Jasmine Strings

Interview on SVBC/Veena Yoga

2012-01-07T19:41:00.001-08:00

Sri.M.K.Thyagaraja Bhagavathar

2011-12-31T23:55:00.000-08:00

This old song of late Sri.M.K.Thyagaraja Bhagavathar can never cease to haunt me. While recording this song for the album, "Veena Tharangini" almost 2 decades ago, I strived with all my being to convey the legendary singer's emotions through my fingers and my veena. My life long favourite!!

D.E..E...E....E.....P.......D.........E.................

2011-12-28T21:17:00.000-08:00

Moon (mind) striving to dive into the Ocean Of Bliss

Trying to identify the stages between the most crucial advanced final 3 of meditation (as stated by the Yoga Sutras of Pathanjali) which are dharana (concentration), dhyana (meditation) and samadhi (absorption) is something like climbing a greasy sliding board from the wrong end.

Initially the base of the spinal chord spreads a wonderful warmth around itself, signalling the awakening of the Divine fragrance. The warmth is only a fragrance, a vague indication of an existence of an all-encompassing Divinity within oneself. This warmth lulls the practitioner into a semi-sleep like blissful feeling which could be termed as "Saannidhyam" (togetherness between 'Jeevatma' and 'Paramatma' within oneself).

The stage beyond the "Saannidhyam" is where one tends to lose oneself. This is the time when the breathing slows down to nothingness, while the region between the eyebrows is gradually illuminated by dazzling white/golden and bluish violet lights. The warmth that started at the base of the spinal chord ascends towards the neck region, as current waves gush in an upward motion, all the way upto the scalp..........

The lower torso feels like a separate body and the hair on the head feels thick as each and every strand of the hair is devouring the upward flow of current waves to form a life of its own!!

There is blessed peace within, surprisingly even on a physical level..........., along side this process and at the back of one's mind springs a startling discovery that even while one is neither inhaling nor exhaling the life within one's body is vibrant! As one continues to meditate while the breathing has stopped, fear propels one to hold on tightly in a vice-like grip to one's consciousness, afraid to tumble into an unknown world ( going by the promise of the Realised Ones that this unknown world is the Ultimate Truth which is the Ocean of Bliss)...........

The temptation to tumble and lose oneself into this unknown world is ever increasing. Is this the same world that has been visited by the Realised Ones and termed as the 'Golden Samadhi'..........the Heaven within oneself .............. the state where 'oneself' becomes 'Oneself'? Whatever..............let..m..e..j...u....s...t.....................d....i....v.........e.............d............................e...............e.........................p..........d.......e.....e.....e.....e..........................

Kalacharya Sironmani

2011-12-25T21:41:00.000-08:00

As one of my mother's foremost students I sadly missed attending the award function where my mother was felicitated by VDS Arts Academy with the title of "Kalacharya Sironmani" on December 21st, 2011. The birth of my second grand daughter on December 17th kept me happily busy in Bangalore.
Sri.P.S.Narayanaswamy presenting the award to my mother.

Mahavatar Babaji

2011-12-07T18:22:00.001-08:00

" The imagination is itself a very subtle faculty which can raise the consciousness to higher spiritual levels."

MAHAVATAR BABAJI EXISTS IN THE FORM OF ENERGY......BREATH HIM......

Job and cash

2011-12-02T17:38:00.000-08:00

Vishnu Gayathri:- "Naaraayanaaya Vidmahey Vaasudevaaya Dheemahee Thanno Vishnu Prachodayaath."

Lakshmi Gayathri:- "Mahadevyaicha Vidmahey Vishnupathnyaicha Dheemahee Thanno Lakshmi Prachodayaath."

For job oppurtunities or promotion/enhancement of professional status:- Chant first Vishnu Gayathri, second Lakshmi Gayathri and third and finally Vishnu Gayathri. The combined chanting in the same order as stated in the previous sentence for atleast 11 times everyday.

For cash inflow and accumulation of wealth:- Chant first Lakshmi Gayathri, second Vishnu Gayathri and third and finally Lakshmi Gayathri. The combined chanting in the same order as stated in the previous sentence for atleast 11 times everyday.

