according to the time change. These Bhagavathaas followed the Bhagavatha Dharma strictly. They have spread Sampradaaya Bhajans throughout India. Late Sri Pudukkottai Sanjeevi Bhagavathar (son of Sri Gopaala Krishna Bhagavathar), followed his father's footsteps in spreading Nama Sankeerthan with daily Upaasana till the end of his lifetime. Sri Haridas Giri also strived to spread the Bhajana Sampradaayam by his Bhajans and Upanyaasams in India & Abroad during his lifetime. He established various samajams called "Gnananada Samaajams".
Apart from the above Bhagavathaas, there are many Bhagavathaas and Samajams, who are propagating the Dakshina Sampradaaya Bhajan Paddhathi in the present days. I would like to name a few of them with whom I have come in contact with. Delhi Subbarama Bhagavathar, Bhopal A.L. Krishnamoorthy Bhagavathar, Sethu Madhava Rao, Kanpur Mahadeva Bhagavathar, Sathalapathy Govindaraaja Bhagavathar, Thiruvisanallur Ramakrishna Bhagavathar, Naamananda Giri, Sri O.S.Sundar, Erode Rajamani, Odayalur Kalyaana Raaman,Thanjavur Thyaagaraajan, Srivanchiyam Murali, Kovai Jayaraman are engaged in the promotion of Sampradaaya Bhajan thoroughout India or/and abroad. Sri Manjapra Mohan, Melarkodu Vaithy , Jayan & Vijayan and a few others are spreading devotion through their Naamasankeerthanams. Sri Jaikrishna Dikshithar Avargal is promoting Nama Sankeerthan through his discourses on Bhaktha Vijayam and Bhajans.Sri Thukaraam Ganapathy Avargal is spreading Naama Bhakthi through his Abhang songs with Upanyaasam on Bhakta Vijayam.
In Mumbai, Sri Nurani Chuppamani Avargal (instrumental in spreading Deepa Pradakshinam in Mumbay), Late Sri Rangnathan Avargal of Hariharaputhra Bhajan Samaj, Bombay Hari Avargal, BorivliI Srinivasan Avargal, Bombay Murthy,Late Kalina Ramamurthy, Mulund Bhajan Samaj, Sri Pudukkottai Narasimha Jayanthi Kainkarya Samithi, Gnanananda Mandali, SriSri Anna Bhajana Mandalis, Gharodianagar Bhajan Samaj, to mention a few, have been involved in spreading Sampradaaya Bhajan. Nama Sankeerthana Sangh (Chandran & Party) is striving to spread Naama Sankeerthana through their devotional songs programms. Abhang Ratna Sri Ganesh Kumar Avargal of Mumbai is engaged in Naama sankeethana prachaaram through his Abhang Bhajans. Late Kalyan Krishnamoorthy Avargal had strived to unite many samaajams and individuals in spreadding the Pudukkottai Paddhathi. There are many other samaajams conducting regular Bhajans in their Samajam premises.
Sri Krishna Premi Maharaj's (lovingly called ANNA), contribution to the propagation of Bhajans Sampradaayam through his Bhagavatam discourses and Bhajans, Deepa Pradakshinams and Raadha Kalyaanams embracing all the Sampradaayams need a special mention. The books written by him on our culture are innumerable, the translations provided for many Grandhaas are immeasurable, the Bhajana songs composed by him in different languages are uncountable and the discourses rendered by him are incalculable. He has composed innumerable books on Puranic/Philosophical topics and has brought out a Unique Bhajan Paddhathi followed by his followers today, mainly in Sanskrit. He is engaged in Puranuddhaaranam work of Govindapuram, Thiruvisanallur and Marudanallur mattams, which have been neglected and are in a bad shape. He has also collected books containing Raamanaamas writen by devotees and have deposited in the Raama Naama Banks at Nasik, Pandarpur, Brindawan, Chitrakud, Govindapuram etc., which goes into Crores of Raama Naamas. He has recently - in April 2003 - found out the Adhishtaanam of Sri Vijayagopaala Swamigal, who sung various songs in divyanaama sankeerthanam and particularly the song "Devesa gana Araadhitha divyaambhuja paadhaa" in thodaya mangalam. It exists in Polagam, which is a small village in Nagapattinam Taluk near Thirupugazhur and ThiruKannapuram. It is gathered that fifty years back the Aradhana of Sri Vijaya Gopala swamy used to take place in Polagam and the Adhishtanam used to exist in the banks of river Thirumalrayan in Polagam. Really a great achievement in a life time of Sri Sri Anna. Thus he is rendering yeoman service to the Bhajana Sampradaaya and Naama Prachaara.
There are many others, who are not left out purposely but with whom I have not been directly associated with and/or about whom I do not have full details or direct knowledge and hence not listed individually. I acknowledge all such individuals and Samajams for their service in spreading the Sampradaayam/Naama Sankeerthanam.
PADDHATHI BHAJAN
The Paddhathi Bhajan:
From the Paddhathi Kramam given in the Sampradaaya Bhajan section, we notice that though the entire sampradaaya is included in the above Paddhathi Krama, we normally refer to Paddathi (Basic) as the Paddhathi Bhajan and Divyanaamam onwards as Special Bhajan Paddhathis. This is because Poorna Ashtapadi, Deepa Pradakshinam, Unchavrutthi, Kalyaanams, Vasanthothsavam etc. necessarily are preceded by Thodaya Mangalam, Guru Keerthans and Daasarvaal Krithis (including Ashtapadi and Tharangam ). Hence this has stayed as PADDATHI BHAJAN.. Dhyaana Bhajan may be performed without the Paddathi Bhajan (Basic).
Importance of PADDHATHI BHAJAN (Basic):
Why Paddhathi and what is the importance of performing Bhajan in the given order? Every activity is preceded by a planning of the objective, how to approach the goal, the method, the steps to go through, etc. There is a discipline to be followed in each of such activities. Even in serving food or the method of intake, there is a step by step process - what to serve first, what next and what last etc. The taste of food, if all the dishes are mixed together and taken, is different from tasting each dish separately. We enjoy more by tasting each dish separately. Are we not following these in our daily life? What do we do when we want some great personality to visit us? First we praise him and invite him to our house. He may not agree as we are strangers. So we go through someone best known to both of us, who prevails upon him to accept the invitation. When he comes, we receive him with pomp and show and make him comfortable. After washing his feet, we make him seated and host him by offering fruits and other eatables and something to drink or eat. Then we mix with him and chat, be friendly with him, enjoying his company. We pray to him for his blessings/seek from him what we want. Then we make him rest for a while and wake him up and then he leaves. When we seek someone's favour, we have to go through these formalities to please him first.Similarly, in Bhajan Sampradaaya, we have an order of performance for proper enjoyment.
First we think of God by praising his qualities and gunaas and do vandanam (Thodaya Mangalam). To get him with us, we seek the grace and help of Guru for which we sing in praise of Guru (Guru Keerthanam). Guru preaches the attainments of Daasarvaals like Jayadeva, Naaraayana Theertha, Badraachala Ramadaas, Purandaradasa etc. etc. who have got the grace of God through Naama Sankeerthanam and we follow their method by singing their keerthans (Daasarvaal Keerthanams). This is because, it is easy to approach God through the footsteps of Gurus and Bhakthaas. Then, we invite him to come to us and on his appearance, we perform Pooja and Archana (Pooja Paddhathi and Upachaara Keerthanam). We cannot stand the site of formless, nameless, omnipotent and omniscient God and we need Divya Chakshus to visualise the vision of God. Our Guru teaches us as to how to prepare for it. He prepares us to do meditation on Swaroopa Dhyaana (seeing God in different roopaas). As we fondle a child by bedecking it with different costumes and make-ups and enjoy its varied appearances, so we venture to get God's vision in the form of Ganapathy, Saraswathi, Subramanya, Ayyappa, Siva, Parvathy, Rama, Krishna, Vittal, Govinda, Hanumaan etc. etc. by singing in praise of them (Dhyaanaam). This is because Swaroopa Dhyaana is easier compared to Aroopa Dhyaanam (formless). Paddhathi Bhajan thus is the first stepping stone for spiritual evolution through Bhakthi Marga.
Paddhathi Bhajan can be equated to Swaroopa Dhyaanam of the Vedantic method, since through Paddhathi Bhajan, we are meditating on various forms of God (Swaroopa Dhyaanam) through songs, which give us more opportunity to go near the God. Paddhathi Bhajan, if performed well, with the right bent of mind, following the given order, will lead to perfection and higher heights in Bhakthi marga.
Attavanai:
Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section.
:SAMASTHA SANMANGALAANI SANTHU :
DEEPA PRADAKSHINA PADDHATHI
The Process of Deepa Pradakshinam:
Deepa Pradakshinam is widely spoken as Divyanaamam. As the entire Paddhathi is full of Lord's Divya Naamam, it is preferable to call this Paddhathi as Deepa Pradakshinam instead of Divyanaamam. Therefore, wherever the word Divyanaamam appers hereafter, please read it as Deepa Pradakshinam. Once we have the vision of God (through Paddhathi Bhajan), our philosophical knowledge gets ripened and then we are able to go near God and make friendship by dancing in ecstasy, enacting God's Leela and be in his company (Deepa Pradakshinam). Once we are fixed thus in our Bhakthi, we forget our worldly self and enjoy full bliss but our Ego does not get annihilated. It only gets converted from Rajasic Ego (based on our materialistic attachments) to Saathwic Ego (possessiveness of God - based on our philosophical attachment). Now God helps us to cast away this Positive Ego also by disappearing for a while to make us realise the importance of His presence. Then when we lament, realising the truth (Gopikaa Geetham), and totally surrender to Him (Saranaagathi song), Lord appears and mingles with us in (Raasa Kreeda songs), whereby he makes us realise that God is present in every human being unattached and unbound and He again shines separately as the center of activity. Finally we try to merge with God (Dolothsavam).The process prescribed by our scriptures for attaianing this is beautifully brought out by the following sloka:
SRAVANAM KEERTHANAM VISHNO:
SMARANAM PAADA SEVANAM
ARCHANAM VANDANAM DAASYAM
SAKHYAM AATHMANIVEDANAM
Meaning:
The process of repeatedly hearing the deeds of God (SRAVANAM), doing Japam or singing in praise of HIM (KEERTHANAM), dwelling in His Leelaas (SMARANAM) Pouring Bhakthi onto His feet and serving him (PAADA SEVANAM), performing pooja (ARCHANAM), prostrating before him (VANDANAM), Serving him without Ego (DAASYAM), gaining his friendship (SAKHYAM), surrendering totally unto HIM (AATHMA NIVEDANAM) is aimed at the culmination of human evolution (Mukthi).
While in Paddhathi Bhajan, Bhagavathaas sit and sing the bhajan , in Deepa Pradakshinam, there is also an additional element, where Bhakthaas dance (Nrithya) and enact the leelaas of the Lord (Abhinaya) around the lit Brass lamp (five faceted). In the present day situations, Deepa Pradakshinam is performed on Saturdays, special occasions like Saturdays of Purattasi month, Gokulashtami, Ramanavami etc. The Lord from Sanctum is brought to the lamp in the form of Jyothi (by Aavaahana Manthram). We do Deepa Pooja and place the lamp in the center of the hall and sing in praise of Him. Bhakthaas, along with the songs, enact the leelaas of God by dancing around the Pancha Mukha Deepam (placed in the center of the hall), in tune with the meaning of the song. This is to enable one to concentrate on the theme and forget one's self during Deepa Pradkshinam and try to tune up with the Godly principle. It is also necessary to precede special Bhajan with Paddhathi Bhajan, which is the basic Paddhathi for all other systems. DEEPA PRADAKSHINAM, compared to Paddhathi Bhajan, gives more chance for participation by one and all either in singing, dancing, abhinaya etc. , wherein we forget ourselves and feel the presence of the Lord amongst us and prepares us to have Samabhaavana as we are able to mix up with other Bhakthaas/Bhagavathaas without ego.
Importance of Panchmukha Deepam:
The lamp (made of brass) used for Deepa Pradakshinam contains a great thathwa. Symbolically the round bowl shaped top portion of the lamp (Agal) represents our Mind, the five facets with five pairs of Wicks represent our Indriyaas (5 Gnaanendriyaas and 5 Karmendriyaas), the Ghee poured in the bowl represents our Bhakthi, the stoopa shaped short portion (Naaraayam) pointing upwards and emanating from the center of the bowl represents Guru. The bowl is supported by a stand with artistic moulds (Body) and this stand gets the support of a big round shaped bottom plate (World), holding the body and the top portion. Guru shows the way UP for salvation. Finally when we light the lamp on all five facets, the Jyothi representing God is considered as the object of meditation. How?
