Radhe Krishna

K. R. Vijaya

2011-12-22T03:48:00.000-08:00

RADHE KRISHNA 22-12-2011

K. R. Vijaya
K. R. Vijaya (Tamil: கே. ஆர். விஜயா) is a popular Indian actress who has starred in Tamil, Malayalam and Telugu films. She started her career in the 1960s. She has been acting for more than four decades now in South Indian cinema. K. R. Vijaya has worked with almost all the stalwarts of South Indian cinema and has played a variety of roles.[1]
Contents [hide]
1 Early life
2 Career
3 Filmography
3.1 Films
3.2 Television Serials
4 Love Songs from K. R. Vijaya's Movies
5 References
6 External links
Early life

Vijaya was born on 30 November 1948. She spent most of her childhood in the holy city of Palani. Vijaya's father wanted her to become an actress since he was himself acting in M. R. Radha's drama troupe at the time.

Career

Vijaya played the title character, a heroine, in her debut film Karpagam, directed by K. S. Gopalakrishnan who also directed her 100th film Nadhiyil Muthu. Karpagam was released in 1963.
Vijaya has starred in almost 400 films in all the South Indian languages, including 100 films each in Tamil, Malayalam and Telugu, half-a-dozen in Kannada, and one in Hindi titled Oonche Log. Her co-stars in the Hindi movie were Raaj Kumar and Feroz Khan. She received many offers in Hindi, but did not accept them as she was busy in the South.
Some of her critically acclaimed films include Karpagam, Selvam, Anarkali, Saraswathi Sabadham, Nenchirukkum Varai, Namma Veetu Theivam (the movie in which she first started depicting deities), Dheergasumangali (she first started playing a mother in this film), Idhayakamalam, Thangappathakkam, and Thirusoolam.

Filmography

K. R. Vijaya has starred in many films. Her first film was Karpagam in 1963, where she portrayed the title role, Karpagam. The movie went well and she was also praised for her role. Apart from films, she has also starred in two teleserials, Raja Rajeswari and Kudumbam, shown both in India and Sri Lanka.

K. R. Vijaya filmography

Filmography

Year Film Language Role
2011 Sri Rama Rajyam Telugu Kausalya
2011 100% Love Telugu
2011 Aadu Puli Tamil
2010 Simha Telugu
2008 Dasavatharam Tamil Cameo appearance
2005 Chandramukhi Tamil Senthil's mother
2004 Shock Tamil
2003 Ondagona Baa Kannada
2003 Mr. Brahmachari Malayalam Vasumathi
2002 Nakshathrakkannulla Rajakumaran Avanundoru Rajakumari Malayalam Bhageerathiyamma
2001 Durga Telugu
1999 Pranaya Nilavu Malayalam Lakshmi
1998 Kavalaipogathe Sagodhara Tamil
1997 Vivasaayi Magan Tamil
1995 Aanazhagan Tamil
1995 Thirumanassu Thampuratti
1994 Bhairava Dweepam Telugu
1994 Raithu Bharatam
1993 Udan Pirappu Tamil
1992 Champakkulam Thachan Malayalam Karthyayani
1990 Appu Malayalam
1990 Sutradhaarulu Telugu Yashodamma
1988 Simon Peter Ninakku Vendi Malayalam Savithri
1988 Yogi Vemana
1987 Sreedharante Onnam Thirumurivu Malayalam Sarada
1987 Majnu
1987 Jaganmatha Telugu Jaganmatha
1987 Vishwanatha Nayakudu Telugu
1985 Shri Datta Darshanam Telugu Renuka
1984 Ithiri Poove Chuvannapoove Malayalam Meenakshi
1984 Parannu Parannu Parannu Malayalam Susan
1982 Alolam Malayalam Savithri
1982 John Jaffer Janardhanan Malayalam Sumathy
1980 Rishi Moolam Tamil
1980 Shri Vinayaka Vijayam Telugu Durga Devi
1979 Ezhamkadalinakkare Malayalam Lakshmi
1979 Mamangam Malayalam Manka
1978 Justice Gopinath Tamil
1978 General Chakravarthy Tamil
1977 Deviyin thirumanam Tamil
1976 Mayor meenakshi Tamil
1973 Nathayil Muthu Chelakannu
1972 Kurathi Magan
1971 Bhale Papa
1971 Annai Velankanni
1970 Sridevi Telugu
1969 Bhale Tammudu Telugu Geeta
1969 Ekaveera Telugu
1968 Palmanam
1968 Thirumal Perumai Tamil Aandaal
1967 Ooty Varai Uravu Tamil Vijaya
1967 Anveshichu Kandethiyilla Malayalam Susamma...
1967 Iru Malargal
1967 Kandan Karunai Tamil valli
1967 Paladai
1967 Pattanathil Bhootham Tamil Latha
1967 Thangai Leela
1967 Thiruvarutselvar
1966 Paramanandayya Shishyula Katha Telugu Chitralekha
1966 Saraswathi Sabatham Tamil Selvambigai
1966 Selvam
1966 Shri Krishna Pandaviyam Telugu
1966 Yarukaka Azhudan Lodger
1965 Odeyil Ninnu Malayalam Lakshmi
1964 Kai Kodutha Deivam
1964 Server Sundaram Tamil Radha
1963 Karpagam Tamil Karpagam

Films
Main article: K. R. Vijaya filmography

Television Serials
Madisaar Maami(1994) (Sun TV)
Kudumbam (1998) (Sun TV)
Raja Rajeswari (2005) (Sun TV)
Anandham (2006–2010) (Sun TV)

Love Songs from K. R. Vijaya's Movies

1. Suriyan poyi chandran vanthaan amoiyaa - Subamukurtham – Jai Shankar
2. Happy Indru Mudhal Happy – Ooty Varai Uravu - Sivaji Ganesan
3. Antha Maappillai Kaathalithaan – Panam Padaithavan – MGR
4. Thannam Thaniyaaga Nee Vanthu - Sangamam - Gemini Ganesan
5. Nee Pogum Idam Ellaam – Server Sundaram – Muthuraman
6. Maaligai Enn Mannan Mayangum – Theerga Sumagali - Muthuraman
7. Thol Kandein Tholley Kandein – Idhaya Kamalam - Ravichandran
8. Kannan Varuvaan Kathai Solluvaan – Panchavarna Kili - Muthuraman
9. Enthan Uyir Kaathalan – Kalyaana Oorvalam - Nagesh
10. Sri Devi Varam Ketkiraal - ??? – Muthuraman
11. Unnai Paarka Veindum – Annapoorani – Muthuraman
12. Nee Ninaithaal Inerathillay – Nilavey Nee Saatchi – Jai Shankar
13. Mullai Malargalin Aradhanai – Roshakkaari – Ravichandran
14. Nilavu vanthu vaanathai – Thirudi – Jai Shankar
15. Ponnaa Poovaa – Vaayaadi – Jai Shankar
16. Villaketri Vaikiren – Soothatham – Jai Shankar
17. Tik Tik Tik Ithu Manathu Kaalam – Nalla Neyram – MGR
18. Unathu Vizhiyil Enathu Paarvai – Naan Aen Piranthein – MGR
19. Ippadithaan Irrukka Vendum Pomballey – Vivasaayee – MGR
20. Illaya Rani Munthaaney Sariyee – Orey Vaanam Orey Boomi – Richard (Hollywood Actor)
21. Pavakodiyilley Muthakkal – Panam Padaithavan – MGR
22. Engey Engey Engey Illam Pannukku Virunthu - ???? – Sivaji Ganesan
23. Pudhu Naadagathil- Ooty Varai Uravu - Sivaji Ganesan
24. Poo Maalayil ore malligai - Ooty Varai Uravu - Sivaji Ganesan
25. Ambigai Neyril Vanthaal – Idhu Endhan Deivam – Muthuraman
26. Anbu Mikka Maapillaikku – Engal Kula Deivam – Muthuraman
27. Oorellam Parku Vaithu - Kalyaana Oorvalam – Nagesh
28. Kurathi Vaadi Enn Koopi – Kurathi Magan – Gemini Ganesan
29. Paruthathi Konjam - Panam Padaithavan – MGR
30. Sabthavaram Punnagayil Kanden – Naadaga Ulagam – Mohan
31. Maalai Malar Pandhal Itta – Akkaa – Jai Ganesh
32. Ammamma Keiladi Thozhi – Karuppu Panam - Balaji
33. Kannil Kandathellam Kaatchiyaa – Pathanathil Bootham – Jai Sankar
34. Yaar Yaar Endru Ennavillai - Pathanathil Boodham – Jai Sankar
35. Andha Sivagaami Maganidam- Pattinathil Bootham- Jai Sankar
36. Poomaalayil Ore Malligai – Ooty Varai Uravu – Sivaji Ganesan
37. Thiru theril Varum Silaiyoh – Naan Vella Vaippein – Sivaji Ganesan
38. Ellorum Paattu Paadungal – Naan Vella Vaippein – Sivaji Ganesan
39. Sugam sugam adhu – Thangai – Sivaji Ganesan
40. Velli Mani Osaiyaaley – Iru Malargal – Sivaji Ganesan
41. Mannavanney azhalaamaa – Karpagam – Gemini Ganesan
42. Chithirai Maatham Powrnami Neram – Raaman Etthanai Raamanadi – Sivaji Ganesan
43. Ange Maalai Mayakkam Yaarukkaaga - Ooty Varai Uravu – Sivaji Ganesan
44. Kandein Kalyaana Penn Pondru Megam – Mayor Meenakshi – Jai Shankar
45. Selvargal Inge – Kannamma - Muthuraman
46. Thenna mara thoppukkulley – Kannamma - Muthuraman
47. Engengum Un Vannam – Kannamma - Muthuraman
48. Manam Padaichen Unnai - Kanthan Karunai - Sivakumar
49. Aaduvathu Vetri Mayil - Akkaa Thangai – Jai Shankar
50. Vinnukku Melaadai – Naanal - Muthuraman
51. Ennamma Singara Kannamma – Vivasaayee - MGR
52. Muthu Chippi Mella Mella thiranthu Varum – Raamu – Gemini Ganesan
53. Engey Neeyo Naanum Angey unnodu – Engalukkum Kaalam Varum – Sivaji Ganesan
54. Azhagan Muruganidam Aasai Vaithen – Panjavarna Kili - Muthuraman
55. Kannan Varum neiramithu – Kalyaana Oorvalam - Nagesh
56. Malargal Nanainthana paniyaale – Idhaya Kamalam - Ravichandran
57. Unnai Kaantha Kannum – Idhaya Kamalam – Ravichandran
58. thendralil Aadai pinna – Kanney Papa - Muthuraman
59. Patthu Siragaditha Chittu Kuruvi – Karuppu Panam - Balaji
60. Ampathullum Aasai Varum – Rishimoolam - Sivaji Ganesan
61. Hello My Dear Doctor – General Chakravarthy – Sivaji Ganesan
62. Andru Naan Kutraalathil Aasaiye Kulithiranthen – Kanney Papa - Muthuraman
63. Sugumaana Raagangalley – General Chakravarthy – Sivaji Ganesan
64. Malarkodhuthein Kaivendra – Trisoolam – Sivaji Ganesan
65. Thithippadhu – Thattungal Thirakka Padum - Manohar
66. Poo pol manathai thottuvittaai punnagayil - ??? - ???
67. pollaatha punsirippu – penney née vaazhga - Jai Sanakar
68. Uyir Nee Unakkoru – penney née vaazhga - Jai Sankar
69. Anbai Kurippathu Anna – Enna Mudalaali Sowkyamaa - Gemini Ganaesan
70. Ponna poo endru theer endru sollvanna – Nilavey Nee Saatchi – Jai Shankar
71. Nilavey Nee Saatchi – Nilavey Nee Saatchi – Jai Shankar
72. Silai eduthaal Intha – Server Sundaram - Muthuraman
73. Maalai Malar Pandhalitta Neyram – Akkaa – Jai Ganes
74. Manampadaithen unnai ninaipadharkuu- Kandan Karunai- Sivakumar
75. Velli Mani Osayille- Iru Malargal- sivaji ganesan

References

^ "Actor K.R. Vijaya's smile illuminated her acting career". The Hindu (Chennai, India). 2006-07-06.

External links

K. R. Vijaya at the Internet Movie Database
Youtube clip
Chapak article
Behindwoods - old Tamil heroines article
[hide] v d e
Tamil Nadu State Film Award for Best Actress
1967-1980
K. R. Vijaya (1967) · Padmini (1968) · Sowcar Janaki (1969) · K. R. Vijaya (1970) · no award (1971) · no award (1972) · no award (1973) · no award (1974) · no award (1975) · no award (1976) · Latha (1977) · Lakshmi (1978) · Saritha (1979) · Suhasini (1980)
1981-2000
Sridevi (1981) · Saritha (1982) · no award (1983) · no award (1984) · no award (1985) · no award (1986) · no award (1987) · Saritha (1988) · Raadhika (1989) · Revathy (1990) · Kushboo (1991) · Sukanya (1992) · Meena (1993) · Raj Shri (1994) · Kushboo (1995) · Shruti (1996) · Meena & Devayani (1997) · Roja (1998) · Simran (1999) · Devayani (2000)
2001-present
Sneha (2001) · Meena (2002) · Laila (2003) · Jyothika (2004) · Jyothika (2005) · Priyamani (2006) · Jyothika (2007) · Sneha (2008)

Twenty Four Gurus From the Srimad Bhagavatam

2011-12-04T20:38:00.000-08:00

RADHE KRISHNA 05-12-2011

Twenty Four Gurus
From the Srimad Bhagavatam

Twenty Four Gurus
From the Srimad Bhagavatam

Once King Yadu saw Lord Dattatreya (Avadhoot) in a forest and addressed him "Sir, you are indeed quite capable, energetic and wise. Such as you are, why do you live in the forest, free from all desires? Even though you have neither kith and kin nor even a family, how could you be so blissful and self-contented?"

The Avadhoot (one who has shaken off all worldly desires) replied, "My bliss and contentment are the fruits of self-realization. I have gained the necessary wisdom from the whole creation, through 24 Gurus. I shall elaborate the same for you".

Shri Dattatreya had twenty-four teachers from nature "many are my preceptors," he told King Yadu, "selected by my keen sense, from whom acquiring wisdom freely, I wander in the world…. The earth, air/breeze, sky, fire, the sun, pigeon, python, sea, moth, elephant, ant, fish, Pingala the courtesan, arrow-maker, infant/playful boy, the moon, honeybee, deer, bird of prey, maiden, serpent, spider, caterpillar and water are my twenty four preceptors.

1. Earth:
All creatures, in accordance with their previous store of karma (action) assume different physical forms and live on earth. People plough, dig and tread the earth. They light fires on it. Still, the earth does not swerve from its course even by a hair’s breadth. On the other hand, it feeds and houses all creatures. Seeing this, I learned that the wise one should never swerve from his vow of patience, love and righteousness under any circumstances and one should dedicate his life for the welfare of living beings. The earth along with its mountains and rivers is my first guru.

2. Air:
I observed that air is pure and odorless in itself. And it blows on both sweet and foul-smelling things without any discrimination or preference. Though it momentarily seems to take on the smell of its surroundings, in a short while, it reveals its pristine quality. From this I learned that a spiritual aspirant should live in the world, unaffected by the dualities of life like joy and sorrow and by the objects of the senses. He should keep his heart’s feeling and his speech unpolluted by vain objects. As I have learned all this by observing it, air is my second guru.

3. Sky:
The soul is also like the sky, which is omnipresent. I have noticed that sometimes the sky (or space) gets thickly overcast, or filled with dust or smoke. At sunrise and during night, it apparently takes on different colors. But in fact, it ever retains its colorless self, and it is never touched or stained by any thing. From this I learned that a true sage should remain ever pure like the sky or space, untouched or unaffected by anything in the phenomenal universe in time, including his own physical processes. His inner being is totally free from emotional reaction to things and events even like the space. Thus I accepted the sky or space as my third guru.

4. Fire:
My fourth teacher is the element of fire. Sometimes, it manifests itself as blazing flames; sometimes as smoldering embers, covered by ash. But it is always present in all objects as latent heat. The god of fire accepts the offering of everyone, irrespective of his moral worth and burns down his sins; and it still remains the ever-pure divinity as the fire-god; he is untainted by the sins of such devotees. So too, a sage of perfect realization should accept food of everyone, burn down his sins and bless the giver. Though fire has no specific form of its own, when it is associated with fuel that burns, it assumes such apparent forms. So too, the true Self, though formless in itself, appears in the forms of deities, human beings, animals and trees when it is associated with the respective physical structures. The source of all forms in the universe, as also their end, remains ever mysterious. All the things are manifest only in between their origin and their end. Their source and end is the true Self, which is eternal, unchanging, unmanifest and omnipresent. The nature of the element of fire is such. The manifest fire transforms the various things it consumes into the same ash. So too, the wisdom of self-realization rejects the manifest forms and properties of things as illusion and realizes their one original essence as itself. Thus the element of fire is my fourth guru.

5. Sun:
My fifth guru is sun. Though the sun we see in our daily life is one, it appears as many when reflected by water in different vessels. Similarly, the one real Self manifests itself as many selves of living creatures when reflected by their physical structures. As Sun illuminates the many forms in nature to our visions, the sage too illuminates the true nature of all things to his devotees.

6. Pigeon:
I have gained wisdom from a pigeon too. Once a pair of pigeons lived together on a tree. They bred their young and were bringing them up with deep affection and love. One day, a hunter caught the young fledglings in a snare. The ladybird, which returned from the forest with food for its young ones, saw their plight and, unable to leave them, she leapt in the snare to share their fate. Shortly after, the male pigeon turned up and, unable to bear the separation from its sweetheart, it too jumped in the snare and met its end. Reflecting on this, I realized how, even after being born as an intelligent human being, man is caught in the coils of possessiveness and brings about his own spiritual destruction. The self, which is originally free, when associated with the body sense, gets identified with it, and thus gets caught in the endless cycle of birth, death and misery. Thus the pigeon was my sixth guru.

7. Python:
The python is a sluggard, unwilling to move out briskly for its prey. It lies in its lurch and devours whatever creature it comes across, be it sufficient to appease its hunger. From this I learnt that the man in search of wisdom should refrain from running after pleasures, and accept whatever he gets spontaneously with contentment. Like the python, he should shake off sleep and wakefulness and abide in a state of incessant meditation on the Self. Thus the python was my seventh teacher of wisdom.

8. Sea:
Contemplating the marvelous nature of the ocean, I have gained much wisdom. Any number of overflowing rivers may join it, yet the sea maintains its level. Nor does its level fall even by a hair’s breadth in summer, when all the rivers dry up. So too, the joys of life do not elate the sage of wisdom, nor do its sorrows depress him. Just as the sea never crosses its threshold on the beach, the wise one never transgresses the highest standards of morality under the pull of passions. Like the sea, he is unconquerable and cannot be troubled by anything. Like the unfathomable ocean, his true nature and the depths of his wisdom cannot be easily comprehended by anyone. The ocean, which has taught me thus, is my eighth guru.

9. Moth:
I often observed that the moth (or, more precisely, a grasshopper) is tempted by fire to jump in it and get burnt down. So too, the unthinking man is enticed by the illusory pleasures of the senses and thus gets caught in the ceaseless cycles of birth and death. On the other hand, the wise one, when he catches even a glimpse of the fire of wisdom, leaves everything aside, leaps in it and burns down the illusion of being a limited self. Thus the moth was my ninth guru.

10. Elephant:
The elephant was my tenth guru. The human beings raise a stuffed cow-elephant in the forest. The wild tusker mistakes it for a mate, approaches it and then skillfully bound in fetters by the cunning human beings. So too, the unregenerate man is tempted by the opposite sex and gets bound by the fetters of infatuation. The seekers after liberation should learn to be free from lust. The elephant was thus one of my teachers.

11. Ant:
The ant stores up lots of food materials which it neither eats nor gives away in charity to any other creature. In consequence, other more powerful creatures are tempted to plunder the ants. So too, the man who lays by treasures of merely material things becomes a victim of robbery and murder. But the ant has something positive to teach us, too. It is a tireless worker and is never discouraged by any number of obstacles and setbacks in its efforts to gather its treasure. So too, a seeker after wisdom should be tireless in his efforts for Self-Realization. This noble truth has the little ant taught me and became my eleventh guru.

12. Fish:
The fish greedily swallows bait and is at once caught by the angle-hook. From this, I realized how man meets his destruction by his craving for delicious food. When the palate is conquered, all else is conquered. Besides, there is a positive feature in the fish. It never leaves its home, i.e. water. So too, man should never loose sight of his true Self, but should ever have his being in it. Thus the fish became my twelfth guru.

13. Pingala:
The thirteenth guru that has awakened my spirit is a prostitute named Pingala. One day, she eagerly awaited a particular client in the hope that he would pay her amply. She waited and waited till late in the night. When he did not turn up, she was at last disillusioned and reflected thus: "Alas! How stupid I am! Neglecting the divine spirit within, who is of the nature of bliss eternal, I foolishly awaited a debauchee (sensualist) who inspires my lust and greed. Henceforth, I shall expend myself on the Self, unite with Him and win eternal joy. Through such repentance, she attained blessedness. Besides, reflecting on its obvious purport, I also realized that a spiritual aspirant should likewise reject the lure of lesser spiritual powers, which are mere by-products of sadhana (spiritual practice). I learned that the temptation to secure things from other’s hands are the seeds of misery; that renunciation of these is the sole means of realizing infinite joy.

14. Arrow-maker:
Once I observed an arrow-maker who was totally absorbed in molding a sharp arrow. He grew so oblivious of all else that he did not even notice a royal pageant that passed by. This sight awakened me to the truth that such single-minded, all-absorbing contemplation of the Self spontaneously eliminates all temptation for the trivial interests of the world. It is the sole secret of success in spiritual discipline. Thus the arrow-maker is my fourteenth guru.

15. Playful Boy:
Little boys and girls know neither honor nor dishonor. They do not nurse a grudge or a prejudice against anyone. They do not know what is their own, or what belongs to others. Their happiness springs from their own selves, their innate creativity and they do not need any external objects or conditions to be happy. I realized that the sage of perfect enlightenment is also such. A playful boy thus happened to be my fifteenth guru.

16. Moon:
Of all things in nature, the moon is unique. It appears to wax and wane during the bright and dark fortnights. In fact, the lunar globe ever remains the same. In this, it is like the self of the man. While a man appears to pass through the stages of infancy, boyhood, youth, maturity and old age, his real self remains unchanged. All changes pertain only to body and not to the self. Again, the moon only reflects the light of the sun, but has no such of its own. So too, the soul or mind of man is only a reflection of the light of awareness of the real Self. Having taught this truth, the moon became my sixteenth guru.

17. Honeybee:
Honeybee wanders from flower to flower and, without hurting them in the least, draws honey. So too, a spiritual seeker should study all the Holy Scriptures but retain in his heart, only that which is essential for his spiritual practice. Such is the teaching I imbibed from my seventeenth guru, the honeybee.

18. Deer:
It is said that deers are very fond of music and that poachers employ it to lure them before hunting them. From this, I learned that passions and sensual desires will soon bog down a spiritual aspirant who has a weakness for merely secular music, till he ultimately loses whatever spiritual progress he has achieved earlier. The deer that taught me this truth is my eighteenth guru.

19. Bird of prey:
A bird of prey is my nineteenth guru. One day, I saw one such carrying away a dead rat. Many other birds like crows and eagles attacked it, now kicking on its head and again pecking on its sides in their endeavor to knock off the prey. The poor bird was thus very much pestered. At last, it wisely let its prey fall and all the other birds rushed after it. Thus freeing itself from so much botheration, it sighed in relief. From this, I learned that a man who runs after worldly pleasures will soon come into clash with his fellow-beings who too run for the same, and has to face much strife and antagonism. If he learns to conquer his craving for worldly things, he can spare himself much unhappiness. I realized that this is the only way to the peace in the world.

20. Maiden:
Once, I observed a family visit a maiden’s house, seeking her hand in marriage for their son. At that time, her mother was away from home. So the maiden herself had to entertain the guests with refreshments. She at once started pounding food-grains with a pestle. The bangles on her hand started knocking against each other, pounding sound. She was afraid that the guests might hear the sound and be unhappy for having caused her so much of trouble. As a Hindu maiden, she is not expected to remove all the bangles on her hand at any time. So she kept two on each hand and removed all the rest. Even then, they were knocking against each other and were making noise. So she kept only one bangle on each hand this time and she could finish her task in quiet. Reflecting on this, I realized that when a number of spiritual seekers live together, a lot of unwanted gossip ensues and no spiritual practice can be pursued with a single-minded effort. Only in solitude, a spiritual aspirant can carry his task. Knowing this truth, I henceforth resorted to solitude. Thus, a maiden happened to be my twentieth guru.

21. Serpent:
I observed that a serpent never builds a dwelling for itself. When white ants have raised an anthill for themselves, the serpent eventually come to inhabit it. Similarly, worldly people have to endure many hardships in raising houses for themselves, while a recluse monk does no such thing. Worldly men raise the monasteries and the monk lives in them; or, he leaves in old dilapidated temples, or underneath shady trees. The serpent moults, leaving off its old skin. So too at the end of his life Yogi leaves his body deliberately and in full awareness of his own true self and is not frightened by the phenomenon of death. On the other hand, he casts off his old body as happily as he does his worn out clothes and dons new ones. Thus has my twenty first guru taught me.

22. Spider:
The spider is my twenty second guru. It weaves its web from the thread in the form of a fluid. After sometime, it gathers up the web into itself. The supreme projects the whole creation out of itself and after sometime, withdraws it into itself at the time of dissolution. The individual soul too, bears the senses and the mind within itself and, at its birth as a human being or any other living creature, it projects them out as the sense organs, organs of action and the whole body. In accordance with its latent tendencies, the creature thus born, gathers up all the means and objects needed for its living. At the end of its life’s duration, the soul again withdraws the senses, mind and acquired tendencies at the hour of death. Thus have I learned from the spider.

23. Caterpillar:
The caterpillar is also one of my teachers of wisdom. The wasp carries its caterpillar to a safe corner and closes it up in its nest and goes on buzzing about it. The young caterpillar is so frightened by the incessant buzzing, that it cannot think of anything else than the buzzing wasp. Through such unintermittent contemplation of its mother, the caterpillar too, soon grows up into a wasp! In a like fashion, a true disciple is so charmed and over-awed by the spiritual eminence of his own guru that he cannot think of any one other than him. Through such contemplation, he soon blossoms into a great spiritual master himself. The caterpillar is thus my twenty third Guru.

24. Water:
Water is my twenty fourth Guru. It quenches the thirst of every creature, sustains innumerable trees and all creatures. While it thus serves all living beings, it is never proud of itself. On the other hand, it humbly seeks the lowliest of places. The sage too should likewise bestow health, peace and joy to every creature that resorts to him. Yet he should ever live as the humblest of God’s creation.

With such humility and devotion, I looked upon the whole of God’s creation as my teacher, gathered up wisdom and, through patient effort I realized my goal of spiritual enlightenment.

MADHWA PHILOSOPHY

2011-12-03T00:08:00.000-08:00

RADHE KRISHNA 03-12-2011

MADHWA PHILOSOPHY

MADHWA PHILOSOPHY

Sri Madhvacharys is our loving and worshipful GURU. The Philosophy of Sri Madhawa is "DWAITA VEDANTA". Sri MAdhva is a third Avatar of Shri Vayu Bhagavan.

Prathamo Hanuman Nama Dwitheeyo Bheema Eva cha |

Poornapragna Treetiya thu Bhagavat Karya- saadah ||

He was born near Udipi on Vijayadasamiday in the year 1238 A.D.
He took to Sanyasa in his 16 th year and became known as 'Ananda Teertha'. Sri Acharya disappeared, while teaching Aitereya Upanishad Bashya to his disciples, in Ananteswara Temple at Udipi in the year 1317 A.D., He is still alive in the Badrikashram on the Hi,ayas with his Guru Sri Vedavyasa Devaru. The full Biographical details of Sri Madhvacharya are told
in "Sri Madhva Vijaya".

The first Avatar of Sri Vayu is Hanuman son of Anjana Devi. His wonderful feats and service to Rama Devaru are described in RAMAYANA.

The second Avatar is Sri Bhimasena, in Dwapara Yuga, Sri Vayu Deva appeared as Bhimasena and played the most important part in the destruction of the enemies of God. In the whole of Mahabharata, Bhimasena is the most important person who never slipped from the path of righteousness and served Sri Krishna.
Thus, he served God as Hanuma in Ramayana, as Bhima in Krishnavatara and as MAdhva, served Lord Vedavyasa Devaru. He is the greatest spiritual benefactor of MAnkind. This is short, is the story of Avtara Traya.

