HOLI MAHOTSAV

The Sweet PhAlguna month

 Once, in the mahOtsava of HOLI, Lord Hari had come to BarsAnA, the native place of rAdhA.  Seeing KrishNa, all the gOpikas of vraja reported this interesting news to mAninee rAdha, the jewel among women.  

The gOpikas were blessed to be born in the cowherd clan due to the many good karmas done by them in the previous birth. Their fathers belonged to the rank of upanandas, nine of them who were wealthy, handsome, having many children, well learned, kind and charitable.

 One gOpikA said to rAdhA:

“Oh, rambhOru! ChandravadanA! madhumAninee! Listen to our sweet message! Hari, the precious gem of Vraja, has arrived in our garden city on a Holi celebration trip.

 

The gOpikA continued,

Oh, rAdhikA! The handsome young lad is full of cheer. The sound from his jingling anklets that adorn His lotus feet, is attracting everyone towards Him. His yellow garment peetAmbara adds to His resplendence.

 

Radha was the most beloved gOpi of krishNa.  Our hero and heroine were assisted by many gOpis. Out of them,  the aShTa sakhis were their closest friends. They were eight group leaders namely LalitA, ChampakalatA, VishAkhA, ChitrA, TungavidyA, IndulEkhA, RangadEvi and SudEvi. They were experts in leadership, counselling, cooking, singing, instrumental music, weaving, decoration, hair-do, garland making, jewelery making, dance, drama, literature, art, gemology, logical reasoning and prediction.

 The gopikA says with awe:

"Oh, rAdhA rAni, Your charming ShyAmala Hari wears beautiful arm bands, a necklace called hAram and a garland called vanamAlA.  The reflection of His peetAmbara and the ornaments on His cloud colored body looks like a rainbow across the sky laden with rain clouds.

 

 

The gOpis knew well, the greatness of rAdhA's birth and her special connect with Krishna. VrishabhAnu and Keertida dEvi, a childless couple, found a beautiful girl baby floating on a lotus along the yamunA river.  As she fulfilled their wishes, they named their cute doll, 'rAdhA' and took her home happily. But to their dismay, rAdhA did not open her eyes at all.  During one of the vraj festivals, little Krishna chanced to glance upon little rAdha who was confined in her cot.  Immediately, rAdhA opened her lotus eyes for the first time and saw krishNa.  All the vrajvAsis were thrilled.  Since then,  she was called by the pet name KishOri, having regained her beauty due to Nanda Kishore's glance.

The gOpikA exclaims with glee,

Oh, madhu mAninee!  Hari's dark, curly tresses cascade down His shoulders and caress His rolling eyes that gleam like blue lotus. His sleek crown, mukuTam shines like the tender baby sun.  His fish-shaped earrings, the makara kunDalas dazzle like electricity.

 

So, the beautiful, talented ashTasakhis of rAdhA also called parama prEshTa sakhis were the most exalted as they carefully assisted Radha and krishNa in their pastimes.  No one could excel them in their whole-hearted love for the Divine Couple.  In the loving quarrel between Sri Hari and rAdhA rAni, they took the side of rAdhA rAni but sometimes pacified them too.

 The gOpikA said:

Oh, rAdhE!  Smeared with saffron essence, KrishNa stands with the spray pump - pichkAri filled with colorful water and colors in hand. Brimming with fondness like the flower blossoms, He is eagerly waiting to play HOLI with you.  Enough of it! Give up your ego now! Shed your anger! Under the pretext of the HOLI festival of PhAlguna month, go and meet Him.  You will not get this wonderful opportunity again.

 

Radha agreed and her sakhis gathered all the HOLI parapheranalia like water, pichkAri, kumkum, pouches of colors called gulAl, saffron paste, sandal paste, and honey of flowers and left to see KrishNa.

Effulgent KrishNa was waiting with a sweet smile. They sprayed perfumed waters on Him.  The colors from their hands filled the air covering KrishNa. Acknowledging their pure devotion, KrishNa manifested into many and played rang raas with them. rAdhA gave up her petty quarrel with KrishNa and finally immersed herself in the divine joy. Delighted with the holy panorama, the Gods together showered flowers of blessings on them.

 

May we also join the happiness and celebrate the sublime love of rAdhA krishNa on the auspicious occasion of HOLI MAHOTSAV.

 On this uttara phalguni day, we also celebrate Sri MahAlakshmi Jayanti, Wedding festival (KalyANa utsavam) of Sri Sri AndAl RanganAtha, Sri DeivAnai KartikEya, Sri PArvati Shiva, Sri SeetA rAma, HolikA Dahana, Sri Gadyatraya Jayanti and Sri Chaitanya Jayanti.