All thoughts are emanating in the mind and the thoughts are generated by the Vishayaas that are brought by Gnaanendriyaas from the world outside. The thought process culminates in directions addressed to the Karmendriyaas, which perform the actions in the world outside. Each action depends on the quality of our thoughts and the results again on the quality of our actions. So if the thoughts are pure and Saathwic, the actions are also Saathwic and vice-a-versa . Our Indriyaas (away from worldly thoughts - vishayaaspathi) are directed inwards and get Knowledge through Bhakthi due to constant vision of God in Jyothi swaroopa. Thus, our mind becomes thoughtless, is purified and is empty to receive the Grace of God.
Origin of Deepa Pradakshinam:
The Deepa Pradakshinam was introduced first by Bhadrachala Raamadaas. There is another story behind it: Thaalappakkam Chinnayya, a devotee of Lord Venkateswara, used to go round the Thirupathi hills on Saturdays and have Darshan of the Lord in the evening after which only he used to take food. Due to old age, he was unable one day to do Giri Pradakshinam and could not climb the hills for the Lord's Darshan. He lamented and went without food that night. Lord Venkateswara came in his dream and pacified him saying that he need not feel sorry for his inability to do the Giri Pradakshinam and come to the hills for His darsan. The Lord explained further that If he places a Pancha Mukha Deepam (a lamp lit on five sides with Ghee as the fuel) and comes around it, chanting/singing in praise of Him, it amounts to Bhoo Pradakshinam and the Lord would give him Darshan in the Bhaktaa's house itself. Chinnayya did so on every Saturday and could have Lord's Darshan there. This happened in Purattasi month. Thus, came the importance of Deepa Pradakshinam Bhajan on Saturdays and particularly on Purattasi month.
Deepa Pradakshina Mahima:
In the Pudukkottai Paddhathi, the slokaas before the Abhang: DHANYA DHANYA HO PRADAKSHINA, explain the importance of doing Deepa Pradakshinam: (In other Paddhathis, these slokaas precede Krishna Raama Govinda Hare and which do not have this Abhang).
VISRUJJA LAJJAAM YOTHEETHE
MANNAAMAANI NIRANTHARAM
KULAKOTI SAMAAYUKTHA:
LABHATHE MAAMAKAM PADAM
Through the above sloka, the Lord declares to the Bhakthaas thus: "I safeguard all the Kulam of that Bhaktha who, discarding Lajja (shyness) fixes his undivided attention on me and chants (sings) my fame".
VISHNORGAANAMCHA NRUTHAMCHA
NADANAMCHA VISHESHATHA:
BRAHMAN BRAAHMANA JAATHEENAAM
KARTHAVYAM NITHYA KARMAVATHU.
What is the value of doing Bhajan: As a Brahmin attains Brahmathwa by his Nithyakarmaanushtaanam, so also the one who sings and dances in praise of God attains the same stage.
KAALAKSHEPO NA KARTHAVYA:
KSHEENAM AAYUHU KSHANE KSHANE
YAMASYA KARUNAA NAATHI:
KARTHAVYAM HARI KEERTHANAM
Do not waste your life by involving in daily (material) activities alone. Do perform Hari Bhajan/Keerthan, for Yamah (the God of death) will not have any compassion towards you once your lifespan ends - he will have to take you away.
One may have a doubt. How are we sure that if we do Bhajan, God will see it and reward us. The lord has made an unshakable statement to Naarada, who is the embodiment of Pure Bhakthi, thus:
NAAHAM VASAAMI VAIKUNTE
NA YOGI HRIDAYE RAVOW
MATHBHAKTHAA: YATHRA GAAYANTHI
THATHRA THISHTAAMI NAARADA
Hey Naarada ! I do not reside (only) in Vaikunta Loka, nor in the hearts of the Great Rishis (Tapaswins), but I am ever present at the place where my Bhakthaas are singing my names with Bhakthi. God says he would rather prefer to be present in a Bhajan than in other places. If God comes to us when we sing, are we not elevated, are we not becoming Mukthaas?
The importance of doing Divyanaama Bhajan is well brought out in the Daasa Charanu portion of the Paddhathi, thus:
BHAKTHA: SANGAMYACHA ANYONYAM
DEEPAM MADHYE NIDHAYACHA
JYOTHIR MAYAM MAAM DHYAANTHA:
KEERTHAYANTHASCHA MADGUNANU
PRADAKSHINAM PRAKURVANTHA:
BHOO: PRADAKSHINAJAM PHALAM
LABHANTHE NA ATHRA SANDEHA:
VINATHAANANDA VARDHANA
When bhakthaas as a group in unity & Bhakthi sings in praise of me and dances around a Deepam kept in the center, which is adorned with flame, it amounts to coming round the earth and they are rewarded with punya equal to the punya gained by those going around the earth. The Lord is promising this adding "Don't doubt about this". (By going round the earth we come across many temples & punya kshethras and get the opportunity to have a darshan of great Mahaathmaas and thus gain punya. This is called Kshethraadanam).
In Deepa Pradakshinam we sing the songs rendered by Sri Bhadraachala Ramadas, Purandaradaas, Vijaya Gopaalar, Naraayana Theerthar, Sri Thyaaga Raaja, Brahmendraal, Kabirdas, Meerabai, Thukkaram, Uthukkadu etc., followed by GOPIKAA GEETHAM, which is dealt with in deatil in a separate article, in view of its philosophical importance.
Gopikaa Geetham is followed by Kolaattam, Snake Dance, Siddhar Songs, Abhang, Shivan, Dasaavathaara Krithi: "DARO JAGANNATHA DARO HARE" etc. Then Naamaghoshams like:
"KIMTHATHA VEDAGAMA SASTHRA VISTHARAI:" onwards are made.
At the end of every religious work, there is a Phalasruthi given, explaining the benefits that will be derived by the doers. This is like a promise given by the authors. There is an important sloka at the end of Divya Naama Sankeerthanam as Bhalasruti :
Yey! nruthyanthi Hare: pura: prathidinam
Premnaarudando Muhu:
Gaayanthya: Mudithaanuraaga Hrudhayaa:
Raamethi Krishnethi cha
Theshaam Paada Sarojadhoolimamalaam
Dhruthwa Mahesho Ganai:
Preethyaa Nruthyathi Naaradaadi Sahitha:
Kailaasa Bhoomow Swayam.
This explains that Lord Parameswara, along with his Ganaas and Naarada, do dance in Kailasam by carrying the Paadadhooli of Hari Bhakthaas who daily sing the naama of Raama and Krishna and dance with prema Bhakthi and aananda bhaspam. This brings out the value of Bhakthi. Even Lord Parameswara is bound by Bhakthi and Bhaktha Paada Dhooli has that much importance as Parameswara himself is dancing, carrying.
What other pramaanaas are required or promises are looked at by us for the fine results of doing Bhajan with para Bhakthi? The God Himself has given promises and statements as above to his devotees at one time or other, which have been taught to us. Why not we practice and try for the promised results instead of arguing about the authenticity of these statements. Every scientific theory is put to action before proving its efficacy. If it is so, is it not prudent to act according to the Sastras to reap the benefit. What are we going to get by arguing and challenging the statements without trying to prove or disprove it by involving ourselves into the actions, as prescribed by Sastras?
This is followed by the song "GAJAANANA PAAHI PAARVATHI BAALA HEY", when Bhakthaas do angapradakshinam around the Deepam and hug each other with the stanza : "PREMA AALINGANA", indicating that God is in everyone and all are one.
Then Deepa Avarohana Pooja with the song : "KSHEERA SAAGARAANTHA", and song explaining Hari Paada Theertha mahima: "HARI PAADA THEERTHAMU JEDILO MANCHI".This is followed by Slokam: "VASANTHE VAASANTHI" and Ashtapadi song "LALITHA LAVANGA LATHAA PARISEELANA" (in Aananda Bhairavi), when the same person who brought the lit lamp from the sanctum takes it back (dancing) to the Sanctum . With the Song: "DEHI MANGALAM VAIDEHI MANGALAM", someone lights camphor from this Deepam and takes haarathi to the Lord at the Sanctum and the Deepam is then placed back at its original place at Sanctum. Sumnolically the Lord is taken back to his original place (Sanctum Sanctorium). Thus we attain the Knowledge of Self and thereafter we remain in Adwaitha Bhaava.
Finally, Prarthana Song : "RATNA JADITHA SIMHAASANA" is sung. If not followed by Dolothsavam (which is optional), Poorna Mangalam song and slokams are recited and concluded with Pundareekams.
In view of the elaborate description required, the Gopikaa Geetham (though part of Deepa Pradakshinam) and also Dolothsavam are explained separately.
Attavanai:
Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section.
: SAMPOORNAMASTHU :
GOPIKAA GEETHAM PADDHATHI
Gopikaa Geetham is the celestial song sung by Vruja Gopis in praise of Lord Krishna. This projects the depth of Viraha Thaapam suffered by Gopis when Krishna diappears and their pure Prema Bhakthi and the highest spiritual heights attained by them. This song also brings out the Sringaara Rasam of Gopis with Krishna. This finds its place in the midst of DEEPA PRADKSHINAM, .The same tathwa is given in the form of RAASAKREEDA in the Tenth Skantham(middle) of Bhaagavatham. This is to be sung with devotion, in rapt attention and reverence without any Thaala or sounds. Tears should flow from the eyes in Bhakthi. Normally this is sung in CHENCHURUTTI & PUNNAGAVARAALI raagaas which are so touching and denotes devotion.
The mythological story goes like this:- Gopis who enthralled in the presence of Krishna with ecstasy during the Raasa Leela, thoughtless about their worldly duties, relations and existence and always longed for Krishna's company, had developed an EGO, i.e. each Gopi claiming that Krishna is hers and hers alone and He likes/loves her only. This possessiveness is Saathwic Ego as it relates to Possessiveness towards Lord. Krishna considers it the right time to help Gopis caste away this EGO too and give them the Knowledge (i.e. make them realise the real nature). He disappears temporarily from there midst and made Himself not reachable by them. At this time, Gopis felt loneliness and could not concentrate on their work and grieved over the absence of Krishna. They realised that without Krishna, nothing moves, nor is it possible to do anything. And it is the presence of Krishna that made them happy and active. Even Living became a torture without Krishna. Having realised this, they started wandering in the Kaalindhi River bank, where they used to be in the company of Krishna and craved for his appearance by admitting all their ignorance and egotism. The opening sloka brings out the import:
THANMANASKAA:THADAALAAPAA:
THATVICHESHTAA: THADAATHMIKAA:
THADGUNAAN EVA GAAYANTHYA:
NA AATHMAAKAARAANI SASMARU
PUNA: PULINAM AAGATHYA
KAALINDYAA: KRISHNA BHAAVANAA:
SAMAVETHA JAGU: KRISHNAM
THADAAGAMANA KAANSHITHAA:
Meaning:
Thinking about THAT, Singing about the Gunaas of THAT, Remembering about the Leelaas (Playfulness) of THAT, Concentrating on THAT, Singing in praise of THAT, without a bit of self-feeling (loss of EGO), (Gopis) kept on visiting Kaalindhi river banks again and again (repeatedly) always in the memory of Krishna and finding in every Sthaavara Jangama Vasthus Krishna's figure only, longing for the return (appearance) of Krishna, of course by singing the Gopikaa Geetham song. The word 'THAT' used here refers to Paramaathma Thathwa, i.e. in the form of KRISHNA here.
The Song : JAYATHI THEDIKAM KRISHNA JANMANAA VRUJA: is to be sung in full, in raaga Chenchurutti & Punnagavaraali by sitting around the Deepam. Despite their cry, Krishna did not appear.
YETHESUJAATHA CHARANAAMBRUHAM STHANESHU
BHEETHA: SANAI: PRIYA DADHEE MAHI KARKASESHU
THENAAADAVEEM ATASI THAD VYATTHATHE NA KIMSWITHU
KOORPADIBHI: BHRAMATHI DHEE: BHAVADAAYUSHAM NA:
Then Gopikaas sung the song of Saranaagathi (total surrender) - (to be sung in raaga Sinhendra Mahyamam):
THWAM EVA MAMA SARANAM KRISHNA
THWAAM VINAA ANYAM NA JAANE
Philosophical Import of Gopikaa Geetham:
Though Mythology projected Gopikaa Geetham as the song sung by Gopis, there is a message for all of us. Gopis are the embodiment of Bhakthi towards Krishna.All of us, the Jeevaathmaas, must become Gopis to attain Paramaathma (Krishna). Jeevaathma is a spark coming out of the Paramaatma (self-willed leela of Paramaathma) but having got entangled in the Samsaara Chakra by Maaya, forgot about the real nature and is sunk in the materialistic pleasures which are impermanent. Jeevathma should realise the real nature and try to attain Mukthi, i.e. the knowledge of the Brahman and ultimately should reach the abode of Paramaathma. This should be our aim while singing Gopikaa Geetham. The Poorva Sloka before Gopikaa Geetham is full of philosophical import and conveys as to how the Bhaktha should address the Lord and what Bhaava one should have while singing Gopikaa Geetham.