The Philosophy of Sri Madhwa is simple, easy and very convincing vedanta, called "DVAITA VEDANTA".

To Sri Madhwa, Vishnu is supreme. Vishnu or Lord Sri Hari can be known only through Vedas.

Madhwa philosophy is summerised in the following sloka, attributed to Sri Vyasa Tirtha :-

Sriman Madhwa

1 . Harih para tarah - Hari is the Supreme Being.

2 . Satyam Jagat - The world is Real, not Mithya or illusion.

3 . Tatvato Bhedah - Difference is Real.

4 . Jeeva Gana Hare ranu charah - All the Jivas are Hari's Servants.

5 . Neecho cha bhavam gatah - with gradation among them.

6. Muktirnaija sukhanubhutih - Mukti is the enjoyment of (the soul's) innate liss.

7. Amala Bhaktischa tat Sadhanam - pure bhakti is the means of attaining mukti.

8. Akshadi Tritayam pramanam - there are three sources to gain. knowledge namely :-

a. Knowing things through "Eyes and other Indriya Prathyaksha",

b. knowing by inference, "Anumana" , and

c. By Shastras 'Agama". Tru Knowledge of the world can be gained by the above three means. It is "Tritayam".

9. Akhilamnaiyaika Vedyo Harih -Lord Sri Hari can be known by Amna (or, Veda) only. This sloka contains in a nutshell, the essence Dwaita Philosophy.

Sri Madhwacharya has written as many as thirty seven works which are monumental.

The New Year day according to Chandramaana is called YUGADI because the Lord began creation on the first day of Chitra-Masa,Sukla Paksha,Prathama at Sooryodaya and commencement of the Yuga (Yuga-Aadi).

CHITRA MASE JAGADH - BRAHMA SASARJA PRATHAME-HANI |
SHUKLAPAKSHE SAMAGRAM THU THADHA SOORYODAYE SATHI ||

The day begins with Mangala Snana (Oil Bath or Abbhyanga), followed by Devara Pooja by Women.Nivedana and tasting of the mixture of Neen flower, tender neem leaves with a litle bit of tamarindand Jaggery is the age - old Sampradaya on this day. In sahasra-nama the Lord is adored as Yugaadikruth.Kaala means Time.It is also called the name of Paramatma.Kaala brings us good fortune if we care to give respect for Kaala.Giving respect for Kaala means to understand the significance of 'Time' (i.e) to adjust our activities to the tune of its benefical effects. This is the aim and object of Panchanga Sravana.

ONE DAY OF BRAHMA : Krita Yuga Treta,Dwapara and Kali Yuga put
together make one Maha Yuga. 71 Maha Yugas make one Manvantaram. 14 Manvantaras make one Kalpa. These 14 Kalpas put together is the DAY TIME for Brahma. Similar period for his night time. Put together make one Day of Brahma. 360 days like this make one year for him. 100 years calculated in this way, as his life period. Out of this already spent 50 years, (i.e) the first half of his life. He is now in his iind half. This is what we say in our daily sankalpa (Aadya Brahma-h; Dwiteeya Para-ardhe). He is now running 51.

we are now in the first day of the 51st year of Brahma. In this
first day, the periods of 2 kalpas 6 manvantaras and 27 Maha Yugas have already gone. Also gone are the 3 more ordinary Yugas of krita Yuga Treta and dwapara. At present, we are in 28th Maha Yuga of the 7th Manvantara called Vaivaswatha Manvantara. Hence our conception of Kaala is what we daily repeat in our sankalpa. The present period (during his Ist day in 51st year) is Swta-Varaah Kalpa, Vaivaswatha Manvantara and the first Quarter of Kalki Yuga.

KESAVA NAMA
1. EEASA NINNA CHARANA BHAJANA ASAI INDHA MADUVENU
DOSHA RASI NASA MADO SRISHA KESAVA

2. CHARANU HOKKE NAYYA ENNA MARANA SAMAYADALLI NINNA
CHARANA SMARANA KARUNI SAYYA NARAYANA

3. SODHI SENNA BAVADHA KALUSHA BODHI SAYYA GNANA ENAGE
BHADI SUVA YAMANA BHADHE BIDISO MADHAVA

4. HINDHA NEKE YONI GALALI BHANDU BHANDU NONDHE NAYYA
INDHU BHAVADHA BHANDHA BIDISO THANDHE GOVINDA

5. BRASHTA NENISA BEDA KRISHNA ISHTU MATHRA BEDI KOMBE
BRISHTA RODANE ITTU KASHTA BIDISO VISHNUVE

6. MADHANA NAYYA NINNA MAHIME VADHANA DHALLI NUDIYUVANTHE
HRUDAYA DHALLI HUDHISI SAYYA MADHUSUDHANA

7. KAVITHU KONDU IRUVA PAPA SAVITHU POGUVANTHE MADI
BHAVADHA BADHE YANNU BIDISO THRIVIKRAMA

8. KAMA JANAKA NINNA NAMA PREMA DHINDHA PADUVANTHE
NEMA YANAGE PALISAYYA SWAMI VAMANA

9. MODHALU NINA PADHA POOJE ODHAGU VANTHE MADU YANNA
HRUDAYA DHOLAGE SADHANA MADU MUDHADHI SRIDHARA

10. HUSIYA NADI HOTTI HOREVA VISHAYA SHALLI RASIKANENDHU
HUSIGE HAGADHIRO YANNA HRUSHI KESANE

11. BIDHU BAVADHA YENNA JANMA BHADHA NAGI KALUSHA DHINDHA
GEDHU POPA BUDHI THORO PADMANABHANE

12. KAMAKRODHA BIDISI NINNA NAMA JIHVE YOLAGE NUDISO
SRI MAHANU BHAVANADHA DHAMODHARA

13. PANKA JASHA NEENU YANNA MANKU BUDHI YANNU BIDISI
KINKARANNE MADI KOLLO SANKARSHANA

14. YESU JANMA BHADHARENU DHASA NALLAVENO NANU
GHASI MADA DHIRO INNU VASUDEVANE

15. BHUDHI SUNYA NAGI YANNA BHADHA KAYA KUHAKA MANAVA
DHIDHI HRUDHAYA SUDHI MADI PRADHYUMNANE

16. JANANI JANAKA NEENE ENDHU NENEVA NAYYA DHEENA BHANDHU
YANAGE MUKTHI PALISINDHU ANIRUDHANE

17. HARUSHA DHINDHA NINNA SMARISU VANTHE MADO KSHEMA
IRISU CHARANA DHALLI PREMA PURUSHOTHAMA

18. SADHU SANGHA KOTTU NINNA PADHA BHAJAKA NENISU YANNA
BHEDHA MADADHIRO YANNA ADHOKSHAJA

19. CHARU CHARANA THORI YANAGE PARA KANISAYYA KONEGE
BHARAHAKI IRUVA NINAGE NARASIMHANE

20. SANCHI THARTHA PAPAKALANU KINJI THARTHA PEEDAKALANU
MUNJEDHAGI KALAYA BEKU SWAMI ACHUTHA

21. GNANA BHAKTHI KOTTU NINNA DYANA DHALLI ITTU SADHA
HEENA BUDHI BIDISO MUNNA SRI JANARDHANA

22. JAPA THAPANUSHTANA VILLA KUPUTHA KAMIYADHA YANNA
KRIPAYA MADI KSHAMISA BEKO UPENDRANE

23. MOREYA IDUVE NAYYA NINAGE SARADHI SAYANA SUBHA MATHIYA
IRISO BHAKTHA ROLU PARAMA PURUSHA SRI HARE

24. PUTTISALI BEDA INNU PUTTISADHAKKE PALISUVARIGE
ISHTU MATHRA BEDI KOMBE SRI KRISHNANE

25. SATHYA VADHA NAMAGALNU NITHYA DHALLI PADISUVARIGE
ARTHY INDHA SALAHI DHIRUVA KARTHRU KESAVA

26. MAREYADALE HARIYA NAMA BAREDU ODI KELIDAVARIGE
KAREDU MUKTI KODUVA NELEYADIKESAVA ||

MADHVA DASA PRAKARANA

1. TATVA SANKHYANA

2. TATVA VIVEKA

3. TATVODYOTA

4. VISHNU - TATVA - NIRNAYA

5. KARMA NIRNAYA

6. KATHA LAKSHNA

7. PRAMANA LAKSHNA

8. MAYA - VADA KHANDANA

9. UPADI KHANDANA

10. MITHYA - TVA - ANUMANA KHANDA GEETA PRASTHANA

11. GEETA BHASYA

12. GEETA TATPARYA V E D A

13. RIG - BHASYA D A S A U P A N I S H A D S

14. ISAVASYA UPANISHAD BHASYA

15. KENA - UPANISHAD BHASYA

16. KATAKA - UPANISHAD BHASYA

17. SHAT - PRASNA UPANISHAD BHASYA

18. ATHARVANA UPANISHAD BHASYA

19. MADUKYA UPANISHAD BHASYA

20. THAITHIRIYA UPANISHAD BHASYA

21. CHANDOGYA UPANISHAD BHASYA

22. AITAREYA UPANISHAD BHASYA

23. BRIHADARANYAKA UPANISHAD BHASYA SOOTRA - PRASTHANA

24. BRAHMA SOOTRA BHASYA

25. ANU BHASYA

26. ANU VYAKHYANA

27. NYAYA VIVARANA

O T H E R W O R K S

28. TANTRA SARA SANGRAHA

29. DWADASA STOTRA

30. YATI PRANAVA KALPA

31. JAYANTI NIRNAYA

32. NARASIMHA NAKHA STUTI

33. BHAGAVATA TATPARYA

34. MAHABHARATHA TATPARYA NIRNAYA

35. SADACHARA SMRITI

36. YAMAKA BHARATA

37. SRI KRISHNAMRITA MAHARNAVA

SALIGRAMA
1. Is Saligrama in the form of black stone only ?

Yes. Mostly black stone only. Reddish black are also there,
but they are very rare. Red Saligrama are not worshipped in houses.

2. Is it available at gandaki river in nepal only or else where also ?

In gandaki river only.

3. Does it have the symbol of sudarshana chakra or other holy weapons of lord vishnu?

Chakra symbol only. No other symbols.

4. Is it a naturall formation or impression of any river worm or insect due to passage on the black stone or it used as a shell by the insect ?

It is not a stone-formation by nature. The chakras on the stones are formed by the river worms called Vajra-keeta. Its teeth/nails are said to be harder than granite stone. The chakra formation is found not only on the outer surface of the Saligrama.

There are chakras inside Saligrama also. This can be seen through the hole or holes on the Saligrama with the aid of torch light. The holes are termed as vadana (mouth). Chakras can be seen inside these holes. At the very face of this chakra one can confirm or suspect whether a particular Saligrama is original or duplicate.

The Vajra keeta worms drill the stones, get inside and live there. During their stay inside the stones, they cause these chakras. Similarly outside Chakras also are caused by the worms only. Saligrama are used as living place by the worms not used as shells.

The puranic declaration is that the Lord Himself causes these chakras in the guise of worms. He reveals His presence in Saligrama through the Chakras. Because He is already present there by his own choice, We do not perform any pratishta-ritual for Saligrama just as we do for other idols.

There are also some normal size, small and very small size Saligramas with no hole and no chakra. They look like mere black stones. But if you hold it against the lamp and look through the stone, you will be surpraised to find it is transparent. That is, the reddish light will be visible insid the stone. These Saligramas are called Ratna Garbha. They are very rare.

5. Is it a fact that more number of chakras in a Saligrama
represnet its significance ?

No such significance. A Saligrama with one or two chakras is
as powerful as the one with a dozen chakras. A Saligrama with
7 holes and 14 chakras is known as Ananta Padmanabha Murthy.
2 holes and 4 chakras is Narayana Murthy and so on. All the Murthys are of the same power.

6. Is it a coincidence of the availability at river Gandaki is not the abode of Shiva.

7. Any other mythological background to substantiate the prevalence of such stones deserve worship as the manifestation of Lord Vishnu ?

Of the 18 Puranas, a good number of them, under different contexts, proclaim the mahima of Saligrama as Vishnu pooja. They also proclaim that the White stones ashore at Dwaraka is as powerful as Saligrama. These white stones are called : "CHAKRANIKA". This is to be kept in pooja along with Saligrama, proclaims the Purana.

SALIGRAM SHILA YATRA, YATRA DHVARAVATHI SHILA |

UBAYO SANKHMO YATRA, YATRA MUKTHRNASAMSHAYAHA ||

8. Is any size prescribed for the worship in the daily puja
by Madhwas? It is learnt that abnormal sizes should be kept in the Temples/Mutts etc.

Yes. The size recommended for the puja in the house is the smaller ones which can be accommodated in the closed fist.
Abnormal ones are to be kept in the Temples/Mutts etc.

9. Is it true that Saligrama should not be kept in the house
without daily Abusheka ?

The emphasis is only to stress the point that you should not be
lazy and miss Saligrama Puja for too long a period on False excuses. It is not to ask you do away with Saligrama on grounds of imaginary problems.

10. Are Saligramas worshipped exclusively by Madhwas or by others also ?

Iyengars do Saligrama Puja as also some of the Vadama Iyers who wear Gopichandana.

NARASINHA AVATARA

1. This Avatara clears Parikshit's doubt about the patiality of
the Lord to the Devas and cruelty to the Asuras. The Lord has no Vaishamya Nair -Ghrinya.

2. The Avatara indicate that He is the sole independent Reality
and is in need of none else for his Incarnation. He is the swatantra Tattwa and all others are Aswatanta.

3. The Lord is willing to put up even the offences committed
against the cows. Vedas and Brahma-Gyanis, but the moment the
offender lays his hand on a true devotee like Prahlada. He would incarnate to quell the offender and protect the Bhakta.

4. The Lord , in running to help His Bhakta, does not mind
the place, the form, the manner or any thing. He chose to appear in pillar in the terrifying man-lion form. To a Bhakta, His kindness knows no bounds.

5. In this Avatara , He indicates He has both the attributes:
Bhagya-Krit and Bhaya-Narasimhana, He was horrifying to the wicked and tender to the devotee at the sametime.

6. The Lord is unkind to the Taamisic souls and graceful to the
satwic ones. He is compassionate towards the souls thta are
good by nature but go astra occasssionally due to Kali Aavesa,
inspired by another wicked soul which tenants and tempts them.
This is the doctrine of JEEVA - DWAYA - SAMAAVESA, as seen in
sisupala, He killed the Aasuric soul who co-existed with Sisupala and used his tongue only to variedly vilify and abuse the Lord. The Lord protected the Saatwic Sisupala and gave him Moksha and destroyed the indwelling demon.

7. This Avatara proves that the Lord can never be attained by
hatred (Dvesha) as it apparently sounds from the Sloka in Bhagavata :-

GOBYAHA KAMAADH , BHAYADH KAMSAHA ,

DWESHADH CHOUDHYADHAYO NRUPAHA :|

8. The Lord is accessible only to pure Bhakti as incarnated in
practice by Prahlada.

9. The doctrine of JEEVA _ TRAI - VIDHYA (3 - variety - Jeevas)
is also exemplified in this tale. No persuation, No miracles
effects any change in the attitude of Hiranyakasipu. This is enough evidence for the immutable nature of the souls.

10. Narada feels that this story of Prahlada makes Yudhishtra happy. Yudhishtra is honoured because in his home the Lord dwells in the form man as his helpmate, as his friend, beloved and advises.

PITHRU KARMA

Pithru Yagnya gives phala quicker than Deva Yagnya.

Taamasa Yagnya is the one performed disregarding the vidhi (Rule), the one performed without mantra, without Dakshina and with Asura Anna.

Hundred Vipra-Bhojanam is equal to a Vishnu - Pratishta.

Dakshina should be four times of the value of the Bhojana offered.

Even though one is not an Adhikari (elgible) for Pithru Yagnya,
(that is, even though one's parents are living), he too should
KNOW the Yagnya necessarily ( to help others in need).

BRAHMA YAGNYA is a daily item. This isjust to offer one Uddharni of water in the name of late parents who had sacrified so much for our sake in our childhood.

PITHRU - GANAS. Who are they?. What they do? Thei doings are only "Taat - Kaalika" (limited to a particular time and action). For more details, refer Mahabharata Tatparya Nirnaya.
Dhritarashtra was abused by Bheema. Vidura explains its significance. Vidura's words are worth keeping in our hearts (also of Pandavas).

WHO IS A SON ?

JEEVATHO VAKYA-KARANADH, PRATHYABDHAM BHURIBHOJANAM |

GAYAYAM PINDADHANAADH THRIBIHI PUTRASYAPUTRATHA ||

He is a true son who respects the words of his parents,

One who offers sumptous food to as many persons as possible on
the annual cermony day,

And the one who offers Pinda in Vishnu Paada at Gaya.

THE WAY OF INVITING a Brahmana for Shraadha. It is known as Aamantrana. This invitation should be extended with humanity
and with the utmost respect to the Brahmana. One should go to Brahmana's house, offer Namaskara to him and request him to
come on such and such date for Sraadha. Invitation should not
be extended casually, on the road side or in the market place:
not even over telephone. The point is that the Annual
Pithru-Karya begins with this work and it must start with all
the good wishes of men and Gods.

10. "APA - HATAASURA RAKSHAAH". Chanting this sloka, Tila (gingelly) is sprinkled at the start of the cermony. This should be done facing the south because Pithrus come from that direction.

11. The Brahmanas are duty bound to pronounce Asirvada with all their heart to the Yajamana. If they fall in this, Punishment will be waiting for them.

12. Yama Loka is fearful Not to a PUNYAVAN but only to a SINNER
who fails in his duties to his parents.

13. Even after performing Pithru Karya at Badri, the performance of Annual Cermony of parents every year as usual is ABSOLUTELY ESSENTIAL.

SUMADHVA VIJAYA
Sri Sumadhva Vijaya is one of the finest 'MAHA KAVYAS' expalining the Life history of Sri Madvacharya. It was composed by Sri Narayana Pandithacharya, son of Sri Trivkrama Pandithacharya, the holy convert and staunch disciple of Sri Acharya. Madhva Vijaya has many extrodinary and unique features. It is an athentic biography of Srimad Acharya written by a contemperory pandit, who was serving as Liberation to Sri Madhwa.

Sri Sumadhva Vijaya's glory does not stop by merely stating as Maha Kavya and as explaining the biography of Srimad Acharya. As a matter of fact, glory and sacredness lie in the truth, that this unique work gives the meaning of many Sutrs (ashorism), Upanishad Texts,

Gita verses while explaining the incidents of the life of Srimad

Acharya. I humbly appeals to the readers to note that the life of Srimad Acharya is not in par with any other great person, as seen ordinarily in biographical works. As a matter of fact it is unique, extrodinary and divine in many ways. Each and every action of Srimad Acharys or any incident connected with him is only an elucidation of vedic truths. Not a single incident or narration goes with out deep philosophical truth embodded in it.

This humble author in present series of article tries to place before the readers such important aspects, to understand the glories of Sri Madhva Vijaya which has no parrallel at all. Significance of the verse 42 in the 9 th canto (sarga) and the fourth sutra of the Adhyaya in the first pada:-
Sumadhva Vijaya 9 - 42

Brahma Sutrs 4 - 1 - 4 /center>

Meaning :

Srimad Acharya by his holy umblemish touch of the Idol of Lord Sri Krishna, the prsence of the Lord in the said Idol grew so vast that even 30 wrestlers with lot of physical strength were unable to move it. Such an Idol of Krishna was carried away effortlessly by Srimad Acharya with smiling face and was installed later (at Udipi).

Story behind the Incident :

A small ship which started from Gujrat - Dwaraka was caught in high tides near Malpi. The sailors were unable to manage the course of the ship which was about to sink while reaching the shore. They loudly cried for help. Srimad Acharya was performing pooja to Sri Moolarama at that time near the shore. He waved the saffron cloth and saved the ship and the sailors from the high seas. Naturally on rewaching the shore safely, they prostrated before Sri Acharya and begged something to be accepted in token of their lives, ship and proprty being saved. But Srimad Acharya pointed out a gopi stone to be given. The sailors were all surpraised since such stones were carried by them in the ship to adjust the weightage of balance and they have no value at all to be given as a present. But Srimad Acharya wanted only that which was brought from the effortlessly by a young boy.

Srimad Acharya cleaned the gopi stone and to the utterjoy of all

assembled, a beautiful idol of Lord Krishna was found inside. Srimad Acharya did abisheka and pooja to the said idol and by his touch invoked the presence of Paramatma therein to a greater extent. Then after the pooja was over, the Idol was to be carried to Udipi for installation and for building temple. Even 30 very strong persons with great physical strength could not make it move. The same Idol with coverage of Gopi stone was effotlessly carried from the ship to the shore by a young boy earlier. Why such a change ? What is the philosophical truth and implications of this incident?

This establishes that the Idol or the prathika is different from God. God and Vigraha are not identical. If it were so, this incident cannot be explained satisfactorily. Under the vishitadwaita school, there is a rule called "Archa-vathara" which means identity of God and Vigraha is admitted. Five such places are pointed out and important among the mare. Tirupathi Moola Vigraha and Utsava Moorthy of Srirangam Temple, Sri Ranganatha. But such concept of "Archa-vathara" has too many defects and is opposed to many authorities, reason and logic. To establish, the proper aspect of PRESENCE (Sannidyam) in the Idol the particular incident has taken which is an explanation of the Sutra.

In the case of the Symbol, it should not be contemplated as Atman(The Lord). For He is not the Symbol but He is Present in the symbol. From a wrong notion that may be caused by the words of such texts as "Meditate on Nama as Brahman but is to be contemplated as present in the symbol.This is also said in Brahman

Tarka."From Nama to Prana both being spokenof in the nominative
case ( as identical), the dull witted may mistake and identify Naman etc.,with Brahman. Only the presence of Brahman in naman and other symbols is meant to be declared by the passage. Accordingly the words in the nominative case are taken to be in the locative case (7 th case) for the nominative case stand for all the cases. So this incident in Srimadhva Vijaya clarifies and establishes that :-

1. The Idol is defferent from God.

2. God is only present in the Idol.

3. The odctrine of Archavathara is not correct.

4. The Krishna idol which was carried on by a small boy

earlier could not be taken even 30 strong, physical, muscular wrestlers, since the presence of God was abundant that when

Srimad Acharya did pooja and established this aspect.

5. For Srimad Acharya , who is a Ekantha Bhaktha,

it was not difficult and he easily carried the idol to Udipi.

An Independent spritual being who is perfect in every way is
the core of all existance. He is Purusottama, the Supreme

Person, Narayana. The entire vedantic philosophy of Sri Madhva
centre round this fundamental concept. In the world of experience there are everywhere astonishing signs of design
and purpose pointing to an intelligent source. Modern science,

both biological and physical, affords ample evidence for this. "My religion", says the eminent physieist, Einstein, "consists

of a humble admiration of the illimitable superior sprit who
reveals Himself in the slight details we are able to perceive
with our frail and feeble minds. That deeply emotional conviction of the presence of a superior reasoning power, which is revealed in the in comprehensible univers forms
my idea of God".

Here it is pertinent to examine the implications of the pregnant statment by one of the greatest physicists of all times, if not the greatest. Notice the expression the 'illimitable sprit who reveals Himself'. To me the use of the word Himself with a capital 'H' is most significant. Behind this world we perceive there is a personal being, to whom we have to trace the wonder discovers by experimentation and mathematical reasoning. Whether Einstein had a personal being in mind is more than doubtful, but his words unmistakably imply the existance of such a being, Again there are the words 'a superior reasoning power'. Reasoning must belog to a person who reasons. Surely there can be noreasoning without a reasoner. Again notice the language in which he refers to the mental power of the greatest
physicists in comparison with the reasoning power of the 'the superior spirit' he is thinking of.He says 'our frail and feeble minds'. The superior power or spirit is far above the subtlest human reasoner.

Now What does Acharya Himself say ?

Bahu-chitra-jagad-bahudha karant |

Para-shati-rananta-gunah Paramah ||

The supreme Being is endowed with exalled powers and numorous eminent attributes for He has created this extremely wonderful world of infiniti variety'. What the modern man of science was dmly the Acharya saw inwardly with crystal clearness centuries ago when science in the modern sence of that word was unknown. The world open to our inspection is reality is real but its reality is rooted in God. This idea Madhva conveys to us by saying that tattva (reality) is twofold one, Independent Reality and the other, dependent. There is only one independent Reality and all else is dependent on this single self-dependent Being Dependence does not simply non-difference in any form. The world of sentient and insent entities is separate from God but is entirely dependent on Him. The world cannot exist in any form without the sustaining presence of the God with in. In all forms of materialsm the reverse is the case, that is, matter is fundamental and all phenomena, both physical and mental, are the effects of its modification. Inview of what has been said above it is obvious that it would be wrong to say that Madhva's school of thought is more materialistic than others. On the other hand it is out and out spiritual as according to it the ground of all existance is a Supreme Intelligent Being. If by 'materialistic ' is meant that the religion of Madhva has the tendency of turning the mind of man towards the material things of life the answer is that this is not so. On the other hand it has the effect of spiritualising life. It is clear to all those he draws inspiration from the Gita and in many places has declared that this system agrees in all respects with what Krishna has taught Arjuna in it. The following are the words of Krishna addressed to Arjuna:-

Ye hi samsparshaja bhoga, duhkka - yonaya yeva te,

Adyanta vantah kaunteya nateshu ranante budha"-

hO| son of Kunti, pleasures that result from sense contact have a beginning and hence are only the source of misery. The wise person does not delight in them".

Tani sarvani samyamya- yukta asita mat - para - ha'

Vashe hi yasyen -dri - yani-tasya prajna pratishtita".

Having controlled all the senses and knowing Me as the highest, let one stay with mind fixed on Me. Verify his spiritual vision is firm whoses senses are under his control'.

The dvaita philosophy of Madhva stands for a way of life based on a true conception of the glory of God. The yogin is he who has realised that the world that he lives in is thetheatre in which God has pleased him to play his due part and serve God with loving devotion believing that such devoted service is the highest form of worship. Dvaita Vedanta does not ask the aspirant to shun the world,rather it teaches that he should play his part in it and thus serve the purpose for which he is given life and oppurtunities. This is what Lord Krishna teaches Arjuna:

Yatah pra-vrittir-bhuta-nam yena-sarva-midam taram |

Sva-karmana tam-abhyarchya, siddhim Vidati manavaha ||

From whom is the activity of all being and whom all this is pervided worshipping Him by performing one's enjoined duty

one attains beatitude'.

It is evident from the following words of Sri Madhva that his message is identical with that Sri Krishna in the Gita:

Kuru bhukshva cha karma nijam niyatam

hari - pada vinamra -- dhiya satatam

Hari - reva paro hari - reva guruhu

hari - reva Jagat - Pitru - Matru - Gati-hi

With mind ever firmly fixed on the feet of HAri do your appointed task and enjoy what is assigned to you by Him. Hari is indeed the most High. He is the Father and Mother (of all) and the ultimate goal to be reached'.

Madhva lived just as he has asked us to live. He performed all the duties prescribed for his order of sannyasinis, travelled throughout the land from Kanya-Kumari in the south to the snow bound summits of the Himayas in the north teaching his system of Vedanta and holding discussions with people of all shades of opinion with the object of proclaiming the religion he believed to be the true one.
Is it too much to saythat India wants now , as ever, this
practical philosophy of MADHVA which teaches that religion is

divorced from life ?