Thanks for enjoying!

ADIYEN

Drawings and Story Line - Smt. Malathi Balaji

Excerpts drawn from Srimad Garga SamhitA and Sri RAdhA KrishNa GanOddEsha DeepikA.

With humble salutations to the lineage of our Gurus of SanAtana Dharma,

VandE Guru ParamparAm!

RAdhE KrishNa!

 32 auspicious names of rAdhA that bring happiness and peace to the mind.

 

1  : मृदुल भाषिणी राधा ! राधा !!      2  : सौंदर्य राषिणी राधा ! राधा !!     3 : परम् पुनीता राधा ! राधा !!

4 : नित्य नवनीता राधा ! राधा !!        5 : रास विलासिनी राधा ! राधा !!    6 : दिव्य सुवासिनी राधा ! राधा !!

7 : नवल किशोरी राधा ! राधा !!       8 :  अति ही भोरी राधा ! राधा !!      9 : कंचनवर्णी राधा ! राधा !!

10 : नित्य सुखकरणी राधा ! राधा !!  11 : सुभग भामिनी राधा ! राधा !!   12 : जगत स्वामिनी राधा ! राधा !!

13 : कृष्ण आनन्दिनी राधा ! राधा !!  14 : आनंद कन्दिनी राधा ! राधा !!  15 : प्रेम मूर्ति राधा ! राधा !!

16 : रस आपूर्ति राधा ! राधा !!         17 : नवल ब्रजेश्वरी राधा ! राधा !!    18: नित्य रासेश्वरी राधा ! राधा !!

19 : कोमल अंगिनी राधा ! राधा !!    20 : कृष्ण संगिनी राधा ! राधा !!     21 : कृपा वर्षिणी राधा ! राधा !!

22: परम् हर्षिणी राधा ! राधा !!         23 : सिंधु स्वरूपा राधा ! राधा !!    24 : परम् अनूपा राधा ! राधा !!

25 : परम् हितकारी राधा ! राधा !!   26  : कृष्ण सुखकारी राधा ! राधा !!  27 : निकुंज स्वामिनी राधा ! राधा

28 : नवल भामिनी राधा ! राधा !!       29 : रास रासेश्वरी राधा ! राधा !!      30 : स्वयं परमेश्वरी राधा ! राधा

31  : सकल गुणीता राधा ! राधा !!       32: रसिकिनी पुनीता राधा ! राधा !!

 

                                                   कर जोरि वन्दन करूं मैं

                                                   नित नित करूं प्रणाम

                                                   रसना से गाती रहूंl

                                                   श्री राधा राधा नाम !!

 

 

 

 

 

 

 

 

 

 

 

 

மனத்துக்கினியான் !

"மனத்துக்கினியான்" என்ற திருப்பாவை வாக்கியம்  'ராம' சப்தம் ஆகும்.

ஸம்ஸ்க்ருதத்தில் ராமன் என்ற ஶப்தத்திர்க்கு "ரமயதி இதி ராம" - "மயக்குபவன் ராமன்" என்று விரிவாக்கம்.- அதனால் மனத்துக்கினியன்.

Mind voice  -"கிருஷ்ணன் தானே மனத்துக்கினியான்?

அவன் கண்ணுக்கினியான் - அவன் கூர்வேல் கொடுந்தொழிலன் நந்தகோபன் குமரன், யசோதை இளம் சிங்கம், கார்மேனி செங்கண் கதிர்மதியம் போல் முகத்தான் அல்லவோ!

"ராமன் கௌசல்யா நந்தவர்தன:" - தாயாரின் சந்தோஷத்தை அதிகரிக்கிறவன்  - அதனால் மனத்துக்கினியான்!

"தசரதாத்மஜ ராம:" - தசரதரின் ஆத்மார்த்தமான  புத்திரன் - அதனால் மனத்துக்கினியான்!

"குணவான்" - அனந்தகல்யாண குணங்கள் உடையவன் -  அதனால் மனத்துக்கினியான் !

"தர்மஞ:" - தர்மத்தின் பாதையில் நடப்பவன்- அதனால் மனத்துக்கினியான்!

"ஸர்வபூதேஷு ஹித:" - எல்லோருக்கும் உபாயம் - அதனால் மனத்துக்கினியான்!

"ராம சரித்திரம் பவித்ரம், பாபக்னம், புண்யம் - ராமனின் கதையை சொன்னாலும் கேட்டாலும் மோக்ஷம்  - மனத்துக்கினியான்!