Shirdi Saibaba

2011-11-29T08:03:00.000-08:00

Ramana Maharshi's message through Beethoven's Missa Solemnis

2011-11-16T08:48:00.000-08:00

Excerpts from Paul Brunton's "Perspectives":-

"I shall never forget the wonderful message which Ramana Maharshi sent me by the lips of an Indian friend (he never wrote letters). It was some years before his death and my friend was visiting the ashram preparatory to a visit to the West, whither he was being sent on a mission by his government. I had long been estranged from the ashram management, and there seemed no likelihood of my ever seeing the saint again. The visitor mentioned to the Maharshi that he intended to meet me: was there any communication of which he could be the bearer? "Yes", said the Maharshi, "When heart speaks to heart, what is there to say?" Now I don't know if He was aware of Beethoven's existence in the distant world of Western music, but I am certain he couldn't have known that the dedication to the "Missa Solemnis" was "May heart speak to heart". This is a work whose infrequent performance stirs me to depths when I hear it, so reverential, so supernal is it. Few know that Beethoven himself regarded the Missa as his greatest composition. It must surely be his most spiritual composition, a perfect expression of the link beteen man and God."
(Posting the article on Bhagawan's auspicious birth star, Punarvasu).
Musical portrayal of The Formidable Self that has neither a beginning nor an end................... (as felt by me each time I listen to this masterpiece composed and performed with astounding perfection of the divine vocals and unparalleled instrumental technique........... dumbfounded!!!!!!!!!!!!)

Press release of my new assignment as Honorary Director of Tamilnadu Government Music Colleges

2011-11-08T03:10:00.000-08:00

On a rainy November 5th evening at Amma's residence receiving the official orders.
(Click on images to enlarge).

Victory For Veena!

2011-11-01T10:17:00.000-07:00

The past one month in Mumbai, especially Deepavali fireworks displayed right in front of my 7th floor apartment will stay in my memory forever and ever. My mobile rang this evening, the first of many callers informing me that Jaya TV's evening news announced my taking charge as Honorary Director of Tamilnadu Music Colleges.
Confirming the above, I received official confirmation too. The ruling Tamilnadu Government's act of honouring our vedic instrument marks the beginning of my Veena Festival!
Starting to pack my luggage and heading for Chennai, I look up to God for guidance in my new assignment as Honorary Director of TN Music Colleges.
I thank Amma for this great honour!

SHIVA PANCHAKSHARA STOTRAM WITH DIDGERIDOO

2011-10-31T23:22:00.000-07:00

Na kaaraya-Om Namah Shivaya
Ma Kaaraya- Om Namah Shivaya
Shi Kaaraya- Om Namah Shivaya
Va Kaaraya- Om Namah Shivaya

Vocal by Shyamala Sajnani, didgeridoo by Karan Sajnani.

Moola Nakshathram, Sharan Navarthri, October 3rd, 2011

2011-09-30T04:00:00.000-07:00

,

Saraswathee Namasthubhyam Varadey Kaamaroopini,
Vidyaarambham Karishyaami Siddhir Bhavathumeysadaa!

(Mamavathu Sri Saraswathi, Composer: Sri.Mysore Vasudevachar, Ragam: Hindolam, Thalam:Adi.
For the fusion album, "Unique". Fusion music composed by late Sri.L.Vaidyanathan. Veena recorded on multi tracks, unique feature-combination of konnakkol and veena.)

Moola Nakshathram is the constellation of Goddess Saraswathi. During Sharan Navarathri the star "Moola" usually comes on Maha Sapthami thithi and considered most auspicious for worshipping the Mother of Knowledge. The three days starting from Moola Nakshathram are dedicated to the worship of Goddess Saraswathi. Maha Navami is celebrated as Ayudha/ Saraswathi Pooja which is on the 5th of October this year.
In "Deivaththin Kural" Maha Periyava has stated that Soundarya Lahari slokas no. 3, 12, 15, 16, 17, 60, 64, 75, 98 and 99 invoke the grace and blessings of Goddess Saraswathi. Slokas no. 96 and 99 invoke the grace of both the Goddesses Lakshmi and Saraswathi. For proficiency in music, slokas 66 and 69.

Point to note:- Aspiring veena artistes not to chant sloka no. 66 alone, but combine sloka no. 66 with sloka no.69. Sloka no. 66's essence is that Goddess Saraswathi discontinues playing the veena and packs the veena or puts the veena away (after listening to the voice of Goddess Parvathi).
Vijayadashami comes with the constellation of Shravana Nakshathram, the constellation in which Lord Balaji was born. The conclusion of Navarathri and Brahmotsavam on the Seven Hills happen together, signifying that Lord Balaji and Goddess Bala Tripurasundari are one and the same.