Sovenir, " Sri Ananda Thirtha " , Sri Vyasaraja Mutt 1990

GURU PARAMPARA : SRI UTTARADI MUTT

1.SRIMAD ANANDA TIRTHARU BADRI PRAVESA MAGHA SUD NAVAMI

2.SRI PADMANABHA TIRTHARU NAVA BRINDAVANA KARTHIKA
BAH CHATURDASI

3.SRI NARAHARI TIRTHARU HAMPI PUSHYA BAH SAPTHAMI

4.SRI MADHAVA TIRTHARU MANNUR (MANIPUR)BHADRAPADA AMAVASYA

5.SRI AKSHOBYA TIRTHARU MALKHEDA MARGHA BAH PANCHAMI

6.SRI JAYA(TEEKA) TIRTHARU MALKHEDA ASHADA BAH PANCHAMI

7.SRI VIDYADHIRAJA TIRTHARU YARAGHOLA VAISAKHA SUD TRITEEYA

8.SRI KAVINDRA TIRTHARU NAVA BRINDAVANA CHAITRA SUD NAVAMI

9.SRI VAGEESHA TIRTHARU NAVA BRINDAVANA CHAITRA BAH CHATURTI

10.SRI RAMACHANDRA TIRTHARU YARAGHOLA VAISAKHA SUD SHASTI

11.SRI VIDYANIDHI TIRTHARU YARAGHOLA KARTHIKA BAH CHATURTI

12.SRI RAGHUNATHA TIRTHARU MALKHEDA MARGHA BAH TRITEEYA

13.SRI RAGHUVARYA TIRTHARU NAVA BRINDAVANA JYESHTA BAH TRITEEYA

14.SRI RAGOOTHAMA TIRTHARU THIRUKOVILUR PUSYA SUD EKADASI

15.SRI VEDAVYASA TIRTHARU PENUKONDA CHAITRA SUD TRITEEYA

16.SRI VIDYADEESHA TIRTHARU EKACHAKRANAGAR PUSHYA BAH CHATURDASI

17.SRI VEDANIDHI TIRTHARU PANDHARPUR KARTHIKA SUD EKADASI

18.SRI SATYAVRATA TIRTHARU SANGLI PHALGUNA SUD SASHTI

19.SRI SATYANIDHI TIRTHARU NIVRITT SANGAMA MARGHA SUD DASAMI

20.SRI SATYANATHA TIRTHARU VEERACHOLAPURAM MARGHA SUD EKADASI

21.SRI SATYABINAVA TIRTHARU NACHIARGUDI JYESHTA SUD CHATURDASI

22.SRI SATYAPOORNA TIRTHARU KOLAPUR JYESTA BAH DWITEEYA

23.SRI SATHYAVIJAYA TIRTHARU AARANI CHAITRA BAH EKADASI

24.SRI SATYAPRIYA TIRTHARU MANAMADURAI CHAITRA SUD TRIYODASI

25.SRI SATYABDHA TIRTHARU SAVANOOR PHALGUNA BAH PRATIPADA

26.SRI SATYASANDHA TIRTHARU MAHISHI JYESTA SUD DWITEEYA

27.SRI SATYAVARA TIRTHARU SANTHEBENNUR SRAVANA SUD SAPTHAMI

28.SRI SATYADHARMA TIRTHARU HOLEHONNUR SRAVANA SUD TRIYODASI

29.SRI SATYASANKALPA TIRTHARU MYSORE ASHADA POORNIMA

30.SRI SATYASANTHUSHTA TIRTHARU MYSORE PHALGUNA AMAVASYA

31.SRI SATYAPARAYANA TIRTHARU SANTHEBENNUR ASWINA SUD SAPTHAMI

32.SRI SATYAKAMA TIRTHARU ATHAAKUR PUSHYA BAH SASHTI

33.SRI SATYESHTA TIRTHARU AATHAKUR BADHRUPADASUD EKADASI

34.SRI SATYAPARAKRAMA TIRTHARU CHITTAPUR ASWINA SUD ASHTAMI

35.SRI SATYAVEERA TIRTHARU KORALAHALLI KARTIKA SUD ASHTAMI

36.SRI SATYADHEERA TIRTHARU AATHAKUR JYESHTA BAH NAVAMI

37.SRI SATYAGNANA TIRTHARU RAJAMUNDRI CHAITRA SUD EKADASI

38.SRI SATYADYANA TIRTHARU PANDHARPUR CHAITRA SUD ASHTAMI

39.SRI SATYAPRAGYA TIRTHARU AATHAKUR CHAITRA SUD ASHTAMI

40.SRI SATYABHIGYA TIRTHARU RANEBENNUR PUSHYA BAH ASHTAMI

41.SRI SATYAPRAMODA TIRTHARU THIRUKOILUR KARTHIKA SUD TRITIYA

PRESENT PITATHIPATHI

SRI SRI SATYATMA THIRTHARU

GURU PARAMPARA : SRI VYASA RAJA MUTT

1.SRIMAD ANANDA TIRTHA BADRI PRAVESA MAGHA SUD NAVAMI

2.SRI PADMANABHA TIRTHA NAVA BRINDAVANA KARTHIKA BAH CHATURDASI

3.SRI NARAHARI TIRTHARU HAMPI PUSHYA BAH SAPTHAMI

3.SRI NARAHARI TIRTHA HAMPI PUSHYA BAH SAPTHAMI

4.SRI MADHAVA TIRTHA MANNUR (MANIPUR)BHADRAPADA AMAVASYA

5.SRI AKSHOBYA TIRTHA MALKHEDA MARGHA BAH PANCHAMI

6.SRI JAYA(TEEKA) TIRTHA MALKHEDA ASHADA BAH PANCHAMI

7.SRI VIDYADHIRAJA TIRTHA ERAGHOLA VAISAKHA SUD VAISAKA

2.SRI NARAHARIAYANA TIRTHARU SANTHEBENNUR ASWINA SUD SAPTHAMI

8.SRI RAJENDRA TIRTHA ERAGHOLA VAISAKA SUD PURNIMA

9.SRI JAYADWAJHA TIRTHA ERAGHOLA KARTHIKA SUD PURNIMA

10.SRI PURUSHOTTAMA TIRTHA APPOOR CHAITRA SUD PRATHIPADA

11.SRI BRAHMANYA TIRTHA APPOOR VAISAKA BAH DWADASI

12.SRI VYASA RAJARU NAVA BRINDAVANA PHALGUNA BAH CHATURTI

13.SRI SRINIVASA TIRTHA NAVA BRINDAVANA VAISAKA BAH PANCHAMI

14.SRI RAMA TIRTHA NAVA BRINDAVANA AWIJITHA SUD CHATURDASI

15.SRI LAKSHMIKANTHA TIRTHA PENUKONDA SRAVANA SUD SAPTAMI

16.SRI SRIPATHI TIRTHA VELLORE ASADHA SUD DWADASI

17.SRI RAMACHANDRA TIRTHA RAYA VELLORE MARGASIRSHASUD TRITIYA

18.SRI LAKSHMIVALLABHA TIRTHA VELLORE PUSHYA SUD PANCHAMI

19.SRI LAKSHMINATHA TIRTHA SRIRANGAM SRAVANA SUD DWADASI

20.SRI LAKSHMIPATHI TIRTHA SRIRANGAM KARTHIKA SUD EKADASI

21.SRI LAKSHMINARAYANA TIRTHA BADRIKASRAMA KARTHIKA SUD TRIYODASI

22.SRI RAGHUNATHA TIRTHA TIRU MAKKADALU ASADHA SUD CHATURTHI

23.SRI JAGANNATHA TIRTHA KUMBAKONAM PUSHYA SUD DWITIYA

24.SRI SRINATHA TIRTHA TIRU MAKKUDALU PUSHYA SUD CHATURTHI

25.SRI VIDYANATHA TIRTHA KUMBAKONAM VAISAKA SUD EKADASI

26.SRI VIDYAPATHI TIRTHA KUMBAKONAM VAISAKA SUD CHATURTHI

27.SRI VIDYA VALLABHA TIRTHA TIRU MUKKUDALU MARGASIRSHASUD NAVAMI

28.SRI VIDYAKANTHA TIRTHA SOSHALAI JYESHTA SUD NAVAMI

29.SRI VIDYANIDHI TIRTHA SOSHALAI ASADHA BAH EKADASI

30.SRI VIDYAPOORNA TIRTHA SOSHALAI SRAVANA SUD SASHTI

31.SRI VIDYA SRI SINDHU TIRTHA SOSHALAI ASADHA SUD ASHTAMI

32.SRI VIDYA SRIDHARA TIRTHA SRIRANGAM CHAITRA BAH CHATURDASI

33.SRI VIDYA SRINIVASA TIRTHA SOSHALAI VAISAKA SUD CHATURTHI

34.SRI VIDYA SAMUDRA TIRTHA SOSHALAI KARTHIKA SUD DWITIYA

35.SRI VIDYA RATNAKARA TIRTHA SOSHALAI VAISAKA BAH NAVAMI

36.SRI VIDYA VARITHI TIRTHA SRIRANGAM BHADRAPADA BAH PANCHAMI

37.SRI VIDYA PRASANNA TIRTHA SOSHALAILORE MARGASIRSHASUD PAURNIMA

38.SRI VIDYA PAYONIDHI TIRTHA TIRU MUKKADALU EASWARA BAH DASAMI

PRESENT PITATHIPATHI

SRI SRI VIDYA VACHASPATI THIRTHARU

GURU PARAMPARA :

SRI RAGHAVENDRA SWAMIGALA GURU

1.SRIMAD ANANDA TIRTHA BADRI PRAVESA MAGHA SUD

NAVAMI

2.SRI PADMANABHA TIRTHA NAVA BRINDAVANA KARTHIKA BAH CHATURDASI

3.SRI NARAHARI TIRTHA HAMPI PUSHYA BAH SAPTHAMI

4.SRI MADHAVA TIRTHA MANNUR (MANIPUR)BHADRAPADA AMAVASYA

5.SRI AKSHOBYA TIRTHA MALKHEDA MARGHA BAH PANCHAMI

6.SRI JAYA(TEEKA) TIRTHA MALKHEDA ASHADA BAH PANCHAMI

7.SRI VIDYADHIRAJA TIRTHA YARAGHOLA VAISAKHA SUD TRITEEYA

8.SRI KAVINDRA TIRTHA NAVA BRINDAVANA CHAITRA SUD NAVAMI

9.SRI VAGEESHA TIRTHA NAVA BRINDAVANA CHAITRA BAH CHATURTI

10.SRI RAMACHANDRA TIRTHA ERAGHOLA VAISAKHA SUD SHASTI

1.SRIMAD ANANDA TIRTHA BADRI PRAVESA MAGHA SUD

NAVAMI

11.SRI VIBHUDENDRA TIRTHA TIRUNELVELI MARGHA BAH NAVAMI

12.SRI JITAMITRA TIRTHA SHIVPUR MARGHASIRSA AMAVASI

13.SRI RAGHUNANDA TIRTHA HAMPI KARTI BAH ASHTAMI

14.SRI SURENDRA TIRTHA MADURAI PUSHYA SUD DWADASI

15.SRI VIJAYENDRA TIRTHA KUMBAKONAM JYESHTA BAH TRAYODASI

16.SRI SUDEENDRA TIRTHA NAVA BRINDAVANA PHALGUNA BAH DWITIYA

17.GURU SARVA BHOWMA SRI RAGHAVENDRA TIRTHA

MANTRALAYA SRAVANA SUD DWADASI

18.SRI YOGEENDRA TIRTHA SRIRANGAM MAGHA SUD DASAMI

19.SRI SURINDRA TIRTHA MADURAI JYESHATA SUD DWITIYA

20.SRI SUMATEENDRA TIRTHA SRIRANGAM ASHVIN BAH SAPTAMI

21.SRI UPENDRA TIRTHA SRIRANGAM MARGHA BAH ASHTAMI

22.SRI VADEENDRA TIRTHA MANTRALAYA JAISH SUD NAVAMI

23.SRI VASUDENDRA TIRTHA KENCHANGUDI ASHVIN BAH SAPTAMI

24.SRI VARADENTRA TIRTHA PUNE ASHADA SUD SASHTI

25.SRI DHIRENDRA TIRTHA HOSERETTI PHALGUNA SUD TRAYODASI

26.SRI BHUVANENDRA TIRTHA RAJAVLLI VAISAKA BAH SAPTAMI

27.SRI SUBHODENDRA TIRTHA NANJANGUDU CHAITRA BAH TRITIYA

28.SRI SUJANENDRA TIRTHA NANJANGUDU KARTIH BAH ASHTAMI

29.SRI SUGYANANENDRA TIRTHA NANJANGUDU SRAVANA BAH CHATURTHI

30.SRI SUDARMENDRA TIRTHA MANTRALAYA PUSHYA BAH PANCHAMI

31.SRI SUGUNENDRA TIRTHA CHITTOOR MARGHA SUD PURNIMA

32.SRI SUPAGNANENDRA TIRTHA NANJANGUDU MARGHA BAH SASHTI

33.SRI SUKRUTEENDRA TIRTHA NANJANGUDU ASHVIN SUD DASAMI

34.SRI SUSHEELENDRA TIRTHA HOSERETTI ASHADA SUD TRITIYA

35.SRI SURVATEENDRA TIRTHA MANTRALAYA VAISAKA SUD DWADASI

36.SRI SURYAMEENDRA TIRTHA MANTRALAYA PUSHYA SUD DWITIYA

37.SRI SUJAYEENDRA TIRTHA MANTRALAYA MAGHA SUD CHATURTHI/CENTER>

PRESENT PITATHIPATHI

SRI SRI SUSHMEENDRA TIRTHA

GURU PARAMPARA :

SRI SRIPADARAJA MUTT GURU PARAMPARA

1.SRIMAD ANANDA TIRTHA BADRI PRAVESA

2.SRI PADMANABHA TIRTHA NAVA BRINDAVANA

3.SRI LAKSHMIDHARA TIRTHA

4.SRI SANKARSHANA TIRTHA

5.SRI PARASURAMA TIRTHA

6.SRI AADHI RAJA TIRTHA

7.SRI SATHYAVRATHA TIRTHA

8.SRI SWARNAVARANA TIRTHA SRIRANGAM

9.SRI SRIPADARAJARU MULUBHAGALU

10.SRI HAYAGRIVA TIRTHA MULUBHAGALU

11.SRI SRIPAPATHI TIRTHA

12.SRI SRIDHARA TIRTHA MULUBHAGALU

13.SRI GOPALASWAMI TIRTHA

14.SRI UDDANDA RAMACHANDRA THIRTHA PENUKONDA

15.SRI RAGHUNATHA TIRTHA

16.SRI LAKSHMI MANOHARA TIRTHA ODAPALLI (ERODE)

17.SRI LAKSHMIPATHI TIRTHA

18.SRI LAKSHMINATHA TIRTHA ABBOORU

19.SRI LAKSHMIKANTHA TIRTHA VENGERE

20.SRI SRIKANTHA TIRTHA NANGALLI

21.SRI SRINIDHI TIRTHA ODAPALLI (ERODE)

22.SRI TEJONIDHI TIRTHA

23.SRI YOGANIDHI TIRTHA

24.SRI VIDYANIDHI TIRTHA ODAPALLI (ERODE)

25.SRI GNANANIDHI TIRTHA SRI RANGAPATTINA

26.SRI GUNANIDHI TIRTHA TAAYURU (MATTUPURAM)

27.SRI GUNASARANIDHI TIRTHA MULUBHAGALU

28.SRI PRAGNANIDHI TIRTHA MULUBHAGALU

29.SRI SUBHODHANIDHI TIRTHA MULUBHAGALU

30.SRI VAIRAGYANIDHI TIRTHA MULUBHAGALU

31.SRI SUGYANANDHI TIRTHA MULUBHAGALU

32.SRI SUGUNANIDHI TIRTHA BHAVANI

33.SRI SUDHINIDHI TIRTHA ODAPALLI (ERODE)

34.SRI MEDHANIDHI TIRTHA ODAPALLI (ERODE)

35.SRI DAYANIDHI TIRTHA MULUBHAGALU

36.SRI SATYANIDHI TIRTHA MULUBHAGALU

37.SRI VIJAYANIDHI TIRTHA MULUBHAGALU

PRESENT PITATHIPATHI

SRI VIGYANANIDHI THIRTHA

COMPILED BY SRI MADHWA SANGHA. KINDLY BRING IT TO OUR NOTICE,
INCSAE OF ANY ERROR AND IF YOU KNOW THE PLACE AND THE YEAR OF GURU'S

BRINDAVANA PRAVESA. SRI MADHWA SANGHA (REGD), A2/117,
SAFDARJUNG ENCLAVE, NEW DELHI - 110029.

August 13, 2009 2:40 AM
Bhargavi Rao said...
Govardhanagiri Trust is an unit of Sri Pejawara Matha Udupi
D.Karnataka headed by H.H.Shri Pujyashree Vishvesha Theertha
Swamiji and H.H. Shri Pujyashree Vishwprasanna Theertha Swamiji.
It manages a huge GOSHALA in which 1000 cows are protected with
care and devotion. It is located in Neelavaram 18 kms from Udupi.

“Soon after birth, all of us are fed by our Mother’s breast milk upto 2 years. From 3rd year onwards, and even while she does not have adequate milk; cow assumes the role of our mother and feeds us until we breathe the last, till our last journey by her milk. Only from this milk, we get Curd, Butter, Buttermilk and Ghee. She is rightly called as “Gomatha”. Hence we must admit “We have two mothers”. Yes, a cow is a TWIN MOTHER to all of us!!!

http://www.pejavara.org/neelavaragoshale.htm

http://govardhanagiritrust.hpage.com/neelavara_goshala_81766584.html

http://govardhanagiritrust.tripod.com/neelavaram_goshala/

All philanthropists all over the world are invited to support this great animal protection project.

All contribution are exempted from I.T. under Section 80G. Let’s join hands in this seva and for more information

http://www.pejavara.org/neelavaracontributions.htm

September 23, 2010 2:53 AM
chakrapani said...
thanks to ms.bhargavi rao for mentioning about the NEELAVARA GOSHALA project .a big saraovara , sri goplakrishna temple, nagabana,old age home , school for handicapped and a building for performing pithru karya are also planned by sri vishwaprasanna theertha swamiji junior pontiff of sri pejawara mutt.now all pithru karya are arranged and all can perform it
in that beautiful heavenly location where 1000 cows are with u to bless u.

it will please your fore fathers abundantly which will fetch u prosperity ,success, happiness and good health .

your contribution will support the cows there.

Also a sri paumana homa and sri bhagavtha pravachan has been planned on ekathasi and dwathasi days every month and the sponsored amount will be utilised for constructing the sarovara.

all can contribute for this . the amount for the same will be around rs 15000 which is exempted from tax and also serve the cows. the homa and pravachana will be performed inside the neelavara goshala.

U CAN ATTEND WITH YOUR FAMILY AND GET SWAMIJI'S BLESSINGS.

INTERNATIONAL DIVINE CENTRE, THENNANGUR

2011-12-02T20:51:00.000-08:00

RADHE KRISHNA 03-12-2011

INTERNATIONAL DIVINE CENTRE, THENNANGUR

Radhe krishna 03-12-2011

Guruji (H.H.Swami Haridoss Giri Swamigal) - H.H.Gnanananda Swamigal
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Monday, August 3, 2009
INTERNATIONAL DIVINE CENTRE, THENNANGUR
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Sathguru Swami Gnanananda Giri a diciple of Swami Sivaratna Giri of Jothir Mutt, one of the four Amnaya Mutts established by Adi Sankara, relinquished his Peetam and toured the length andbreadth of India,Ceylon and burma before He could establish an abode for peace at Tapovanam in late 40s.
'Kalau Sankeerthya Kesavan' (chant the name of the Lord Kesava) is the catchword for emancipation of human race from worldly turmoil, said Sage Suka to king Parikshit. Then was born, the namasankeerthanam.

Several Godmen descended this earth to propagate the ideals of Namasankeerthanam; the celebrated Maharashtra Saints, Sankeerthana Mummurthigal, Meera, Chaithanya Maha Prabhu, Badrachala Ramados & others.-the line continues. The crest jewel of Sankeerthana Tradiation of this century is swami Haridhos Giri, affectionately called 'Guruji' who lived for establishing Namasankeerthanam and made people realise the words of Sage Suka.

Touring the world to spread the gospel of Swami Gnanananda Giri, Guruji emphasised the need for a permanent establishment to propagate Namasankeerthanam.It was the command of His Master, Guruji chose Dakshina Halasyam [Thennangur village] as the abode for spreading the knowledge of Sanathana Dharma through the medium of Namasankeerthanam and at the same time imparting education on ancient texts, such as vedas,puranas etc. "Dakshina Halasyam" has a divine tale behind it. it is the place where Goddess Meenakshi was found as a small child by the Pandyan king. Hence it is called 'Halasyam' and as Dakshina Halasyam.

It is but proper to install a temple for Goddess Meenakshi at this place. Infact there existed Meenakshi Sundareswarar Temple in days past, but become dilapidated and mingled with the mother Earth. Human upliftment is achieved not only by spiritual pursuits but also by extending help to the poor and down trodden. This was the cardinal rule which Guruji adhered to till his last breath. He therefore established this spiritual abode, with an accent on social service to the poor. An old age home has now been constructed with 50 independent rooms with all facilities together with big Dormitory in the second floor. This permises is named as Lakshmi Bhavanam' will remain a place of peace and tranquility, in an
atmosphere of divinity for those who had no help from their kith and kin and need help at the evening of their lives.

Veda Patasala in the Gurukula system undertaken by the leadership of late Brahmashree Sukabrahmam Sasthrigal, a doyen in the field, is now functioning with 12 students on the rolls. Apart from Vedic education, general proficiency in English and allied subjects are imparted to students. A separate endowment is created for running this instituation and this needs supplementation.

There is a saying in Tamil that 'one should not live ina place where there is no temple'. Sri Guruji, in order to blendthe styles of North and South in Architecture has built a temple
for Pandurangan and Rukmayee in the style and form a purijagannath temple with front Gopurams on Pallava style ofArchitecture. The temple is nearing completion and is being
consecrated on 9.2.96. This temple has an unique Art decoration, first of its kind in India, where mural forms are embedded on the walls and ceiling of ArdhaMantapam and Maha Mantapam specially conceived and erected by Sri Natanam, the renowned
mural Architect. The temple will have the main deities in the Garbagraham with Pancholoka Dwara Palaks at the entrance. The temple is constructed by Sri Muthiah Sthapathy, a pioneer in temple Architecture.

Guruji is still with us in His omnipotent form and He is depicted in a formless-form as a Brindavan in the 'Matam' constructed in a grand form.This 'Matam' is annexed to the temple of Guru Maharaj, Sri Sadhguru Gnanananda Giri Swamigal. The Brindavan will be facing Guru Maharaj. This Matam contains a separate kitchen and four well constructed rooms and an underground cell. This will be the place from where both Sri Guru Maharaj and Guruji will shower Their Blessings to the entire mankind.

'Food for thought' should always be supplemented by 'Food for the body'. A huge Dining Hall and kitchen to feed more that 2000 persons at a time had already been constructed and completed. This well equipped kitchen with all appliances will serve the needy as well as the guests. Sri Guruji has perpetuated a scheme known as 'PPF' which will provide food for all those who come to Ashram as well as to the inmates of old age home. This fund is contributed by the Devotees from all over the world.

Tastes differ. In our Asram, People from all walks of life will come for sipiritual knowledge. A good serene atmosphere is needed. Cottages are constructedin 'Santh Nagar', and each cottage is furnished with all modern amenities for Yatri's comfort.

Luxury, though not required in Ashram life, it cannot be ignored. Six luxury cottages each at a cost of over Rs.12 lakhs have been constructed. More cottages will be constructed after receipt of funds for the same from the devotees and philanthrophists.

'Namasankeerthanam' is the keyword for Guruji. A hall with all the Baghavatha Saints with their images have been decorated beautifully and it is unique. It carries the message of Sage 'Suka' in its physical form.

An auditorium to accommodate more than 1000 persons with a huge stage and attendant implements in completed to conduct external events, discourses and other like gatherings.

It is the blissful desire of Sri Guruji to build a multi-purpose hospital to cater to the needs of the poor and needy and this project is already taken up by the Trust. Yet another project in the vision of Sri Guruji to open an educational centre to cater the poor and deserving
in scholastic and collegiate courses with due emphasis on the Indian ancient culture.
This project is yet to begin. The nature and exprenses of the project depend on the munifeicent donations from the devotees of Guru Maharaj and Guruji. This complex will be an abode for spiritual upliftment to the entire humanity without any discrimination of caste, creed or sex and this will remain a fore-runner for future generations in understanding and appreciating the catolicity of our Dharma and the values of human life. A mere glance at the collossal way Sri Guruji has set His Mission for the sake of humanity resounds the words of Guru Maharaj.

INTERNATIONAL DIVINE CENTRE

Email to sriharimurali@yahoo.com (R.Narasimhan)

INTERNATIONAL

DEVINE CENTRE

(THENNANGUR)

RADHE KRISHNA |

DAKSHINA BHAJAN SAMPRADAAYAM

SAMPRADAAYA BHAJAN

Preface:

DHYAAYAN KRUTE YAJAN YAJNAI:
THRETHAAYAAM DWAAPARERCHAYAN
YADAAPNOTHI THADHAAPNOTHI
KALOW SANKEERTHYA KESAVAM

In Krutha Yuga, Threthayuga and Dwapara Yuga, to reach God, Tapas, Yagna, and Archana (Pooja) were the methods followed respectively. In Kaliyuga Naama Sankeerthanam (Bhajan) is the way out. How simple a method compared to previous Yugaas! Our Rishis have foreseen that in Kaliyuga, there will be no time for people to engage (nor will they be interested) in religious activities due to pre-occupation. This is clearly brought out by
this sloka:

KALOW KALMASHA CHITTHAANAAM
PAAPA DRAVYOPA JEEVINAAM
VIDHI KRIYA VIHEENAANAAM
GATHI: GOVINDA KEERTHANAM

In Kaliyuga, all jeevaas will be sunk in Kalmasha Chittha - i.e. Kaama, Krodha, Lobha, Moha, Mada, Mathsaryaadi Shatgunaas and will be full of anger, Egoistic, self-centered, with envious feelings etc. Everyone will have to be after aggrandisement of wealth and will be fully engrossed in pleasures that can be bought by money (materialistic pursuits). They will be bereft of any systematic, religious or pious activities and will be unsystematic in their
approach. This is the fate accompli. No one can escape this law. Even to such persons, there is Mukthi promised, provided people chant/sing the name of Govinda, (i.e) sing in praise of God and always engage in Naama Smarana.

Why do Bhajan at all:

Every religious or philosophical activity is aimed at human evolution. What is it? The origin of every human being is the BRAHMAN, the Lord, who has no name, no form, no bondage, no birth and death and He is beyond the Kaala (time) & Desa (space) principle. The human being called JEEVAATHMA, bound by Vaasanaas gets entangled in the MAAYA PRAPANCHAM (unreal world of matter) and in ignorance identifies himself with the material possessions and engages in aggrandizement of wealth and in enjoying the fleeting joys provided by such materialistic pleasures. He is thrown into the sea of Samsaara due to his materialistic pursuits which give him pleasure and sorrow alternately - pleasure when he enjoys the good results of his karma and pain when he suffers from the bad results. This is because he acts with expectation of certain results (pleasures) but when the act is imperfect, he gets pain. Our scriptures declare that "as you sow so you reap". Every action (Karma) has a reaction (Phala) and the reaction is directly in proportion to the quality of the actions
performed. Thus, human beings have control over their actions but not over the results,
which is decided by nature (fate). Bhagawan Sri Krishna, in his Geethopadesam to Arjuna
makes this principle clear by this sloka:

KARMANYEVA ADHIKAARASTHE
MAABHALESHU KADAACHANA

In fact, every action is guided by the characteristic of each human being, formed by action & reaction theory of past karmaas.

Every Karma is guided by the Vaasanaas (desires in rudimentary stage) and if we expect good results, our Vaasanaas should be pure, i.e. if we are materialistic, we get material pleasures or pains. if our actions are guided by philosophical principles prescribed by our Srutis and Smritis we shape up our Gunaas (quality) to be Saathwic. Saathwic actions produce Saathwic results. To shape up our Vaasanaas into pure ones, we should always think about our origin, which is beyond vaasanaas. Another way to purify ourselves is to caste away our poorva vaasanaas by burning them in the fire of Knowledge, which is achieved through Bhakthi - through the Bhajan sampradaaya.

BHAJAN is derived from the word "BHAJANAM", meaning "concentrate on Naama or Roopa of God". Roopa Bhajanam requires one to sit and meditate for a long time on a figure of Ishtadaivam. This is little hard to practice, as some rules have to be followed for good results. Naama Bhajanam is repeating the name of Ishtadaivam. This is very simple and can be done throught the day and night without any effort or rules. Added to it, if the Naama is uttered with Music (Sruti, Raaga and Thaala), it gives a soothing effect and takes the mind
to "layam". It, therefore, makes it easy to get one pointed attention and at the same time, it is more pleasant to the ears of the audience, who are also attracted towards this process. It becomes a collective effort (group prayer) which is more effective. Hence, singing in praise of God is the way of life one should adopt in Kaliyuga. It is simple to follow. This should be done with concentration, Bhakthi/Devotion and with one pointed attention.

Santh Gnaneswar has given us a method of concentrating on Lord's feet through his song "
Runu Junu Runu Junu Re Bhramara". He compares the mind to the bee, which always makes Reenkaaram and flies with its wings till it gets the flower bed with Madhu in it. The moment it sits on the flower bed and starts licking the Madhu, it stops the wing motion and the Reenkaara sound. The mind with the two wings (characteristics of
AHAMKAAR and MAMAAKAAR) flies around the world by making sounds (grieving, complaining, etc.). To appease this wandering and get settled down, it needs a place - Lord's Lotus Feet (FLOWER BED) - and enjoy peace (MADHU). When thus it enjoys the permanent joy & peace, it stops wandering with its two wings and with the Reenkaara Sound. To train the mind to meditate on the Lord's feet, we need to repeatedly sing the Naama of the Lord with devotion so that it gets one pointed attention on the Naama. Once it settles, the worldly thoughts get settled and the mind enjoys PURE BLISS – thoughtless and without the Ego feelings.