"சீதே, ஸ்வரகோபி மம ந ரோசதே" - ஸீதயே! நீ இல்லாமல் ஸ்வர்கமும் ரசிக்காது  எனக்கு! - என்று சொன்ன ராமன் மனத்துக்கினியான்!

அவளை காணாமல் "சினத்தினால்" சீதையை தேட முயந்தவன் - மனதுக்கினியான்!

தென்னிலங்கை கோமானிடம் "இன்று போய் நாளை வா" என்று பரிந்து அருளினன் - மனத்துக்கினியான்!

"மமாபி எஷ: யதா தவ :" -  ராவணன் எனக்கும் சஹோதரன் தான் - என்று சொன்ன ராமன் - மனத்துக்கினியான்!

ராம ராம ராம!

அடியேன்

மாலதி பாலாஜி

AZHI MAZHAI KANNA, THE JAGAT KARANA!

 

AZHI MAZHAI KANNA

AZHI MAZHAI KANNA!!
TIRUPPAVAI - 4

Azhi mazhaik kaNNA!, onRu nI kai karavEl *

AzhiyuL pukku mugandu koDu ArttERi *

Uzhi mudalvan uruvam pOl mey kaRuttup *

pAzhiyan tOLuDaip paRpanAban kaiyil **

Azhi pOl minni, valampuri pOl ninRadirndu *

tAzhAdE sArngam udaitta sara mazhai pOl *

vAzha ulaginil peydiDAy * nAngaLum

mArgazhi nIrADa magizhndElOr empAvAy

 Andal awakens her friends of Ayarpadi to get ready for the margazhi bath in the early hours of the day. Our little poet describes how Lord PadmanAbha is the universal cause behind the wonderful water cycle that causes abundant rains. Let's learn some science alongside spirituality.

ANDAL succinctly explains the meaning of the term "JAGAT KARANA".  The term simply understood as 'cause of the universe' has three aspects in it. Our Lord KaNNan is the UPADANA KARANA (material cause), NIMITTA KARANA (instrumental cause) and the SAHAKARI KARANA (supportive cause) of the entire universe.

Azhi mazhaik kaNNA!, onRu nI kai karavEl

As the upAdana kAraNa (material cause), our Lord KrishNa manifests as the vast ocean (Azhi) which is the greatest source of water covering 71% of the earth. He is the most generous of all as He has bestowed us with infinite bounties.

AzhiyuL pukku mugandu koDu ArttERi *

He again becomes the Nimitta KAraNa (instrumental cause), in the form of the hot sun that causes the evaporation of the ocean waters.

Uzhi mudalvan uruvam pOl mey kaRuttup *

Again He Himself becomes the SahakAri kArana (supportive cause) when He holds all the evaporated water by the process called condensation and takes the hue of His original dark color.

pAzhiyan tOLuDaip paRpanAban kaiyil **

Azhi pOl minni, valampuri pOl ninRadirndu *

tAzhAdE sArngam udaitta sara mazhai pOl *

As if hit by the shArnga of Lord rAma, the clouds burst into rain amidst lightning that shines like Lord Padmanabha's chakra, and thunder that reverberates like his shankha. 

vAzha ulaginil peydiDAy * nAngaLum

mArgazhi nIrADa magizhndElOr empAvAy

ANDAL emphasizes on celebrating this magnificent Lord in the month of mArgazhi for abundant rains and prosperity of the world.

aDiyen

Smt.Malathi Balaji

MUSINGS ON KRISHNA'S DANCE

 

MUSINGS ON KRISHNA'S DANCE

Krishna, the charmer seems to have displayed a variety of dance forms in His mesmerizing avatAra.   Sage Shuka refers to krishNa in Shreemad BhAgavtam 10.21.5 as "naTa vara vapu:" - the best dancer. 

An effort is made here to categtorize His dance under the dance forms mentioned in sangam literature.  Ancient Indian dance forms are galore. The epics of the Sangam period mention a number of dances performed to the tune of 'PaN isai' and accompanied by the melody of musical instruments like 'yAzh-lute', 'kuzhal - flute', 'tannumai - drum', 'ekkam - trumpet' and 'mattali - drum'.

The subject of interest here is the 'koottu கூத்து' dance referred by AzhvArs in Divya Prabandhams.

There are more than six broad categories and seven sub-types in koottu dance. Out of which Krishna’s dance could be attributed to a specific category called 'vinOda koottu வினோத கூத்து - a folk dance meant to entertain local audience.  Let us go through a few dance forms. 