Every human being entangled by the worldly pleasures possesses Ego, a basic negative quality, which hinders the human evolutionary process. A Bhaktha may cast away all worldly pleasures and relationship with the materialistic world and live an ascetic life but cannot discard the EGO, which the Lord alone can help to discard. The Gopikaa Geetham song is the way by which God helps Gopis (Jeevaathma) to cast away the EGO. The Lord helps Bhakthaas only when they, in total surrender, calls for His help, without AATHMA ABHIMAANA, i.e. without identification with Deha, Manas, Chittham, Buddhi, Ahamkaar.
Pleased with the Bhakthi and total surrender of Gopis, Krishna appears before them.The following slokas, detail the reappearance of the Lord:
ITHI GOPYA: PRAGAAYANTHYA:
PRALAPANDYASCHA CHITHRADHAA
RURUDU: SUSWARAM RAAJAN
KRISHNA DARSANA LAALASAA:
THAASAAM AAVEERA BHOOCCHOWRI:
SMAYAMAANA MUKHAMBUJA:
PEETHAAMBARADHARA: SRAGVEE
SAKSHAATH MANMATTHA MANMATTHA:
Meaning:
When Gopis lamented thus by singing in praise of Him in touching raaga and laya, without Ego and in total surrender, they visualised the Lord, who appeared before them with a most beautiful figure, with a smiling face, wearing Peethambaram, conquering Manmattha (the Lord of Love) in beauty.
THAM VILOKYA AAGATHAM PRESHTTAM
PREETHUTHPHULLA DHRUSO ABALAA:
UTTHASTTHU: YUGAPATH SARVAA:
THANWA: PRAANAM IVAAGATHAM
Meaning:,p> On getting the darshan of the Lord, who appeared before them (Self-willed), the Gopis got up in a jerk as if their bodies were inert (dead) and suddenly as though the Praana entered their body again.
KRISHNASYA MUKHA LAAVANYA-
SUDHAAM NAYANA BHAAJANAI:
APEEYA APEEYA NA ATHRUPYAN
SANTHA: THATHCHARANAM YETTHA
Meaning:
Looking at the beauty of Krishna's face and the moving eyes in smile, they enjoyed the scene again and again, as though they are ever unsatisfied and wanted more and more of it. They never wanted to come out of that Ecstasy and remained in His presence in total BLISS.
Then Krishna through Raasakreeda, makes them realise that each one is of Krishna Swaroopa, i.e. He is in every one and also stays alone (in Fullness) as unattached and unbound. This is clearly brought out in the song after Gopikaa Geetham:
ANGANAAM ANGANAAM ANDHARE MAADHAVA:
MAADHAVAM MAADHAVAM CHA ANDHARENA ANGANAA
ITTHAM AAKALPITHE MANDALE MADHYAGA:
SANJAGOW VENUNAA DEVAKI NANDANA:
This is the description of RAASAKREEDA Scene in Brindhaavan wherein Krishna formed a circle by placing in between two Gopis (Anganaam) One Krishna and in between two Krishnaas one Gopi (Angana) and finally in the Center of the circle Krishna again and made them all feel the one-ness and enjoy total BLISS. This shows that Paramaathma is present (unattached and unbound) in every Jeevaathma and at the same time the Paramaathma, in fullness, is also in the center of all activities. This is the greatest Philosophical Thathwa we should learn from this celestial song. In our scriptures, there is a mantra, bringing out this theory clearly:
POORNAMATHA: POORNAMIDAM
POORNAATH POORNAM UTHASCHYATHE
POORNASYA POORNAM AADAAYA
POORNAMEVA AVASISHYATHE
Brahman, the Poorna Swaroopa is here and there (but unbound and unattached) in Poornathwa and when thus divided, the divisions are all Poornam and what is left behind also remains as Poornam. Meaning: God is everywhere in fullness (unbound and unattached) and also stays as the center of activities in fullness.
The songs that follow are all explained in Deepa Pradakshina Paddhathi, which is concluded with the other sampradaaya songs.
Then we perform Dolothsavam, the Union with God (Aatma Nivedhanam). Full description of Dolothsavam is handled in a separate article. The Divyanaamam Attavanai (in PDF format) given as downloadable in Divyanaamam Section, contains the slokas and songs to be taken up for Gopika Geetham.
Attavanai:
As Gopika Geetham is part of Deepa Pradakishinam, separate attvanai is not given. It is already included in Deepa Pradakshinam Attavanai.
: SWASTHIRASTHU :
Dolotsavam
DOLOTHSAVA BHAJAN PADDHATHI
Dola means Cradle/OOnjal. Dolothsavam, literally means keeping God in the Cradle/Oonjal and swinging it. If we consider Sri Raama as a child, then Dola has the meaning of Cradle. We imagine putting Sri Raama (in the form of a child) in the Cradle and make him sleep. Sri Thyaagaraja Swamigal has rendered a set of songs for this Uthsavam wherein he used to invite Sri Raama to come to his house with Seetha, Lakshmana, Bharatha, Sathrugna and Hanumaan and stay in the Mani Mandapam placed in his house so that he can have His darshan and perform pooja to Him. Through his songs he imagined that Raama has thus come and he did Paada Prushtaalanam and made him seat on the peettam and offered Milk, Fruits, various Madhura Palahaarams etc. etc. and Betal Leaves and Nut. He did haarathi to Him and requested sri Raama to go to Sayanam with Seetha Piraatti. While They thus were in Sayana Gruham, Thyaagaraja Swaamigal rendered songs to please them and to make them comfortable. Next day he used to wake up early and sing Prabhodhana Song in Bhoopaalam to wake up the couple in the Pooja room. This was his daily practice. That shows his nearness to God and the depth of his Bhakthi.
In Dhakshina Sampradaaya Bhajan, The Dolothsavam got little widened with more songs added by Sri Appa (Pudukkottai Gopalakrishna Bhagavatha Swami), who added important and befitting songs from Pawwalimbu. While the theme is same as in Sri Thyaagaraja Swamigal's Dollotsavam, here there are more opportunities to involve oneself more deeply and by enacting the entire episode according to one's own understanding. As in Pooja Paddhathi, here also, through the set songs, we receive God, do Pooja and pray to him for our upliftment. Normally, this is interpreted as making newly wed dampathis (God with Goddess) enter Sayana Gruha in seclusion and enjoy themselves. This is the worldly way of seeing it and is the materialistic way of perception. Let us look at it with a philosophical bent of mind:
It has been stated earlier hereinabove that Jeevaathma, having realised the origin remains in Adwaitha Bhaava. To remain permanently in Sachidhaananda, we must practice Nidhidhyaasanam. Even in the Dhyaana state, there is coming back into the world periodically, since with the body we have to perform certain natural duties and till we caste away the body, we have to live in the world. To go into Dhyaanam we have to purify our mind, arrest the activities of the Dasendriyaas, and never entertain Ego and be always in the smarana of the Lord. This requires Bhakthi & total Surrender to the Lord within. Then we can receive the Lord within our pure Mind in the lotus shaped Peettam, offer Him Milk, Fruits, Madhura Palahaarams, Thaamboolam (Betal Leaves wand betal nut) etc. This indicates that we pour all our material possessions, pleasures and pains unto the Lord (Casting away our materialistic pursuits and making ourselves Saathwic like the colour of the Milk). The meaning of offering Thaamboolam is that we surrender to the one to whom it is offered. Then we do Mangala Haarathi to indicate our readiness to be one with Him.
The first song,: "HECCHAREEKA RAA RAA RAA", is the invocation song praying to Lord to come into ourselves. This is the preparatory stage for our evolution.
The next song "AARAKIMBAVE PAAL" is offering our purified mind (Saatwic state indicated by the whiteness of the milk) as a Peettam for Him to be seated. as also all our materialistic pursuits, pleasure and pains in the form of Maddhura Palahaarams and request Him to accept them as though they are offered by Seetha Devi.
By the song "VIDAMU SAAYAVE", we offer Thaamboolam along with Jaathikkai, Elakkai, Jaapathri etc. to make the thaamboolam more digestive. Here I would like to state an interesting explanation given by Sri Embaar Vijayaraghavchariyar in his Harikatha. Through this song, he explained: fearing that Lord may leave early before blessing him, he rushed into the sampradaya of Nischithaamboolam - exchanging fruits, flowers, Betal leaves and nuts, Kismiss, Kalkandu etc. - as a mark of mutual agreement (not to leave one another). This gives us the importance of this song and the manobhaava we should possess at this time. In our Hindu sampradayam there is a customs where the bride gives thamboolam to the groom, whereby the groom is said to be attracted by the bride and he becomes hers totally. Whatever be the bhaava, the Bhaktha here shows his wish to possess God with him always.
The song :
SADAA YENNA HRUDAYADALLI VAASAMAADO SRIHARE
is a prayer requesting the Lord to always stay in the Hrudaya of the Bhaktha, filled with pure knowledge and Bhakthi, which is the pure seat offered by the Bhaktha. At this time, a mangala Haarathi, depicting Bhakthi and purity, is taken to the Lord. The stanza:
NINNA NAANU BIDUVANALLA YENNA NEENU BIDALUBALLI
indicates the steadfastness of Bhaktha and total surrender state. The Bhaktha affirms that he will not leave him at all and He should also not think of leaving the Bhaktha. One has to experience this state and cannot be explained in words.
The following songs:
SEETHA KALYAANA VAIBHAVAME
SREERAAMA JAYARAAMA
NAGUMOMU GALAVAANI
RAA RAA RAAJAKUMAARA
are the Nalangu songs, showing the Bhaava of the Bhaktha (Seetha) doing everything the beloved would do to Her partner. This is the state where Jeevaathma enjoys through beautification of Lord and serving Him in many ways. The pathyam:
SARANAMBU KARIRAAJA PARIRAKSHNODDHARA
praising about the Lord's daya to His Bhakthaas like the Elephant caught by the Crocodile, Prahlaada, Akroora etc. etc. and seeking similar Daya towards the Bhaktha, is to offer Betal Leaves with Betal Nut, meaning total surrender.
Then comes the Poopandu Vilayaattu(a bundle of flowers):
POOLA CHENDLADENE SRI RAAMUDU PUSHPA CHENDLADENE
One Bhaktha puts the bundle on each audience who should immediately put back the bundle to the Bhaktha. Literally, It is indicating the Pooppandu Vilayaattu of Lord and Devi. This reiterates the importance of madhura bhava (sneha) during this time. Looking at it with a philosophical view, this indicates that the Jeevaathma (Flower Bundle) is sent back by the Lord to Bhooloka again and again and the Jeevaathma bounces back to God again and again saying, "whatever number of births and deaths I have, I must always be in your company and come back to you after every Jeeva Kaala." The Bhaktha has to be so stead-fast that every time he takes birth, his aim will be to reach God ultimately and he should always work for this aim. This attitude should be maintained while playhing Poochendu. and not throw it with force on others. Hence, the Pooppandu sent from one Bhaktha to another should reach the first Bhaktha only and not thrown into the crowd.
Then the Oonchal: "GODDHOOLI DHOOSARITHA" etc. and Laali song : "LAALI LAALI YENI" depict the upachaaram to God by the Bhaktha keeping Him in the Oonchal.
The next "NEELA GHANA NEELA JO JO" and "JO JO JO RAAMA" etc. are Thaalaattu songs describing the Dasa Avathaaram of the Lord, exclaiming the deeds done by Him during each of the Ten Avathaarams.
The songs "ENTHALETHU VAIBHAVAMBU", pleading to the Lord to go for Sayanam and "KAASU KONNAADATHU GO", requesting Devi to do Panividai to the Lord in sayanagruha, and "POOLA PANPU MAINI BHAGA" detailing sayanopachaaram to be sung.
Then the song : SHOBHANE and JAYA MANGALAM with Haarathi to the Lord and Devi in Sayana Gruha. Then, the Praarthana Slokams :'VANDE SHOWNAKA", "MAJJENMA", "SANKARASYA" etc. prayaing for His Paadaaravinda Bhakthi in all Jenmaas and to become the Daasaanu Daasan of the Lord (Adiyaarkku Adiyaarkku Adiyaan), to serve the Bhaktas' Bhaktas' Bhakta of the Lord.
A Pattu or Koti Vasthram is held as therai in front of the Sanctum Sanctorum by singing the song : "DHRISHTI THAAKU MAAYAYYAKU", to show that the Sayanagruha door is closed. This is followed by the song MANJUTHARA KUNJATALA KELI SADANEpleading to Raadha Devi to enter the sayana Griha. The song: "ANTHA KOYAM NEELA KALEBARA" depicts the anthapura Raadha Madhava sallapam, imagined by the Bhaktha.
