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"RADHE KRISHNA"

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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 and breadth 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 in
a place where there is no temple'. Sri Guruji, in order to blend
the styles of North and South in Architecture has built a temple
for Pandurangan and Rukmayee in the style and form a puri
jagannath temple with front Gopurams on Pallava style of
Architecture. 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 constructed
in '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

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DEVINE CENTRE

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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:

size=3 color="Blue"> 
               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.
Every one 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 aggrandisement
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 name
without following any order of performance will
suffice (Deveotional Songs), systematic performance
will always benefit. Even for our worldly activities,
we list out the steps to be followed to achieve
anything. A 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, concntration
and Bhakthi Bhaava, total surrender to the Lord without
Ego and with minimum Nithya Karmaanushtaanams prescribed
for Kaliyuga Dharma. As there are seven main samskaras
(minimum), so also I view the Sampradaaya Bhajan
Paddhathi grouped into seven parts as above, for
attaining salvation. This sampradaayam is a
conglomoration of Slokams & Keethanams composed
ands ung by various Bhakthaas/Sanths/Bhagavathaas
with a definite meaning and purpose. If we want
to follow them, naturally we have to adhere to the
rules set therein.

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 essense
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

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

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 for
which she is famous. Lord Vishnu is seated on Adi Shesha, the primal
serpent god, who represents the desire consciousness in us. Lord Vishnu
can help us either to fulfill these desires or control them. When He
travels, 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 us
before 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
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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
Dnyaneshwar 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).

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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 realise the real nature). He disappears temporarily from
there midst and made Himself not reachable by them. At this time, Gopis
felt loneliness and could not concentrate on their work and grieved over
the absence of Krishna. They realised that without Krishna, nothing moves,
nor is it possible to do anything. And it is the presence of Krishna that
made them happy and active. Even Living became a torture without Krishna.
Having realised this, they started wandering in the Kaalindhi River bank,
where they used to be in the company of Krishna and craved for his
appearance by admitting all their ignorance and egotism. The opening sloka
brings out the import: size=3>



align=center> size=3>
size=3>THANMANASKAA:THADAALAAPAA:

THATVICHESHTAA:
THADAATHMIKAA:

THADGUNAAN EVA
GAAYANTHYA:

NA AATHMAAKAARAANI SASMARU

align=center> 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 : color=blue> JAYATHI THEDIKAM KRISHNA JANMANAA VRUJA: is
to be sung in full, in raaga Chenchurutti &
Punnagavaraali size=3> by sitting
around the Deepam. Despite their cry, Krishna did not appear. color=brown> size=3>

size=3>        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 color=blue>Sinhendra Mahyamam):
THWAM EVA MAMA SARANAM KRISHNA
THWAAM VINAA ANYAM NA JAANE

Philosophical Import of
Gopikaa Geetham:

Though Mythology
projected Gopikaa Geetham as the song sung by Gopis, there is a message
for all of us. Gopis are the embodiment of Bhakthi towards Krishna.All of
us, the Jeevaathmaas, must become Gopis to attain Paramaathma (Krishna).
Jeevaathma is a spark coming out of the Paramaatma (self-willed leela of
Paramaathma) but having got entangled in the Samsaara Chakra by Maaya,
forgot about the real nature and is sunk in the materialistic pleasures
which are impermanent. Jeevathma should realise the real nature and try to
attain Mukthi, i.e. the knowledge of the Brahman and ultimately should
reach the abode of Paramaathma. This should be our aim while singing
Gopikaa Geetham. The Poorva Sloka before Gopikaa Geetham is full of
philosophical import and conveys as to how the Bhaktha should address the
Lord and what Bhaava one should have while singing Gopikaa Geetham.

Every human being
entangled by the worldly pleasures possesses Ego, a basic negative
quality, which hinders the human evolutionary process. A Bhaktha may cast
away all worldly pleasures and relationship with the materialistic world
and live an ascetic life but cannot discard the EGO, which the Lord alone
can help to discard. The Gopikaa Geetham song is the way by which God
helps Gopis (Jeevaathma) to cast away the EGO. The Lord helps Bhakthaas
only when they, in total surrender, calls for His help, without AATHMA
ABHIMAANA, i.e. without identification with Deha, Manas, Chittham, Buddhi,
Ahamkaar.

Pleased with the
Bhakthi and total surrender of Gopis, Krishna appears before them.The
following slokas, detail the reappearance of the Lord:
ITHI GOPYA: PRAGAAYANTHYA:
PRALAPANDYASCHA CHITHRADHAA
RURUDU: SUSWARAM RAAJAN
KRISHNA DARSANA LAALASAA:

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

Meaning:

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

size=3>
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: size=2>
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
:
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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

:::>>>:::...GA Trust

src="GURUJI_files/heading.jpg" width=279>

src="GURUJI_files/head.jpg" width=14>
background=GURUJI_files/bgg.jpg>Saints

OM GANESHAYA NAMAHA

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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 Yuga
perhaps may reach the flash point.