Paddhathi:

Even though chanting or singing the Lord's namewithout following any order of performance will suffice (Deveotional Songs), systematic performance will always benefit. Even for our worldly activities, we list out the steps to be followed to achieve anything. A Paddhathi is the method of doing any act in a prescribed manner - step by step. Our forefathers have given us the method for doing Bhajan. As there are Trinities in Carnatic Music (Thyaagaraaja Swamigal, Muthuswami Deekshithar & Shyama Sasthrigal), so also in Bhajan field, there are three Gurus (Govindapuram Bodhendra Swamigal, Thiruvisanallur Shridhara Venkateswara Iyyavaal and Marudaanallur Sadguru Swamigal). Bodhendra Swaamigal was the 59th Pontiff of the Kanchi Kaaamakoti Peettam and he propagated RAAMA NAAMA Japam as the way to achieve salvation. Shreedhara Iyyavaal, who was a contemporary to Sri Bodhendra Swamigal, was a Siva Bhaktha and he has rendered many kritis in praise of Siva as also in praise of Krishna. He was propagating Siva Bhakthi through his Naama Prachaarams. Ideally both were propagating Naama Japam. Whilst Bodhendra Swamigal was a pontiff, Shridhara Iyyafaal was a Gruhastha and moved, leaving his wealth and belongings, from one place to another with his mother and wife, but following his Nithya Karma as a Bhagavatha (including daily Bhajans), till he settled in Thiruvisanallur. He is said to be the incarnation of Shiva.

Marudaanallur Sri Sadguru Swamigal (who was born to Venkatasubramania dampathis after about 100 years of Bodhendra Swamigal's Samaadhi and originally named as Venkataramana) was said to be the re-incarnation of Sri Raama. He was duly initiated into Brahmacharya and Gruhastha Ashramaas, being married to Janaki. Sadguru Swamigal was engaged in Bhakthi Maarga by
singing the names of God. He was the one who identified the Samaadhisthal of Bhagavannaama Bodhendra Swamigal in the Cauveri river bed in Govindhapuram (Kumbakonam), which was earlier washed away by flood waters and people did not care for it. Ordained by fate, he decided to discover the Samaadhi by tying his legs (nay he may stamp on the samaadhi) and rolling on the river bed. He heard the chanting of "Raama Raama" at one particular location and decided that it should be the samaadhisthal of Sri Bodhendraal, which he wished to re-build surrounded by a beautiful Brindaavan. However, Sadguru Swamigal, being a gruhastha with no financial backing, approached the then Maratta King Sri Sarabhoji Mahaaraja (the ardent disciple of Samartha Raamadaas - a Raama Bhaktha), who financed the project of diverting the flow of the river a little away and to build an Adhishtaanam at the spot where the
Samaadhi was found.Thus,it was Sri Sadguru Swamigal who brought to world the present Bhagavannama Bodhendra Adhishtaaanam at Govindhapuram - a rare wealth for all Bhakthaas.

Sri Sadguru Swamigal followed the Bhagavatha Dharmaanushtanam meticulously and travelled throughout India and observed and collected the songs sung by many a bhakthaas throughout the entire Bhaaratha Desam
in different languages like Hindi, Maratti, Thelugu, Kannada,Thamizh, the Pancha Bhaasha. The Bhakthaas who have rendered/sung songs/slokaas can be classified as: Thukkaraam, Naamdev, Gorakkumbha, Santh Gnaneswar, Gnaanaabai, etc. in Maharashtra; Purandaradas, Kanakadas etc. in Karnataka; Meerabai in Rajasthan; Kabirdas, Thulsidas etc.in Uttar Pradesh; Jayadevar in Orissa, Chaithanya Mahaa Prabhu in Bengal; Raamadas, Annamaacharyar, Narayana Theerthar etc. in Andhra;Sri Narsi Mehta in Gujarath; Aazhvaargal, Naayanmaargal, Bondhendraal, Sridhara Ayyavaal,Sadhasiva Brahmendral, Thyaagaraaja, Gopalakrishna Bharathi etc.in Thamil Naadu,and many others. He felt that to involve people in Bhakthi Marga, there must be unity and he compiled the songs sung by the above Bhakthaas in various
languages, codified them into a Paddhathi and made it his daily routine. What a herculean task! This brings out the theory of Unity in Diversity. What a best method of National Integration.Marudaaanallur Sadguru Swaamigal was the one who provided us a well codified Dakshina Sampradaaya Bhajan paddhathi
by incorporating songs in different languages, which came to stay as the basic Paddhathi Krama that are in use today.

Even today, to show our indebtedness to these gurus,we sing in praise of these three Gurus (a must) at the beginning of our Bhajan Paddhathi (Guru Keethanam). Normally, the Guru Keerthanams should be in praise of these Gurus and not the songs sung by them.However, if such keerthans in praise of them are not available or not known to us, it is perfect if we sing the songs rendered by them in Guru Keethanam.

Today there are a few Bhajana Sampradaayams in existence, like (Bodhendra) Madatthu Sampradaayam, Thiruvisa Nallur Sampradaayam, Marudaanallur
Sampradaayam, Pudukkottai Sampradaayam, Krishna Premi Sampradaayam etc. Though there are slight differences in these Sampradaayams, all of them
have the same main themeas provided by Sri Sadguru Swamigal. Whichever Sampradaayam we follow, we should do justification by following the tenets
prescribed by that Sampradaayam. We should not indulge in grading these Sampradaayams. The authors of these Sampradaayams were following them strictly as per rules on a daily basis. In my opinion, a real Bhagawatha has to perform, apart from his Nithyavrutthis, the Unchavrutthi, Paddhathi Bhajan and, Dolothsavam on a daily basis. The entire Bhajana Sampradaayam is grouped into various Paddhathis. However, in the present day situation, due to time factor and lack of knowledge, the full paddhathi could not be/are not being followed in toto but parts of which are performed at different times. Based on the present state of affairs, the various parts can be grouped under two major Groups:

PADDHATHI BHAJAN:(Basic)
THODAYA MANGALAM Ist Part
GURUDHYAANAM )
GEETHA GOVINDAM ) 2nd part
THARANGINI )
DAASARVAL KRUTIS )
POOJOPACHAARAM )

SPECIAL BHAJAN:
DHYAANAM 3rd Part
DIVYANAAMAM 4th Part
DOLOTHSAVAM 5th Part
UNCHAVRUTTHI 6th Part
POORNA ASHTAPADI )
KALYAANA UTHSAVAM )
VASANTHOTHSAVAM ) 7th Part

Significance of Sampradaayam:

Our Hindu culture prescribes Seven main Samskaaraas:
Jasthakaranam & Jaathakaranam, Chowlam, Upanayanam, Marriage, Seemantham, Shashtiabhdha Poorthy, Sathabhishekam. although the Samskaraas prescribed by Sanatana Dharma vary from 16, 24 or 42 etc. as per various schools of thoughts. Even in our marriages, there is an Angam as SAPTHAPADI", which is the proof of marriage, apart from Kanyaka Daanam
and Panigrahanam. (Unless Sapthapadi is conducted, it is not considered as a valid marriage even by the Hindu Law). Spiritual evolution (if proper spiritual
evolution is considered to be taking place) should pass through these stages: Baalyam, Kawmaaram, Brahmacharyam, Gruhastham, Vaanaprastham, Sanyaasam, Samaadhi, which in Kaliyuga, is not attainable, as the Dharmaas in each stage cannot be observed and the samskaaraas are not being followed stictly. Namasamkeerthana is said to be the Maarga for salvation in Kaliyuga, which is simple to follow, easy to observe and definite in its result. What is required is sincereity in approach, concentration and Bhakthi Bhaava, total surrender to the Lord without Ego and with minimum Nithya Karmaanushtaanams prescribed for Kaliyuga Dharma. As there are seven main samskaras (minimum), so also I view the Sampradaaya Bhajan Paddhathi grouped into seven parts as above, for attaining salvation. This sampradaayam is a conglomoration of Slokams & Keethanams composed ands ung by various Bhakthaas/Sanths/Bhagavathaas with a definite meaning and purpose. If we want to follow them, naturally we have to adhere to the rules set therein.

The Sampradaayam prescribed by Sadguru Swaamigal is found in original Ola Chuvadi in the Mattam and at Bodhendral Mattam and about 60 years ago it was publshed in Grandhaksharam by Thillai Sthanam Narasimha Bhagavathar under the title : BHAJANOTHSAVA PADDHATHI. Later, in Chennai Sri Kothandarama Swamigal published an elaborate Paddhathi in Thelugu. Again, Thiruvayaar Nagaraja Bhagavathar brought out a short publication of this in Thamizh for the first time. Later Udumalaipettai Ramakrishna Bhagavathar has brought out a somewhat elaborate Paddhathi in Thamizh, which used to be
followed widely all over India. The Sampradaayam was propagated in the 19th/20th centuries by a few Bhagavathaas like Maruthanallur Venkatrama
Bhagavathar, Pudukkottai Gopalakrishna Bhagavathar (lovingly known as APPA by his followers), T.V.Narayana Sasthri, T.M.Ramakrishna Iyengar, Abhedananda etc., to mention only a few, who have published Sampradaaya Bhajan Padhathi books with a few additions of songs rendered by other
Bhaagavathaas of their time, according to the time change. These Bhagavathaas followed the Bhagavatha Dharma strictly. They have spread Sampradaaya Bhajans throughout India. Swami Haridas Giri has propagated this in India and abroad and he has followers everywhere even now.

About Sri Appa and his contribution:

Sri Appa was born on Friday 04.10.1892 (Nandana Varuzham Purattasi Maadham 30th day Krishna Paksha Navami in Aashlesha Nakshathram) to
Smt.Meenakshi Ammal and Sri Sundaresa Ayya staying in Vallavari Village (Aranthangi Taluka, Trichy Dist., Tamil Nadu) and he was named as Venkata
Gopalakrishnan. In his early age itself he learnt Thelugu, Sankrit, Thamizh languages, Music and had Manthropadesam from his brother-in-law. He used to
visit various bhajan programmes of learned Bhagavathaas of his time and got involved in it. Later he travelled all over India and participated in many Bhajans. The additions and changes made by him to the original Pddhathi is praiseworthy. He added more songs composed by Bhagavathaa/Sanths of
his time all over India in various languages and expanded the original Paddhathi. A few Kruthis of Oothukkadu Venkatasubbayyar, which are famous for their bhava & Bhakthi were added as they are also best suited for Abhinaya. Sri Appa strictly followed the Bhagavatha Dharma literally by doing Nithyavrutthi, Raama Naama Japam, Unchavrutthi, Bhajan and Dolothsavam. He excelled in these activities through total involvement with Bhaava and Bhakthi and with Dance and Abhinaya in the Bharata Naatya method, which he had learnt. This has attraced many Bhakthaas and followers towards
him, because even those who are not able to follow the verses sung or not knowing the meaning of them could involve themselves fully while attending his
Bhajans. Because of his total involvement and Bhakthi/ Bhaava, his abhinaya conveyed the meanings of these songs. Today, visual education is easier than vocal and this method is followed in almost all walks of life. Sri Appa achieved this objective very efficiently in his Bhajans. His eyes had a tremendous Vasya (attraction) power, which poured anugraha to Bhakthaas. After Kanchi Mahaa Periyavaal and Sri Ramana Maharshi, I have seen the powerful eyes only with Sri Appa. As he followed the Bhagavatha Dharma, he imbided certian occult powers(Tapo Phalam) which he never propagated. But those blessed ones who are destined to be cured/blessed by Sri Appa, automatically got it. His compassion, Daya, Daakshinya, Egoless status, Samabhaava, Santha Swabhaava etc. established him as a real Santh. He was a staunch Narasimhopaasaka & was
conducting till his niryaana, Bhaagavatha Sammelan every year in Pudukkottai, which he chose as his abode.

Vasanthothsavam consisting of Vasantha Kelikkai and Pavvalimbu are Paddhathis to be performed necessarily after any Kalyaana Paddhathi. It describes the lamentation of a Bhaktha in the form of Padmavathi, who, longs for the darshan of Her beloved Lord Venkateswara and tells Her maid to fetch him. She wonders how the spring time flowers and scenery in the Gardens can adorn Him with flowers and beautify Him. She sees His face in every flower and His figure in every plant and enjoys the scene by describing it to Her maid. They both pluck the various types of flowers from the garden. When the maid brings Him to the scene, they welcome him by pouring flowers, sprinkling scents, doing Pooja to Him and singing in praise of Him. This is called VASANTHA KELIKKAI. There are about 24 songs in Pawwalimbu Paddhathi. While singing each, separate Nivedhyams are to be offered to Lord at the end of each song. These songs describe the Lord's beauty, His fame and they throw flowers and sprinkle Panneer, Athar and other scents on Him and She plays Veena in His presence. The maid is requesting the Lord to enter in Sayana Gruha with Padmavathy and appease her hunger for his presence. Various Palahaarams are kept inside the Sayana Gruha for the couple to taste along with Milk, Betal Leaves and Nuts etc. The maid is requesting the couple to remain together and bless the world whilst they are in the Bliss state. Praakaara Rakshanam songs are sung to request Bhagavathaas to guard the four gates of the Sayana Gruha for some time. Later, the bhakthaas sing the prabhodana Songs to wake up the couple and pray to Them for the well being of the world. Then Lord Venkateswara gives darshan to Bhakthaas in the form of a Konanki who arrives at the scene and merges with the Lord. Bhakthaas then know that Lord Himself has appeared as Konanki.

Sri Appa, knowing the import of these songs, and the Bhakthirasam in them, enacted it and enjoyed the essence of it in the philosophical sense. Sri Appa has revolutionised the Dolothsava Paddhathi of Saint Thyaagaraaja by adding important and apt songs from Pawwalimbu Uthsavam to it, in order to enjoy the essence of it on a daily basis, instead of on Kalyaanams or after finishing 24 Ashtapadi songs. This is indeed a treasure for bhakthaas who excel in Bhakthi and enjoy the essence of Lord's Leela.

Sri Appa attained the Lord's feet on Friday, 30/04/1971 Virodikruthu Varzham Chithirai month 17th day). Late Sri Pudukkottai Sanjeevi Bhagavathar (son of Sri Gopaala Krishna Bhagavathar), followed his father's footsteps in spreading Nama Sankeerthan with daily Upaasana till the end of his lifetime. Sri Haridas Giri also strived to spread the Bhajana Sampradaayam by his Bhajans and
Upanyaasams in India & Abroad during his lifetime. He established various samajams called "Gnananada Samaajams.

Present Status of Bhajan Samradaaya Prachaaram:

At present, various sampradaayams established by these Mutts and Bhagavathaas as stated above are followed by many Bhajana Samaajams /groups and individuals, though may or may not be following the Bhagavatha Dharma strictly due to the style of living. Although there are many Bhagavathaas who have propagated the Dakshina Sampradaaya Bhajan Paddhathi after Sri Marudanallur Satguru Swamigal, I would like to name a few of the individuals/ samaajams, with whom I have come in contact. This does not exclude various other famous Bhagavathaas who have contributed in this direction and about whom I have no details.

Delhi Subbarama Bhagavathar, Bhopal A.L. Krishnamoorthy Bhagavathar, Sethu Madhava Rao, Kanpur Mahadeva Bhagavathar, Sathalapathy
Govindaraaja Bhagavathar, Thiruvisanallur Ramakrishna Bhagavathar, Naamananda Giri, Sri O.S.Sundar, Erode Rajamani, Odayalur Kalyaana Raaman,Thanjavur Thyaagaraajan, Srivanchiyam Murali, are engaged in the
promotion of Sampradaaya Bhajan thoroughout India or/and abroad. Kovai Jayaraman, Manjapra Mohan, Bombay Murthy and a few others are spreading Naama Sankeerthana through mainly their Devotional Songs programmes, though they some times do Deepapradakshinam & Kalyaanams. Sri Jaikrishna Dikshithar Avargal is promoting Nama Sankeerthan through his discourses on
Bhaktha Vijayam and Bhajans.Sri Thukaraam Ganapathy Avargal is spreading Naama Bhakthi through his Abhang songs with Upanyaasam on Bhakta Vijayam.

In Mumbai, Sri Nurani Chuppamani Avargal (instrumental in spreading Deepa Pradakshinam in Mumbay), Rangnathan Avargal of Hariharaputhra
Bhajan Samaj, Bombay Hari Avargal, Borivli Srinivasan Avargal, Mulund Bhajan Samaj, Sri Pudukkottai Narasimha Jayanthi Kainkarya Samithi,
Gnanananda Mandali, SriSri Anna Bhajana Mandalis, Ghrodianagar Bhajan Samaj, to mention a few, have been involved in spreading Sampradaaya Bhajan.
Abhang Ratna Sri Ganesh Kumar Avargal of Mumbai is engaged in Naama sankeethana prachaaram through his Abhang Bhajans. Late Kalyan Krishnamoorthy Avargal had strived to unite many samaajams and individuals in spreadding the Pudukkottai Paddhathi. There are many other samaajams
conducting regular Bhajans in their Samajam premises.

Sri Krishna Premi Maharaj's (lovingly called ANNA), contribution to the propagation of Bhajans Sampradaayam through his Bhagavatam discourses and Bhajans, Deepa Pradakshinams and Raadha Kalyaanams embracing all the
Sampradaayams need a special mention. The books written by him on our culture are innumerable, the translations provided for
many Grandhaas are immeasurable, the Bhajana songs composed by him in different languages are uncountable and the discourses rendered by him are incalculable. He has composed innumerable books on Puranic/Philosophical
topics and has brought out a Unique Bhajan Paddhathi followed by his followers today, mainly in Sanskrit. He is engaged in Puranuddhaaranam work of Govindapuram, Thiruvisanallur and Marudanallur mattams, which have been neglected and are in a bad shape. He has also collected books containing
Raamanaamas writen by devotees and have deposited in the Raama Naama Banks at Nasik, Pandarpur, Brindawan, Chitrakud, Govindapuram etc., which goes into Crores of Raama Naamas. He has recently - in April 2003 - found out the Adhishtaanam of Sri Vijayagopaala Swamigal, who sung various songs in divyanaama sankeerthanam and particularly the song "Devesa gana Araadhitha
divyaambhuja paadhaa" in thodaya mangalam. It exists in Polagam, which is a small village in Nagapattinam Taluk near Thirupugazhur and ThiruKannapuram. It is gathered that fifty years back the Aradhana of Sri Vijaya Gopala swamy used to take place in Polagam and the Adhishtanam used to exist in the banks of river Thirumalrayan in Polagam. Really a great achievement in a life time of Sri Sri Anna. Thus he is rendering yeoman service to the Bhajana Sampradaaya and Naama Prachaara.

Philosophical view of of the Paddhathi:

As I see it, having perfected ourselves with Sathwic Vichaar, enabled by the Pooja Paddhathi & Dhyaanam, we qualify for a vision of the Lord. By performing Deepa Pradakshinam, we get the vision of the Lord, go close to the Lord by enacting His leelaas and by being in company with Him through
Bhakthi Bhaava. Through Gopikaa Geetham, we enjoy the Madhura Bhaava, suffer the pangs of separation due to our Ego, practice Bhakthi and total surrender and get the knowledge that Jeevaathma and Paramaathma are one and without Paramaathma, nothing exists. Through Dolothsavam, we merge with the Lord in the form of Nidhidhyaasan and get established in the Paramaathma Tathwa. This is possible only if we grasp the Philosophical meaning of these paddhathis and put them into practice. Let me hasten to add that while externally we may, through singing/abhinaya/ dance, depict the various bhaavaas, inwardly we should be able to keep the above Vedantic stature for a full experience of spiritual anubhavam.

While we cannot avoid doing work to earn our livelihood and do our Dharma as a Gruhastha, we should always bear in mind that our(Jeevaathmaas') origin is Paramaathma Thathwa and we should always aim at spiritual evolution by doing our karma in the world with pure mind, unattached, without Ego, with Daya towards others, serving humanity in whatever way we can and singing in praise of God always, lead a pious and simple life, so that our real AIM is ever shining in our mind and we try to achieve it before casting away this body in this
birth. The only way for this is NAAMA SANKEERTHANAM as prescribed
by elders.

Conclusion:

A detailed description of the following Paddhathis are dealt with in separate articles for which Bhajan Topic links are provided at the end of this page.:

PADDHATHI BHAJAN (BASIC)

GEETHA GOVINDAM (ASHTAPADI)

DEEPA PRADAKSHINAM

GOPIKAA GEETHAM

DOLOTHSAVAM

Separate Attavanais are also provided puddhathiwise as above, for which, click on the Bhajanattavanai link below. Unchavrutthi, Kalyaanams and Vasanthothsavam will be dealt with later.

LOKAH: SAMASTHA: SUKHINO BHAVANTHU

SanathanaDharma

SanathanaDharma.com

GLOSSARY

COMMONLY USED SANSKRIT
WORDS AND THEIR MEANINGS

ABHYASA

Spiritual practice

ACHARYA

Perceptor

ADHARMA

Non-righteous conduct, in thought, word, or deed

ADHIKARI

A person with the requisite qualifications to undertake spiritual study or practice. The qualifications are four-fold, for which refer tatwa-bodha or vivekachudamani

ADWAITA

Non-duality. The most popular philosophy in India today. "Brahman alone is real, the phenomenal world is an illusion, and the individual soul is none other than the Supreme Reality" is the essence of Adwaita.

AHAMKARA

Egoism. This is not pride, but the simple feeling of agency in action, like "I am doing," "I am eating" etc.

ARTHA

Wealth – in fact, anything I consider as "mine" is my wealth.

ASHRAMA

The four orders or stages of life, namely, Brahmacharya, Grihastha, Vanaprastha, and sanyasa. Also means a hermitage or where a Sanyasi stays

ATHARVA VEDA

One of the four Vedas. It mainly deals with magic formulae, the Tantras, and other forms of esoteric knowledge. This Veda is said to have prepared the way for the subsequent scientific knowledge in India.

BRAHMA

The first of the Hindu Trinity – the creative aspect of the Supreme Reality, Brahman.

BRAHMACHARI

A Celebate – a disciplined student who leads an austere life devoted to studies. A person who is in the first Ashrama of life.

BRAHMACHARYA

A life of celibacy, discipline, devotion to studies and God. The first of the four orders or stages of life.

BRAHMAN

The Absolute Reality, the substratum for everything – the Supreme God – head without qualities or attributes.

BRAHMANA

The first of the four castes, the category of people who are sober, refined, intellectual, learned and devoted.

BUDHI

The power of intellection.

CHAITANYA

Pure Consciousness

CHARVAKA

The leader of the school of material philosophy in India.

CHIT

Consciousness

DAMA

Restraining of the sense organs

DANA

Charity

DARSHANA

A vision

DEVA

The illumined a celestial being

DEVATA

A deity

DEVI

Divinity in its female aspect.

DHARMA

Righteous conduct in thought, word, and deed

DHARMA SHASTRA

Scriptures dealing with the righteous conduct

DHYANA

Meditation

DISCIPLE

A person who follows a discipline.

DWAITA

The philosophy of dualism, the chief exponent of which was Madhwacharya

DWAPARA YUGA

The third of the four Hindu time cycles. A period of 8,64,000 years. A period while only two quarters of Dharma reigns.

EASHWARA

The personal concept with attributes, of the impersonal Brahman. Same as Ishwara.

EKAGRATA

One pointedness of the mind.

GANDHARVA

A class of celestial beings supposed to be highly proficient in music, dance and fine arts. The most sacred ‘Mantra’ in Sanatana Dharma, consisting of twentyfour letters in three lines of eight letters each. It is considered to be the quintessence of the Vedas.
"GAYANTAM TRAYATE ITI GAYATRI" it redeems, by chanting and meditation
on it, hence called Gayatri. The name of the metre in which this mantra is composed is itself called ‘Gayatri’ and is considered to be the most elegant and sacred among the thousands of metres in Sanskrit. This Gayatri is devoted to the Sun god, and hence this common mantra is called "Savitri Gayatri". Adorations to the several deities come in the form of their respective Gayatries. Hence we have Devi Gayatri, Rudra Gayatri, Brahma Gayatri, Hamsa Gayatri, and several others in the Vedas.

GRUHASTA

A householder, who sticks to the path of Dharma

GRUHASTASHRAMA

The second of the four stages or orders of life. The life of the householder

GURU

The teacher or Perceptor who removes the darkness of ignorance from the mind of the disciple.

HATHA YOGA

This is part of Raja Yoga, physical and psychical control.

HIMSA

Violence, or injury of any kind, physical or mental

INDRA

The Lord of the celestials, also applies to the mind, the king of Indriyas or the sense organs.

INDRIYA

The sense organs, any of the five organs of perception or the five organs of action.

ISHWARA

The personal concept with attributes, of the impersonal Brahman. Same as eeshwara

ITIHAS

The Hindu Epics- the Ramayana and the Mahabharata

JAGRUT

The Wakeful state. The state in which all the three bodies namely, gross, subtle and causal and functioning. When the self by means of one or more of its fourteen organs (the four inner organs namely Manas, Budhi, Chitta and Ahamkara; the five organs of perception namely hearing, touch, sight, taste and smell; and the five organs of action namely; speech, grabbing, movement, excreting and procreation.) perceives gross objects in the respective fields
of its experiences such as Shabda, Sparsha, Roopa, Rasa, and Gandha and reacts to them, then the Jiva is said to be in its Jagrut or Wakeful state, in other words, when the Supreme Reality reflects through the Vasanas at the level of the Body, Mind and Intellect, as the Perceiver, Feeler, and Thinker, in the world of Objects, Emotions and Thoughts, then the self is in the wakeful state.

JAPA

Continuous repetition of the Lord’s name with devotion and concentration.

JIVA

The individual soul.

JIVANMUKTA

One who has realised the self, even while living in this body.

JNANA

The knowledge of the Self.

JNANENDRIYAS

The five organs of perception; eyes, ears, tongue (taste), skin, and nose.

KALI YUGA

The last of the four Hindu time cycles, the current one, duration 4,32,000 years, period when only one quarter of Dharma reigns.

KALPA

A time cycle of 4,32,000,0000 years, on of the Vedangas, the authority on religious rites.

KAMA

Desire for anything

KARMA

All expressios of activity, by thought, word or deed, the first of the two Doctrines on which Hindu religion and philosophy are based, the Law of Casuality in the spiritual world, the theory that every action has a reaction an that none can escape the result of his own actions.

KARMA KANDIN

One who strictly believes in and observes the rituals and duties enjoined in the Scriptures, without question.

KARMA YOGA

The Yoga (the spiritual path) of selfless service, without any attachment to the fruits of one’s actions

KARMENDRIYAS

The organs of action namely, tongue (speech), hands, legs, anus, and the genitals

KRUTA YUGA

Also called Satya Yuga, the first of the four Hindu time cycles, a duration of 17,28,000 years, a period when Dharma reigns in full, it is said that in this period, the word ‘Satya’ (truth) will be unknown, because the concept of ‘Asatya’ (untruth) will not be there.

KSHATRIYA

An individual belonging to the ruling caste, a person devoted to righteous conduct and protection of other peoples’ person, honour and property, when they deserve it.

MAHABHARATA

The latter and the more voluminous of the two great Hindu epics, author Sage Veda Vyasa, consists of 1,00,000 stanzas, Bagavad Geeta or the Lord’s Celestial Song occurs in this epic

MAHAYUGA

Also called ‘Charutyuga’, the four Yugas or the time cycles put together, duration 4320,000 years

MANTRA

An incantation, generally for chanting with devotion and concentration.

MOKSHA

Liberation from identification with things other than the self.

MUKTA

The liberated person.

MUMUKSHU

One who yearns to get liberated from all earthly attachments and bondage.

NADA

A mystic sound

NIRGUNA

Without qualities or attributes

NIRVIKALPA SAMADHI

Super conscious stage where the mental modifications completely cease to exist.

NIYAMA

Observances, the second of the eight limbs of the yoga path.

OJAS

The spiritual energy in man

OM

This is the sacred mono syllable that symbolizes Brahman, also called ‘Pranava’. It is said that this is ‘Gayatri’ condensed into one letter of three sounds which stand for the three states in which we eke out our experiences namely the waking, dream and deep sleep states, and represent in the three sounds all the basic sounds the human vocal system is capable of producing. The esoteric significance and knowledge that lie concealed in this concentrated symbol, are so vast, that it defies a condensation here. It is said that the Vedas are summed up in the Gayatri, and the Gayatri is summed up in the Pranava (that is om) and the Pranava is the expression of the infinite and the Absolute.