Then Sayanarasam slokaas like: "SACHITHA SAAYEE", "DWARAKAA NAGARAVARE", "ANGANAA MANIBHARANA", "SANAKAADHI MUNIDHEYA", "BHUJAGESA THALPAVARA", "VITHURUNDINIKI POYI" etc. are sung pleading to Lord to take rest.
Then by the song: SAMAYAME ME SWAMI SAMAYAME, the Bhaktha is trying to enquire and make sure from those paricharakaas who are nearer the sayana gruha than him, about how the Lord is taking rest and whether everything is OK.
Now comes the Praakaara Rakshanam, where literally speaking we are trying to close the four Gopura Doors with the four songs, requesting the guards, in the four doorsteps, to ensure that Lord's Ekaanthatha in his YOGA NIDRA is not hindered and no one enters to disturb him. We request the people in praakaara to observe full silence. The wrong interpretation that Lord and Devi are sleeping should be avoided. They never sleep, if so the word will come to an end. They go into YOGA NIDRA, meaning they are in MEDITATION. That is the Bhava one should have.
KAAVERI THEERE KAMANEEYA GEHE
INDU BIMBATHARA SUNDARA VADANA
SANAKAATI YOGEENDRA THUMBURU NAARADA
KUMKUMA CHANDANA PANKILA HRUDAYA
If we view this philosophically, it is nothing but our preparation for Nidhidhyaasanam. i.e. We should dwell deep in Bhakthi (Raadha), in total faith and surrender, so that Lord will accept us. For this, first of all we should purify our Mind with Saathwic Bhaavanaas by blocking the four doors called Manas, Chittam, Budhi and Ahamkaara, through which we receive and respond to the stimuli from the world outside. This is a stupendous task for which we have to have strong & experienced guards. We are praying to Bhakthaas like Jaya, Vijaya, Chanda, Prachanda, Sanaka, Sananthana, Kumuda, Kumudekshana, Prahlaada, Dhruva, Bhala Prbhalaadya to help us in guarding against these Vishaaspathis by giving their grace to safeguard against these vishayaaspathi, so that we can dwell in the Sachithaananda state for ever. As stated earlier, it is easy to reach Lord through the grace & help of experienced Gurus/Bhakthaas and hence this request to those Bhakthaas who are always remaining at the abode of the Lord. Philosophically speaking, we go in the One-ness with the Lord. This is called athmanivedhanam. Once we have lost our worldly knowledge, we dwell in Satchidaananda state.
One Bhaktha, ringing the handbell, goes round the Mandapam to warn everybody that the Lord is in YOGA NIDRA with Devi and all should keep silence and pray for the well being and do Raama Japa/sing Prarthana Abhang.
Through the songs :
KOUSALYA SUPRAJA RAAMA and
RANGA NAYAKA RAJEEVA LOCHANA
etc. we are literally waking up the Lord with Piraatti. Then conclusion with Mangala Haarathi with the praarthana song: "POORAYA MAMA KAAMAM".
Conclusion:
This can be equatted to remaining in the awakened state of Sachidaananda. To sum-up, JEEVAATHMA PARAMAATHMA AIYKYAM is the ultimate aim of all of us and we should follow the path of Pure Bhakthi in total surrender to the Paramaatma by grooming ourselves like Gopis (embodiment of Pure Bhakthi).
Attavanai:
Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section.
SARVE BHANVANTHU SUKHINA:
SARVE SANTHU NIRAAMAYAA:
SARVE BHADHRANI PASYANTHU:
MAA KASCHIT DHUKHAMAAPNUYAATHU
OM SANTHI: SANTHI: SANTHI:
BHAJANA SAMPRADAAYAM
http://www.achalam.com/
Even though chanting or singing the Lord's name without following any order of performance will suffice (Deveotional Songs), systematic performance will always benefit. Even for our worldly activities, we list out the steps to be followed to achieve anything. A Samprdaayam is the established practice or custom or method of doing any act in a prescribed manner Thus came the Sampradaayam in Bhajan also.
Our Gurus have evolved a method for doing Bhajan, which we have to follow meticulously, if we have to derive the benefit. The Songs, Lyrics, Raagaas and the method of singing them etc. should be strictly followed as each of these elements have a definite meaning and purpose. The Raagaas chosen have a direct relationship with the lyrics and the lyrics have a definite meaning, which is in praise of the Lord or will be a prayer from the Bhaktha to the Lord. If we try to change the lyrics or raagaas, the entire purpose or objective of the songs is lost. Moreover, we are not competent to correct or change what is given by our Gurus, who have prepared them with self-experience and after going through the Bhava Rasa. Moreover, the Sampradaayam was evolved to the shape what it is today by our Gurus after a great amount of reasearch and analysis and the present Sampradaayam is a comprehensive system encompassing various practices followed by many bhakthaas in all over India. Our Gurus have travelled throughout India and collected the great works of Bhakthaas and Sanths and have given a well codified systematic Sampradaayam, which we have no right to alter.
For different topics, please click on the above links and read them as you choose. For knowing about different Paddhathis, please click on the links given below and go to the respective sections. May you flourish in Bhakthi by following the Sampradaayam strictly as given by our Gurus.
RADHEY KRISHNA
Origin
As there are Trinities in Carnatic Music (Thyaagaraaja Swamigal, Muthuswami Deekshithar & Shyama Sasthrigal), so also in Dakshina Bhajan Sampradaayam field, there are three Gurus (Govindapuram Bodhendra Swamigal, Thiruvisanallur Shridhara Venkateswara Iyyavaal and Marudaanallur Sadguru Swamigal), who have prescribed Naama Japam and Bhajan as the only source for Mukthi in Kaliyuga. They knew that in Kaliyuga people will not be able to engage themselves in Dhyana, Yaaga, Yajna, Tapas, Pooja etc. etc. as done in Krita, Thretha and Dwapara Yugaas, which are too time consuming and needs more spending. They have evolved a method which is so easy to follow and is definite in results.
Bodhendra Swaamigal was the 59th Pontiff of the Kanchi Kaaamakoti Peettam, who came in the lineage of Aadi Sankara Bhagawat Paada. He propagated RAAMA NAAMA Japam as the way to achieve salvation. Being a Sanyasi, he had to restrict himself by giving out upadesa. He preached that Naama is superior to Naami, i.e. the name is first and then the roopam. The name Raama has an origin prior to the birth of Raama and was selected by Rishi Vasista. The sanctity of RAAMA Naama is that when we utter "RAA", the mouth opens which allows all our sins to go out and when we utter "MA", the mouth closes so that no more evil speech or though will enter into us. He stated that the name Raama denotes "always in Bliss", which is not pleasure that we enjoy at our Body, Mind and Intellectual level.
Shreedhara Venkateswara Iyyavaa was a contemporary to Sri Bodhendra Swamigal, was a Siva Bhaktha and he has rendered many kritis in praise of Siva as also in praise of Krishna. He was propagating Siva Bhakthi through his Naama Prachaarams. Shreedhara Iyyavaal was a Gruhastha and moved, leaving his wealth and belongings, from one place to another with his mother and wife, but following his Nithya Karma as a Bhagavatha (including daily Bhajans and Unchavruthi). Finally he settled in the village Thiruvisanallur. He is said to be the incarnation of Siva
Once, while performing Shraadha for his father, Shreedhara Iyyavaal offered the food prepared for the Brahmins to a Bhikshaka, who was hungry and who was an outcaste. This shows that Shree Sridhara Iyyaaval was so deep rooted in Bhakthi and compassion towards the sufferings of others irrespective of what comes to him, even a sin. At the behest of the Purohits assembled there, he was to take bath in ganges and re-prepare the food and do shradha again. Though to show his devotion and spiritual power, it is said that through his song, composed and sung by him with deep rooted Bhakthi, he could bring Ganges into the well at his residence, which occasion is being celebrated even today once in a year.
The Priests and Bhagawathaas in the village complained to the King that Shreedhara Iyyavaal is converting everyone sas Shaivites and wanted to punich him. While the procession of Sri Krishna was taken out in the village and when it came to the door steps of the house of Shreedhara Iyyaval, he came out and offered prasaadam to Lord and took Aarati. Thus he proved that there is no diffrerence in Shivites and Vaishnavites and both Gods are the same. He has composed songs in various gods, which are being sung today in our Sampradaayams. It is the Maruthanallur Satguru Swamigal who gave us the original Sampradaayam, which is being followed by the present day Bhajanists, though with additions made by later Bhagavathaas.
arudaanallur Sri Sadguru Swamigal, born to Venkata- subramania dampathis after about 100 years of Bodhendra Swamigal's Samaadhi and originally named as Venkata- ramana, was said to be the re-incarnation of Sri Raama. He was duly initiated into Brahmacharya and Gruhastha Ashramaas, being married to Janaki.
Sadguru Swamigal was engaged in Bhakthi Maarga by singing the names of God. He was the one who identified the Samaadhisthal of Bhagavan Naama Bodhendra Swamigal in the Cauveri river bed in Govindhapuram (Kumbakonam), which was earlier washed away by flood waters and people did not care for it. Ordained by fate, he decided to discover the Samaadhi by tying his legs (nay he may stamp on the samaadhi) and rolling on the river bed. He heard the chanting of "Raama Raama" at one particular location and decided that it should be the samaadhisthal of Sri Bodhendraal, which he wished to re-build surrounded by a beautiful Brindaavan. However, Sadguru Swamigal, being a gruhastha with no financial backing, approached the then Maratta King Sri Sarabhoji Mahaaraja (the ardent disciple of Samartha Raamadaas - a Raama Bhaktha), who financed the project of diverting the flow of the river a little away and to build an Adhishtaanam at the spot where he Samaadhi was found.
Sri Sadguru Swamigal followed the Bhagavatha Dharmaanushtanam meticulously and travelled throughout India and observed and collected the songs composed and sung regularly by various Bhakthaas/Sants in their own languages such as Hindi, Maratti, Thelugu, Kannada, Tamizh,Malayalam and Sanskrit, the Saptha Bhaasha. The Bhakthaas who have rendered/sung songs/slokaas can be classified as: Thukkaraam, Naamdev, Gorakkumbha, Santh Gnaneswar, Gnaanaabai, etc. in Maharashtra; Purandaradas, Kanakadas etc. in Karnataka; Meerabai in Rajasthan; Kabirdas, Thulsidas etc.in Uttar Pradesh; Jayadevar in Orissa, Chaithanya Mahaa Prabhu in Bengal; Raamadas, Annamaacharyar, Narayana Theerthar etc. in Andhra; Sri Narsi Mehta in Gujarath; Aazhvaargal, Naayanmaargal, Bondhendraal, Sridhara Ayyavaal,Sadhasiva Brahmendral, Thyaagaraaja, Gopalakrishna Bharathi etc.in Thamil Naadu, and many others.
He felt that to involve people in Bhakthi Marga, there must be unity and he compiled the songs sung by the above Bhakthaas in various languages, codified them into a Paddhathi and made it his daily routine. What a herculean task! This brings out the theory of Unity in Diversity. What a best method of National Integration. Marudaaanallur Sadguru Swaamigal was the one who provided us the basic Dakshina Sampradaaya Bhajan paddhathi by incorporating songs in different languages, which came to stay as the basic Paddhathi Krama that are in use today.The Sampradaayam prescribed by Sadguru Swaamigal is found in original Ola Chuvadi in the Mattam and at Bodhendral Mattam and about 60 years ago it was publshed in Grandhaksharam by Thillai Sthanam Narasimha Bhagavathar under the title : BHAJANOTHSAVA PADDHATHI. Later, in Chennai Sri Kothandarama Swamigal published an elaborate Paddhathi in Thelugu. Again, Thiruvayaar Nagaraja Bhagavathar brought out a short publication of this in Thamizh for the first time. Later Udumalaipettai Ramakrishna Bhagavathar has brought out a somewhat elaborate Paddhathi in Thamizh, which used to be followed widely all over India.
Thus, Sri Maruthanallur Satguru Swamigal is the one who has given us the Basic Bhajana Sampradaaya Paddhathi, though added and developed by the later Bhagavathaas as said above. Even today, there is his Mattam in Maruthanallur Village, which is administered by his lineage, who are spreading the fame of Satguru Swamigal.
Even today, to show our indebtedness to these Bhajan Trinities, we sing in praise of these three Gurus (a must) at the beginning of our Bhajan Paddhathi (Guru Keethanam). Normally, the Guru Keerthanams should be in praise of these Gurus and not the songs sung by them. However, if such keerthans in praise of them are not available or not known to us, it is perfect if we sing the songs rendered by them in Guru Keethanam.