The Body Temple (Part 6) (Secrets of Kasi Temple)

2011-09-26T10:00:00.000-07:00

Sri Paramahamsa Sachchidananda Yogeeswarar

As told by the yogi:-

(The secret behind Kasi Temple)

" You all are aware that Kasi Punya Kshethram ( the holy Varanasi, Benaras) is the most famous place for religious worship in our country, India. I will tell you a few facts about the Kasi temple.
When I visited the Kasi temple, on one fine day I went inside the sanctum-sanctorum (Moolasthaanam) of the temple. I stood by a side and observed the temple and its proceedings. The temple was extremely crowded and devotees pushed each other to reach the Shiva Lingam. The crowd was very thick and there was absolutely no space in between the devotees. People who reached the Shiva Lingam sat around the Lingam and poured some water (from their personal individual vessels which they carried with them into the temple) over the Lingam and scrubbed the Lingam with their hands. They poured the remaining water into the pot ("dhaaraapaathra"- pot with a hole in the bottom, facilitating the water to flow out of the bottom of the vessel) tied right on top of the Shiva Lingam. After emptying the water on the Lingam first and then into the holed-pot tied above the Lingam, the devotees placed a few flowers on the Shiva Lingam. In no time and just within seconds of placing the flowers on the Lingam, another devotee would push aside the flowers to pour some water out of his vessel and the rest of the water into the pot tied on top of the Lingam. This process continued for what seemed like eternity while even the "Archakudu" (priest) would push away the flowers the sooner they were placed on top of the Lingam. I found another priest who would gather all the discarded flowers and poured them in a heap in a far corner. He would hurry back to wash and clean within and outside the sanctum-sanctorum.
Devotees who had completed the ritual of wahing the Lingam, pouring the remaining water into the pot tied above the Lingam and placing flowers on the Lingam would take the water floating in the pit of the Lingam to drink the same. I watched all these proceedings with interest for awhile.
After sometime I looked at the front of the Lingam. I discovered that the Nandi was not placed right in front of the Shiva Lingam. The Nandi was placed slightly away from the Lingam. Apart from this, the Balipeetham, Dhwajasthambam, Gopuram (Temple Tower) etc., were not constructed in Kasi temple as per the requirements of temple construction. Nobody who goes on a pilgrimage to the Kasi temple notices all these things. Didn't I tell you that as we enter the temple, the first thing should be the Gopuram, in front of the Gopuram there has to be a Dhwajasthambam, in front of the Dwhwajasthambam a Balipeetham, in front of the Balipeetham a Nandi and in front of the Nandi, finally the Shiva Lingam has to be be placed?I was surprised to see all that missing in the Kasi temple. I was determined to find out the reason behind the misplacement of vital temple requisites. I walked all around the temple and observed. The temple tower (Gopuram), Balipeetham, Dhwajasthambam were nowhere in sight inside the temple. After making sure I did not miss or mistake anything, I walked through an entrance into the temple and looked around the place. There I found a huge ("goppa" in telugu means "great" but in this case the blogger assumes that it could mean "huge") Nandi slightly away from Kasi Visweswara Lingam. But this Nandi faced the same direction as Kasi Visweswara Lingam while presenting its rear side to the Visweswara Lingam. Further to my amazement I discovered that the Nandi sat facing a mosque....."

(To be continued......)

Radhashtami-September5th, 2011.

2011-09-04T13:12:00.000-07:00

"Radhe Radhe" by Sri.Shenkottai Hari & Party.

Radha Sthothram:-

" Thvam Devee Jagathaam Maathaa Vishnumaayaa Sanaathanee

Krishnapraanaadidevee Cha Krishnapraanaadhikaashubhaa

Krishnapremamayee Shakthihi Krishnasowbhaagyaroopinee

Krishnabhakthipradey Raadhey Namasthey Mangalapradey."

SONG OF THE SNAKES

2011-08-28T13:01:00.000-07:00

"Anantham Vasukim Sesham Padmanaabhamcha Kambalam

Sashaankakapaalam Dhartharaashtram Taakshakam Kaaliyam Thathaa

Ethaani Nava Naamaani Naagaanaam Mahaathmaanaam

Saayankaale Pathennithyam Praathahkaale Viseyshathaha

Thasmi Vishabhayam Naasthi Sarvathra Vijayeebhaveth."