PRAJAPATI

The creator, another name for Brahma, the creative aspect of Brahman

PRAKRUTI

Mother nature

PRAMANA

Authority. eg. The Upanishads are the pramana for Vedanta

PRANA

The vital air in the system

PRANAVA

This is the sacred mono syllable that symbolizes Brahman, also called ‘Pranava’. It is said that this is ‘Gayatri’ condensed into one letter of three sounds which stand for the three states in which we eke out our experiences namely the waking, dream and deep sleep states, and represent in the three sounds all the basic sounds the human vocal system is capable of producing. The esoteric significance and knowledge that lie concealed in this concentrated symbol, are so vast, that it defies a condensation here. It is said that the Vedas are summed up in the Gayatri, and the Gayatri is summed up in the Pranava (that is om) and the Pranava is the expression of the infinite and the Absolute.

PRASHNATRAYA PRASTHANATRAYA

The collective name for the thee canonical works, the Upanishads, the Brahma sutras, and the bhagavad geeta.

PUJA

Worship the performance of a religious rite in which any deity is invoked

PURANAS

A class of Hindu scriptural literature, considered mythological, yet highly philosophical.

PURUSHARTHA

The four goals of human life, namely dharma, artha, kama, and moksha, that is righteous conduct, acquiring of wealth and possessions, satisfaction of desires, and finally liberation.

RAJAS

One of the three gunas, marked by activity and dynamism agitations also is a part of it

RAMAYANA
The anterior of the two great epics of the Hindus, author Sage Valmiki, the story of Rama and Sita, consisting of 24000, stanzas.

RAJA YOGA

The royal science, the eight limbed yoga of Sage Patanjali

RISHI

A seer

RIG VEDA

The first of the four Vedas, the oldest book known to man, mainly consists of hymns of praise and the precious collections of the Aryans of the day.

SAGUNA

With attributes or qualities

SAMADHANA

Single pointed ness of the mind

SAMA VEDA

The most voluminous of the four Vedas, deals with the melodies, contains the songs to be chanted at the rites and sacrifices with their correct modulations and intonations, a purely liturgical collection.

SANATANA

Eternal

SATVA

One of the three gunas marked by purity, calmness, tranquility and all that is good in human nature.

SINDHU

The river of that name, now known as Indus, another meaning, the ocean

SMRUTIS

Man realized, brought forth from recollection, deal with the practical application of the eternal principles according to the need of the changing times and places.

SHRADHA

Faith in the words of the guru and in the scriptural injunctions

SHRUTIS

The Vedas, believed to be god- revealed, deal with the eternal principles which hold good for all time and all places

SHUDRA

The serving class that contribute the labour for the well being of the society

SUSHUPTI

The deep sleep state where only the causal body is functioning. When the fourteen (see Jagrut organs cease from activity and there is the absence of differentiated knowledge, that is, when even the mind and the other inner organs do not function, consciousness by itself remaining alone without any object for support, then the jiva is said to be in its sushupti or dreamless
sleep. In other words, when the perceiver, feeler, thinker has withdrawn from the world of objects, emotions and thoughts, but is ignorant of its state being still in ‘avidya’ (ignorance) then the self is said to be in the deep sleep state, that is sushupti.

SUTRAS

Short aphorisms which serve as memory aids, Brahma sutras, Jaimini sutras, Narada bhakti sutras are examples.

SWAPNA

Dream state where the gross body does not function, only the subtle and the causal bodies function, when even in the absence of the fields, like shabda, sparsa, roopa, rasa and gandha, that is, though the organs of the senses are inactive, the self, not divested of its desires for them, experiences by means of the four inner organs namely manas, budhi, chitta and ahamkara, the objects in the fields aforesaid in the form of desires, then the jiva that is the individual soul is in the state of swapna or dream. In other words, when the Supreme Reality reflects through the vasanas at the level of the mind and intellect (body excluded ) as the perceiver, feeler, thinker in the world of objects, emotions and thoughts then the self is said to be in the dream state. The thinking in dream comes from the desire or attachment to sense objects, caused by impressions
consciously or unconsciously left in the mind by the accumulated karma, good or bad, either in the past lives, or even from current experiences in the waking state.

TAMAS

One of the three gunas, marked by inertia, inactivity and ignorance.

TAPASYA

Practice of austerities

TIRTHA

Holy waters, also sacred place

TITIKSHA

Capacity to endure heat or cold, pain or pleasure (and such opposites), without the least distress or lamentation.

TREAT YUGA

The second of the four Hindu time cycles, duration12,96,000 years, only three quarters of Dharma reigns in this period.

TURIYA

When the essence of consciousness which manifests itself as and in the three states of waking, dream and deep l\sleep, is a witness of the states, but is itself devoid of the states, and remains in the state of non separation and oneness, then it is spoken of as the turiya state, which is the state of the Absolute, devoid of any sense of duality. In other words, when the perceiver feeler, thinker has withdrawn from objects emotions and thoughts, and is aware of the state, having transcended avidya (that is ignorance of the self) and therefore the vasanas, and has realized its identity with the supreme reality, then that state is called turiya. In fact that is the real state of man, and the other three namely waking, dream and deep sleep are only modifications, due to avidya and functioning under maya

UPANISHADS

Generally the philosophical portions containing the esoteric knowledge, at the end of each veda, said to be 1179 in number in all the four Vedas put together.

UPARAMA

Strict observance of one’s own dharma

UPAVEDAS

A class of sacred literature subordinate to the Vedas

VAIRAGYA

Determination to achieve or reach, a quality essential in a spiritual sadhaka

VAMA

Colour, distinct characteristics, the four different castes, not on the basis of birth or parentage, but on individual’s tendencies and actions

VASANA

The inherent tendencies or predilections

VEDA

The shrutis, god-revealed, the four Vedas, Rig, Yajur, Sama, and Atharva

VEDANGA

The limbs of the Vedas, phonetics, grammar, vedic glossary, religious rites, prosody, and astronomy

VEDANTA

The hypothetical conclusions arrived at in the Vedas, especially in the concluding portions, the Upanishads, the esoteric philosophy

VEDA-UPANGS

The sub limbs of the Vedas, the six Darshanas, Nyaya, Vyseshika, Samkhya, Yoga, Meemamsa and Vedanta

VISISHTASWAITA

Qualified non-dualism, the philosophy that preaches that we are a part of god, the chief exponent Ramanujacharya

VIVEKA

Capacity to discriminate between the good and bad

VYASYA

One of the four castes, the trading class that supply the need of the society

YAJURVEDA

One of the four Vedas, generally deals with the sacrificial formulae and contains special directions for the conduct of religious rites and ceremonies.

YOGA

Means merging of the individual soul with the universal soul, physical exercise is only an infinitesimal part of it, it is primarily the control of the mind and its modifications as defined by Sage Patanjali

YOGASANA

Conducive postures for the practice of psychic control

SanathanaDharma
SanathanaDharma.com
EACH GOD IN HINDUISM HAS A
VEHICLE OF HIS OWN.
SOME OF THE VEHICLES OF
VARIOUS GODS AND GODDESSES ARE DESCRIBED BELOW:

Ganapathi - Mouse

Adityas - Seven horses / Agni

Indra -Elephant Airavata

Varuna - Seven Swans

Vayu - Thousands of horses

Vishnu - Garuda, the eagle and Adi Shesha, the Serpent

Yama - He-buffalo

Brahma - Hamsa when sitting or Seven swans

Shiva - Nandi, the Bull

Saraswathi - Hamsa or swan or sometimes peacock.

Lakshmi - Lotus flower and the owl

Maheswari - Bull

Durga - Lion
These vehicles actually represent the various energies that exists in the universe as well as in human beings. Each god or goddess is in-charge of a particular energy which he or she rides and controls at his or her will.These energies are present in man also, mostly as wild animal energies and they need to be controlled and channeled properly in order to transform the lower self and
establish divine consciousness in him. For this he has to propitiate different gods who if satisfied with his supplication arise or descend into his consciousness and help him master them. We present below a few example in support of this belief. Brahma's vehicle is Hamsa which stands for the buddhi and for the creative and discretionary energies in man. The word " Hamsa" is a combination of two words, "aham"+ "sa" , which mean "I am He". This awareness that one is God exists only in enlightened persons. Rightly Brahma
is the friend and philosopher of all the enlightened beings in the world and he has the power to give us this knowledge about our true nature.The bird hamsa is also very beautiful, peaceful and graceful. It is suggestive of the fact that Brahma is the master of all the beauty and grace in the world, and He can help us in our effort to acquire these qualities.It is also believed that the bird has the capacity to separate milk from water. This symbolically means that Brahma can help us to transform our intelligence, or the buddhi, or our ability to discriminate the right from the wrong so that we can select the correct path to achieve salvation.

The bird moves
in waters, especially lake waters that are placid. The water symbolically stands for our consciousness and the lake itself for a limited consciousness such as ours. Brahma moves in our consciousness on his vehicle hamsa and purifies it with his touch and grace.Shri Saraswathi, the consort of Brahma is shown riding either hamsa or the peacock. The peacock is a graceful and beautiful bird and is known for its dance before the rain. This denotes that Shri Saraswathi can immensely help those who want to pursue art and dance. The peacock also eats snakes, which symbolically means that she can help those who are accustomed to eating desires or for a better expression pursuing desires, by providing them with the divine knowledge and learning forwhich she is famous. Lord Vishnu is seated on Adi Shesha, the primalserpent god, who represents the desire consciousness in us. Lord Vishnu can help us either to fulfill these desires or control them. When Hetravels, Lord Vishnu rides on Garuda, the giant bird. The bird represents the human thoughts which can fly in all directions at incredible speed. Lord Vishnu can help us to control our thoughts. Shri MahaLakshmi rides on an owl called Uluka. The owl is a solitary
creature, that remains awake in darkness and asleep during the day time. It rarely trust human beings and seldom seen in the company of any other bird. It in fact stays away from people as if it has no interest in the humanity.Those who pursue riches should be aware of these negative qualities and pray to Shri Mahalakshmi so that she would inculcate in them the qualities of trust, generosity and social responsibility and would make them popular among people. She would also help them come out of the darkness of ignorance, avarice and selfishness,which are generally associated with the pursuit of materialism. The owl is also regarded as an inauspicious image by the Hindus, who believe that if an owl visits a house in which people
live, it is an ill omen. Shri Mahalakshmi with her grace can remove all negative, inauspicious and adverse influences from our lives. If some one is suffering from adversity, they should pray to her because she, who controls all ill-omens and adversities can ward them off and bring them prosperity. Thus She has rightly been shown as using a rare bird like an owl as her vehicle. Lord Siva rides the Bull, Nandi, which stands for the bullying, aggressive, blind and brute power in man. It also stands for unbridled sexual energy, kama. Only Lord Siva can help us control these and transform them.His consort Shri Parvathi, variously called Uma, Chandi, Durga or Kali uses lion as her vehicle. Lion stands for cruelty, mercilessness, anger, violence and hostility towards other beings. Pravathi with her grace can help man to control all these qualities in him and become an enlightened being like Lord Siva. Ganapathi uses as his carrier a very small mouse, which represents the fear and nervousness in man, the feeling of doubt and weakness that overwhelm usbefore we start a venture. By praying to Ganapathi, his devotees can overcome such feelings from their minds and go about their task confidently, with the assured feeling that Vignaraja (Lord of obstacles) alone can remove obstacles from our minds.

Thus we can see that the vehicles of the gods are actually the energies on which they have absolute control. By praying to them we can also learn to control these energies in ourselves.

SanathanaDharma.com
THE FOUR ASHRAMS
There are four distinct stages in man’s life according to the Indian tradition. They are the following four ashramas.
1. Brahmacharya (celibacy)
2. Grahasta (household)
3. Vanaprastha (recluse)
4. Sanyasa (mendicancy)
The four ashramas corresponds to these four stages of life.Brahmacharyashrama is the early period of life when the young boy is initiated in thee study of the scriptures. The religious master (guru) takes him as full-time disciple and personally imparts the sacred knowledge of Vedanta to him. The brahmachari (celibate) observes the vow of celibacy and takes in the knowledge in a spirit of surrender and worship. The initiation is usually done between the age of six and eight years and the training imparted for about 12 years. When the boy returns after completing his studies (called samavarthanam) he is fully charged with spiritual knowledge. He is well equipped to face any situation or challenge of life and work himself up to realisation of his supreme Self.The brahmachari goes through the initiation or upanayana ceremony when his intellect matures. That is the time when he is able to think independently. The parents of the boy conduct this ceremony in their home. The hair on the boy’s head is shaven off leaving a small tuft at the back. The sacred thread consisting of three white cotton strands is put around his neck and waist like a cross belt. The verse from a hymn of Rigveda called Gayatri mantra is whispered in his ear. Soon after the ceremony is over the boy is sent to gurukul (guru’s residence) for spiritual education. The word ‘upanayana’ literally means "bringing near" (upa = near, nayanam = bringing). The ceremony is meant to bring the disciple near the master both physically and spiritually. The disciple is guided carefully and taken gradually to the highest spiritual awakening in which his guru revels.The shaving of the head indicates the removal of desires. When the disciple approaches the teacher he is expected to leave behind all material and sensual desires and bring with
him only a few spiritual desires. They are desires to serve the master, learn from him, apply his teachings to his own life and realise his supreme Self. The hair that is removed represents the material and spiritual desires while the tuft
left behind symbolises a few spiritual desires that he needs to carry to his master for his ultimate realisation.The tying of the two ends of thee sacred thread around his neck and waist signifies the boy’s determination to unite his finite personally to the infinite Self that he really is. The three strands of cotton comprising the sacred thread may be taken as representing the sattwic, rajasic and tamasic gunas which are the tree states in the mind that every man is composed of, or they could be taken as the waking dream and deep sleep which are the three states of consciousness that man goes through. The determination of the student indicated here is his commitment to transcending these three states of the mind or the three states of consciousness and reaching the fourth state called turiya in Sanskrit which is his supreme state of Realisation.The second stage of life is that of the grahastashrama.
The grahasti (householder) leads his life with his wife and children performing his obligatory duties. He fulfils his sacramental rites to ancestors and gods in submission to the spiritual authority of the brahmins. The husband and
wife live a normal marital life- disciplined, never indulgent. Both of them find a beautiful opportunity to live a life based on "giving rather than taking" and learn to love, to serve, to sacrifice. In short, married life is an ideal field for one to develop the noble qualities necessary to lead a true religious
life. Having imbibed such qualities through a disciplined life the grahasti enters the third stage called vanaprashatashrama. In this stage the married man continues his companionship with his family members but develops more mental abstinence and detachment. The vanaprasthi (recluse) gains greater spiritual maturity. He practises the art of living in a spirit of dispossession amidst his possessions. He maintains a sense of detachment in all his transactions of life. With the coming of age of his sons he even renounces worldly possessions and family life and retires to solitude for contemplation and meditation.The last stage of life is the sanyasashrama. The sanyasi (mendicant) is a homeless beggar-saint. He renounces the world and fully attunes himself to the pure Consciousness within him. He wears an orchre-coloured robe. Orchre is the colour of fire. His ochre robes are therefore meant to indicate that his body is burnt away and he has no right to claim anything from society. He wants nothing from world. His life is dedicated to giving to service, to sacrifice, for the betterment of humanity. Even though there are the above four stages of life man need not mechanically go through all the stages. Some men may be qualified to skip over the stage of householder if they have no vasanas or tendencies to go through martial experience. Others may lead a true life of a sanyasi without having to go through a ritual of taking ochre robes of a sanyasi. In other words, the four categories enumerated above are only
meant to picturise the different stages of development of a normal human being and the necessary training is needed at each stage to escalate him to the realisation of the Self.

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SANT EKNATH

SANT EKNATH is like a bridge between his predecessors Dnyaneshwar and Naamdev and successors Tukaram and Ramdas. His philosophy is a synthesis of the quest for the immanent and living with the imminent. This great saint of Maharashtra was born sometime around 1530 AD in an illustrious Brahmin family of Pratisthan (present Paithan). Sant Bhanudas, who brought back the sacred image of Lord Pandurang, from Vijaynagar to Pandharpur, was Eknath’s great grandfather. Eknath was born under the star sign of ‘Mula’ in sagittarius constellation, traditionally considered a bad omen for the parents
of the child. In reality also, Eknath’s father Suryanarayan and mother Rukmini died shortly after his birth and Eknath was brought up by his grandparents, Chakrapani and Saraswatibai. Due to this Eknath had to suffer taunts from other children. As a result, Eknath avoided their company and devoted his time
in devotional practices. When about twelve years old, Eknath heard about. Janardanswamy. This great scholar lived in Devgiri renamed as Daulatabad by the Muslim rulers of the time. Eager to become his disciple, Eknath trudged all the way to Devgiri. Janardaswamy was amazed by this extra-ordinarily gifted boy and readily accepted him as his disciple. He taught Eknath Vedanta, Nyaya, Meemansa, Yoga etc. and most importantly, Sant Dnyaneshwar’s works. Janardanswamy was a devotee of Lord Dattatreya, the son of Atrimuni and his wife Anasuya. ‘A-tri’ signifies ‘atmabodh’, which transcends the "trigunas", viz., sattwaraja and tamah. ‘An-asuya’ means devoid of ‘asuya’, i.e., ill feelings of the mind. "Dattatreya" thus symbolizes ‘atmabodh’ and purity of mind. with the guidance of the Guru as well as his own untiring efforts, very soon Eknath also accomplished his "Dattadarshan", i.e.,the realization of "atmabodh" and purity of mind. The Guru then asked Eknath to proceed on pilgrimage. He himself accompanied Eknath upto Nasik-Tryambakeshwar.here, Eknath wrote his famous treatise on Chatushloki Bhagavat. He explained the significance of these four sacred shlokas of
the holy "Bhagavat" in 1036 specially metered verses known as "ovee"s.
After completing hispilgrimage of various holy places of west and north India, Eknath returned to Paithan. His grandparents were extremely delighted to see him again and implored him to marry. Eknath and his wife Girija were truly made for each other and established an ideal examples of ethical living. In time, the couple was blessed with two daughters, Godavari and Ganga
and a son Hari. During the intervening period of about 250 years between Dnyaneshwar and Eknath, various invaders ravaged Maharashtra. Defeats after defeats had completely demoralized people. The great legacy of Dnaneshwar was nearly forgotten. Eknath devoted himself to change this situation. His first task was to locate the "samadhi" of "nyaneshwar and trace the undistorted version of "Dnyaneshwari". In fact, without Eknath’s all-out efforts, the legacy of Dnyaneshwar could well have been lost to the succeeding generations. He also devoted him self in fighting against cartelism and other ills, which were rotting the society.Eknath’s teachings may be summarized as "Vichar, Uchchar and Achar" – i.e., purity of thought, speech and practices. Exemplifying the way of ethical living, he practiced what he preached. His works, verses and preaching kindled hope among the people at a time when they needed it most. At last following the example of his idol, Dnyaneshwar, he left for his heavenly abode by embracing "jalsamadhi" in sacred Godavari on the Krishna Shasthi day of Phalguna in the year Shaka 1521 (1599AD).

INTERNATIONAL DIVINE CENTRE

DAKSHINA BHAJANA SAMPRADAAYAM

RADHE KRISHNA |

DAKSHINA BHAJANA SAMPRADAAYAM

DAKSHINA BHAJANA SAMPRADAAYAM

(By Achala Bhakthan)

GOPIKAA GHEETHAM

Gopikaa Geetham is the celestial song sung by Vruja Gopis in praise of Lord Krishna. This projects the depth of Viraha Thaapam suffered by Gopis when Krishna diappears and their pure Prema Bhakthi and the highest spiritual heights attained by them. This song also brings out the Sringaara Rasam of Gopis with Krishna. This finds its place in the midst of DEEPA PRADKSHINAM, .The same tathwa is given in the form of RAASAKREEDA in the Tenth Skantham(middle) of Bhaagavatham. This is to be sung with devotion, in rapt attention and reverence without any Thaala or sounds. Tears should flow from the eyes in Bhakthi. Normally this is sung in CHENCHURUTTI & PUNNAGAVARAALI raagaas which are so
touching and denotes devotion.
The mythological story goes like this:- Gopis who enthralled in the presence of Krishna with ecstasy during the Raasa Leela, thoughtless about their worldly duties, relations and existence and always longed for Krishna's company, had
developed an EGO, i.e. each Gopi claiming that Krishna is hers and hers alone and He likes/loves her only. This possessiveness is Saathwic Ego as it relates to Possessiveness towards Lord. Krishna considers it the right time to help Gopis caste away this EGO too and give them the Knowledge (i.e. make them realize the real nature). He disappears temporarily from there midst and made Himself not reachable by them. At this time, Gopis felt loneliness and could not concentrate on their work and grieved over the absence of Krishna. They realised that without Krishna, nothing moves, nor is it possible to do anything. And it is the presence of Krishna that made them happy and active. Even Living became a torture without Krishna. Having realised this, they started wandering in the Kaalindhi River bank, where they used to be in the company of Krishna and craved for his appearance by admitting all their ignorance and egotism. The opening sloka brings out the import: size=3>

THATVICHESHTAA:
THADAATHMIKAA:

THADGUNAAN EVA
GAAYANTHYA:

NA AATHMAAKAARAANI SASMARU

PUNA:
PULINAM
AAGATHYA

KAALINDYAA: KRISHNA BHAAVANAA:

SAMAVETHA JAGU:
KRISHNAM

THADAAGAMANA KAANSHITHAA:

Meaning:
Thinking about THAT,
Singing about the Gunaas of THAT, Remembering about the Leelaas (Playfulness) of THAT, Concentrating on THAT, Singing in praise of THAT, without a bit of self-feeling (loss of EGO), (Gopis) kept on visiting Kaalindhi river banks again and again (repeatedly) always in the memory of Krishna and finding in every Sthaavara Jangama Vasthus Krishna's figure only, longing for the return (appearance) of Krishna, of course by singing the Gopikaa Geetham song. The word 'THAT' used here refers to Paramaathma Thathwa, i.e. in the form of KRISHNA here. The Song : JAYATHI THEDIKAM KRISHNA JANMANAA VRUJA: is to be sung in full, in raaga Chenchurutti & Punnagavaraali by sitting around the Deepam. Despite their cry, Krishna did not appear.

YETHESUJAATHA CHARANAAMBRUHAM
STHANESHU BHEETHA:
SANAI: PRIYA DADHEE MAHI
KARKASESHU

THENAAADAVEEM ATASI THAD VYATTHATHE NA
KIMSWITHU

KOORPADIBHI: BHRAMATHI DHEE: BHAVADAAYUSHAM NA:

Then Gopikaas sung the
song of Saranaagathi (total surrender) -
(to be sung in raaga Sinhendra Mahyamam):

THWAM EVA MAMA SARANAM KRISHNA
THWAAM VINAA ANYAM NA JAANE

Philosophical Import of
Gopikaa Geetham:
Though Mythology projected Gopikaa Geetham as the song sung by Gopis, there is a message for all of us. Gopis are the embodiment of Bhakthi towards Krishna.All of us, the Jeevaathmaas, must become Gopis to attain Paramaathma (Krishna). Jeevaathma is a spark coming out of the Paramaatma (self-willed leela of Paramaathma) but having got entangled in the Samsaara Chakra by Maaya, forgot about the real nature and is sunk in the materialistic pleasures which are impermanent. Jeevathma should realise the real nature and try to attain Mukthi, i.e. the knowledge of the Brahman and ultimately should reach the abode of Paramaathma. This should be our aim while singing Gopikaa Geetham. The Poorva Sloka before Gopikaa Geetham is full of philosophical import and conveys as to how the Bhaktha should address the Lord and what Bhaava one should have while singing Gopikaa Geetham.
Every human being entangled by the worldly pleasures possesses Ego, a basic negativequality, which hinders the human evolutionary process. A Bhaktha may cast away all worldly pleasures and relationship with the materialistic world and live an ascetic life but cannot discard the EGO, which the Lord alone can help to discard. The Gopikaa Geetham song is the way by which God helps Gopis (Jeevaathma) to cast away the EGO. The Lord helps Bhakthaas only when they, in total surrender, calls for His help, without AATHMA ABHIMAANA, i.e. without identification with Deha, Manas, Chittham,
Buddhi, Ahamkaar.
Pleased with the Bhakthi and total surrender of Gopis, Krishna appears before them.

The following slokas, detail the reappearance of the Lord:

ITHI GOPYA: PRAGAAYANTHYA:
PRALAPANDYASCHA CHITHRADHAA
RURUDU: SUSWARAM RAAJAN
KRISHNA DARSANA LAALASAA:

THAASAAM AAVEERA BHOOCCHOWRI:
SMAYAMAANA MUKHAMBUJA:
PEETHAAMBARADHARA: SRAGVEE
SAKSHAATH MANMATTHA MANMATTHA:

Meaning:
When Gopis lamented thus by singing in praise of Him in touching raaga and laya, without Ego and in total surrender, they visualised the Lord, who appeared before them with a most beautiful figure, with a smiling face, wearing Peethambaram, conquering Manmattha (the Lord of Love) in beauty.

THAM VILOKYA AAGATHAM PRESHTTAM
PREETHUTHPHULLA DHRUSO ABALAA:
UTTHASTTHU: YUGAPATH SARVAA:
THANWA: PRAANAM IVAAGATHAM

Meaning:,p> color=brown>On getting the darshan of the Lord, who appeared before them (Self-willed), the Gopis got up in a jerk as if their bodies were inert (dead) and suddenly as though the Praana entered their body again.

KRISHNASYA MUKHA
LAAVANYA-

SUDHAAM NAYANA
BHAAJANAI:

APEEYA APEEYA NA
ATHRUPYAN

SANTHA: THATHCHARANAM YETTHA
Meaning:
Looking at the beauty of Krishna's face and the moving eyes in smile, they enjoyed the scene again and again, as though they are ever unsatisfied and wanted more and more of it. They never wanted to come out of that Ecstasy and remained in His presence in total BLISS. Then Krishna through Raasakreeda, makes them realise that each one is of Krishna Swaroopa, i.e. He is in every one and also stays alone (in Fullness) as unattached and unbound.
This is clearly brought out in the song after Gopikaa Geetham:

ANGANAAM ANGANAAM ANDHARE MAADHAVA:
MAADHAVAM MAADHAVAM CHA ANDHARENA ANGANAA
ITTHAM AAKALPITHE MANDALE MADHYAGA:
SANJAGOW VENUNAA DEVAKI NANDANA:

This is the description
of RAASAKREEDA Scene in Brindhaavan wherein Krishna formed a circle by placing in between two Gopis (Anganaam) One Krishna and in between two Krishnaas one Gopi (Angana) and finally in the Center of the circle Krishna again and made them all feel the one-ness and enjoy total BLISS. This shows that Paramaathma is present (unattached and unbound) in every Jeevaathma
and at the same time the Paramaathma, in fullness, is also in the center of all activities. This is the greatest Philosophical Thathwa we should learn from this celestial song. In our scriptures, there is a mantra, bringing out this theory clearly:

POORNAMATHA: POORNAMIDAM
POORNAATH POORNAM UTHASCHYATHE
POORNASYA POORNAM AADAAYA
POORNAMEVA AVASISHYATHE

Brahman, the Poorna
Swaroopa is here and there (but unbound and unattached) in Poornathwa and
when thus divided, the divisions are all Poornam and what is left behind also remains as Poornam. Meaning: God is everywhere in fullness (unbound and unattached) and also stays as the center of activities in fullness.
The songs that follow are all explained in Deepa Pradakshina Paddhathi, which is concluded with the other sampradaaya songs.
Then we perform Dolothsavam, the Union with God (Aatma Nivedhanam). Full description of Dolothsavam is handled in a separate article.

