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Sridhara Iyyavaal |
Sri Bhodhendra Swamigal |
Sri Satguru Swamigal |
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Sridhara Iyyavaal |
Sri Bhodhendra Swamigal |
Sri Satguru Swamigal |
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DHYAAYAN KRUTE YAJAN YAJNAI: THRETHAAYAAM DWAAPARERCHAYAN YADAAPNOTHI THADHAAPNOTHI KALOW SANKEERTHYA KESAVAM In Krutha Yuga, Threthayuga and Dwapara Yuga, to reach God, Tapas, Yagna, and Archana (Pooja) were the methods followed respectively. In Kaliyuga Naama Sankeerthanam(Bhajan) is the way out. How simple a method compared to previous Yugaas! Our Rishis have foreseen that in Kaliyuga, there will be no time for people to engage (nor will they be interested) in religious activities due to pre-occupation. This is clearly brought out by this sloka:
KALOW KALMASHA CHITTHAANAAM
PAAPA DRAVYOPA JEEVINAAM
VIDHI KRIYA VIHEENAANAAM
GATHI: GOVINDA KEERTHANAM
In Kaliyuga, all jeevaas will be sunk in Kalmasha Chittha - i.e. Kaama, Krodha, Lobha, Moha, Mada, Mathsaryaadi Shatgunaas and will be full of anger, Egoistic, self-centered, with envious feelings etc. 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:
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.:
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.
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Paddhathibhajan Deepapradakshinam Gopikaageetham Dolothsavam Ashtapadibhajan
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