Aslesha Bali pooja is one of the important Kaalasarpa dosha pujas performed at Kukke Subramanya temple near Mangalore in Karnataka. Lord Subramanya is known as the protector from Kaalasarpa dosha and Kuja dosha. Kukke Sri Kshetra temple is the most popular for Sarpadosha puja. Aslesha Bali puja is performed on Aslesha nakshatra in each month. It is believed that if this puja is performed on other days it has no power.
Devotees believe Shravana masa, Karthika masa, and Margashira masa are the most auspicious months to perform Aslesha bali puja at Kukke temple.
The song above is "Magudi", song of the snakes, set to raga Punnagavarali and composed by my father, late Sri.G.Aswathama and rendered by myself (for the fusion album, "Unique", by late composer/violinist Sri L.Vaidyanathan). My sister, Shyamala Sajnani uploaded and sent me the song today which coincidentally happened to be Aslesha Nakshathram!!

The Body Temple (Part 5)

2011-08-24T09:13:00.000-07:00

Sri Paramahamsa Sachchidananda Yogeeswarar

As told by the yogi-

"A community called "Naatukota Chettulu" (probably "Naattukottai Chettiars) have started renovating temples in such a way that the "Moolasthanam" (sanctum-sanctorum) is filled with natural air and light. Fifty three years ago, when I visited Kanchi Ekaambareswara Temple, the temple's "Moolasthanam" used to be pitch-dark. Such a fine temple's meaningful construction of its sanctum-sanctorum was demolished, the walls brought down to be rebuilt (which cost lakhs of rupees) by "Naatukota Chettulu" for natural air and light to enter the "Moolasthanam". The renovation happened 35 years ago. While the renovation was in progress, I visited the temple.

At that time "kalashams" (pots ) were placed approximately 40 feet away (in front of the Lingam )from the Shiva Lingam. A string of thread ran the length between the Shiva Lingam and the Kalashams, one end wound and tied around the Shiva Lingam and the other end wound and tied around a Kalasham. The life-force energy of the Shiva Lingam was extracted and directed into the Kalasham through the strength of "mantram" ("mantra balam"). When the "prana" or life-force energy of the Lingam entered the Kalasham, the connecting thread of string between the Lingam and Kalasham was removed and discarded. After this process all the poojas and worship that were meant for the Shiva Lingam was performed for the Kalasham. Kalasha-pooja continued until the renovation was completed.

Since the Shiva Lingam in the "Moolasthanam" was devoid of life-force energy or "prana" (which is now contained in the Kalasham), poojas were not performed for the Lingam. The Lingam and "Paanu Vattamu" (the blogger has no knowledge of this telugu term) were concealed carefully while the roof on top of the "Moolasthanam" and the walls surrounding the same were all demolished and brought down to renovate the ceiling and walls for the sole purpose of letting natural air and light to enter the sanctum-sanctorum or "Moolasthanam".

The renovation took place for nearly 5 or 6 years. After the renovation was completed, the covers from the Shiva Lingam and "Paanu Vattamu" were removed and the Lingam and "Paanu Vattamu" duly cleansed. Once again the "Kalashams" (pots) were placed in front of the Shiva Lingam. A thread of string connected the Shiva Lingam and the Kalasham by tying one end to the Lingam and the other end to the Kalasham. This time the "prana" or life-force energy which was initially directed from the Lingam to the Kalasham was re-directed to the Shiva Lingam (from the Kalasham) through the power of mantra ("mantra balam"). As soon as the "prana" or life-force energy was directed from the Kalasham and back into the Shiva Lingam, the thread of string was removed and discarded thereby disconnecting the current between the Lingam and Kalasham. Such a procedure is known as "Kumbabhishekam".

On May 5th, 1928 I started my tour (from Chenna Patnam-"Chennai") of mostly Andhra Pradesh and the northern part of India.