1. KuDa koottu குட கூத்து. kumbha nATyam

Krishna, the pot dancer

KuDa koottu is a type of vinOda koottu, performed by cowherds in the junction of streets.  The dancer skillfully balances tiers of pots on the head and hands. Sometimes he or she juggles the pots or balances many pots walking on a rope.  Some modern-day improvisations of this dance are 'Karagam கரகம்' of tamilnADu and 'BhavAyee பவாயீ dance of Rajasthan.

Krishna used to perform this 'kuDa koottu' dance along with the cowherd women in the junction of streets to entertain them. That is why He is called 'KuDam ADu Koottan by our AzhvArs.  In the sthala purANam of arimEya viNNagaram, it is said that uttanga maharshi wanted to view the virATroopam of Krishna. When krishNa showed His frightful vishvaroopa darshanam, uttanka Maharshi was overwhelmed. So, Krishna revealed His simple jolly form as GopAla Krishnan dancing with the pots of butter/amRuta on his head. Tirumangai AzhvAr sings about this dancing krishna in his periya tirumozhi 3.10.8.

(Other references are PeriyAzhvAr tirumozhi - 2.9.6, NAchchiyAr tirumozhi 10.7 and many more)

Govardhana uddhArana Significance:

After krishNa lifted the Govardhana hill on his little finger, on many instances, Krishna is said to have entertained the cowherds with this pot dance to remind them of His Govardhana fame.

Tattva: The dance portrays the 'para tattvam' that Hari is the source, cause and balance of all movable and immovable creations of the whole universe.

2. Kuravai Kootu குரவை கூத்து, rAsa kreeDA.

Kuravai koottu also forms part of the 'vinOdha koottu' in which a specified number of women dance together in circles. There is one to one interaction either by joining hands, clapping hands or beating sticks of partners.  Today, we see this Kuravai koottu style in the DandiyA Raas of Gujarat/ Rajasthan, Garbha of Gujarat, Kummi and kOlATTam of Tamil Nadu, dinDi dance of Maharashtra and kaLi ATTam of Kerala.

Krishna, the aesthetic dancer

The Raasa KreeDa dance of KrishNa with His dear gOpis, in the enchanting backdrop of the Brindavan forest, is a scene to reminisce. The dance steps go hand in hand with the rhythm of Krishna's flute and the tinkling bangles of the gopikas. This is referred as Kuravai koottu by our AzhvArs. 

Some other references of rAsa kreeDA are :

(BhAgavatam, Dashakam 10.33, PeriiyAzhvAr tirumozhi 2.3.5, 2.7.7, PerumAl tirumozhi 7.9 Periya tirumozhi 2.1.9)
(GopAla Vimshati 16) - Swami Desikan attributes this style of dance to the 'lalita vrittam' (charming dance) under the 'kaiseeka vrittam (graceful style) of nATyashAstra. 

Tattva: This dance portrays the eternal bond between ‘jeevAtmA' and  'paramAtmA’.

3. nOkku koottu (நோக்கு கூத்து)

This is another type of vinOdha koottu. Its a majestic dance and a treat to the eyes. It depicts special themes such as heroism, victory, energy and anger.

Today, we can see thematic dances like Shiva tANDavam and KrishNa tANDavam in the bharatanATyam of Tamilnadu, mOhini ATTam of Kerala, Kathak of Uttar Pradesh and in many more classical dance forms and cultural dramas in India. 

Krishna, the vigorous dancer

The kAlinga nardanam of KrishNa in the kAlindi river is an example of this nOkku dance. Celebrating His victory over the black poisonous serpent kAliya, Krishna danced on each of its hoods to the admiration of the celestials and the cowherds who played drums of different sizes. The sound from His anklets also matched the waves of the river that served as drum sounds.

PeriyAzhvAr tirumozhi 3.9.7. 

kALiyan poygai* kalanga pAyndiTTu* avan-
neeLmuDi aindilum* ninRu naDam seydu*
meeLa avanukku* aruL seyda vittakan*
tOLvali veeramE pADippaRa*

toomaNi vaNNanai pADippaRa.* 

It seems Krishna danced to victory even after He conquered the wrestlers called 'mallars' who were instigated by kamsa to fight against Him in mathurA. (PeriyAzhvAr tirumozhi 1.6.6). 

PeriyAzhvAr tirumozhi 1.6.6

kAy malar niRavA!  karumugil pOluruvA! *
kAnaga mAmaDuvil kALiyan uchchiyilE *
tooya naDam payilum sundara! ensiRuvA! 

AyamaRindu poruvAn edirvanda mallai 
andaraminRi azittADiya tALiNaiyAy*
Aya!  enakkorukAl ADuga sengkeerai*
AyargaL pOrERE!  ADuga ADugavE.