: SWASTHIRASTHU
:

PADHDHATHI BHAJAN
HIS HOLINESS SRI SRI SWAMY HARIDOSS GIRI SWAMIGAL

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM

GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA

GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA

SADHGURU GNANA VINAYAKA MURTHYKI -- JAI

SARADA DEVIKI -- JAI

VALLI DEVA SENA KANTHASMARANAM --
JAI JAI SUBRAMANYAM

NAMA PARVATHI PATHAYE -- HARA HARA MAHADEVA

SRI DURGA DEVIKI -- JAI

GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA

SRI MAHALAKSHMI DEVIKI -- JAI

SRI SITA RAMACHANDRA MURTHYKI -- JAYA JAYA RAMA RAMA

GOPIKAJIVANASMARANAM -- GOVINDA GOVINDA

PUNDARIKA VARADA -- HARI VITTALE

THYAGARAJA SWAMIKI -- JAI

ANJANEYA MURTHYIKI -- JAI

VAINADEYA MURTHYKI -- JAI

SWAMIYE -- SARANAM IYYAPPA

SAMASTHA SADHU MANDALAKI -- JAI

RADHE KRISHNA RADHE KRISHNA RADHE KRISHNA

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-I

THODAKA MANGALAM

GURU DYANAM

SRI SRI GNANANDA GIRI SWAMIGAL KEERTHANAIGAL

SRI SRI SWAMY HARIDOSS GIRI SWAMIGAL KEERTHANAIGAL

SRISADHGURU SWAMIGAL KEERTHANAIGAL

SRIDHARA VENKATESA IYYAVAL SWAMIGAL KEERTHANAIGAL

SRI BHODHENDRA SWAMIGAL KEERTHANAIGAL

SRI ADHI SANKARA BAGAVATH PATHAL

SRI CHANDRASEKARENDRA SWAMIGAL

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-II

SRI JAYADEVAR ASHTAPATHI / SRI GEETHA GOVINDHA MAHA KAVYAM

SRI NARAYANA THEERTHA SWAMIGAL THARANGINI

SRI SADHASIVA BRAHMENDRAL KEERTHANAIGAL

SRI BHADRACHALA RAMADOSS SWAMIGAL KEERTHANAIGAL

SRI PURANDARA DASAR SONGS

SRI RAGAVENDRAR KEERTHANAGALU

SRI VIJAYA GOPALA SWAMIGAL GURU DYANAM

SRI KRISHNA CHAITANYAR KEERTHANAIGAL

TAMIL GURU KEERTHANAIGAL

TELUGU GURU KEERTHANAS

MARATHI GURU KEERTHANAIGAL

UTHUKKADU MAHA KAVI KEERTHANAS

HINDI BAJANS

KANNADA GURU KEERTHANAGALU

SADHGURUKKAL MAHIMA

SRI GOPALAKRISHNA BHARATHIYAR KEERTHANAIGAL

SRI SADHGURU THYAGARAJA SWAMIGAL KEERTHANAIGAL

PRACHINA SAMPRADAYA BAJANAMRUTHAM PART - III

POOJOPACHARA KEERTHANAIGAL

SHETHRA MAHATHMIYAM

UPACHARA KEERTHANAIGAL

DIVYA PRABANDHAM

SRI GANESHA DYANAM

SRI SARASWATHI DYANAM

SRI SUBRAMANYA DYANAM

SRI SAMBASIVA DYANAM

SRI SMBAL DYANAM

SRI VISHNU DYANAM

SRI MAHALAKSHMI DYANAM

SRI RAMA DYANAM

SRI SITA DYANAM

SRI KRISHNA DYANAM

SRI PANDURANGA DYANAM

SRI NARASIMHA DYANAM

SRI VENKATESA DYANAM

SRI HARIHARA PUTHRA DYANAM

BENGALI KEERTHANAIGAL

MARATHI KEERTHANAIGAL

MALAYALA KEERTHANAIGAL

SRI ANJANEYA DYANAM

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-IV

DIVYA DEEPA PRADHAKSHINAM

GOPIKA GEETHAM

RASAKREEDAI

KOLATTAM

GUMMI

PAMBHATTI SIDDHAR PADALGAL

KADUVELI SIDDHAR PADALGAL

VEDANTHA ODAM

PANDURANGA DYANAM

SRI NATARAJA DYANAM

DASAVATHARA DYANAM

ANJANEYA DYANAM

NAMA GOSHAM

DEEPA SAMAROPANAM

HARI BHAKTHI MAHIMAABHANGAM

SADHGURU MAHIMA (ABHANGAM) PRADAKSHINAM

PRARTHANA GEETHANGAL

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-V

DOLOTHSAVAM ( SAYANOTHSAVAM)

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-VI

MANGALA CHARANAM SLOKAS

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-VII

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM

PART-VIII

SRI RADHA KALYANAM

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM

PART - IX

SRI RUKMANI KALYANAM

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-X

SRI SITA KALYANAM

OM GANESHAYA NAMAHA

According to ancient Indian through each Yuga has its special features as designed by the cosmic intelligence. Kali Yuga is characterized by unbounded desires, extreme pulling pressure towards worldly existence, breaking down of Brahma Tej (Value System) and dilution of Kshatriya Tej (King's Dharma) bringing about chaotic conditions for the common man. Yet, all is not
lost in this Yuga.

It is opined that in Kali yuga, the path to "liberation" (Nirvana) is the easiest as compared to other Yugas. If one's final destination is to reach Him; with virtually minimal efforts, Kali Yuga offers the best opportunity. Great minds
that have examined the nature of this Yuga have come up with a simple remedy for the common man to push ahead in Kali Yuga.

A remedy that is easily accessible and capable of being practiced by every one. Leading to joy in living amidst disturbances and taking one towards the goal of Godhead.This remedy is popularly known as the Namasankirthana Marga.

This webpage highlights the details of this method and how it is being re-introduced for us all to benefit form, to help us to face the challenges that lie ahead. For, now we stand at the portals of 21st Century, where the effects of Kali Yugaperhaps may reach the flash point.

WHY NAMASANKIRTHAN? Easy way to Adopt

Unless the mind is at peace, no thought of God would enter the portals of one's heart.Meditation calls for concentration, which requires a deliberate effort on the individual. Yoga marga calls for physical fitness and control of the senses. These methods are verily possible ; but not for many steeped mundane concern
and worry. Yet, amidst all such concern and worry the natural activity of breathing goes on and on.Namasankirthan is akin tosuch a natural process of our daily living. Thus, it does not call for any initiation nor training and
could be carried on. Naturally. Easily.

Like a Rhyme

When a child is disturbed, to pacify, the mother starts of with a lullaby. As the child enters the school, the child is introduced to nursery rhymes to sing and dance along with other children. This enables the child to cope with the new environment away from home and to feel secure. Only when the child feels secure does it start absorbing what is being taught. The lullaby and the nursery rhymes by no means are great pieces of literature or music. Yet, could any society do away with them? The pressure of living has left us all insecure like young children away from home. The need of the hour, therefore is nursery rhymes i.e. Namasankirtan.

Reminder of Home

Theologically speaking, it is believed that taking birth is a difficult choice; and that the innate desire of every individual is to get back to the comfort of the home. Yet as a child who is absorbed in it's escapades, oblivious to the home, only when the thought of home crosses its mind, the danger of staying our crosses it's mind. Namasankirtan is a gentle reminder of the home so that we do not overdo the adventure in our wordly existence.

Guru to the Rescue

Having stayed out and lost our way in the wilderness of the world, though the thought of the home has come to us, many have already lost their way. Gurus come along to guide us back to where we belong; His Kingdom. The Kingdom of God.

The Role of Guru

God's Incarnation

All of us are familiar with the celestial song Bhagavat Gita and particularly the stanza on God incarnating every yuga to restore balance.

Paritraanaya Sadhoonam Vinashaaya Cha Dushkritham
Dharmasamsthapanarthaya Sambhavami Yuge Yuge.

Everytime one finds adharma for which no remedy is available one tends to wait for the arrival of the Lord to incarnate. however, he does not incarnate at our will. Instead, in His infinite wisdom He sends messengers in the form of Gurus who are charged with the onerous task of changing the negative tendencies among people and to lead them through the journey of terrestrial among existence. For, He is the Director of the play of life and only on rarest of rare occasions does He take on the role of an actor. When it is demanded that he should incarnate to save the universe from cataclysmic catastrophy.

Who is guru ?

The word guru means one who removes darkness; darkness from our minds. In our everyday life among our friends we find some one different from others. Oftentimes, it happens he has a greater sense of wisdom, perception and clarity. He might have indulged along with us in all our pranks; yet our inner sense always told us that he is different. Such people evolve faster and take on the mantle of spiritual leadership.

There are sets of individuals who belong to religious order and trained to become leaders. Like in a Business school, such individuals are scouted for and initiated into the order to become religious heads to guide humanity towards
Godhead. Also, there are men who have had the wisdom from childhood, who on their own volition turn their efforts towards "inward search" and become enlightened.

Amidst such people one also finds a host of men who are yet to evolve and are still insecure like us all but who out o ignorance assume the role of Gurus, even before they are ready for the task.

Who Seeks Whom?

One has, therefore to exercise extreme caution before one accepts a Guru. Indeed the truth is, the Guru searches after his disciples and not the otherway around. Thus, until the time arrives for us to know our Guru whom else to turn to, other than Lord Narayana,- the ultimate Guru for us all. Thus, through Namasankirthan, the Adi Devata Sri Panduranga vittala, is ready to guide us in our search for a Guru. Namasankirthan is the way to find our guide
who would lead us back to our original abode. The Kingdom of God.

Recommendation by all Gurus

All Gurus of renown have preached and practiced the same universal truth. The vehicles they have adopted might have been many to fulfil their mission to bring about order in the world as per His bidding. Most of us cling on to the vehicle and do not travel to the destination shown. Despite such limitations
in our mindsall these great men have advocated in a singular voice the benefit of Namasankirthan. The easy way to evolve. Thus in this marga, there is
no theology; no class distinctions; no merit of learning or scholarship. All are equal. For the evolved as well for those evolving. Thus the universal Advice
of Gurus is same : take to Namasankirthan to attain joy and peace.

NAMAM AND NAMI

Which is powerful, Lord, "Thy name or Thyself" queried
Narada.

The Lord replied:
Naham Vasami Vaikunte
Na Yogi
Hridhaye Ravow
Madh Bakthaha Yathra Gayanthi
Tatra Thishtami
Narada

"I lie neither in vaikunta nor in the heart of Yogis. I stand before my Bakthas when they call me (sing) in love for me"

Sri Suka Maharishi, the cvenerable son of Veda Vyasa proclaimed that:

Kalow Sankeerthya Kesavam

"Singing the glory of Lord Kesava is perhaps the easy
way to attain emancipation in the age of Kali".

THE TRINITY OF NAMASANKIRTHAN

Number Three

The number three has a special significance in matters relating to the divine. In numerology this number represents Jupiter - known as Gurugraham - the absolute benefit planet.

Trinity of Cosmic Play

The cosmic play is
enacted by the Trinity - Brahma, Vishnu, and Shiva - for their three fold role of creation, preservation and rejuvenation.

Music Trinity
Similarly, when we talk of music we recall the trinity - Thyagayya, Muthuswamy dikshidar and Shyama Shastri. One always goes back to their contributions to get enriched in music.

Trinity of Namasankirthan

Namasankirthan,
similarly has a trinity of wisemen who codified the system. Reverentially known as the Sathguru Sri Bodhendra Swamigal, Sathguru Sridhara Venkatesa
Ayyaval and Maruthanallur Sri Sathguru Swamigal. If Namasankrithan has
no format as per definition, then to talk about the trinity of men who condified it, might appear as a contradication. A little reflection would
prove the contrary.

Padhadhi

Language has limitations - as one tends to indulge in semantic differences. If one could read the word codification as an equivalent of padhadhi the cinfusion disappears.

Trynity of Great Renaissance

The trinity of great men brought about a renaissance in the practice of Namasankirthan. In this lies their signal contribution. Meeting the needs of humanity they had toserve.

Sathguru Bodhendra Swamigal
Sri Bodhendra Swamigal adopted the simplest format of Ramanama sankirthna as the only necessary step. His padhadhi was know as the Rama Nama Siddantham. The concept he adopted was simple. If Saint Valmiki, who by even chanting MARA instead of RAMA could achieve such great heights of evolution, then there was no need to search for any other nama. Sri Bodhendra Swamigal's life's mission was to spread the two syllable name of RAMA to be chanted with all its possible variants to express different emotive communication with the creator in various ragas and in classical styles. He believed and rightly so, that when the Taraka Mantra is available, why search for more namas. The repetition of the same nama in different styles appeals to both the learned, musically inclined and to the commoner. This is called the Rama Nama Siddantam meaning achieving Siddi through Rama Nama. In Support of this claim, non other than Iswara proclaims in Vishnu Sahasranama thus:

Sri Rama Rama Ramethi Rame Raame Manorame
Sahasranama Thathulyam Rama Nama Varanane.

One who is sweet to mind. Called endearingly Rama Rama, In Him I reside. And Rama Nama is equal To His thousand other names"

Sathguru Sridhara Ayyaval

Sathguru Sridhra Ayyaval, the next in line did not differ from Swami Bodhendra. However, in tune with the expanding need for Namasankirthan he adopted a neo-classical style for this movement and claimed "call whatever name you want to; but never cease to call" This is a deliberate departure as people even belonging to other sects, who strongly believed in theur Ishta Devatas could be drawn to this movement. His style was not rigid but the concept of emotive appeal in call was the dominant proposition.

Sri Sathguru Swamigal

Sri Sathguru Swamigal went on step further. He toured the length and breadth of the country; collected both rustic and other forms of Namasankirthan and compiled them into compendiums; the virtual store house for this movement, for others to emulate and to refer to. He claimed that each on could call the several Namas of God and dance around in unison in whatever way each one was used to and as taught to them in their nativity. As long as the purpose was served of calling Him was fulfilled, the movement would pick-up momentum. The Abhanga form of North India could be classified under Sathguru Padhadhi.

With communication expanding, the world has become narrower. Thus, today Namasankirthan is being followed as recommended by Sri Sathguru Swamigal in contemporary style throwing open the flood gates as it were, for all to take to it not only in India but around the globe.

The World Movement

Sri Sathguru Swamigal's padhadhi had all features to make it a world movement. The honour of engaging in this divine task feel on the lot of Swami Sri Haridhos Giri, the chief disciple of Seami Gnanananda Giri of Tapovanam. On initiation into sanyasa, the young Sri Haridhos Giri Swamigal had nothing else to seek except the lotus feet of his Guru Maharaj. His guru bakthi knew no bounds. Truly he practiced in his own life the padhadhi categorized by Sri Sathguru Swamigal as Guru Vandanam - viz., sining the Guru's praise with love, devotion and dedication.
Knowing intuitively that Swami Haridass Giri was going to make a mark in the world arena in the field of Namasankirthan, Sri Gananananda Giri Swamigal after giving him the Deeksha, charged him with the task of spreading this master got all that there was to know, so also it happened to swami Sri Haridhos giri. From his master - through the touch of his master's lotus feet on his head. Energised thus, the last three decades had seen Namasankrithan being spread all over the globe, by Swami Haridhos Giri who is endearingly called by his devotees as GURUJI.

SIGNS AND GREETINGS

A world movement needs its own visual means of recognition. Also when the fraternity meets to bring about a sense of camaraderie, special greetings will have to be exchanged.

The Namasankithan movement piloted n\by Swami Sri Haridhos Giri has adopted the sign of the index finger and the middle finger of the right hand streatched making a formation of the alphabet "V" with other fingers turned inside towards the plam. This symbol does not denote the theological concept of dualism. Nor does it indicate the alphabet V to denote victory.

The two fingers represent symbolically the prakrithi represented by Radha and the Parampurusha represented by Krishna. All of us are parts of prakrithi - the female principle in creation. The only true purusha in Krishna. The gopikas represent in Krishna Leela the Dasya Marga adopted by the Rishis to reach the Parampurusha. Namasankirthan is a branch of Bakthi Marga in Dasya Bahva(looking upto Krishna as the dominant male) to love Him, as a female would pine for her lover to bring about the union with the
Parampurusha.

In Bakthi Marga four different ways to communicate with the Lord are prescribed viz., The Matru Bhava (God as Motehr) Vatsalya bhava (God as a child) Sakya Bhava(God as a friend) and Dasys Bhava (God as one's husband). In the Namasankirthan route the calling out the divine names should lead one to ecstatic height of joy and to forget the temporal care and concern. To raise one to such emotive empathy would be possible only under the Dasya Bhava. Therefore, Swami Sri Haridhos Giri chose the sign as explained and designated the Greetings among his followers as Radhe Krishna.

HOW NAMASANKIRTHAN WORKS

The human mind keeps generating thoughts. It is like the waves in the ocean. It is like the waves in the ocean. Constant. Everpresent. However, in side the waves it is calm. Thus, instead of trying to control the thought process which in any case would be a futile exercise, accept that the thought waves like the waves in the seas would exist always. Yet , if one wants to keep away the effects of the ways, one should transcent it. Go under the waves.
It would be common experience that when one gets under the water, no waves are perceived nor felt. Since we hold our breadth, the concentration is intense on the "breadth". In a similar fashion, in ecstatic mood of signing or dancing in love for thelord, one transcends the mind, for one's concentration is on the Lord and steeped in Dasya Bhava when all other things around disappear. Including the care and concerns of our mundane life. In a therapeutic sense, Namasabkirthan would bring about the benefit of a better sense of purpose existence leading to a more attitude towards life. The mind would be charged with the faith that the Lord is ever present with us to solve our problems. Thus, a sense of well being and security descends. One is thus prepared now well to face the world. By and by the involvement with god takes over. Transcending other bondages and desires. Thus, Heaven is perceived in one's environs-inside. The impact of the outside world gradually tapers down leading to a sense of neutrality to all things. One does not pass judgement nor express rancour. Sense control becomes automatic as the joy experienced through Namasankirthan becomes a preferred pursuit for satisfaction replacing the gratification through senses. Mind becomes alert and one also develops a sensitivity towards the right and wrong and the travel through life becomes an enjoyable experience.

Namasankirthan ashas been explained is a free for all mode of reaching an ecstatic state of union with God through verbal expressions with feelings thrown in as the music component of this practice. All of us have in us the innate capability to express rythm, layam, raagam etc. All these are nothing but the manifested form of our emotions and feelings. Thus in namasankirthan one does not have to learn anything. One has to only tap the resourses from within.

TEMPLES AT THENNANGUR (DAKSHINA HALASYAM)
RADHE KRISHNA !

TEMPLES AT THENNANGUR

RADHE KRISHNA

THENNANGUR is a place called as DAKSHINA HALASYAM by all is on the way from CHENGALPATTU to VANDAWASI via UTHIRAMERUR route. Thennangur is 6 kms before VANDAWASI and 22 kms from UTHIRAMERUR and 55 kms from CHENGALPATTU and 30 kms from KANCHIPURAM route.

Bus No: 104 starts from Chennai to Vandawasi via THENNANGUR
and stops at THENNANGUR.

RADHE KRISHNA

WELCOME TO INTERNATIONAL DIVINE CENTER

TEMPLES AT THENNANGUR

1. CHELLI AMMAN ALAYAM

2. LAKSHMI NARAYANAN ALAYAM

3. GURUJI ASHRAMAM

4. MAHA SHODASI TEMPLE

5. SATHGURU VIHAR

6. SANATH NAGAR

7. LAKSHMI BHAVANAM

8. ARUNACHALA NILAYAM

9. MEENAKSHI SUNDARESWARAR ALAYAM

10. GURUJI MADAM

11. GNANANDAR SWAMIGAL ALAYAM

12. DELUXECOTTAGES

13. PANDURANGA RUKKUMAYEE

14. NAMA SANGEERTHANA MANDAPAM

15. PURANDARA DASAR HALL

16. DINING HALL

17. GUEST HOUSE

MAHASHODASI ALAYAM

1. SRI SATHGURUNATHAR

2. SRI MAHASHODASI

3. SRI GANAPATHY

4. SRI SUBRAMANYAR

5. SRI BRAHMA

6. SRI VISHNU

7. SRI RUDRAR

8. SRI EASWAR

9. SRI SADHASIVAR

10. SRI BALA PARAMESHWARI

11. SRI ANNAPOORNA

12. SRI ASWA ROOPA

13. SRI RAJASYAMALA

14. SRI MAHA VARAVATHI

15. SRI PARA SARASWATHI

16. SRI RAMA

17. SRI VANI

18. SRI BRAAHMI

19. SRI MAAHESHWARI

20. SRI KAUMARI

21. SRI VAISHNAVI

22. SRI VARAHI

23. SRI INDHREE

24. SRI CHAMUNDA

25. SRI MAHALAKSHMI

26. SRI SARABESWARAR

27. SRI SULINI

28. SRI PRATHYANGIRA

29. SRI VANA DURGA

30. SRI SUDHARSANAR

31. SRI SUDHARSANA NARASIMHAR

32. SRI AGORA MURTHY

RADHE KRISHNA ! RADHE KRISHNS !! RADHE KRISHNA !!!

RADHE KRISHNA ! RADHE KRISHNS !! RADHE KRISHNA !!!

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SRIMADH BHAGAVATAM

2011-12-02T20:47:00.001-08:00

RADHE KRISHNA 03-12-2011

SRIMADH BHAGAVATAM

ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம்

2011-11-26T02:36:00.000-08:00

RADHE KRISHNA 26-11-2011

ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம்

ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம்

ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம்

1. ஸ்ரீபூர்ணபோத குருதீர்த்த பயோப்திபாரா
காமாரிமாக்ஷ விஷமாக்ஷ சிர: ஸ்ப்ருசந்தீ
பூர்வோத்ராமித தரங்க ச்ரத் ஸுஹம்ஸா
தேவாளி ஸேவித பராங்க்ரி பயோஜ லக்நா

2. ஜீவேச பேத குணபூர்த்தி ஜகத்ஸுஸத்வ
நீசோச்சபாவ முக நக்ர கணைஸ் ஸமேதா
துர்வாத்ய ஜாபதிகிலைர் குருராகவேந்த்ர
வாசுதேவதா ஸரிதமும் வமலீகரோது

3. ஸ்ரீராகவேந்த்ரஸ் ஸகலப்ரதாதா
ஸ்வபாத கஞ்ஜத்வய பக்திமத்ப்ய:
அகாத்ரி ஸம்பேதந த்ருஷ்டி வஜ்ர:
க்ஷமாஸுரேந்த்ரோவது மாம் ஸதாஸ்யம்

4. ஸ்ரீராகவேந்த்ரோ ஹரிபாத கஞ்ஜ
நிஷேவணால் லப்த ஸமஸ்த ஸம்பத்
தேவஸ்வபாவோ த்விஜ த்ருமோய
மிஷ்டப்ரதோ மே ஸததம் ஸ பூயாத்

5. பவ்ய ஸ்வரூபோ பவது: க தூல
ஸங்காக்நி சர்ய: ஸுகதைர்ய சா லீ
ஸமஸ்த்த துஷ்டக்ரஹ நிக்ரஹோ சோ
துரத்ய யேபப்லவ ஸிந்து ஸேது:

6. நிரஸ்த தோ÷ஷா நிரவத்ய வேஷ:
ப்ரத்யர்த்தி மூகத்வ நிதாநபாஷ :
வித்வத் பரிஜ்ஞேய மஹாவிசே ÷ஷா
வாக்வைகரீ நிர்ஜித பவ்யசே ஷ

7. ஸந்தாந ஸம்பத் பரிசூத்த பக்தி
விஜ்ஞாந வாக்தேஹ ஸுபாட வாதீந்
தத்வா சரீரோத்த ஸமஸ்த தோஷாந்
ஹத்வா ஸ நோஸ்வ்யாத் குருராகவேந்த்ர:

8. யத்பா தோதக ஸஞ்சயஸ் ஸுரநதீமுக்யாபகா ஸாதிதா
(அ)ஸங்க்யாநுத்தம புண்ய ஸங்க விலஸத் ப்ரக்யாத புண்யாவஹ
துஸ்தாபத்ரய நாசநோ புவி மஹாவந்த்யா ஸுபுத்ரப்ரதோ
வ்யங்கஸ்வங்க ஸம்ருத்திதோ க்ரஹமஹா பாபாபஹஸ்தம் ச்ரயே

9. யத்பாதகஞ்ஜ ரஜஸா பரிபூஷிதாங்கா
யத்பாதபத்ம மதுபாயித மாநஸாயே
யத்பாதபத்ம பரிகீர்த்தந ஜீர்ண வாசஸ்
தத்தர்ச நம் துரிதகாநந தாவபூதம்

10. ஸர்வ கந்த்ர ஸ்வதந்த் ரோஸஸெள ஸ்ரீமத்வமத வர்தந:
விஜயீந்த்ர கராப்ஜோத்த ஸுதீந்த்ர வரபுத்ரக:

11. ஸ்ரீராகவேந்த்ரோ யதிராட் குருர் மே ஸ்யாத் பயா பஹ:
ஜ்ஞாநபக்தி ஸூபுத்ராயுர் யச: ஸ்ரீ புண்ய வர்தந:

12. ப்ரதிவாதி ஜயஸ்வாந்த பேதசிந்யாதரோ குரு:
ஸர்வவித்யா ப்ரவீணோந்யோ ராகவேந்த்ராந் ந வித்யதே

13. அபரோக்ஷீக்ருத ஸ்ரீச: ஸமுபேக்ஷித பாவஜ:
அபேக்ஷித ப்ரதாதந்யோ ராகவேந்த்ராந்ந வித்யதே

14. தயா தாக்ஷிண்ய வைராக்ய வாக்பாடவமுகாங்கித:
சா பாநுகரஹச க்தோந்யோ ராகவேந்த்ராந்ந வித்யதே

15. அக்ஞாந விஸ்ம்ருதி ப்ராந்தி ஸம்ச யாபஸ்ம்ருதி க்ஷயா:
தந்த்ரா கம்பவச: கௌண்ட்ய முகா யே சேந்த்ரியோத்பவா:
தோஷஸ்தே நாஸமாயந்தி ராகவேந்த்ர ப்ரஸாதத:

16. ஓம் ஸ்ரீ ராகவேந்த்ராய நம: இத்யஷ்டாக்ஷர மந்த்ரத:
ஜபிதாத் பாவிதாந் நித்ய மிஷ்டார்த்தாஸ் ஸ்யுர் ந ஸம்சய

17. ஹந்து ந: காயஜாந் தோஷாநாத்மாத்மீய ஸமுத் பவாந்
ஸர்வாநபி புமர்த்தாம்ச ச ததாது குருராத்மவித்

18. இதி காலத்ரயே நித்யம் ப்ரார்த்தநாம் ய: கரோதி ஸ:
இஹாமுத்ராப்த ஸர்வேஷ்டோ மோததே நாத்ர ஸம்ஸய:

19. அகம்ய மஹிமா லோகே ராகவேந்த்ரோ மஹாயசா
ஸ்ரீமத்வமத துக்தாப்தி சந்த்ரோஸ்வது ஸதாநக:

20. ஸர்வயாத்ரா பலாவா ப்த்யை யதாச க்தி ப்ரதக்ஷிணம்
கரோமி தவ ஸித்தஸ்ய ப்ருந்தாவந கதம் ஜலம்
சிரஸா தாரயாம்யத்ய ஸர்வதீர்த்த பலாப்தயே

21. ஸர்வபீஷ்டார்த்த ஸித்யார்த்தம் நமஸ்காரம் கரோம்யஹம்
தவ ஸங்கீர்த்தநம் வேதசா ரஸ்த்ரார்த்தஜ்ஞாந ஸித்தயே

22. ஸம்ஸாரே க்ஷயஸாகரே ப்ரக்ருதிதோ காதே ஸதா துஸ்தரே
ஸர்வாவத்ய ஜலக்ரஹை ரநுபமை: காமாதி பங்காகுலே

23. நாநாவிப்ரம துர்ப்ர மேஸ்மிதபய ஸ்தோமாதி பேநோத்கடே
து : கோத்க்ருஷ்ட விஷேஸே முத்தர குரோ மாம் மக்நரூபம் ஸதா

24. ராகவேந்த்ர குருஸ்தோத்ரம் ய: படேத் பக்தி பூர்வகம்
தஸ்ய குஷ்டாதிரோ காணாம் நிவ்ருத்திஸ் த்வரயா பவேத்

25. ய: பிபேத் ஜலமேதந ஸ்தோத்ரேணைவாபி மந்த்ரிதம்
தஸ்ய குக்ஷிகதா தோஷா: ஸர்வே நச் யந்தி தத்க்ஷணாத்

26. யத்ப்ருப்தாவந மாஸாத்ய பங்கு: கஞ்ஜோபி வ ஜந:
ஸ்தோத்ரேணாநேந ய : சூர்யாத் ப்ரதக்ஷிண நமஸ்யக்ருதீ

27. ஸ ஜங்காலோ பவேதேவ குருராஜ் ப்ரஸாதத:
ஸோம ஸுர்யோ பராகே சு புஷ்யார்காதி

28. யோநுத்தம மிதம் ஸ்தோத்ர மஷ்டோத்தரச தம் ஜபேத்
பூதப்ரேத பிசா சாதி பீடா தஸ்ய ந ஜாயதே

29. ஏதத்ஸ்தோத்ரம் ஸமுச்சார்ய குரோர் ப்ருந்தாவநாந்திகே
தீ பஸம் யோஜ நாத் ஜ்ஞாநம் புத்ரலாபோ பவேத் த்ருவம்