Sullurpeta, Nayadupeta, Guduru, Nelluru, Kaavali, Ongolu, Vetapaalayam, Cheerala, Repalle, Gunturu, Narasaraopeta, Vinukonda, Lankelakoorapaadu, Muppaala, Chaagantivaaripaalem, Saththenapalli, Mangalagiri, Bezavaada, Kondapalli, Madhira, Mahadevapuram, Dendukooru, Eerallapaadu, Allinagaram, Vathsavaayi, Chirunomula, Dabbaakupalli, Kambhampaadu, Penuganchiprolu, Anigallapaadu, Maagallu, Nandigaama, Jaggayyapeta, Mukthyaala, Bonakal, Naagulavancha, Khammammettu, Gadvaala, Hyderaabaadu, Palakanaama, Kollooru, Shikinderaabaadu, Maddikera, Paththikonda, Vuruvakonda, Gunthakallu, Joharaapuram, Aadoni, Bellaary, Hosapeta, Hampi, Paamarru, Kovvaada, Mahadevapattanam, Undi, Bheemavaram, Vedangi, Paalakollu, Narasaapuram (blogger's native place), Nidadavolu, SreeShanthi Ashramamamu, Rajahmundry, Kodoorupaadu, Amalaapuram, Ramachandraapuram, Kaakinaada, Saamarlakota, Peddaapuram, Thuni, Bheemavarapukota, Nakkapalli, Yelamanchili, Anakaapalli, Narasipaatanam, Chodavaram, Visaakhapatnam, Bheemunipatnam, Amanaam, Vizianagaram, Saalooru, Jayapuram, Bobbili, Paarvathipuram, Veeraghattam, Paalakonda, Raazaam, Cheepurupalli, Aamudaalavalasa, Srikaakulam, Heeramandalam, Parlaakimidi, Tekkali, Naupaada, Palaasa, Ananthagiri, Braahmanatharla, Sompeta, Ichchaapuram, Berhampuram, Askaa, Rasoolkonda, Chathrapuram, Khuradaaroaddu, Jagannaadham, Cuttack, Kharaghpur, Thaathaanagar, Chakradharapooru, Aadraa, Gaya, Kaashi, Prayaaga, Calcutta, etc. (including various districts, talukas, cities, towns and villages). I have toured all the above mentioned places and given religious lectures apart from clarifying the doubts of men and women folk on religious matters.

I have even visited all the Saivite temples in the above places and inspected whether the temples were constructed in accordance to requirements of temple-shasthras (customs).

I observed that only the Shiva temples in Andhra Pradesh were not built in the required manner.

In the temples in Andhra Pradesh, I found that there was no "Bali Peetham" in front of the "Dwajasthambam". The Shiva temple in a small village called Paalakonda (in Visaakhapatnam district) has the "Bali Peetham" in front of the "Gopuram" (temple tower). The "Dwajasthamabam" is placed only after one crosses the "Bali Peetham" . The "Dwajasthambam" should never be placed in between the "Moolasthanam" and the "Bali Peetham". I will tell you the reason.

The human feet (all the ten fingers of the feet) represent the "Kalashams" on the temple tower, the male organ is the "Dwjasthambam", the "naabhi" (navel region) is the "Bali Peetham", The "Hrudya Kamalam" (Anaahatha Chakram) between the two breasts represent the Nandi, the region in the "Brahma Kapaalam" (top of the head) is the residence of Lord Shiva . Therefore the placements in temples are not be interchanged, like the Shiva temple in Paalakonda. I could see that only in Paalakonda the placements of the "Bali Peetham" and the "Dwajasthambam" were interchanged. In the rest of the Shiva and Vishnu temples of Andhra Pradesh, there was a complete absence of "Bali Peethams". I think the natives of Andhra are not aware of the concept of "Bali Peetham". Through my religious lectures, I had educated the natives about the secrets and significance of Shiva temples.

Now I will come to the magnificent secret about the temple of Varanasi........."

(To be continued.........)

My mother's very rare concert!

2011-08-12T09:44:00.001-07:00

My mother and Guru, Smt.Kamala Aswathama's rare concert (maybe one of her couple of concerts after her marriage) in Sydney in the year 2002 when she went there to preside over her disciple Preethi's (my dear friend Manju's daughter) Veena Arangetram. My mother's discomfort while performing is evident (she performed to please Manju who had organised this concert). Manju's teasing laughter can be heard after my mother's second announcement :)!! All the three compositions are by my late father, Sri.G.Aswathama.