 Swami dEsikan attributes this dance style to the ArabhaTee vrittam (heroic anger) of nATya shAstra. (yAdavApyudayam 1.2.1).  Bhagavatam 10.16,  Periya Tirumozhi 3.8.7 are some more examples.

Tattva: Only when the mind is filled with love for KrishNa, the uncontrollable senses like the kAliya serpent, get subdued. In other words, KrishNa is the only saviour.

4. Navaneeta nATyam, நவநீத நாட்டியம்

This is the another type of dance that KrishNa performed to lure the gOpis and get a gob of butter. 

Krishna, the butter dancer

Swami Desikan explains the butter dance scene so tastefully in GopAla Vimshati (4). 

YashodhA is churning curds to get butter in nanda-bhavanam, the home of Nanda.  The 'layam' or rhythm arising from the curd churning process matches with the resonating sounds of the mother's gold necklaces, bangles and anklets. 

Our smart KrishNa choreographs a dance on the spot for the rhythm produced from the sound of churning butter.  He dances with one leg fixed and the other leg moving in different directions.  Dancing to Krishna's tune, the butter slowly appears on the top of the pot. The mother is then amused, and she gives him a handful of "Navaneetam' (butter mixed with sugar).

In tiruppAvai 7 - kAsum pirappum kalakalappa kai pErttu, vAsa naRungkuzhal Aychchiyar mattinAl, Osai paDutta tayir aravam kETTilayO, ANDAL describes the rhythmic sound of butter churning by the gOpis and the corresponding tinkling sound of their ornaments.

Tattva: This dance portrays the prapatti tattvam, in which chEtanas surrender unto the supreme Lord Hari to attain mOkshAnandam which is denoted by the butter.

5. marakkAl koottu மரக்கால் கூத்து

Tirumangai AzhvAr mentions in his Periya Tirumozhi 11.5.6 that krishNa danced with tall wooden legs, a dance form called "marakkAl koottu". (The alternative is dancing with the toes on top of a wooden pole that is fixed on the ground). 

kanrapparai karanga kaNDavar tamkaNkaLippa

manRil marakkAl koottu ADinAn kANEDee |

manRil marakkAl koottu ADinAn Agilum

enRum aRiyan imaiyOrkkum sAzhalE || (6)

ParakAla nAyaki says: "Hey friend! Your bhagavAn is the lay man who merely dances "marakkAl koottu" on the road junction. How can you term him as paramapurushan ?, asks her sakhi.

The other friend replies  -  Even though he danced with his wooden legs on the crossroads, one cannot deny the fact that he is the most amazing Lord ever and the one who is worshipped by the many crores of devas".

Tattva: This dance depicts the undisputed Lordship (Ishwaratvam) of shreeman nArAyaNa over everybody.

6. KrishNa, the natural dancer.

PeriyAzhvAr who made detailed cuddly poems on KrishNa's childhood stages, describes many instances of His dance. 

Dancing for elderly cowherd women.

PeriyAzhvAr tirumozhi 1.10.8

The Lord who climbed on a sand hillock, played His flute and danced to make the elder cowherdesses happy.  The rishis bowed to Him and the dEvas extolled Him. That krishNa, my Lord is coming to hug me.

mUttavai kANa * mutumaNaR kunRERi * 

kUttu uvantADik * kuzalAl isai pADi ** 

vAytta maRaiyOr vaNangka * imaiyavar

Etta vantu ennaip puRam pulkuvAn * empirAn ennaip puRam pulkuvAn.

Dancing and singing with his friends in the forest.

PeriyAzhvAr tirumozhi 3.4.5

KaNNan holds up the peacock feathered umbrella (tazhai) for the boys, all day under the hot sun, yet He manages to sing and dance with his cutely decked hair. 

suRRi ninRu Ayar tazhaigaLiDa*
suruL pangi nEttirattAl aNindu*
paRRi ninRu Ayar kaDaittalaiyE*
pADavum ADakkaNDEn* 

Dancer who defeated the apsaras

PeriyAzhvAr tirumozhi 3.6.4

Enthralled by his walk and flute music, the apsara dancers like mEnaka, tilOttama, rambhA, oorvashi etc. gave up dancing and singing on heaven and earth.

kAnakambaDi ulAviyulAvik*

karuNchiRukkan kuzhaloodina pOdu*

mEnakaiyoDu tilOttamai arambai*

uruppasi aravar veLhi mayangi*

vAnakam paDiyil vAy tiRappinRi*

ADal pADalavai mARinar tAmE*

May this happy dancing KrishNa enliven our hearts for ever. HARI CHARAN.

Smt. Malathi Balaji

AZHVAR EMPERUMAR TIRUVADIGALE SHARANAM