Growth
Pudukkottai Sri Gopalakrishna Bhagavatha Swamy, born on Friday 04.10.1892 (Nandana Varuzham Purattasi Maadham 30th day Krishna Paksha Navami in Aashlesha Nakshathram) to Smt.Meenakshi Ammal and Sri Sundaresa Ayya staying in Vallavari Village (Aranthangi Taluka, Trichy Dist., Tamil Nadu) and he was named as Venkata Gopalakrishnan. In his early age itself he learnt Thelugu, Sankrit, Thamizh languages, Music and had Manthropadesam from his brother-in-law. He attained the Lord's feet on Friday, 30/04/1971 Virodikruthu Varzham Chithirai month 17th day).
Appa strictly followed the Bhagavatha Dharma literally by doing Nithyavrutthi, Raama Naama Japam, Unchavrutthi, Bhajan and Dolothsavam on a daily basis.. He was a staunch Narasimhopaasaka & was conducting till his niryaana, Narasimha Jyanthi every year in Pudukkottai, which he chose as his abode. His compassion, Daya, Daakshinya, Egoless status, Samabhaava, Santha Swabhaava etc. established him as a real Santh.
After Sri Maruthanallur Satguru Swamigal, in recent times, Pudukkottai Sri Gopalakrishna Bhagavatha Swamy (fondly known as Appa) has done an yeoman service to the world of Bhajan by addiding to and propagating the original Sampradaayam prescribed by the trinities of Bhajan. He used to visit various bhajan programmes of learned Bhagavathaas of his time and got involved in it. Later he travelled all over India and participated in many Bhajans.
The additions and changes made by him to the original Pddhathi is praiseworthy. He added more songs composed by Bhagavathaas & Sanths of his time all over India in various languages and expanded the original Paddhathi. A few Kruthis of Oothukkadu Venkatasubbayyar, which are famous for their bhava & Bhakthi were added as they are also best suited for Abhinaya. Sri He excelled in these activities through total involvent with Bhaava and Bhakthi and with Dance and Abhinaya in the Bharata Naatya method, which he had learnt. This has attraced many Bhakthaas and followers towards him, because even those who are not able to follow the verses sung or not knowing the meaning of them could involve themselves fully while attending his Bhajans. Because of his total involvement and Bhakthi/ Bhaava, his abhinaya conveyed the meanings of these songs. Today, visual education is easier than vocal and this method is followed in almost all walks of life. Sri Appa achieved this objective very efficiently in his Bhajans. His eyes had a tremendous Vasya (attraction) power, which poured anugraha to Bhakthaas. After Kanchi Mahaa Periyavaal and Sri Ramana Maharshi, I have seen the powerful eyes only with Sri Appa. As he followed the Bhagavatha Dharma, he imbided certian occult powers(Tapo Phalam) which he never propagated. But those blessed ones who are destined to be cured/blessed by Sri Appa, automatically got it.
Sri Appa has revolutionised the Dolothsava Paddhathi of Saint Thyaagaraaja by adding important and apt songs from Pawwalimbu Uthsavam to it, in order to enjoy the essense of it on a daily basis, instead of on Kalyaanams or after finishing 24 Ashtapadi songs. Many of the songs from Pawwalimbu do fit in well in the Dolotsavam,. Knowing the import of these songs, and the Bhakthirasam in them, he enacted it and enjoyed the essence of it in the philosophical sense. This is indeed a treasure for bhakthaas who excel in Bhakthi and enjoy the essence of Lord's Leela. He had initiated a few deserving Bhajnists into Suthropadesam and I am one of those lucky ones.
The Sampradaayam:
Today there are a few Bhajana Sampradaayams in existence, like (Bodhendra) Madatthu Sampradayam Thiruvisa Nallur Sampradaayam, Marudaanallur Sampradaayam, Pudukkottai Sampradaayam, Krishna Premi Sampradaayam etc. Though there are slight differences in these Sampradayams, all of them have the same main theme as provided by Sri Sadguru Swamigal. Whichever Sampradaayam we follow, we should do justification by following the tenets prescribed by that Sampradaayam. We should not indulge in grading these Sampradaayams. The authors of these Sampradaayams were following them strictly as per rules on a daily basis. In my opinion, a real Bhagawatha has to perform, apart from his Nithyavrutthis, the Unchavrutthi, Paddhathi Bhajan and, Dolothsavam on a daily basis. The entire Bhajana Sampradaayam is grouped into various Paddhathis. However, in the present day situation, due to time factor and lack of knowledge, the full paddhathi could not be/are not being followed in toto but parts of which are performed at different times. Based on the present state of affairs, the various parts can be grouped under two major Groups: I have based the following Padhdhathi mainly based on Sri Appa's Paddhathi.
PADDHATHI BHAJAN:(Basic)
THODAYA MANGALAM Ist Part
GURUDHYAANAM )
GEETHA GOVINDAM ) 2nd part
THARANGINI )
OTHER GURUS )
POOJOPACHAARAM 3rd part
DHYAANAM 4th part
SPECIAL BHAJAN:
DIVYANAAMAM 5th Part
DOLOTHSAVAM 6th Part
UNCHAVRUTTHI )
KALYAANA UTHSAVAM )
VASANTHOTHSAVAM ) 7th Part
Poorna Ashtapathi Paddhathi is prescribed to be peformed before Kalyana Utsavam.
Significance of Sampradaayam:
Our Hindu culture prescribes Seven main Samskaaraas: Jasthakaranam & Jaathakaranam, Chowlam, Upanayanam, Marriage, Seemantham, Shashtiabhdha Poorthy, Sathabhishekam. although the Samskaraas prescribed by Sanatana Dharma vary from 16, 24 or 42 etc. as per various schools of thoughts. Even in our marriages, there is an Angam as SAPTHAPADI", which is the proof of marriage, apart from Kanyaka Daanam and Panigrahanam. (Unless Sapthapadi is conducted, it is not considered as a valid marriage even by the Hindu Law). Spiritual evolution (if proper spiritual evolution is considered to be taking place) should pass through these stages: Baalyam, Kawmaaram, Brahmacharyam, Gruhastham, Vaanaprastham, Sanyaasam, Samaadhi, which in Kaliyuga, is not attainable, as the Dharmaas in each stage cannot be observed and the samskaaraas are not being followed stictly. Namasamkeerthana is said to be the Maarga for salvation in Kaliyuga, which is simple to follow, easy to observe and definite in its result. What is required is sincereity in approach, concntration and Bhakthi Bhaava, total surrender to the Lord without Ego and with minimum Nithya Karmaanushtaanams prescribed for Kaliyuga Dharma. As there are seven main samskaras (minimum), so also I view the Sampradaaya Bhajan Paddhathi grouped into seven parts as above, for attaining salvation. This sampradaayam is a conglomoration of Slokams & Keethanams composed ands ung by various Bhakthaas/Sanths/Bhagavathaas with a definite meaning and purpose. If we want to follow them, naturally we have to adhere to the rules set therein.
Vedantic view of of the Paddhathi:
As I see it, having perfected ourselves with Sathwic Vichaar, enabled by the Pooja Paddhathi & Dhyaanam, we qualify for a vision of the Lord. By performing Deepa Pradakshinam, we get the vision of the Lord, go close to the Lord by enacting His leelaas and by being in company with Him through Bhakthi Bhaava. Through Gopikaa Geetham, we enjoy the Madhura Bhaava, suffer the pangs of separation due to our Ego, practice Bhakthi and total surrender and get the knowledge that Jeevaathma and Paramaathma are one and without Paramaathma, nothing exists. Through Dolothsavam, we merge with the Lord in the form of Nidhidhyaasan and get established in the Paramaathma Tathwa. This is possible only if we grasp the Philosophical meaning of these paddhathis and put them into practice. Let me hasten to add that while externally we may, through singing/abhinaya/dance, depict the various bhaavaas, inwardly we should be able to keep the above Vedantic stature for a full experience of spiritual anubhavam.
While we cannot avoid doing work to earn our livelihood and do our Dharma as a Gruhastha, we should always bear in mind that our(Jeevaathmaas') origin is Paramaathma Thathwa and we should always aim at spiritual evolution by doing our karma in the world with pure mind, unattached, without Ego, with Daya towards others, serving humanity in whatever way we can and singing in praise of God always, lead a pious and simple life, so that our real AIM is ever shining in our mind and we try to achieve it before casting away this body in this birth. The only way for this is NAAMA SANKEERTHANAM as prescribed by elders.
Propagation/Pracharam
The Sampradaayam was propagated in the 19th/20th centuries by a few Bhagavathaas like Maruthanallur Venkatrama Bhagavathar, Pudukkottai Gopalakrishna Bhagavathar (lovingly known as APPA by his followers), T.V.Narayana Sasthri, T.M.Ramakrishna Iyengar, Abhedananda etc., to mention only a few, who have published Sampradaaya Bhajan Padhathi books with a few additions of songs rendered by other Bhaagavathaas of their time, according to the time change. These Bhagavathaas followed the Bhagavatha Dharma strictly. They have spread Sampradaaya Bhajans throughout India. Late Sri Pudukkottai Sanjeevi Bhagavathar (son of Sri Gopaala Krishna Bhagavathar), followed his father's footsteps in spreading Nama Sankeerthan with daily Upaasana till the end of his lifetime. Sri Haridas Giri also strived to spread the Bhajana Sampradaayam by his Bhajans and Upanyaasams in India & Abroad during his lifetime. He established various samajams called "Gnananada Samaajams".
Apart from the above Bhagavathaas, there are many Bhagavathaas and Samajams, who are propagating the Dakshina Sampradaaya Bhajan Paddhathi in the present days. I would like to name a few of them with whom I have come in contact with. Delhi Subbarama Bhagavathar, Bhopal A.L. Krishnamoorthy Bhagavathar, Sethu Madhava Rao, Kanpur Mahadeva Bhagavathar, Sathalapathy Govindaraaja Bhagavathar, Thiruvisanallur Ramakrishna Bhagavathar, Naamananda Giri, Sri O.S.Sundar, Erode Rajamani, Odayalur Kalyaana Raaman,Thanjavur Thyaagaraajan, Srivanchiyam Murali, Kovai Jayaraman are engaged in the promotion of Sampradaaya Bhajan thoroughout India or/and abroad. Sri Manjapra Mohan, Melarkodu Vaithy , Jayan & Vijayan and a few others are spreading devotion through their Naamasankeerthanams. Sri Jaikrishna Dikshithar Avargal is promoting Nama Sankeerthan through his discourses on Bhaktha Vijayam and Bhajans.Sri Thukaraam Ganapathy Avargal is spreading Naama Bhakthi through his Abhang songs with Upanyaasam on Bhakta Vijayam.
In Mumbai, Sri Nurani Chuppamani Avargal (instrumental in spreading Deepa Pradakshinam in Mumbay), Late Sri Rangnathan Avargal of Hariharaputhra Bhajan Samaj, Bombay Hari Avargal, BorivliI Srinivasan Avargal, Bombay Murthy,Late Kalina Ramamurthy, Mulund Bhajan Samaj, Sri Pudukkottai Narasimha Jayanthi Kainkarya Samithi, Gnanananda Mandali, SriSri Anna Bhajana Mandalis, Gharodianagar Bhajan Samaj, to mention a few, have been involved in spreading Sampradaaya Bhajan. Nama Sankeerthana Sangh (Chandran & Party) is striving to spread Naama Sankeerthana through their devotional songs programms. Abhang Ratna Sri Ganesh Kumar Avargal of Mumbai is engaged in Naama sankeethana prachaaram through his Abhang Bhajans. Late Kalyan Krishnamoorthy Avargal had strived to unite many samaajams and individuals in spreadding the Pudukkottai Paddhathi. There are many other samaajams conducting regular Bhajans in their Samajam premises.
Sri Krishna Premi Maharaj's (lovingly called ANNA), contribution to the propagation of Bhajans Sampradaayam through his Bhagavatam discourses and Bhajans, Deepa Pradakshinams and Raadha Kalyaanams embracing all the Sampradaayams need a special mention. The books written by him on our culture are innumerable, the translations provided for many Grandhaas are immeasurable, the Bhajana songs composed by him in different languages are uncountable and the discourses rendered by him are incalculable. He has composed innumerable books on Puranic/Philosophical topics and has brought out a Unique Bhajan Paddhathi followed by his followers today, mainly in Sanskrit. He is engaged in Puranuddhaaranam work of Govindapuram, Thiruvisanallur and Marudanallur mattams, which have been neglected and are in a bad shape. He has also collected books containing Raamanaamas writen by devotees and have deposited in the Raama Naama Banks at Nasik, Pandarpur, Brindawan, Chitrakud, Govindapuram etc., which goes into Crores of Raama Naamas. He has recently - in April 2003 - found out the Adhishtaanam of Sri Vijayagopaala Swamigal, who sung various songs in divyanaama sankeerthanam and particularly the song "Devesa gana Araadhitha divyaambhuja paadhaa" in thodaya mangalam. It exists in Polagam, which is a small village in Nagapattinam Taluk near Thirupugazhur and ThiruKannapuram. It is gathered that fifty years back the Aradhana of Sri Vijaya Gopala swamy used to take place in Polagam and the Adhishtanam used to exist in the banks of river Thirumalrayan in Polagam. Really a great achievement in a life time of Sri Sri Anna. Thus he is rendering yeoman service to the Bhajana Sampradaaya and Naama Prachaara.