face="Arial, Helvetica, sans-serif" color=#ff0000>WHY
NAMASANKIRTHAN? face="Arial, Helvetica, sans-serif">
color=#ff0000>Easy way to Adopt

face="Arial, Helvetica, sans-serif" color=#0000ff>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 to
such a natural process of our daily living. Thus, it does not call for any
initiation nor training and could be carried on. Naturally.
Easily.

face="Arial, Helvetica, sans-serif" color=#0000ff> color=#ff0000>Like a Rhyme

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif">
color=#ff0000>Reminder of Home

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif">Guru to the
Rescue

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif">The Role of
Guru

face="Arial, Helvetica, sans-serif" color=#0000ff>God's
Incarnation

face="Arial, Helvetica, sans-serif" color=#0000ff>All of us are familiar
with the celestial song Bhagavat Gita and particularly the stanza on God
incarnating every yuga to restore balance.

color=#ff8000>Paritraanaya Sadhoonam Vinashaaya Cha Dushkritham
Dharmasamsthapanarthaya Sambhavami Yuge Yuge.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#ff0000>Who is guru
?

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#ff0000>Who Seeks
Whom?

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#ff0000>Recommendation by all
Gurus

face="Arial, Helvetica, sans-serif" color=#0000ff>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 minds
all 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.

face="Arial, Helvetica, sans-serif" color=#ff0000>NAMAM AND
NAMI
color=#0000ff>Which is powerful, Lord, "Thy name or Thyself" queried
Narada.

face="Arial, Helvetica, sans-serif" color=#0000ff>The Lord
replied:
Naham Vasami Vaikunte
Na Yogi
Hridhaye Ravow
Madh Bakthaha Yathra Gayanthi
Tatra Thishtami
Narada

face="Arial, Helvetica, sans-serif" color=#0000ff>"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"

face="Arial, Helvetica, sans-serif" color=#0000ff>Sri Suka Maharishi, the
cvenerable son of Veda Vyasa proclaimed that:

face="Arial, Helvetica, sans-serif" color=#ff0000>Kalow Sankeerthya
Kesavam

face="Arial, Helvetica, sans-serif" color=#0000ff>"Singing the glory of
Lord Kesava is perhaps the easy way to attain emancipation in the age of
Kali".

face="Arial, Helvetica, sans-serif" color=#ff0000>THE TRINITY OF
NAMASANKIRTHAN

face="Arial, Helvetica, sans-serif" color=#0000ff>Number
Three

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>Trinity of Cosmic
Play

face="Arial, Helvetica, sans-serif" color=#0000ff>The cosmic play is
enacted by the Trinity - Brahma, Vishnu, and Shiva - for their three fold
role of creation, preservation and rejuvenation.

face="Arial, Helvetica, sans-serif" color=#0000ff>Music
Trinity
color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>Trinity of
Namasankirthan

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif"
color=#0000ff>Padhadhi

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>Trynity of Great
Renaissance

face="Arial, Helvetica, sans-serif" color=#0000ff>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 to
serve.

face="Arial, Helvetica, sans-serif">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:

face="Arial, Helvetica, sans-serif" color=#9966ff>Sri Rama Rama Ramethi
Rame Raame Manorame
Sahasranama Thathulyam Rama Nama
Varanane.

face="Arial, Helvetica, sans-serif" color=#0000ff>"One who is sweet to
mind.
Called endearingly Rama Rama,
In Him I reside.
And Rama
Nama is equal
To His thousand other names"

face="Arial, Helvetica, sans-serif" color=#ff0000>Sathguru Sridhara
Ayyaval

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#ff0000>Sri Sathguru
Swamigal

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>With cummunication
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.

face="Arial, Helvetica, sans-serif" color=#0000ff> color=#ff0000>The World Movement face="Arial, Helvetica, sans-serif">
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.

face="Arial, Helvetica, sans-serif" color=#ff0000>SIGNS AND
GREETINGS

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#0000ff>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.

face="Arial, Helvetica, sans-serif" color=#ff0000>HOW NAMASANKIRTHAN
WORKS
color=#0000ff>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 the
lord, 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.

face="Arial, Helvetica, sans-serif" color=#0000ff>
Namasankirthan as
has 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 !!!

YOUR VISITOR

IMPORTANT LINKS

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Radhe Krishna

Monday, August 3, 2009

INTERNATIONAL DIVINE CENTRE, THENNANGUR

INTERNATIONAL DIVINE CENTRE

THENNANGUR

RADHE KRISHNA |

INTERNATIONAL

DEVINE CENTRE

(THENNANGUR)

RADHE KRISHNA |

DAKSHINA BHAJANA SAMPRADAAYAM

RADHE KRISHNA |

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-I

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-II

PRACHINA SAMPRADAYA BAJANAMRUTHAM PART - III

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-IV

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-V

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-VI

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-VII

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM

PART-VIII

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM

PART - IX

PRACHINA SAMPRADAYA HARI BAJANAMRUTHAM PART-X

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 UTHIRAMERURand 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

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 ! RADHE KRISHNS !! RADHE
KRISHNA !!!

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