The Body Temple (Part 4)

2011-08-10T13:44:00.000-07:00

Sri Paramahamsa Sachchidananda Yogeeswarar

As told by the yogi:-

"..... The human body is the temple. The top-centre of the head, "Brahma Kapalam" is equivalent to the temple's "Moolasthaanam" (sanctum-sanctorum). The human brain is just below the "Brahma Kapalam" ( top-centre of the head region). The human brain is covered by an extremely thin layer of skin. This white and red coloured human brain is not only encircled in multiple rings but also encompassed by ultra-thin red coloured nerves.This portion is also known as the "Sahasraara Chakra." In between the brain and the "Brahma Kapalam" there is darkness. God is situated in this tiny portion of darkness which is also referred to as the "Cave of Brahma". Therefore the "Moolasthaanams" (sanctum-sanctorum) in temples are designed to be dark, to depict the presence of God in the darkness between the human brain and the top-centre ("Brahma Kapalam") of the human head.(You may refer to the diagram above.)

Many ignorant devotees have commented that temples should be designed to allow plenty of air and light into the "Moolasthaanams." Not only that, many wealthy devotees have gone to the extent of re-building new temples that allow plenty of light and air into the "Moolasthaanams" which is blasphemous. Devotees, without proper understanding of the science and relationship between the human body and the temple should not involve in the construction of temples.

Kindly listen to my personal experience:-

Chingleput District is in the state of Tamilnadu. The most holy temple town, Sri Kanchi is situated in Chingleput District. I was born in this holiest of holy places called Sri Kanchipuram. In this temple town, there is a Siva Temple in the name of Sri Ekaambareeswara. This temple was built by great scholars of yore during ancient times. The author of this article ( Yogi Sachchidananda Yogeeswarar), that is myself, had visited the temple in the year 1875, exactly 55 years ago ( the year, 1920 of authoring this religious text). In the Saivite temples which were constructed in ancient times, the darkness used to spread gradually, starting from the Nandi itself. The darkness gradually spreads and increases in intensity as the devotee proceeds towards the sanctum-sanctorum ("Moolasthaanam"). I walked in such darkness and reached the "Moolasthaanam". I found a flickering ghee lamp only next to the Shiva-Lingam and not anywhere else on the way to the "Moolasthaanam". I have already explained the reason why a "Moolasthaanam" is required to be dark (just like the darkness between human brain and the top-centre of human head or "Brahma Kapalam" of a human being which is the place of God also known as the "Cave of Brahma".)

Temples which were built by knowledgeable devotees were designed to be pitch-dark in the sanctum-sanctorum, the darkness spreading gradually from the Nandi and intesifying as it reaches the "Moolasthaanam" where it is totally pitch-dark. Many such meaningful temples were destroyed 253 years ago in communal riots.

(To be continued............)

The Body Temple (Part 3)

2011-07-28T07:55:00.000-07:00

Sri Paramahamsa Sachchidananda Yogeeswarar

As told by the yogi:-

"...That is why elders have always said that Lord Shiva is "Abhisheka Priya" (The One who is fond of ablution).In that manner the learned elders made sure that the water from the 'ragi' vessel was positioned on top of Lord Shiva's head which was a part of Shiva Linga before they left the temple. After a few days the learned elders went back to the temple to check ( with the aid of their yogic insight )whether the water from the 'ragi' vessel which was tied right on top of the Shiva Lingam had successfully cooled the yogic fire of Lord Shiva. They found out that the temperature of the yogic fire of Lord Shiva was brought down only to a certain degree and not fully to their satisfaction.

Following is what they did to cool down the yogic fire of Lord Shiva fully.

In the beginning when the temple was built, a 'ragi' vessel was not tied on top of the Lingam with water pouring down, neither was there a 'Nandi' in front of the Lingam. The tying of 'ragi' vessel filled with water on top of the Lingam and placing the idol of 'Nandi' in front of the Lingam were all done only after these learned religious pundits were able to assess the presence of Lord Shiva's head in the Lingam (through their yogic insight). I shall narrate the reason why these learned scholars installed the idol of 'Nandi' in front of the Lingam, please listen to me.