There are many others, who are not left out purposely but with whom I have not been directly associated with and/or about whom I do not have full details or direct knowledge and hence not listed individually. I acknowledge all such individuals and Samajams for their service in spreading the Sampradaayam/Naama Sankeerthanam.
PADDHATHI BHAJAN
PADDHATHI BHAJAN
The Paddhathi Bhajan:
From the Paddhathi Kramam given in the Sampradaaya Bhajan section, we notice that though the entire sampradaaya is included in the above Paddhathi Krama, we normally refer to Paddathi (Basic) as the Paddhathi Bhajan and Divyanaamam onwards as Special Bhajan Paddhathis. This is because Poorna Ashtapadi, Deepa Pradakshinam, Unchavrutthi, Kalyaanams, Vasanthothsavam etc. necessarily are preceded by Thodaya Mangalam, Guru Keerthans and Daasarvaal Krithis (including Ashtapadi and Tharangam ). Hence this has stayed as PADDATHI BHAJAN.. Dhyaana Bhajan may be performed without the Paddathi Bhajan (Basic).
Importance of PADDHATHI BHAJAN (Basic):
Why Paddhathi and what is the importance of performing Bhajan in the given order? Every activity is preceded by a planning of the objective, how to approach the goal, the method, the steps to go through, etc. There is a discipline to be followed in each of such activities. Even in serving food or the method of intake, there is a step by step process - what to serve first, what next and what last etc. The taste of food, if all the dishes are mixed together and taken, is different from tasting each dish separately. We enjoy more by tasting each dish separately. Are we not following these in our daily life? What do we do when we want some great personality to visit us? First we praise him and invite him to our house. He may not agree as we are strangers. So we go through someone best known to both of us, who prevails upon him to accept the invitation. When he comes, we receive him with pomp and show and make him comfortable. After washing his feet, we make him seated and host him by offering fruits and other eatables and something to drink or eat. Then we mix with him and chat, be friendly with him, enjoying his company. We pray to him for his blessings/seek from him what we want. Then we make him rest for a while and wake him up and then he leaves. When we seek someone's favour, we have to go through these formalities to please him first.Similarly, in Bhajan Sampradaaya, we have an order of performance for proper enjoyment.
First we think of God by praising his qualities and gunaas and do vandanam (Thodaya Mangalam). To get him with us, we seek the grace and help of Guru for which we sing in praise of Guru (Guru Keerthanam). Guru preaches the attainments of Daasarvaals like Jayadeva, Naaraayana Theertha, Badraachala Ramadaas, Purandaradasa etc. etc. who have got the grace of God through Naama Sankeerthanam and we follow their method by singing their keerthans (Daasarvaal Keerthanams). This is because, it is easy to approach God through the footsteps of Gurus and Bhakthaas. Then, we invite him to come to us and on his appearance, we perform Pooja and Archana (Pooja Paddhathi and Upachaara Keerthanam). We cannot stand the site of formless, nameless, omnipotent and omniscient God and we need Divya Chakshus to visualise the vision of God. Our Guru teaches us as to how to prepare for it. He prepares us to do meditation on Swaroopa Dhyaana (seeing God in different roopaas). As we fondle a child by bedecking it with different costumes and make-ups and enjoy its varied appearances, so we venture to get God's vision in the form of Ganapathy, Saraswathi, Subramanya, Ayyappa, Siva, Parvathy, Rama, Krishna, Vittal, Govinda, Hanumaan etc. etc. by singing in praise of them (Dhyaanaam). This is because Swaroopa Dhyaana is easier compared to Aroopa Dhyaanam (formless). Paddhathi Bhajan thus is the first stepping stone for spiritual evolution through Bhakthi Marga.
Paddhathi Bhajan can be equated to Swaroopa Dhyaanam of the Vedantic method, since through Paddhathi Bhajan, we are meditating on various forms of God (Swaroopa Dhyaanam) through songs, which give us more opportunity to go near the God. Paddhathi Bhajan, if performed well, with the right bent of mind, following the given order, will lead to perfection and higher heights in Bhakthi marga.
Attavanai:
Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section.
:SAMASTHA SANMANGALAANI SANTHU :
DEEPA PRADAKSHINA PADDHATHI
DEEPA PRADAKSHINA PADDHATHI
The Process of Deepa Pradakshinam:
Deepa Pradakshinam is widely spoken as Divyanaamam. As the entire Paddhathi is full of Lord's Divya Naamam, it is preferable to call this Paddhathi as Deepa Pradakshinam instead of Divyanaamam. Therefore, wherever the word Divyanaamam appers hereafter, please read it as Deepa Pradakshinam. Once we have the vision of God (through Paddhathi Bhajan), our philosophical knowledge gets ripened and then we are able to go near God and make friendship by dancing in ecstasy, enacting God's Leela and be in his company (Deepa Pradakshinam). Once we are fixed thus in our Bhakthi, we forget our worldly self and enjoy full bliss but our Ego does not get annihilated. It only gets converted from Rajasic Ego (based on our materialistic attachments) to Saathwic Ego (possessiveness of God - based on our philosophical attachment). Now God helps us to cast away this Positive Ego also by disappearing for a while to make us realise the importance of His presence. Then when we lament, realising the truth (Gopikaa Geetham), and totally surrender to Him (Saranaagathi song), Lord appears and mingles with us in (Raasa Kreeda songs), whereby he makes us realise that God is present in every human being unattached and unbound and He again shines separately as the center of activity. Finally we try to merge with God (Dolothsavam).The process prescribed by our scriptures for attaianing this is beautifully brought out by the following sloka:
SRAVANAM KEERTHANAM VISHNO:
SMARANAM PAADA SEVANAM
ARCHANAM VANDANAM DAASYAM
SAKHYAM AATHMANIVEDANAM
Meaning:
The process of repeatedly hearing the deeds of God (SRAVANAM), doing Japam or singing in praise of HIM (KEERTHANAM), dwelling in His Leelaas (SMARANAM) Pouring Bhakthi onto His feet and serving him (PAADA SEVANAM), performing pooja (ARCHANAM), prostrating before him (VANDANAM), Serving him without Ego (DAASYAM), gaining his friendship (SAKHYAM), surrendering totally unto HIM (AATHMA NIVEDANAM) is aimed at the culmination of human evolution (Mukthi).
While in Paddhathi Bhajan, Bhagavathaas sit and sing the bhajan , in Deepa Pradakshinam, there is also an additional element, where Bhakthaas dance (Nrithya) and enact the leelaas of the Lord (Abhinaya) around the lit Brass lamp (five faceted). In the present day situations, Deepa Pradakshinam is performed on Saturdays, special occasions like Saturdays of Purattasi month, Gokulashtami, Ramanavami etc. The Lord from Sanctum is brought to the lamp in the form of Jyothi (by Aavaahana Manthram). We do Deepa Pooja and place the lamp in the center of the hall and sing in praise of Him. Bhakthaas, along with the songs, enact the leelaas of God by dancing around the Pancha Mukha Deepam (placed in the center of the hall), in tune with the meaning of the song. This is to enable one to concentrate on the theme and forget one's self during Deepa Pradkshinam and try to tune up with the Godly principle. It is also necessary to precede special Bhajan with Paddhathi Bhajan, which is the basic Paddhathi for all other systems. DEEPA PRADAKSHINAM, compared to Paddhathi Bhajan, gives more chance for participation by one and all either in singing, dancing, abhinaya etc. , wherein we forget ourselves and feel the presence of the Lord amongst us and prepares us to have Samabhaavana as we are able to mix up with other Bhakthaas/Bhagavathaas without ego.
Importance of Panchmukha Deepam:
The lamp (made of brass) used for Deepa Pradakshinam contains a great thathwa. Symbolically the round bowl shaped top portion of the lamp (Agal) represents our Mind, the five facets with five pairs of Wicks represent our Indriyaas (5 Gnaanendriyaas and 5 Karmendriyaas), the Ghee poured in the bowl represents our Bhakthi, the stoopa shaped short portion (Naaraayam) pointing upwards and emanating from the center of the bowl represents Guru. The bowl is supported by a stand with artistic moulds (Body) and this stand gets the support of a big round shaped bottom plate (World), holding the body and the top portion. Guru shows the way UP for salvation. Finally when we light the lamp on all five facets, the Jyothi representing God is considered as the object of meditation. How?
All thoughts are emanating in the mind and the thoughts are generated by the Vishayaas that are brought by Gnaanendriyaas from the world outside. The thought process culminates in directions addressed to the Karmendriyaas, which perform the actions in the world outside. Each action depends on the quality of our thoughts and the results again on the quality of our actions. So if the thoughts are pure and Saathwic, the actions are also Saathwic and vice-a-versa . Our Indriyaas (away from worldly thoughts - vishayaaspathi) are directed inwards and get Knowledge through Bhakthi due to constant vision of God in Jyothi swaroopa. Thus, our mind becomes thoughtless, is purified and is empty to receive the Grace of God.
Origin of Deepa Pradakshinam:
The Deepa Pradakshinam was introduced first by Bhadrachala Raamadaas. There is another story behind it: Thaalappakkam Chinnayya, a devotee of Lord Venkateswara, used to go round the Thirupathi hills on Saturdays and have Darshan of the Lord in the evening after which only he used to take food. Due to old age, he was unable one day to do Giri Pradakshinam and could not climb the hills for the Lord's Darshan. He lamented and went without food that night. Lord Venkateswara came in his dream and pacified him saying that he need not feel sorry for his inability to do the Giri Pradakshinam and come to the hills for His darsan. The Lord explained further that If he places a Pancha Mukha Deepam (a lamp lit on five sides with Ghee as the fuel) and comes around it, chanting/singing in praise of Him, it amounts to Bhoo Pradakshinam and the Lord would give him Darshan in the Bhaktaa's house itself. Chinnayya did so on every Saturday and could have Lord's Darshan there. This happened in Purattasi month. Thus, came the importance of Deepa Pradakshinam Bhajan on Saturdays and particularly on Purattasi month.
Deepa Pradakshina Mahima:
In the Pudukkottai Paddhathi, the slokaas before the Abhang: DHANYA DHANYA HO PRADAKSHINA, explain the importance of doing Deepa Pradakshinam: (In other Paddhathis, these slokaas precede Krishna Raama Govinda Hare and which do not have this Abhang).
VISRUJJA LAJJAAM YOTHEETHE
MANNAAMAANI NIRANTHARAM
KULAKOTI SAMAAYUKTHA:
LABHATHE MAAMAKAM PADAM
Through the above sloka, the Lord declares to the Bhakthaas thus: "I safeguard all the Kulam of that Bhaktha who, discarding Lajja (shyness) fixes his undivided attention on me and chants (sings) my fame".
VISHNORGAANAMCHA NRUTHAMCHA
NADANAMCHA VISHESHATHA:
BRAHMAN BRAAHMANA JAATHEENAAM
KARTHAVYAM NITHYA KARMAVATHU.
What is the value of doing Bhajan: As a Brahmin attains Brahmathwa by his Nithyakarmaanushtaanam, so also the one who sings and dances in praise of God attains the same stage.
KAALAKSHEPO NA KARTHAVYA:
KSHEENAM AAYUHU KSHANE KSHANE
YAMASYA KARUNAA NAATHI:
KARTHAVYAM HARI KEERTHANAM
Do not waste your life by involving in daily (material) activities alone. Do perform Hari Bhajan/Keerthan, for Yamah (the God of death) will not have any compassion towards you once your lifespan ends - he will have to take you away.
One may have a doubt. How are we sure that if we do Bhajan, God will see it and reward us. The lord has made an unshakable statement to Naarada, who is the embodiment of Pure Bhakthi, thus:
NAAHAM VASAAMI VAIKUNTE
NA YOGI HRIDAYE RAVOW
MATHBHAKTHAA: YATHRA GAAYANTHI
THATHRA THISHTAAMI NAARADA
Hey Naarada ! I do not reside (only) in Vaikunta Loka, nor in the hearts of the Great Rishis (Tapaswins), but I am ever present at the place where my Bhakthaas are singing my names with Bhakthi. God says he would rather prefer to be present in a Bhajan than in other places. If God comes to us when we sing, are we not elevated, are we not becoming Mukthaas?