30. பரவாதிஜயோ திவ்ய ஜ்ஞாந பக்த்யாதி வர்த்தநம்
ஸர்வாபீஷ்ட ப்ரவ்ருத்தி : ஸ்யாத் நாத்ர கார்யா விசாரணா

31. ராஜசோர மஹாவ்யாக்ர ஸர்ப்ப நக்ராதி பீடநம்
ந ஜாய தேஜஸ்ய ஸ்தோத்ரஸ்ய ப்ரபாவாந் நாத்ரஸம்ச ய:

32. யோ பக்த்யா குருராகவேந்த்ர
சரணத்வந்த்வம் ஸம்ரந் ய: படேத்
ஸ்தோத்ரம் திவ்யமிதம் ஸதா
ந ஹி பவேத் தஸ்யாஸுகம் கிஞ்சந
கிம்த்விஷ்டார்த்த ஸம்ருத்தி ரேவ
கமலாநாதப்ரஸாதோ தயாத்
கீர்த்திர் திக்விததா விபூதி ரதுலா
ஸாக்ஷீ ஹயாஸ்யோஸ்த்ர ஹி

இதி ஸ்ரீ ராகவேந்த்ரார்ய குருராஜப்ரஸாதத:
க்ருதம் ஸ்தோத்ரமிதம் புண்யம் ஸ்ரீமத்பிர் ஹ்யப்பணா பிதை:

ஸ்ரீ அணு ராகவேந்த்ர ஸ்தோத்ரம்

1. பூஜ்யாய ராகவேந்த்ராய ஸத்யதர்ம ரதாய ச
பஜதாம் கல்பவ்ருக்ஷõய நமதாம் காமதேநவே

2. துர்வாதி த்வாந்ரவயே வைஷ்ணவேந்தீவரேந்தவே
ஸ்ரீ ராகவேந்த்ரகுரவே நமோஸ்த்யந்த தயாளவே

3. ஸ்ரீஸுதீந்த்ராப்தி ஸம்பூதாந் ராகவேந்த்ர கலாநீதிந்
ஸேவே ஸத்ஜ்ஞாந ஸெளக்யார்த்தம் ஸந்தாபத்ரய சாந்தயே

4. அகம் த்ராவயதே யஸ்மாத் வேங்காரோ வாஞ்சிதப்ரத:
ராகவேந்த்ர யதிஸ் தஸ்மாத் லோகே க்யாதோ சாந்தயே

5. வ்யாஸேந வ்யுப்த பீஜ: ஸ்ருதிபுவி பகவத்பாத ஸ்தாங்குரஸ்ரீ
ப்ரத்நைரீஷத் ப்ரபிந்நோஜ நி ஜயமுநிநா ஸம்யகுத்பிந்நசா க:

6. மௌநீச வ்யாஸராஜதுதித கிஸலய: புஷ்பிதோஸ்யம் ஜயீந்த்ரா
தஸ்ய ஸ்ரீ ராகவேந்த்ராத் விலஸதி பலிதோ மத்வ ஸித்தாந்தசா கீ

7. மூகோபி யத்ப்ரஸாதேந முகுந்த ச யநாயதே
ராஜராஜாயதே ரிக்தோ ராகவேந்த்ரம் தமாச் ரயே

ஸ்ரீ ராகவேந்த்ர குரு கீர்த்தனம்

ராகம் : மத்யமாவதி - சாப்

பாரோ குரு ராகவேந்த்ரா - பாரய்யா பாபா
பாரோ குரு ராகவேந்த்ரா
ஹிந்து முந்தெல்லெனகே நீ கதி
யந்து பொந்திதே நின்ன பரதவ
பந்தனவ பிடிசென்ன கரபிடி
நந்த கந்த முகுந்த பந்தோ - (பாரோ)

ஸேவகெலோ நானு நின்னய பாதாஸேவே நீ டெலோ நீனு
ஸேவகன ஸேவேயனு ஸேவிசி ஸேவ்ய ஸேவக பாவவீயுது
டாவுகரணி சிபொரெவத ரெயொளு, பாவனாத்மக காவு கருணிசி
கரதரே பகுவியந்து ஸாருவதுடங்குர த்வரிததீ வதகுபந்து
ஜரியப் யாடவோ பரதே நின்ன விரஹ நாளதே மனதிகரகுவே
ஹரியஸ் மரணே நிருதலெனக, ஹருஷதலிநீ நிருத கொடுதலீ
நரஹரி ப்ரியனே பாகுரு ஸ்ரீ ச விட்டலன, கருணா பாத்ரனே வேகபா
குருவரனே பரதோஷி ஸியன்னனு, மரியதே தவசரண கோடிய
விருசி சரணாம்பு ஜத தோருத த்வரிததலி ஒடோடி பாபா.

ஸ்ரீ ராகவேந்த்ர மங்களாஷ்டகம்

1. ஸ்ரீமத்ராம பதாரவிந்த மதுப:
ஸ்ரீமத்வ வம்சா திப:
ஸச்சிஷ்யோடு கணோடுப: ச் ரிதஜகத்
கீ ர்வாண ஸத் பாதப:
அத் யார்த்தம் மநஸா க்ருதாச்யுதஜப:
பாபாந்த காராதப:
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட்
குர்யாத் த்ருவம் மங்களம்

2. கர்மந்தீந்த்ர ஸுதீந்த்ர ஸத்குரு
கராம்போஜோத்பவ : ஸந்ததம்
ப்ராஜ்ய த்யாந வசீ க்ருதாகிலஜகத்
வாஸ்தவ்ய லக்ஷ்மீதவ:
ஸச்சாஸ்த்ராதி விதூஷகாகில ம்ருஷா
வாதீப கண்டீரவ:
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட்
குர்யாத் த்ருவம் மங்களம்

3. ஸாலங்காரக காவ்ய நாடக கலா
காணாத பாதஞ்ஜல
த்ரய்யர்த்த ஸ்ம்ருதி ஜைமிநீய
கவிதா ஸங்கீத பாரங்கத:
விப்ர க்ஷத்ர விடங்க்ரிஜாத முகரா
நேகப்ரஜா ஸேவித:
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட்
சூர்யாத் த்ருவம் மங்களம்

4. ரங்கோத்துங்க தரங்க மங்களகர
ஸ்ரீ துங்கபத்ராதட
ப்ரத்யக்ஸ்த த்விஜ புங்கவாலய
லஸந் மந்த்ராலயக்யே புரே
நவ் யேந்த்ரோபல நீலபவ்ய கரஸத்
ப்ருந்தாவநாந்தர்கத:
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட்
சூர்யாத் த்ருவம் மங்களம்

5. வித்வத்ராஜ சிரகீரிட கசிதா
நர்க்யோரு ரத்நப்ரபா
ராகாகௌகஹ பாதுகாத்வயசர:
பத்மா க்ஷ மாலாதர:
பாஸ்வத்தண்ட கமண்ட லூஜ் வலகரோ
ரக்தாம்பரா டம்பர:
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட்
சூர்யாத் த்ருவம் மங்களம்

6. யத்ப்ருந்தாவந ஸப்ரதக்ஷிண நமஸ்காராபிஷேக ஸ்துதி
த்யாநாராதந ம்ருத்வி லேபந முகாநேகோபசாராந் ஸதா
காரம்கார மபிப்மரயாந்தி சதுரோ லோகா: புமர்த்தாந் ஸதா
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யத் த்ருவம் மங்களம்

7. வேதவ்யாஸ முநீச மத்வ யதிராட் டீகார்ய வாக்யாம் ருதம்
க்ஞாத் வாஸ்த் வைதமதம் ஹலாஹலஸமம் த்யக்த்வா ஸமாக்யாப்தயே
ஸங்க்யாவத்ஸுகதாம் தசோ பநிஷதாம் வ்யாக்யாம் ஸமாக்யாந் முதா
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யாத் த்ருவம் மங்களம்

8. ஸ்ரீமத் வைஷ்ணவ லோக ஜாலக குரு:
ஸ்ரீமத் பரிவாட் பரு:
சஸ் த்ரே தேவ்குரு: ச்ரிதாமரதரு
ப்ரத்யூஹ கோத்ர ஸ்வரு:
சேதோஸ்தீதசிருஸ் ததா ஜிதவரு
ஸ்ஸத் ஸெளக்ய ஸம்பத்கரு:
ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட்
சூர்யத் த்ருவம் மங்களம்

9. யஸ்ஸந்த்யா ஸ்வநிசம் குரோர் வ்ரதிபதே:
ஸந்மங்களஸ் யாஷ்டகம்
ஸத்ய: பாபஹரம் ஸ்வஸேவி விதூஷாம்
பக்த்யைத தாபாஷிதம்
பக்த்யா வக்தி ஸுஸம்பதம் சுபபதம்
தீர்க்காயுரா ரோக்யகம்
கீர்த்திம் புத்ர களத்ர பாந்தவ ஸுஹ்ருந்
மூர்த்தி: ப்ரயாதி த்ருவம்

இதி ஸ்ரீமதப் பணாசார்யக்ருதம் ராகவேந்த்ர
மங்களாஷ்டகம் ஸம்பூர்ணம்
ஸ்ரீ கிருஷ்ணார்ப்பணமஸ்த்து

ஸ்ரீ ராகவேந்த்ர அஷ்டாக்ஷர மந்த்ர ஜப விதானம்

(தினமும் 108 முறை அல்லது அதிகமும் ஜபிக்க ஸகல காரியமும் ஸித்திக்கும். பெண்கள் ஓம் ஸ்ரீராகவேந்த்ராய நம: ஸ்ரீம் என்று ஜபிக்க வேண்டும்.)

அஸ்ய ஸ்ரீ ராகவேந்த்ர அஷ்டாக்ஷர மஹா மந்த்ரஸ்ய
அப்பண்ணாசார்ய ருஷி:
(சிரசில் வலது கையால் தொடவும்)

ஸ்ரீராகவேந்த்ர குர்வந்தர்கத பார தீரமண முக்ய
ப்ராணந்தர்கத ஸ்ரீராமச்சந்த்ரோ தேவதா
(ஹ்ருதயத்தை வலது கையால் தொட்டுக் கொள்ளவும்)

காயத்ரீச் சந்த : (மூக்கின் கீழ் வலது கையை மடித்து வைக்கவும்)

ஸ்ரீ ராகவேந்த்ர குர்வந்தர்கத பாரதீரமண முக்ய
ப்ராணாந்தர்கத ஸ்ரீ ராமச்சந்த்ர ப்ரீத் யர்த்தே
ஜபே விநியோக:

ந்யாஸங்கள்

ஓம் ஸ்ரீம் அங்குஷ்டாப்யாம் நம:
(கட்டை விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.)

ஓம் ராகவேந்த்ராய தர்ஜனீப் யாம் நம:
(ஆள்காட்டி விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.)

ஓம் நம: மத்யமாப்யாம் நம:
(நடுவிரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.)

ஓம் ஸ்ரீம் அனாமிகாப்யாம் நம:
(மோதிர விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.)

ஓம் ராகவேந்த்ராய கனிஷ்டி காப்யாம் நம:
(சுண்டு விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.)

ஓம் நம: கரதலகர ப்ருஷ்டாப்யாம் நம:
(ஒரு கையால் மற்றொரு கையை ஸ்பரிசித்துக் கொள்ள வேண்டும்.)

ஓம் ஸ்ரீம் ஹ்ருதயாய நம:
(வலது கையால் ஹ்ருதயத்தைத் தொடவும்)

ஓம் ராகவேந்த்ராய சிரஸே ஸ்வாஹா
(தலையைத் தொடவும்)

ஓம் நம: சிகாயை வஷட்
(பின் தலையைத் தொடவும்)

ஓம் ஸ்ரீம் கவசாய ஹும்
(வலது கையால் இடது புஜத்தையும், இடது கையால் வலது புஜத்தையும் தொடவும்)

ஓம் ராகவேந்த்ராய நேத்ர த்ரயாய வெளஷட்
(ப்ருமத்தியைத் தொடவும்)

ஓம் நம: அஸ்த்ராய பட்
(வலது கைவிரலால் இடது உள்ளங்கையில் தட்டவும்)

இதி திக் பந்த:
(வலது கையால் தலையைச் சுற்றவும்)

த்யானம்

தப்த காஞ்சன ஸங்காசம் அக்ஷயலா கமண்டலூ
தோப்யாம் ததானம் காஷாய வஸனம் ராம மானஸம்
யோகீந்த்ர தீர்த்த வந்த்யங்கிஸ் துளஸிதாம பூஷிதம்
ஜ்ஞான பக்தி தப: பூர்ணம் த்யாயேத் ஸர்வார்த்த ஸித்தயே

மூல மந்த்ரம்
ஓம் ஸ்ரீ ராகவேந்த்ராய நம: ஓம்.

Sri Narasimha Chaturdashi 2011 ISKON Bangalore

2011-11-14T20:39:00.000-08:00

RADHE KRISHNA 15-11-2011

Sri Narasimha Chaturdashi 2011 ISKON
Bangalore

Sri Narasimha Chaturdashi 2011 Abhisheka Celebrations at ISKCON Bangalore

Sri Narasimha Chaturdashi 2011 Abhisheka Celebrations at ISKCON Bangalore

http://youtu.be/W2ZZ1VF1z-0

Sri Narasimha Chaturdashi 2011 Mangala Arati Celebrations at ISKCON Bangalore

Sri Narasimha Chaturdashi 2011 Mangala Arati Celebrations at ISKCON Bangalore

http://youtu.be/6x9noa7p734

udupi Krishna abhishekam (Jaggery & Banana)

udupi Krishna abhishekam (Jaggery & Banana)

http://youtu.be/UYzvwEzKQn8

udupi Krishna abhishekam (coconut)

udupi krishna abhishekam (coconut)
http://youtu.be/Oi8tlPv-rEs

Sri Vijayadasara smarane - Morning Pooja

2011-11-14T20:23:00.000-08:00

RADHE KRISHNA 15-11-2011

Sri Vijayadasara smarane - Morning Pooja

Sri Vijayadasara smarane - Morning Pooja
http://youtu.be/Zv6VbO7kbZY

Lord Narasimha - Prahlada Story Depicted - Special Dance performance

Lord Narasimha - Prahlada Story Depicted - Special Dance performance

http://youtu.be/_mm4cOjG18g

Madhwa Philosophy

2011-11-14T04:05:00.001-08:00

RADHE KRISHNA 13-11-2011

Madhwa Philosophy

Sri Guru Raghavendra Swamy's Home on the Net

KANNADA POOJAGALU , DEVARA NAMAGALU , STHOTHRAGALU

Sri Guru Raghavendra Swamy

Dvaita Home Page

VEDAS AND UPANISHADS

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Madhwa Sites And Other Links

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Vedanta Society

The Ramakrishna-Vivekananda Center

The Vivekananda Foundation

Jai Mataji

Sri Ramana Maharishi Ashram

Kamakoti Mutt

Voice of Kanchi Mutt

Dakshinamnayasri Sringeri Saradapeetham

Nagarajan's Home Page

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International Divine Centre (Thennangur)

2011-11-14T04:04:00.001-08:00

RADHE KRISHNA 13-11-2011

International Divine Centre (Thennangur)

IMPORTANT LINKS

DAKSHINA BHAJANA SAMPRADAAYAM

HARIDASA BHAJANS

TATVAVADA ENGLISH BIMONTHLY MAGAZINE OF MADHVA PHILOSOPHY [ABMM]

SRI SRIPADARAJA MUTT MULUBAGALU

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KANNADA POOJAGALU, DEVARA NAMAGALU, STHOTHRAGALU

BHAGAVAD - GITA ( AS IT IS )

VEDAS AND UPANISHADS

GURUJI NAMAJI THENNANGUR ( PHOTO GALLERY)

SANSKRIT DICTIONARY

SRI RAMCHANDRA MISSION SAHAG MARG

DVAITA HOME PAGE

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SRI RAMANUJA

RELIGION AND CHARITIES

MADHVA SITES AND OTHER LINKS

SRI SATHYA SAI BABA

Haveli of SriNathji

THE VEDANTA SOCIETY OF SOUTHERN CALIFORNIA

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THE VIVEKANANDA FOUNDATION

BHAJAN KIRTAN

JAI MATAJI

SRI RAMANA MAHARISHHI ASHRAM

Srimad Bhagavatam

2011-11-14T04:00:00.001-08:00

RADHE KRISHNA 13-11-2011

SRIMADH BHAGAVATAM

IMPORTANT LINKS

KANNADA POOJAGALU , DEVARA NAMAGALU , STHOTHRAGALU

TEMPLES IN INDIA

SRIMAD BHAGAVATAM ( BHAGAVAD PURANA )

SRI VAISHNAVAM PRACTICES

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Shri Raghothama thirtha

2011-11-12T08:17:00.001-08:00

RADHE KRISHNA 12-11-2011

Shri Raghothama thirtha

http://youtu.be/GXcZY4MAUB4

jaya jaya raghavendra

2011-11-12T08:12:00.000-08:00

RADHE KRISHNA 12-11-2011

jaya jaya raghavendra

jaya jaya raghavendra
http://youtu.be/afVWgfOouPg

SRI RAGHAVENDRA SUPRABATHAM BY P.B.SRINIVAS AND S.JANAKI.wmv

2011-11-12T08:03:00.000-08:00

RADHE KRISHNA 12-11-2011

SRI RAGHAVENDRA SUPRABATHAM BY P.B.SRINIVAS AND S.JANAKI.wmv

SRI RAGHAVENDRA SUPRABATHAM BY P.B.SRINIVAS AND S.JANAKI.wmv
http://youtu.be/DTJOo3bko-M

Sri Raghavendra stotra with lyrics

2011-11-12T07:58:00.000-08:00

RADHE KRISHNA 12-11-2011

Sri raghavendra stotra with lyrics

Sri raghavendra stotra with lyrics
http://youtu.be/cPaGxiJb2yk

Ramayanam

2011-11-12T06:19:00.001-08:00

Radhe Krishna 12-11-2011

RAMAYANAM SUMMARY | RAMAYANAM CHARACTERS | RAMAYANAM VIDEOS | ADHYATMA RAMAYANAM

The Ramayana is undoubtedly the most popular and timeless Indian epic read and loved by all. The term 'Ramayana', literally means "the march (ayana) of Rama" in search of human values. As a literary work, it combines "the inner bliss of Vedic literature with the outer richness of delightfully profound story telling."
This story of Sri Rama by the great sage Valmiki is referred to as the Adi Kavya or the first epic poem. About the Valmiki Ramayana, Swami Vivekananda has said: "No language can be purer, none chaster, none more beautiful, and at the same time simpler, than the language in which the great poet has depicted the life of Sri Rama."

The characters and incidents in Ramayana provide the ideals and wisdom of common life, and help to bind the people of India. Universally regarded as one of the world's important literary works, Ramayana has had a profound impact on the art, culture, family relations, gender, politics and nationalism in the Indian sub continent. The everlasting value of this epic tale has been extolled through the centuries, and it has helped in molding the Hindu character largely.

RAMAYANAM SUMMARY as retold by Rajaji
1. THE CONCEPTION
2. SAGE VISWAMITRA
3. TRISANKU
4. RAMA LEAVES HOME
5. RAMA SLAYS THE MONSTERS
6. SITA
7. BHAGIRATHA AND THE STORY OF GANGA
8. AHALYA
9. THE DIVINE MARRIAGE OF RAMA AND SITA
10. PARASURAMA HUMBLED
11. FESTIVE PREPARATIONS
12. MANTHARA'S EVIL COUNSEL
13. KAIKEYI SUCCUMBS
14. WIFE OR DEMON?
15. BEHOLD A WONDER!
16. STORM AND CALM
17. SITA'S RESOLVE
18. TO THE FOREST
19. ALONE BY THEMSELVES
20. CHITRAKUTA
21. A MOTHER'S GRIEF
22. IDLE SPORT AND TERRIBLE RESULT
23. LAST MOMENTS OF DASARATHA
24. BHARATA ARRIVES
25. INTRIGUE WASTED
26. BHARATA SUSPECTED
27. THE BROTHERS MEET
28. BHARATA BECOMES RAMA'S DEPUTY
29. VIRADHA'S END
30. TEN YEARS PASS
31. THE SURPANAKHA EPISODE
32. KAMBAN'S SURPANAKHA
33. KHARA AND HIS ARMY LIQUIDATED
34. THE PATH OF RUIN
35. THE GOLDEN STAG
36. THE GOOD BIRD JATAYU
37. CLOSELY GUARDED
38. RAMA DISCONSOLATE
39. A SECOND FATHER DIES
40. LEFT EYELIDS THROB
41. HE SEES HER JEWELS
42. SUGRIVA'S DOUBTS CLEARED
43. THE SLAYING OF VALI
44. TARA'S GRIEF
45. ANGER AND RECONCILIATION
46. THE SEARCH BEGINS
47. SON OF VAYU
48. THE SEARCH IN LANKA
49. SITA IN THE ASOKA PARK
50. RAVANA'S SOLICITATION
51. FIRST AMONG THE ASTUTE
52. SITA COMFORTED
53. SITA AND HANUMAN
54. INVITING BATTLE
55. THE TERRIBLE ENVOY
56. HANUMAN BOUND
57. LANKA IN FLAMES
58. A CARNIVAL
59. THE TIDINGS CONVEYED
60. THE ARMY MOVES FORWARD
61. ANXIETY IN LANKA
62. RAVANA CALLS A COUNCIL AGAIN
63. VIBHISHANA
64. THE VANARA'S DOUBT
65. THE DOCTRINE OF SURRENDER AND GRACE
66. THE GREAT CAUSEWAY
67. THE BATTLE BEGINS
68. SITA'S JOY
69. SERPENT DARTS
70. RAVANA'S DEFEAT
71. THE GIANT IS ROUSED
72. IS THIS NARAYANA HIMSELF?
73. THE DEATH OF INDRAJIT
74. END OF RAVANA
75. THE END
76. EPILOGUE

Mahabharata, The Greatest Indian Epic

2011-11-12T03:13:00.000-08:00

Radhe krishna 12-11-2011

RADHE KRISHNA 12-11-2011

Mahabharata, The Greatest Indian Epic

Mahabharata, The Greatest Indian Epic

The Mahābhārata, is the greatest, longest and one of the two major Sanskrit epics of ancient India, the other being the Rāmāyana. With more than 74,000 verses, plus long prose passages, or some 1.8 million words in total, it is one of the longest epic poems in the world.

It contains eighteen Parvas or sections viz., Adi Parva, Sabha Parva, Vana Parva, Virata Parva, Udyoga Parva, Bhishma Parva, Drona Parva, Karna Parva, Shalya Parva, Sauptika Parva, Stree Parva, Shanti Parva, Anushasana Parva, Asvamedha Parva, Ashramavasika Parva, Mausala Parva, Mahaprasthanika Parva and Swargarohanika Parva. Each Parva contains many sub-Parvas or subsections.

This wonderful book was composed by Sri Vyasa (Krishna Dvaipayana) who was the grandfather of the heroes of the epic. He taught this epic to his son Suka and his disciples Vaisampayana and others. King Janamejaya, son of Parikshit, the grandson of the heroes of the epic, performed a great sacrifice. The epic was recited by Vaisampayana to Janamejaya at the command of Vyasa. Later on, Suta recited the Mahabharata as was done by Vaisampayana to Janamejaya, to Saunaka and others, during a sacrifice performed by Saunaka in Naimisaranya, which is near Sitapur in Uttar Pradesh.

It is very interesting to remember the opening and closing lines of this great epic. It begins with: "Vyasa sang of the ineffable greatness and splendour of Lord Vasudeva, who is the source and support for everything, who is eternal, unchanging, self-luminous, who is the Indweller in all beings, and the truthfulness and righteousness of the Pandavas." It ends with: "With raised hands, I shout at the top of my voice; but alas, no one hears my words which can give them Supreme Peace, Joy and Eternal Bliss. One can attain wealth and all objects of desire through Dharma (righteousness). Why do not people practise Dharma? One should not abandon Dharma at any cost, even at the risk of his life. One should not relinquish Dharma out of passion or fear or covetousness or for the sake of preserving one’s life. This is the Bharata Gayatri. Meditate on this daily, O man! when you retire to sleep and when you rise from your bed every morning. You will attain everything. You will attain fame, prosperity, long life, eternal bliss, everlasting peace and immortality."

parva title sub-parvas contents
1 Adi-parva 1-19 Introduction, birth and upbringing of the princes.
2 Sabha-parva 20-28 Life at the court, the game of dice, and the exile of the Pandavas. Maya Danava erects the palace and court (sabha), at Indraprastha.
3 Vana-Parva 29-44 The twelve years in exile in the forest (aranya).
4 Virata-parva 45-48 The year in exile spent at the court of Virata.
5 Udyoga-parva 49-59 Preparations for war.
6 Bhishma-parva 60-64 The first part of the great battle, with Bhishma as commander for the Kauravas.
7 Drona-parva 65-72 The battle continues, with Drona as commander.
8 Karna-parva 73 The battle again, with Karna as commander.
9 Shalya-parva 74-77 The last part of the battle, with Shalya as commander.
10 Sauptika-parva 78-80 How Ashvattama and the remaining Kauravas killed the Pandava army in their sleep (Sauptika).
11 Stri-parva 81-85 Gandhari and the other women (stri) lament the dead.
12 Shanti-parva 86-88 The crowning of Yudhisthira, and his instructions from Bhishma
13 Anusasana-parva 89-90 The final instructions (anusasana) from Bhishma.
14 Ashvamedhika-parva 91-92 The royal ceremony of the ashvamedha conducted by Yudhisthira.
15 Ashramavasika-parva 93-95 Dhritarashtra, Gandhari and Kunti leave for an ashram, and eventual death in the forest.
16 Mausala-parva 96 The infighting between the Yadavas with maces (mausala).
17 Mahaprasthanika-parva 97 The first part of the path to death (mahaprasthana "great journey") of Yudhisthira and his brothers.
18 Svargarohana-parva 98 The Pandavas return to the spiritual world (svarga).