Bull (Vrishabham) is the vehicle for Lord Shiva. The bull grazes in the landscape outside the temple and later comes inside the temple to lie down randomly, chewing on the grass. At such a time, if Lord Shiva wants to Grace a particular devotee (who has been doing penance for several years), He comes out of the Lingam and attaining the human form He beckons the cud-chewing bull to mount the animal, speeds to the devotee whose penance had fructified, grants the devotee his desired boons, returns to the temple riding the bull, alights from the bull and reenters the Lingam. As soon as the Lord alights from the bull to reenter the Lingam, the bull once again goes out of the temple to graze and return to the temple to lie down somewhere chewing grass. I shall tell you how the learned elders instructed the bull.

They called out,

"Oh, Nandi, please come here!"

The Nandi obediently came to stand close to the elders as soon as it was beckoned. The elders then seated the Nandi right oppsosite the Lingam and placing their thumb and index fingers on its horns tried to assess the alignment between the centre of the Lingam and the middle of the Nandi's nostrils. After adjusting the Nandi's face for perfect alignment between the points between the mid-nostrils of the Nandi and the centre of the Lingam, the elders spoke to the Nandi as follows:-

"Oh, Nandi! From today onwards, please do not go anywhere and remain seated in the same position. Fan the Lord with your breath of inhalation and exhalation."

Having said thus to the Nandi, they beckoned the Pujari of the Temple,

"Oh, Archaka! From today make sure that men and women who come to the temple to pray do not come inbetween the Nanadi and the Lingam to enter the "Moola Sthaanam". Please ask them to enter either from the left or right side of the Nandi." The elders only told that much to the Pujari , without explaining the entire science behind the position of the Nandi. Thus the Pujari remained ignorant of the science behind the placement of Nandi right in front of the Lingam. The fact has been illustrated in the diagram above. I shall further explain why the Nandi is seated right opposite the Lingam.

Devotees who come to the temple place their index finger and thumb on top of the Nandi's horns to view Lord Shiva without knowing the science behind the act. The devotees are ignorant of the fact that the Nandi is seated in front of the Lingam to cool the yogic heat of the Lord by fanning the Lingam with its inhalation/exhalation process.

After some days the learned elders came back to the temple to find out through their yogic powers, if the yogic heat of the Lingam was nullified by the aid of the Nandi's breath-fanning. They were delighted when they discovered that the yogic heat of the Lingam was fully cooled and erased. The elders who were very pleased instructed the Nandi and the temple Pujari one more time to continue in the same manner and went back to their residences.

After these arrangements continued, there came a time when Lord Shiva who was residing in the Lingam felt compassionate towards a devotee whose penance had been continuing in all its intensity for several years. The Lord wanted to Grace His devotee and came out of the Lingam. As He stepped out of the Lingam, He instantly became heated in His own yogic heat as He came out of the dripping water from the 'ragi' vessel above and the fanning of the Nandi's inhalation and exhalation process. The Lord unable to bear His own heat beckoned the Holy river Ganges and tied Her up in His thick braids. Instantly cooling down He went to attend to His devotee, granting him desired boons and returned to the temple. As he stepped close to the Lingam, He released the Holy Ganges from His braids and sent Her back to Her place before entering the Lingam to be in His state of yogic self-absorption.

Now I will explain to you why only in Saivite temples Nandis are placed in front of the Lingam and not in Vaishnavite temples. Why is Garuthmantha (the Eagle-vehicle of Lord Vishnu) not placed right in front of Lord Vishnu? I will tell you the reason! Lord Vishnu is the Sustainer and does not remain in yogic self-absorption. Consequently, Lord Vishnu's body is not heated due to yogic fire. There is no need for Vishnu's vehicle, Lord Garuthmantha to fan Lord Vishnu with his inhalation and exhalation.

That is why in Vaishnavite temples the temple tower (Gopuram) comes first, then the "Dhwajasthambham", the Bali Peetham in front of the Dhwajasthambam, and the Moola Sthaanam (inner sanctorum) from the Bali Peetham and nothing else in between the Bali Peetham and the Moola Sthaanam. All the Vaishnavite temples are constructed in the above fashion. A few learned religious authorities have erected Lord Anjaneya's idol between the Bali Peetham and the Moola Sthaanam.

In Saivite temples, as we enter the temple we find that starting from the Nandi the darkness spreads around the area and the darkness increases as we reach the Moola Sthaanam. The darkness in the Moola Sthaanam where God resides is maximized and a ghee-lit lamp flickers near the Lord. We can also notice that there are no other lamps all the way upto the Moola Sthaanam where God resides.