The importance of doing Divyanaama Bhajan is well brought out in the Daasa Charanu portion of the Paddhathi, thus:
BHAKTHA: SANGAMYACHA ANYONYAM
DEEPAM MADHYE NIDHAYACHA
JYOTHIR MAYAM MAAM DHYAANTHA:
KEERTHAYANTHASCHA MADGUNANU
PRADAKSHINAM PRAKURVANTHA:
BHOO: PRADAKSHINAJAM PHALAM
LABHANTHE NA ATHRA SANDEHA:
VINATHAANANDA VARDHANA
When bhakthaas as a group in unity & Bhakthi sings in praise of me and dances around a Deepam kept in the center, which is adorned with flame, it amounts to coming round the earth and they are rewarded with punya equal to the punya gained by those going around the earth. The Lord is promising this adding "Don't doubt about this". (By going round the earth we come across many temples & punya kshethras and get the opportunity to have a darshan of great Mahaathmaas and thus gain punya. This is called Kshethraadanam).
In Deepa Pradakshinam we sing the songs rendered by Sri Bhadraachala Ramadas, Purandaradaas, Vijaya Gopaalar, Naraayana Theerthar, Sri Thyaaga Raaja, Brahmendraal, Kabirdas, Meerabai, Thukkaram, Uthukkadu etc., followed by GOPIKAA GEETHAM, which is dealt with in deatil in a separate article, in view of its philosophical importance.
Gopikaa Geetham is followed by Kolaattam, Snake Dance, Siddhar Songs, Abhang, Shivan, Dasaavathaara Krithi: "DARO JAGANNATHA DARO HARE" etc. Then Naamaghoshams like:
"KIMTHATHA VEDAGAMA SASTHRA VISTHARAI:" onwards are made.
At the end of every religious work, there is a Phalasruthi given, explaining the benefits that will be derived by the doers. This is like a promise given by the authors. There is an important sloka at the end of Divya Naama Sankeerthanam as Bhalasruti :
Yey! nruthyanthi Hare: pura: prathidinam
Premnaarudando Muhu:
Gaayanthya: Mudithaanuraaga Hrudhayaa:
Raamethi Krishnethi cha
Theshaam Paada Sarojadhoolimamalaam
Dhruthwa Mahesho Ganai:
Preethyaa Nruthyathi Naaradaadi Sahitha:
Kailaasa Bhoomow Swayam.
This explains that Lord Parameswara, along with his Ganaas and Naarada, do dance in Kailasam by carrying the Paadadhooli of Hari Bhakthaas who daily sing the naama of Raama and Krishna and dance with prema Bhakthi and aananda bhaspam. This brings out the value of Bhakthi. Even Lord Parameswara is bound by Bhakthi and Bhaktha Paada Dhooli has that much importance as Parameswara himself is dancing, carrying.
What other pramaanaas are required or promises are looked at by us for the fine results of doing Bhajan with para Bhakthi? The God Himself has given promises and statements as above to his devotees at one time or other, which have been taught to us. Why not we practice and try for the promised results instead of arguing about the authenticity of these statements. Every scientific theory is put to action before proving its efficacy. If it is so, is it not prudent to act according to the Sastras to reap the benefit. What are we going to get by arguing and challenging the statements without trying to prove or disprove it by involving ourselves into the actions, as prescribed by Sastras?
This is followed by the song "GAJAANANA PAAHI PAARVATHI BAALA HEY", when Bhakthaas do angapradakshinam around the Deepam and hug each other with the stanza : "PREMA AALINGANA", indicating that God is in everyone and all are one.
Then Deepa Avarohana Pooja with the song : "KSHEERA SAAGARAANTHA", and song explaining Hari Paada Theertha mahima: "HARI PAADA THEERTHAMU JEDILO MANCHI".This is followed by Slokam: "VASANTHE VAASANTHI" and Ashtapadi song "LALITHA LAVANGA LATHAA PARISEELANA" (in Aananda Bhairavi), when the same person who brought the lit lamp from the sanctum takes it back (dancing) to the Sanctum . With the Song: "DEHI MANGALAM VAIDEHI MANGALAM", someone lights camphor from this Deepam and takes haarathi to the Lord at the Sanctum and the Deepam is then placed back at its original place at Sanctum. Sumnolically the Lord is taken back to his original place (Sanctum Sanctorium). Thus we attain the Knowledge of Self and thereafter we remain in Adwaitha Bhaava.
Finally, Prarthana Song : "RATNA JADITHA SIMHAASANA" is sung. If not followed by Dolothsavam (which is optional), Poorna Mangalam song and slokams are recited and concluded with Pundareekams.
In view of the elaborate description required, the Gopikaa Geetham (though part of Deepa Pradakshinam) and also Dolothsavam are explained separately.
Attavanai:
Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section.
: SAMPOORNAMASTHU :
GOPIKAA GEETHAM PADDHATHI
GOPIKAA GEETHAM PADDHATHI
Gopikaa Geetham is the celestial song sung by Vruja Gopis in praise of Lord Krishna. This projects the depth of Viraha Thaapam suffered by Gopis when Krishna diappears and their pure Prema Bhakthi and the highest spiritual heights attained by them. This song also brings out the Sringaara Rasam of Gopis with Krishna. This finds its place in the midst of DEEPA PRADKSHINAM, .The same tathwa is given in the form of RAASAKREEDA in the Tenth Skantham(middle) of Bhaagavatham. This is to be sung with devotion, in rapt attention and reverence without any Thaala or sounds. Tears should flow from the eyes in Bhakthi. Normally this is sung in CHENCHURUTTI & PUNNAGAVARAALI raagaas which are so touching and denotes devotion.
The mythological story goes like this:- Gopis who enthralled in the presence of Krishna with ecstasy during the Raasa Leela, thoughtless about their worldly duties, relations and existence and always longed for Krishna's company, had developed an EGO, i.e. each Gopi claiming that Krishna is hers and hers alone and He likes/loves her only. This possessiveness is Saathwic Ego as it relates to Possessiveness towards Lord. Krishna considers it the right time to help Gopis caste away this EGO too and give them the Knowledge (i.e. make them realise the real nature). He disappears temporarily from there midst and made Himself not reachable by them. At this time, Gopis felt loneliness and could not concentrate on their work and grieved over the absence of Krishna. They realised that without Krishna, nothing moves, nor is it possible to do anything. And it is the presence of Krishna that made them happy and active. Even Living became a torture without Krishna. Having realised this, they started wandering in the Kaalindhi River bank, where they used to be in the company of Krishna and craved for his appearance by admitting all their ignorance and egotism. The opening sloka brings out the import:
THANMANASKAA:THADAALAAPAA:
THATVICHESHTAA: THADAATHMIKAA:
THADGUNAAN EVA GAAYANTHYA:
NA AATHMAAKAARAANI SASMARU
PUNA: PULINAM AAGATHYA
KAALINDYAA: KRISHNA BHAAVANAA:
SAMAVETHA JAGU: KRISHNAM
THADAAGAMANA KAANSHITHAA:
Meaning:
Thinking about THAT, Singing about the Gunaas of THAT, Remembering about the Leelaas (Playfulness) of THAT, Concentrating on THAT, Singing in praise of THAT, without a bit of self-feeling (loss of EGO), (Gopis) kept on visiting Kaalindhi river banks again and again (repeatedly) always in the memory of Krishna and finding in every Sthaavara Jangama Vasthus Krishna's figure only, longing for the return (appearance) of Krishna, of course by singing the Gopikaa Geetham song. The word 'THAT' used here refers to Paramaathma Thathwa, i.e. in the form of KRISHNA here.
The Song : JAYATHI THEDIKAM KRISHNA JANMANAA VRUJA: is to be sung in full, in raaga Chenchurutti & Punnagavaraali by sitting around the Deepam. Despite their cry, Krishna did not appear.
YETHESUJAATHA CHARANAAMBRUHAM STHANESHU
BHEETHA: SANAI: PRIYA DADHEE MAHI KARKASESHU
THENAAADAVEEM ATASI THAD VYATTHATHE NA KIMSWITHU
KOORPADIBHI: BHRAMATHI DHEE: BHAVADAAYUSHAM NA:
Then Gopikaas sung the song of Saranaagathi (total surrender) - (to be sung in raaga Sinhendra Mahyamam):
THWAM EVA MAMA SARANAM KRISHNA
THWAAM VINAA ANYAM NA JAANE
Philosophical Import of Gopikaa Geetham:
Though Mythology projected Gopikaa Geetham as the song sung by Gopis, there is a message for all of us. Gopis are the embodiment of Bhakthi towards Krishna.All of us, the Jeevaathmaas, must become Gopis to attain Paramaathma (Krishna). Jeevaathma is a spark coming out of the Paramaatma (self-willed leela of Paramaathma) but having got entangled in the Samsaara Chakra by Maaya, forgot about the real nature and is sunk in the materialistic pleasures which are impermanent. Jeevathma should realise the real nature and try to attain Mukthi, i.e. the knowledge of the Brahman and ultimately should reach the abode of Paramaathma. This should be our aim while singing Gopikaa Geetham. The Poorva Sloka before Gopikaa Geetham is full of philosophical import and conveys as to how the Bhaktha should address the Lord and what Bhaava one should have while singing Gopikaa Geetham.
Every human being entangled by the worldly pleasures possesses Ego, a basic negative quality, which hinders the human evolutionary process. A Bhaktha may cast away all worldly pleasures and relationship with the materialistic world and live an ascetic life but cannot discard the EGO, which the Lord alone can help to discard. The Gopikaa Geetham song is the way by which God helps Gopis (Jeevaathma) to cast away the EGO. The Lord helps Bhakthaas only when they, in total surrender, calls for His help, without AATHMA ABHIMAANA, i.e. without identification with Deha, Manas, Chittham, Buddhi, Ahamkaar.
Pleased with the Bhakthi and total surrender of Gopis, Krishna appears before them.The following slokas, detail the reappearance of the Lord:
ITHI GOPYA: PRAGAAYANTHYA:
PRALAPANDYASCHA CHITHRADHAA
RURUDU: SUSWARAM RAAJAN
KRISHNA DARSANA LAALASAA:
THAASAAM AAVEERA BHOOCCHOWRI:
SMAYAMAANA MUKHAMBUJA:
PEETHAAMBARADHARA: SRAGVEE
SAKSHAATH MANMATTHA MANMATTHA:
Meaning:
When Gopis lamented thus by singing in praise of Him in touching raaga and laya, without Ego and in total surrender, they visualised the Lord, who appeared before them with a most beautiful figure, with a smiling face, wearing Peethambaram, conquering Manmattha (the Lord of Love) in beauty.
THAM VILOKYA AAGATHAM PRESHTTAM
PREETHUTHPHULLA DHRUSO ABALAA:
UTTHASTTHU: YUGAPATH SARVAA:
THANWA: PRAANAM IVAAGATHAM
Meaning:,p> On getting the darshan of the Lord, who appeared before them (Self-willed), the Gopis got up in a jerk as if their bodies were inert (dead) and suddenly as though the Praana entered their body again.
KRISHNASYA MUKHA LAAVANYA-
SUDHAAM NAYANA BHAAJANAI:
APEEYA APEEYA NA ATHRUPYAN
SANTHA: THATHCHARANAM YETTHA
Meaning:
Looking at the beauty of Krishna's face and the moving eyes in smile, they enjoyed the scene again and again, as though they are ever unsatisfied and wanted more and more of it. They never wanted to come out of that Ecstasy and remained in His presence in total BLISS.
Then Krishna through Raasakreeda, makes them realise that each one is of Krishna Swaroopa, i.e. He is in every one and also stays alone (in Fullness) as unattached and unbound. This is clearly brought out in the song after Gopikaa Geetham:
ANGANAAM ANGANAAM ANDHARE MAADHAVA:
MAADHAVAM MAADHAVAM CHA ANDHARENA ANGANAA
ITTHAM AAKALPITHE MANDALE MADHYAGA:
SANJAGOW VENUNAA DEVAKI NANDANA:
This is the description of RAASAKREEDA Scene in Brindhaavan wherein Krishna formed a circle by placing in between two Gopis (Anganaam) One Krishna and in between two Krishnaas one Gopi (Angana) and finally in the Center of the circle Krishna again and made them all feel the one-ness and enjoy total BLISS. This shows that Paramaathma is present (unattached and unbound) in every Jeevaathma and at the same time the Paramaathma, in fullness, is also in the center of all activities. This is the greatest Philosophical Thathwa we should learn from this celestial song. In our scriptures, there is a mantra, bringing out this theory clearly:
POORNAMATHA: POORNAMIDAM
POORNAATH POORNAM UTHASCHYATHE
POORNASYA POORNAM AADAAYA
POORNAMEVA AVASISHYATHE
Brahman, the Poorna Swaroopa is here and there (but unbound and unattached) in Poornathwa and when thus divided, the divisions are all Poornam and what is left behind also remains as Poornam. Meaning: God is everywhere in fullness (unbound and unattached) and also stays as the center of activities in fullness.