MGR Movies – Complete List (1936-1978)

2011-11-11T08:01:00.000-08:00

Radhe Krishna 11-11-11

MGR Movies – Complete List (1936-1978)
Thirties...
1 1936 Sathi Leelavathi /Manorama Films, Ellis R.Dungan
2 1936 Iru Sahothararkal / Parameswari Sound Pictures, Ellis R.Dungan
3 1938 Thadcha Yagnam / Metropolitan Pictures, Raja Chandrasekhar
4 1938 Veera Jegatheesh / V.S.Talkies, TP.Kailasam-R.Prakash
5 1939 Maaya Machendrar / Metropolitan Pictures, Raja Chandrasekha
6 1939 Prahalaatha / Salem Sankar Films, B.N.Rao
Forties..
7 1941 Ashokumar / Murugan Talkies Film Company, Raja Chandrasekhar
8 1941 Vethawathi or Seetha Jananam / Shyamala Pictures, T.R.Ragunath
9 1942 Thamil Ariyum Perumal / Uma Pictures, T.R.Ragunath
10 1943 Thaasi Penn or Jothi Malar/ Puvaneswari Pictures, Ellis R.Dungan
11 1943 Arichandra / Sri Rajarajeswari Film Company, Nagapushanam
12 1945 Meera / Chandraprabha Cinetone, Ellis R.Dungan
13 1945 Saalivaahanan / Bhaskar Pictures, B.N.Rao
14 1946 Sri Murugan / Jupiter, M.Somasundaram-V.S.Narayan
15 1947 Paithiyakaaran / N.S.K.Films, Krishnan-Panju
16 1947 Rajakumari / Jupiter, A.S.A.Sami
17 1948 Abhimanyu / Jupiter, A.S.A.Sami
18 1948 Mohini / Jupiter, Lanka Sathyam
19 1948 Raja Mukthi / Narendra Pictures, Raja Chandrasekhar
20 1949 Ratnakumar / Murugan Talkies Film Company, Krishnan-Panju
Fifties...
21 1950 Manthiri Kumari / Modern Theatres, T.R.Sundaram- Ellis R.Dungan
22 1950 Marutha Naatu Ilavarasi / G.Govindan and Co
23 1951 Marma Yogi /Jupiter, K.Ramnath
24 1951 Ektha Raaja in Hindi/dubbed
25 1951 Sarvaadhikaari / Modern Theatres
26 1951 Sarvaadhikaari in Telugu/dubbed
27 1952 Andamaan Kaithi / Radhakrishna Films, V.Krishnan
28 1952 En Thangai / Asoka Pictures, C.L.Narayanamurthy-M.K.R.Nambiar
29 1952 Kumaari / R.Padmanabhan-Rajeswari, R.Padmanabhan
30 1953 Genoa / Chandra Pictures, F.Nagoor
31 1953 Genoa ; in Malayalam/dubbed
32 1953 Naam / Jupiter-Mekala, A.Kasilingam
33 1953 Panakkaari / Uma Pictures, K.S.Gopalakrishnan
34 1954 Koondu Kili (1954)/ R.R.Pictures, T.R.Ramanna
35 1954 Malai Kallan (1954)/ Pakshiraja, S.M.Sriramulu Naidu
36 1955 Guleba Kaavali (1955)/ R.R.Pictures, T.R..Ramanna
37 1956 Alibaabavum Naarpathu Thirudarkalum / Modern Theatres, T.R.Sundaram - video Part1 - Part2 - Part3
38 1956 Madurai Veeran / Krishna Pictures, Yoganand
39 1956 Thaaiku Pin Thaaram / Devar Films, M.A.Thirumugam
40 1957 Sakravarthi Thirumagal / Uma Pictures, P.Neelakandan video
41 1957 Maha Devi / Sri Ganesh Movietone, Sundar Rao Nadkarni
42 1957 Puthumai Piththan / Sivakami Pictures, T.R.Ramanna
43 1957 Raja Rajan / Neela Productions, T.V.Sundaram
44 1958 Nadodi Mannan / M.G..R.Pictures, MGR video Part 1 - Part 2 - Part 3
45 1959 Thaai Magalukku Kattiya Thaali / Kalpana Kala Mandhir, R.R.Chandran
Sixties...
46 1960 Baghdad Thirudan / Southern Movies, T.P.Sundaram video Part 1 - Part 2 - Part 3
47 1960 Mannaathi Mannan / Nadesh Art Pictures, M.Nadesan
48 1960 Raja Desingu / Krishna Pictures, T.R.Ragunath
49 1961 Arasilankumari / Jupiter, A.S.A.Sami
50 1961 Nallavan Vaalvaan / Arasu Pictures, P.Neelakandan
51 1961 Sabash Maapillai / Ragavan Productions, S.Ragavan
52 1961 Thaai Sollai Thattathey / Devar Films, M.A.Thirumugam
53 1961 Thirudathey / A.L.S.., P.Neelakandan video
54 1962 Kudumba Thalaivan / Devar Films, M.A.Thirumugam
55 1962 Maada Pura / P.V.N.Productions, S.A.Subburaman
56 1962 Paasam / R.R.Pictures, T.R.Ramanna
57 1962 Rani Samyukthaa / Saraswathy Pictures, Yoganand
58 1962 Thaayai Kaatha Thanayan / Devar Films, M.A.Thirumugam
59 1962 Vikramaadhithan / Bharat Productions, T.R.Ragunath-N.S.Ramdhas
60 1963 Anantha Jothi / Hariharan Films (P.S..V.), V.N.Reddy video Part 1 - Part 2 - Part 3
62 1963 Tharmam Thalai Kaakum / Devar Films, M.A.Thirumugam
63 1963 Kalai Arasi / Sarodi Brothers, A.Kasilingam
64 1963 Kaanchi Thalaivan / Mekala Pictures, A.Kasilingam
65 1963 Koduthu Vaithaval / E.V.R.Pictures, P.Neelakandan
66 1963 Neethiku Pin Paasam / Devar Films, M.A.Thirumugam
67 1963 Pana Thottam / Saravana Films, K.Sankar
68 1963 Parisu / Gowri Pictures, Yoganand
69 1963 Periya Idathu Penn / R.R.Pictures, T.R.Ramanna
70 1964 Theiva Thaai / Sathya Movies, P.Madhavan
70 1964 En Kadamai / Nadesh Art Pictures, M.Nadesan video Part 1 - Part 2 - Part 3
71 1964 Padahotti / Saravana Films, T.Prakash Rao
72 1964 Panakkara Kudumbam / R.R.Pictures, T.R.Ramanna video Part 1 - Part 2 - Part 3
73 1964 Thaayin Madiyil / Annai Films, Adurthi Subba Rao
74 1964 Tholilaali / Devar Films, M.A.Thirumugam
75 1964 Vettaikkaaran / Devar Films, M.A..Thirumugam video Part1 - Part 2 - Part 3
76 1964 Aasai Mugam / Mohan Productions, P.Pulliah
77 1965 Aayirathil Oruvan / Padmini Pictures, B.RPanthulu
78 1965 Enga Veetu Pillai / Vijaya Combines Productions, Sanakya video Part1 - Part2
79 1965 Kalankarai Vilakkam / Saravana Films, K.Sankar
80 1965 Kanni Thaai / Devar Films, M.A.Thirumugam
81 1965 Panam Padaithavan / R.R.Pictures, T.R.Ramanna
82 1965 Thaalam Poo / Sri Bala Murugan Films, S.Ramadas
83 1966 Anbe Vaa / AVM, A.C.Tirulokachandar
84 1966 Naan Aanaiyittaal / Sathya Movies, Sanakya
85 1966 Muharaasi / Devar Films, M.A.Thirumugam
86 1966 Naadodi / Padmini Pictures, B.R.Panthulu video
87 1966 Chandrothayam / Saravana Films, K.Sankar
88 1966 Parakkum Paavai / R.R.Pictures, T.R.Ramanna
89 1966 Petraal Thaan Pillaiyaa? / Sri Muthukumaran Pictures, Krishnan-Panchu
90 1966 Thaali Paakiyam / Varalakshmy Pictures, K.B.Nagabhushanam
91 1966 Thani Piravi / Devar Films, N.S.Varma
92 1967 Arasa Kattalai / Satyaraja Pictures, M.G.Chakrapani
93 1967 Kaavalkaaran / Sathya Movies, P.Neelakandan video Part 1 - Part 2 - Part 3
94 1967 Thaaiku Thalaimagan / Devar Films, M.A.Thirumugam
95 1967 Vivasaayi / Devar Films, M.A.Thirumugam
96 1967 Rahasiya Police 115 / Padmini Pictures, B.R.Panthulu
97 1968 Ther Thiruvizah / Devar Films, M.A.Thirumugam
98 1968 Kudiyiruntha Koyil / Saravana Screens, K.Sankar
99 1968 Kannan En Kaathalan / Sathya Movies, P..Neelakandan
100 1968 Oli Vilakku / Gemini, Sanakya
101 1968 Kanavan / Valli Films, P.Neelakandan
102 1968 Puthiya Bhoomi / J.R.Movies, Sanakya
103 1968 Kaathal Vaahanam / Devar Films, M.A.Thirumugam
104 1969 Adimai Penn / M.G.R.Pictures, K.Sankar Video: Part 1 - Part 2
105 1969 Nam Naadu / Vijaya International, Jambu Video: Part1 - Part3 - Part4 - Part5
Seventies...
106 1970 Maatukaara Velan / Jayanthi Films, P.Neelakandan
107 1970 En Annan / Venus Pictures, P.Neelakandan
108 1970 Thalaivan / Thomas Pictures, P.A.Thomas
109 1970 Thedi Vanda Maapillai / Padmini Pictures, B.R.Panthulu
110 1970 Engal Thangam / Mekala Pictures, Krishnan-Panchu
111 1971 Kumari Kottam / Kay Cey Films, P.Neelakandan
112 1971 Rikshawkaran / Sathya Movies, M.Krishnan Nayar video Part 1 - Part 2 - Part 3
113 1971 Neerum Neruppum / New Mani J.Cine Productions, P.Neelakandan
114 1971 Oru Thaai Makkal / Nanjil Productions, P.Neelakandan
115 1972 Sange Muzhangu / Valli Films, P.Neelakandan
116 1972 Nalla Neram / Devar Films, M.A.Thirumugam
117 1972 Raman Thediya Seethai / Jeyanthi Films, P.Neelakandan
118 1972 Annamidda Kai / Ramachandra Productions, M.Krishnan
119 1972 Naan Een Piranthaen? / Kamatchi Agencies, M.Krishnan
120 1972 Ithaya Veenai / Uthayam Productions, Krishnan-Panchu
121 1973 Ulagam Suttrum Vaalipan / M.G.R.Pictures, MGR video Part 1 - Part 2 - Part 3
122 1973 Paddikaatu Ponnaiah / Vasanth Pictures, B.S.Ranga
123 1974 Netru Inru Naalai/ Amalraj Films, P.Neelakandan
124 1974 Urimai Kural/ Chitrayuka, C.V.Sridhar
125 1974 Siriththu Vaazhavendum / Uthayam Productions, S.S.Balan
126 1974 Ninaithathai Mudippavan / Oriental Pictures, P.Neelakandan
127 1975 Naalai Namathe / Gajendra Films, K.S.Sedhumadavan video Part 1 - Part 2 - Part 3 - Part 4 - Part 5
128 1975 Pallaandu Vaazhha / Uthayam Productions, K.Sankar
129 1975 Ithaya Kani / Sathya Movies, A.Jeganathan
130 1976 Neethikku Thalai Vanangu / Sri Umaiyambikai Productions, P.Neelakandan
131 1976 Uzhaikkum Karangal / Kay Cey Films, K.Sankar
132 1976 Oorukku Uzhaippavan / Venus Pictures, M.Krishnan
133 1977 Inru Pola Enrum Vaazhha / Subbu Productions, K.Sankar
134 1977 Navarathnam / C.N.V.Movies, A.P.Nagarajan
135 1977 Meenava Nanban / Muthu Enterprise, C.V.Sridhar
136 1977 Maduraiyai Meedda Sundara Paandiyan (1978)/ Soleeswar Combines, P.Neelakandan

M.N.Nambiar

2011-11-09T06:44:00.000-08:00

RADHE KRISHNA 09-11-2011

M.N.Nambiar

M.N.Nambiar

M.N.Nambiar with long time friend and actor-politician M.G. Ramachandran
Born Manjeri Narayanan Nambiar
7 March 1919
Kannur, Kerala, India
Died 19 November 2008 (aged 89)
Chennai, Tamil Nadu, India
Spouse Rukmani

M. N. Nambiar

M. N. Nambiar ( (Tamil: எம். என். நம்பியார்)(Malayalam: എം എന്‍ നമ്പ്യാര്‍‍‍)(born Manjeri Narayanan Nambiar 7 March 1919 — 19 November 2008) was a film actor in Tamil cinema and had been in the film industry for more than 50 years.
Contents
1 Biography
2 filmography
3 Death
4 Filmactors told about him
5 Facts
6 References
7 External links

Biography

Born on 7 March 1919 in Cherukunnu, Kannur in a Nambiar family of Uthara Malabar, he moved to live with his sister in Ooty. He became interested in acting when he was 13 and he joined Nawab Rajamanikkam's troupe. From then on acting became the only thing that occupied him. His first film was 'Bhaktha Ramadoss', shot in 1935 in Hindi and Tamil, where he played a villain.
Though he started as a hero but started donning the role of a villain - so much so that today his name is almost eponymous with the Kollywood villain. Nambiar has worked with seven generations of actors from Balaiyah to Manoj (Bharathiraaja's son).
His first pay was Rs.3 in the "Boys Company." He would retain Re 1 and send Rs.2 to his mother. A man of very limited needs, he has not eaten outside of his house. He is extremely health conscious.
He made quite a statement in the early 50s with his portrayal of 11 roles in ‘Digambara Samiyar.’ His arresting performance in films such as ‘Manthiri Kumari,’ ‘Velaikkari,’ ‘Ayirathil Oruvan,’ ‘Thillana Mohanambal,’ ‘Missiamma’ and ‘Nenjam Marappadillai’ paved way for a very successful career that spanned over five decades.[1]
A majority of the more than 1000 films that he has done is in Tamil, though he has acted in Telugu, Malayalam and Hindi, besides an English film `Jungle' (with Rod Cameron, the film's hero, directed by William Burke) in which he appears in a few brief scenes. The film was released in 1952. The Hindi film he acted in was a remake of the Tamil `Kanavane Kankanda Deivam.'
After becoming popular in Tamil films he started his own drama troupe called Nambiar Nataka Mandram. They staged two plays — `Kaviyin Kanavu' and a comedy play `Kalyana Supermarket.'
M.N. Nambiar is an ardent devotee of Sabarimala Sri Ayyappan. He has had a long association with the temple, and visited the shrine more than 65 years over the last half a century; this has led to him being called Maha Guruswamy.[2]
His favourite films remain `Aayirathil Oruvan' with MGR, `Ambikapathi' with Sivaji Ganesan, `Missiyamma' with Gemini Ganesan, `Nenjam Marappathillai' directed by Sridhar and `Thooral Ninu Pochu' with Bhagyaraj. This was the film that made him do character roles, something that he continued to do till his death. He also acted as hero in two films `Kalyani' and `Kavitha' produced by Modern Theatres.
He has done stage, films and also serials such as `Velan.' When it comes to acting, he supposedly likes all the actors; but of special mention are M. R. Radha and Savitri. Both, in his opinion, were brilliant in their own way.
He died in Chennai on 19 November 2008.

filmography

This is complete list of his films. .

Year Film Language Notes
1935 Bhaktha Ramadas Tamil Debut film
1948 Abhimanyu Tamil
1949 Velaikaari Tamil
1950 Manthiri Kumari Tamil Rajaguru
1951 Marmayogi Tamil
1951 Sarvadhikari Tamil Remake of The Gallant Blade[3]
1952 Jungle English
1953 Petrathai Tamil
1953 Kanna Talli Telugu Sankar
1956 Amara Deepam Tamil
1961 Pasamalar Tamil
1963 Enga Veetu Pillai
1964 Uthama Puthiran
1965 Aayirathil Oruvan Tamil
1966 Thali Bhagyam Tamil
1976 Satyam Tamil
1981 Garjanai
1982 Thooral Ninnu Pochu
1983 Thai Veedu Tamil
1984 Naan Mahaan Alla Tamil
1986 Mella Thirandhathu Kadhavu Tamil
1993 Gentleman Tamil
1993 Paasamalargal Tamil
1993 Yejaman Tamil
1996 Poove Unakkaga Tamil
1997 Vallal
1999 Rojavanam Tamil
2001 Vinnukkum Mannukkum
Varushellam Vasantham
2002 Baba Tamil
2003 Winner Tamil
2004 Arasatchi Tamil
2006 Sudesi posthumous film
Uthama Puthiran
Ambikapathy (1957)
Enga Veetu Pillai
Mannavan vandhanadi
Thooral ninnu pochu
Pallandu vaazhga
Swamy ayyappan
Ninaithadai mudippavan
Ulagam sutrum vaaliban
Savale samali
Raja Raja Cholan
Nenjam marappadhillai
En thambi
Anbe vaa
Makkalai petra magaraasi
Velaikari (1949)
Kanjan (1947)
Rajakumari (1947)
Thigambara Samiyar (1950)
Kalyani (1952)
Vidyapathi (1946)
Kaviyin Kanavu
Garjanai (1981)
Avasara Police 100(1991)
Bhaktha Ramadass (1935)
Vinnukum Mannukum (2001)
Arasilankumari
Varushamellam Vasantham (2002)

Death

Nambiar was suffering from age-related ailments for the past four months and breathed his last at his residence, family sources said. He is survived by his wife, 2 sons - one a senior BJP leader Sukumaran Nambiar, and the other, Mohan Nambiar, is a prominent businessman based in Coimbatore. His only daughter, Sneha is married to actor Sarath Babu

Filmactors told about him

P. Vasu (Director) :
“If there was anyone who could act with both the top heroes [Sivaji Ganesan and MGR] of Tamil cinema then, it was Nambiar. At one point, directors could not think of anyone else but him to play villain.”
Srikanth (Actor) :
“This is a very big loss…you cannot find a human being like him easily.”
Manorama (Actress) :
“He was a villain only when the camera got rolling…otherwise, he’d always keep us laughing with his ready wit,”
K. Raman (Make-up man) :
“In ‘Nenjam Marappadillai,’ he plays a really old man…the makeup would take hours together, but he would be extremely patient. His skin was flawless and almost pink…he took great care of his health.”
Sundaram (Dance master) :
“Nambiar sami was responsible for taking most of us in the industry to Sabarimalai”
Sarath Babu (Actor) :
“He had great regard for all his contemporaries. One could see the genuine affection he had for actors,”
J. Jayalalithaa (Politician) :
“I have acted with him in several films. He would be very jovial and enthusiastic on the sets. When one worked with him, one forgot the burden of work. He was very fond of me and I always had great regard and respect for him. His passing away is a great loss indeed.”

Actor M.N.Nambiar

Name:
M.N.Nambiar
Date of Birth:
07/03/1919
Place of Birth: Kannur, Kerala, India
No of Movies acted: 123
First Movie: Bhakta Ramadoss

Kavignar Kannadasan

2011-11-09T06:29:00.000-08:00

RADHEKRISHNA 09-11-2011

Kannadasan

Kannadasan

"Kaviarasu" Kannadasan

Born A. L. Muthiah
June 24, 1927
Sirukudalpatti, Tamil Nadu, India
Died October 17, 1981 (aged 54)
Chicago, Illinois, United States
Pen name Karaimuthu Pulavar, Vanangamudi, Kamakappriya, Parvathi Nathan, Arokkiya Saamy
Occupation poet, novelist, lyricist, politician, film producer, editor
Nationality Indian
Citizenship Indian
Notable award(s) National Film Award for Best Lyrics
1961 Kuzhanthaikkaga

Sahitya Akademi Award
1980 Cheraman Kadali
Spouse(s) Ponnazhagi
Parvathi
Valliammai
Children 13

Kannadasan
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010)
"Kaviarasu" Kannadasan

Born A. L. Muthiah
June 24, 1927
Sirukudalpatti, Tamil Nadu, India
Died October 17, 1981 (aged 54)
Chicago, Illinois, United States
Pen name Karaimuthu Pulavar, Vanangamudi, Kamakappriya, Parvathi Nathan, Arokkiya Saamy
Occupation poet, novelist, lyricist, politician, film producer, editor
Nationality Indian
Citizenship Indian
Notable award(s) National Film Award for Best Lyrics
1961 Kuzhanthaikkaga

Sahitya Akademi Award
1980 Cheraman Kadali
Spouse(s) Ponnazhagi
Parvathi
Valliammai
Children 13
Kannadasan (Tamil: கண்ணதாசன்) (24 June 1927 – 17 October 1981) was a Tamil poet and lyricist, heralded as one of the greatest and most important writer in the Tamil language. Frequently called Kaviarasu (English: King of Poets), Kannadasan was most familiar for his song lyrics in Tamil films and contributed around 5000 lyrics besides 6000 poems and 232 books,[1] including novels, epics, plays, essays, his most popular being the 10-part religious essay on Hinduism, captioned Arthamulla Indhumatham (English: Meaningful Hinduism). He won the Sahitya Akademi Award for his novel Cheraman Kadali in the year 1980 and was the first ever to receive the National Film Award for Best Lyrics, given in 1969 for the film Kuzhanthaikkaga.

Kaviyarasu Kannadasan's with Chief Minister Dr.MG Ramachandran

Kaviyarasu Kannadasan's Mortal remains ....Late Dr.MGR consoling the family members
Contents
1 Poet laureate
2 Death
3 References
4 External links

Poet laureate

Kannadasan was the poet Laureate of the Tamil Nadu Government at the time of his death.[citation needed] He wrote an autobiography, titled Vanavasam.

Death

Kannadasan died on 17 October 1981 in Chicago, United States, where he had gone from India to attend a Tamil conference organised by the Tamil Association of Chicago. A house in Sirukootalpatti is now a memorial for the Tamil film music's evergreen favourites. The Kannadasan memorial museum was inaugurated on October 21, 1992.[2]

References

^ About Us
^ http://www.tn.gov.in/tamiltngov/memorial/kannadasan.htm
[hide]v · d · eSahitya Akademi Award for Tamil language
1955-1975
R. P. Sethu Pillai (1955) · Kalki Krishnamurthy (1956) · C. Rajagopalachari (1958) · Mu. Varadarajan (1961) · Mi. Pa. Somasundaram (1962) · Akilan (1963) · P. Sri Acharya (1965) · Ma. Po. Si. (1966) · K. V. Jagannathan (1967) · A. Srinivasa Raghavan (1968) · Bharatidasan (1969) · Ku. Alagirisami (1970) · Na. Parthasarathy (1971) · D. Jayakanthan (1972) · Rajam Krishnan (1973) · K. D. Thirunavukkarasu (1974) · R. Dhandayudham (1975) ·
1976-2000
Indira Parthasarathy (1977) · Vallikannan (1978) · Thi.Janakiraman (1979) · Kannadasan (1980) · M. Ramalingam (1981) · B. S. Ramaiya (1982) · T. M. Chidambara Ragunathan (1983) · Lakshmi Thiripurasundari (1984) · A. S. Gnanasambandan (1985) · Ka. Naa. Subramaniam (1986) · Aadhavan Sundaram (1987) · V. C. Kulandaiswamy (1988) · La Sa Ra (1989) · Su. Samuthiram (1990) · Ki. Rajanarayanan (1991) · Kovi. Manisekaran (1992) · M. V. Venkatram (1993) · Ponneelan (1994) · Prapanchan (1995) · Ashoka Mitran (1996) · Thoppil Mohamed Meeran (1997) · Sa. Kandasamy (1998) · S. Abdul Rahman (1999) · Thi. Ka. Sivasankaran (2000)
2001-present
C. S. Chellappa (2001) · Sirpi Balasubramaniam (2002) · Vairamuthu (2003) · Tamilanban (2004) · G. Thilakavathi (2005) · Mu. Metha (2006) · Neela Padmanabhan (2007) Melanmai Ponnusamy (2008) · Puviarasu (2009) · Nanjil Nadan (2010) ·

KAVIYARASU KANNADASAN

Kaaviyathayin Illaya magan
Kadhal Pengalin Perun thalaivan
Paamara jaadiyil thani manidan – naan
Padaippadhanal yen per Iraivan

Naan Manida jaadiyai aati vaipen – avar
Maandu vital adhai paadi vaipen
NAAN NIRANDARAM AANAVAN AZHIVADILAI
ENDA NILAYILUM ENAKKU MARANAM ILLAI

These are the great lines of Kaviyarasu Kannadasan in the movie Ratha Thilakam where he acts in the movie singing these lines. ( Song.. Oru Koopayilae yen kudiyiruppu)

What a visionary he was ? Indeed, he is NIRANDARAMAANAVAN.

I share some of my observations about Kavingyar. I want all the fans of HIM to join this discussion and add more quality material in praise of his great works.

This is the only way we pay tributes to this GENIUS.

a) Raga Gyanam of Kavingyar

In the file ‘ Thiruvarutchelvar’, no one can forget the great song ‘ Mannan Vandhanadi’. This song was penned by Kannadasan and music by legendary KVM and sung by P.Suseela. I do not think we can ever get a better song in the Raga Kalyani in our tamil movies when compared to this song . This song has all the nuances of Kalyani in a capsule form.

In the Charanam, look at these lines,

Viraivinil Nee… Ni
Mana malar Tha .. tha
Thiru Marbaa… Pa
Thamadhama… Ma
Mayil ennai Ka… Ga

Ni.. tha.. Pa.. Ma.. Ga….
The words end in the avorahanam of Kalyani ( descending order of the musical notes)

Similarly, there is one stanza which will have the first letters in the arohanam ( ascending order).. I do not recollect the exact lines..

Sa…
Ri.. ri ga ma pa da ni sa..
Ka.. karunaiyin Thalaiva
Ma.. Madhi migu Mudhalva..

Do we have any such poet today ?

b) Kannadasan’s command over Language

Also, can any one forget the ‘Then’ song in Veera Abhimanu.. This duet is again a KVM song in Raga Sahana by PBS and PS.

Paarthen Rasithen pakkam vara thudithen
Unai then ena naan ninethen – andha
Malai then idhu ena malaithen

What about the ‘voor’ song in the file Oorkkaval.. PBS is the singer

Endha voor endravanae
Irundha voorai chollava
Andha voor neeyum kooda
Arindha voor allava

The great ‘ Kai’ Song ‘ Athhikkai Kaai kaai’ in Balae Paandiya.—About this song, I will dwell in detail subsequently.

c) Kannadasan’s knowledge of Litreature:

(i) There is one tamil poem in ‘Pura Nanooru’, the old tamil literature.

To know the meaning of this poem, you also need to know about the philanthrophist tamil King Paari. He was so noble and kind hearted that on one occasion, when he found a jasmine creeper without a support, he let his chariot as the support for the creeper so that it could grow. His fame and wealth was an eyesore to cheera , choola and Paandya kings and they waged a war against him and killed him. They also want to marry his daughters who were too young and the marriage proposal was stopped by Tamil Sage Avvaiyar.

The poem is written to a situation where, the daughters of Paari, on a full moon day, recalls that their father was with them on the last full moon day and he is now more now and they were grieving for his death.

The poem in chaste tamil starts as

Attrai thingal Auv Vennilavil…

Kannadasan has taken this incidence to write his song

‘Androru Naal Idhe Nilavil
Avar irundar en arugil’ in the film ‘Nadodi ‘ ( wagabond)

(ii) In Kamba Ramayanam, the poem which describes Kaiykeye seeking two boons from Dasaratha starts as

‘Aazhi sooz ulagelam Bharathanae Aaala’ and ends as ‘ Theeyavai yaavinum Sirandha Teeyal’
whereby kambar describes Kaiykeye as the worst of the worst for her act .

I think Kannadesan must have been inspired by these lines and in the movie ‘ Karnan’, there is a song by SG, Tirchy Lokanathan, PBS, TMS which is penned to the situation of Karnan performing pooja to his father Suryan ( the Sun God). There the stanza

Mannavar porulgalai Kai kondu…. Ends with ‘ VARUMAIKKU VARUMAIYAI VAITHTHOR MAAMANNAN VAZHGAVE…VAZGHA VAZGHA.

Here, he used two negatives ‘ Varumaikku Varumai’ to elate Karnan’s noble charity that there was no poverty because of his abundant charity.

Also, I feel vairamuthu must have been inspired by Kannadasan’s lines that he had sai ‘ maanatthin Maanathai vaangi vittan’ in the song ‘Poo Malai Vaangi Vanthan’ in Sindhu Bhairavi.

(iii) In one of the Sirappu Then Kinnam ( remember the yester years in Radio… Chennai Vaanoli Nilayam !!), Kannadasan himself had said that he wrote the song

Thookkamum Kankalai Thazuvattume
Amaithiyum Nenjinil Nilavattume

Since he was inspired by the lines of shakesphere in ‘Macbeth’

(iii) The famous song in ‘Vaazhkai Padagu’

‘ Neetru varai nee yaroo naan yaroo
Indru mudhal nee vaero naan vaero’

Is based on the ‘Pura Naanooru’ padal

‘ Yanum neeyum yaaraa giyaro
yendaiym numadiyum evan kollo
Sembulap peyar neer pola
Anbudai Nenjangal Tham Kalandaduvae’

(iv).. One Sanga kaala illakkiya padal was the inspiration for Kavingyar to write the famous song in “Balae Paandiya’ – ‘ Atthikkai Kai Kai’

One newly wed bride is separated from her husband since he need to be in the battle field shortly after the wedding. On the full moon day, the lady, is thinking about her husband and feeling lonely without him on a romantic night. She requests moon ‘ I am always remembering him but not sure about how he feels.. Already I am sore without him… you also do not add to my suffering with your full radiance.. instead of glowing here, you shower your moon light on the direction where my husband is so that he also gets romantic mood and gets back to me’

This is what the song

‘Athikkaai kaai kaai
Aalangai Vennilavae’

Athikkai is fig. Also it means glow in that direction ( thikku in tamil means direction / side).

What a great song.. full of name of various vegetables. At the same time, has got a different meaning in chaste tamil.

d) Ability to convey his message through his songs.

(i) Kavingyar came out of Congress but had great admiration for Kamaraj. He wanted to convey his respect and desire for an ever lasting association with Kamaraj. Hence

‘Andha sivagami maganidam sedhi solladi – yennai
serum naal parka solladi’

came in the movie ‘Pattanathil Bhoodam’. In the movie , the song was set as it to praise Lord Muruga..

Kamaraj’s Mother’s name is Sivagami !!

(ii) Similarly

Nalandana … Nalandana…
Udalum Ullamum Nalandana..

Nalam Pera vendum nee Yendru
Naalum Yen Nenjil Ninaivundu
Ilai marai kaai pol porul kondu
Yevarum ariyaamal sol indru….

Was written in ‘Thillana Moganaambal’ for as the meeting song between Sivaji and Padmini after sivaji’s injury.

But, this song is actually written with C.N. Annadurai in mind when he was ailing in the hospital and kavingyar was away from him .

One more great song by KVM in the raag Sivaranjani.

WILL WE EVER GET BACK A KAVINGYAR LIKE KANNADASAN ??