The songs that follow are all explained in Deepa Pradakshina Paddhathi, which is concluded with the other sampradaaya songs.
Then we perform Dolothsavam, the Union with God (Aatma Nivedhanam). Full description of Dolothsavam is handled in a separate article. The Divyanaamam Attavanai (in PDF format) given as downloadable in Divyanaamam Section, contains the slokas and songs to be taken up for Gopika Geetham.
Attavanai:
As Gopika Geetham is part of Deepa Pradakishinam, separate attvanai is not given. It is already included in Deepa Pradakshinam Attavanai.
: SWASTHIRASTHU :
Dolotsavam
Dolotsavam
DOLOTHSAVA BHAJAN PADDHATHI
Dola means Cradle/OOnjal. Dolothsavam, literally means keeping God in the Cradle/Oonjal and swinging it. If we consider Sri Raama as a child, then Dola has the meaning of Cradle. We imagine putting Sri Raama (in the form of a child) in the Cradle and make him sleep. Sri Thyaagaraja Swamigal has rendered a set of songs for this Uthsavam wherein he used to invite Sri Raama to come to his house with Seetha, Lakshmana, Bharatha, Sathrugna and Hanumaan and stay in the Mani Mandapam placed in his house so that he can have His darshan and perform pooja to Him. Through his songs he imagined that Raama has thus come and he did Paada Prushtaalanam and made him seat on the peettam and offered Milk, Fruits, various Madhura Palahaarams etc. etc. and Betal Leaves and Nut. He did haarathi to Him and requested sri Raama to go to Sayanam with Seetha Piraatti. While They thus were in Sayana Gruham, Thyaagaraja Swaamigal rendered songs to please them and to make them comfortable. Next day he used to wake up early and sing Prabhodhana Song in Bhoopaalam to wake up the couple in the Pooja room. This was his daily practice. That shows his nearness to God and the depth of his Bhakthi.
In Dhakshina Sampradaaya Bhajan, The Dolothsavam got little widened with more songs added by Sri Appa (Pudukkottai Gopalakrishna Bhagavatha Swami), who added important and befitting songs from Pawwalimbu. While the theme is same as in Sri Thyaagaraja Swamigal's Dollotsavam, here there are more opportunities to involve oneself more deeply and by enacting the entire episode according to one's own understanding. As in Pooja Paddhathi, here also, through the set songs, we receive God, do Pooja and pray to him for our upliftment. Normally, this is interpreted as making newly wed dampathis (God with Goddess) enter Sayana Gruha in seclusion and enjoy themselves. This is the worldly way of seeing it and is the materialistic way of perception. Let us look at it with a philosophical bent of mind:
It has been stated earlier hereinabove that Jeevaathma, having realised the origin remains in Adwaitha Bhaava. To remain permanently in Sachidhaananda, we must practice Nidhidhyaasanam. Even in the Dhyaana state, there is coming back into the world periodically, since with the body we have to perform certain natural duties and till we caste away the body, we have to live in the world. To go into Dhyaanam we have to purify our mind, arrest the activities of the Dasendriyaas, and never entertain Ego and be always in the smarana of the Lord. This requires Bhakthi & total Surrender to the Lord within. Then we can receive the Lord within our pure Mind in the lotus shaped Peettam, offer Him Milk, Fruits, Madhura Palahaarams, Thaamboolam (Betal Leaves wand betal nut) etc. This indicates that we pour all our material possessions, pleasures and pains unto the Lord (Casting away our materialistic pursuits and making ourselves Saathwic like the colour of the Milk). The meaning of offering Thaamboolam is that we surrender to the one to whom it is offered. Then we do Mangala Haarathi to indicate our readiness to be one with Him.
The first song,: "HECCHAREEKA RAA RAA RAA", is the invocation song praying to Lord to come into ourselves. This is the preparatory stage for our evolution.
The next song "AARAKIMBAVE PAAL" is offering our purified mind (Saatwic state indicated by the whiteness of the milk) as a Peettam for Him to be seated. as also all our materialistic pursuits, pleasure and pains in the form of Maddhura Palahaarams and request Him to accept them as though they are offered by Seetha Devi.
By the song "VIDAMU SAAYAVE", we offer Thaamboolam along with Jaathikkai, Elakkai, Jaapathri etc. to make the thaamboolam more digestive. Here I would like to state an interesting explanation given by Sri Embaar Vijayaraghavchariyar in his Harikatha. Through this song, he explained: fearing that Lord may leave early before blessing him, he rushed into the sampradaya of Nischithaamboolam - exchanging fruits, flowers, Betal leaves and nuts, Kismiss, Kalkandu etc. - as a mark of mutual agreement (not to leave one another). This gives us the importance of this song and the manobhaava we should possess at this time. In our Hindu sampradayam there is a customs where the bride gives thamboolam to the groom, whereby the groom is said to be attracted by the bride and he becomes hers totally. Whatever be the bhaava, the Bhaktha here shows his wish to possess God with him always.
The song :
SADAA YENNA HRUDAYADALLI VAASAMAADO SRIHARE
is a prayer requesting the Lord to always stay in the Hrudaya of the Bhaktha, filled with pure knowledge and Bhakthi, which is the pure seat offered by the Bhaktha. At this time, a mangala Haarathi, depicting Bhakthi and purity, is taken to the Lord. The stanza:
NINNA NAANU BIDUVANALLA YENNA NEENU BIDALUBALLI
indicates the steadfastness of Bhaktha and total surrender state. The Bhaktha affirms that he will not leave him at all and He should also not think of leaving the Bhaktha. One has to experience this state and cannot be explained in words.
The following songs:
SEETHA KALYAANA VAIBHAVAME
SREERAAMA JAYARAAMA
NAGUMOMU GALAVAANI
RAA RAA RAAJAKUMAARA
are the Nalangu songs, showing the Bhaava of the Bhaktha (Seetha) doing everything the beloved would do to Her partner. This is the state where Jeevaathma enjoys through beautification of Lord and serving Him in many ways. The pathyam:
SARANAMBU KARIRAAJA PARIRAKSHNODDHARA
praising about the Lord's daya to His Bhakthaas like the Elephant caught by the Crocodile, Prahlaada, Akroora etc. etc. and seeking similar Daya towards the Bhaktha, is to offer Betal Leaves with Betal Nut, meaning total surrender.
Then comes the Poopandu Vilayaattu(a bundle of flowers):
POOLA CHENDLADENE SRI RAAMUDU PUSHPA CHENDLADENE
One Bhaktha puts the bundle on each audience who should immediately put back the bundle to the Bhaktha. Literally, It is indicating the Pooppandu Vilayaattu of Lord and Devi. This reiterates the importance of madhura bhava (sneha) during this time. Looking at it with a philosophical view, this indicates that the Jeevaathma (Flower Bundle) is sent back by the Lord to Bhooloka again and again and the Jeevaathma bounces back to God again and again saying, "whatever number of births and deaths I have, I must always be in your company and come back to you after every Jeeva Kaala." The Bhaktha has to be so stead-fast that every time he takes birth, his aim will be to reach God ultimately and he should always work for this aim. This attitude should be maintained while playhing Poochendu. and not throw it with force on others. Hence, the Pooppandu sent from one Bhaktha to another should reach the first Bhaktha only and not thrown into the crowd.
Then the Oonchal: "GODDHOOLI DHOOSARITHA" etc. and Laali song : "LAALI LAALI YENI" depict the upachaaram to God by the Bhaktha keeping Him in the Oonchal.
The next "NEELA GHANA NEELA JO JO" and "JO JO JO RAAMA" etc. are Thaalaattu songs describing the Dasa Avathaaram of the Lord, exclaiming the deeds done by Him during each of the Ten Avathaarams.
The songs "ENTHALETHU VAIBHAVAMBU", pleading to the Lord to go for Sayanam and "KAASU KONNAADATHU GO", requesting Devi to do Panividai to the Lord in sayanagruha, and "POOLA PANPU MAINI BHAGA" detailing sayanopachaaram to be sung.
Then the song : SHOBHANE and JAYA MANGALAM with Haarathi to the Lord and Devi in Sayana Gruha. Then, the Praarthana Slokams :'VANDE SHOWNAKA", "MAJJENMA", "SANKARASYA" etc. prayaing for His Paadaaravinda Bhakthi in all Jenmaas and to become the Daasaanu Daasan of the Lord (Adiyaarkku Adiyaarkku Adiyaan), to serve the Bhaktas' Bhaktas' Bhakta of the Lord.
A Pattu or Koti Vasthram is held as therai in front of the Sanctum Sanctorum by singing the song : "DHRISHTI THAAKU MAAYAYYAKU", to show that the Sayanagruha door is closed. This is followed by the song MANJUTHARA KUNJATALA KELI SADANEpleading to Raadha Devi to enter the sayana Griha. The song: "ANTHA KOYAM NEELA KALEBARA" depicts the anthapura Raadha Madhava sallapam, imagined by the Bhaktha.
Then Sayanarasam slokaas like: "SACHITHA SAAYEE", "DWARAKAA NAGARAVARE", "ANGANAA MANIBHARANA", "SANAKAADHI MUNIDHEYA", "BHUJAGESA THALPAVARA", "VITHURUNDINIKI POYI" etc. are sung pleading to Lord to take rest.
Then by the song: SAMAYAME ME SWAMI SAMAYAME, the Bhaktha is trying to enquire and make sure from those paricharakaas who are nearer the sayana gruha than him, about how the Lord is taking rest and whether everything is OK.
Now comes the Praakaara Rakshanam, where literally speaking we are trying to close the four Gopura Doors with the four songs, requesting the guards, in the four doorsteps, to ensure that Lord's Ekaanthatha in his YOGA NIDRA is not hindered and no one enters to disturb him. We request the people in praakaara to observe full silence. The wrong interpretation that Lord and Devi are sleeping should be avoided. They never sleep, if so the word will come to an end. They go into YOGA NIDRA, meaning they are in MEDITATION. That is the Bhava one should have.
KAAVERI THEERE KAMANEEYA GEHE
INDU BIMBATHARA SUNDARA VADANA
SANAKAATI YOGEENDRA THUMBURU NAARADA
KUMKUMA CHANDANA PANKILA HRUDAYA
If we view this philosophically, it is nothing but our preparation for Nidhidhyaasanam. i.e. We should dwell deep in Bhakthi (Raadha), in total faith and surrender, so that Lord will accept us. For this, first of all we should purify our Mind with Saathwic Bhaavanaas by blocking the four doors called Manas, Chittam, Budhi and Ahamkaara, through which we receive and respond to the stimuli from the world outside. This is a stupendous task for which we have to have strong & experienced guards. We are praying to Bhakthaas like Jaya, Vijaya, Chanda, Prachanda, Sanaka, Sananthana, Kumuda, Kumudekshana, Prahlaada, Dhruva, Bhala Prbhalaadya to help us in guarding against these Vishaaspathis by giving their grace to safeguard against these vishayaaspathi, so that we can dwell in the Sachithaananda state for ever. As stated earlier, it is easy to reach Lord through the grace & help of experienced Gurus/Bhakthaas and hence this request to those Bhakthaas who are always remaining at the abode of the Lord. Philosophically speaking, we go in the One-ness with the Lord. This is called athmanivedhanam. Once we have lost our worldly knowledge, we dwell in Satchidaananda state.
One Bhaktha, ringing the handbell, goes round the Mandapam to warn everybody that the Lord is in YOGA NIDRA with Devi and all should keep silence and pray for the well being and do Raama Japa/sing Prarthana Abhang.
Through the songs :
KOUSALYA SUPRAJA RAAMA and
RANGA NAYAKA RAJEEVA LOCHANA
etc. we are literally waking up the Lord with Piraatti. Then conclusion with Mangala Haarathi with the praarthana song: "POORAYA MAMA KAAMAM".
Conclusion:
This can be equatted to remaining in the awakened state of Sachidaananda. To sum-up, JEEVAATHMA PARAMAATHMA AIYKYAM is the ultimate aim of all of us and we should follow the path of Pure Bhakthi in total surrender to the Paramaatma by grooming ourselves like Gopis (embodiment of Pure Bhakthi).
Attavanai:
Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section.
SARVE BHANVANTHU SUKHINA:
SARVE SANTHU NIRAAMAYAA:
SARVE BHADHRANI PASYANTHU:
MAA KASCHIT DHUKHAMAAPNUYAATHU
OM SANTHI: SANTHI: SANTHI:
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