Oh Andhra-residents of Ganjaam, Visakhapatnam, Godavari, Krishna, Nellore districts and towns, I have visited all the temples in your areas when I toured the state. Alas, I found that the Moola Sthaanams in all the temples in your areas are not dark. I had even visited the magnificent temple of Varanasi, even there the Moola Sthaanam is not dark! The Moola Sthaanams of temples in Chennapuri, South of Chennapuri, starting from Chengalput District all the way upto Rameswaram have been constructed by our ancient learned elders designed to make the area of the Moola Sthaanam pitch-dark. I fail to understand why in Andhra Pradesh the temples have not been designed to make the Moola Sthaanams dark.

Anyway, let me explain why the Moola Sthaanams of Saivite temples in Tamilnadu are pitch-dark..."

(To be continued........)

The Body Temple (Part 2)

2011-07-28T07:25:00.000-07:00

Sri Paramahamsa Sachchidananda Yogeeswarar

As told by the yogi:-
"Samadhi is a state where the practitioner succeeds in fully controlling his mind by shutting his mind to all mundane thoughts. Therefore devotees who go to the sanctum-santorum to have the darshan of God should not seek material favours. The devotee's only wish and aspiration should be to attain the Lotus feet of the Lord. With a clean and pure heart and with a steady gaze (by not looking here and there) the devotee has to enter the sanctum-santorum of the temple. The mind becomes fickle if the devotee allows his/her gaze to wander here and there. A fickle mind invites desire.Therefore the devotees should focus there total attention and thought on God as they enter the sanctum-santorum of the temple.

At the entrance of the sanctum-santorum, the devotee will find "nandi" seatedin front of the Sivalingam(please find the arrow mark on the chest region of the author indicating the placement of "nandi" in front of the Sivalingam.

Few devotees walk right in front of "nandi" as they enter the sanctum-santorumof the temple. Such devotees are immediately corrected by the temple priest,"Please do not obstruct the "nandi". Kindly walk to the right side or left side of the "nandi". Then the devotees would want toknow the reason why they should not obstruct the "nandi".The priest replies, "I do not know the reason why "nandi" should not be obstructed.I am only repeating what the elders have preached!"The priest is ignorant, I will tell why one should not walk in front of the "nandi".

Lord Siva is a great yogi. He therefore is always immersed in yogic fire. The Siva temple was built at the time of creation. Few learned and elderly men visited the temple at that time. They stood right in front of the Sivalingam and as they viewed the Lingam through their yogic gaze they realised that the Lord was full of yogic fire. I shall tell you what those elders did to cool the yogic fire of the Sivalingam.

They instructed the temple priest to tie a vessel made out of "ragi" metal (the vessel has a wide opening, narrowing down at the bottom which has a small hole) to chains in such a position and manner so that the vessel is positioned right on top of the Sivalingam. The elders instructed the priest to keep the vessel full of water at all times, so that the water flowed continuosly in a thin line through the hole over the Sivalingam. (You may find the water flowing steadily in a thin line

in the "Body temple" diagram).

Cold water is heating and hot water is cooling .There is a famous saying, "Ushnam Ushnena Sheethalam" (heat combined with heat produces coolness). The cold water (which is heating by nature ) pouring slowly and steadily on to the Sivalingam makes contact with the heat produced by the yogic fire of the Lord. By applying cold water's heat, the temperature of the yogic fire of the Lord is instantly brought down and cooled."

(To be continued....)

The Body temple (Part 1)

2011-07-28T06:00:00.000-07:00

Click on the photograph (of Sri Paramahamsa Sachchidanada Yogeeswarar) to enlarge.
Cuddapah Sri Paramahamsa Sachchidananda Yogeeswarar, born in Kanchipuram on February 16th, 1865 and attained 'nirvikalpa samadhi' on January 7th, 1957, was a great devotee of Ekaambreswara Nadha of Kanchipuram from the age of 12. It is believed that He had the darshan of Lord Ekaambreswara in the guise of a sage. The website www.cuddapahswami.org has lot more information about His Holiness.
In His book, "Shareeradevaalaya Rahasyaardhapaarijaathamu", His Holiness Sri Paramahamsa Sachchidananda Yogeeswarar has shown His body as the temple of God. He has explained as follows:-
As per the photograph above, in the lying posture, He has stated that the elders have determined the feet to be the "Gopuram" (tower) of temple.The ten fingers outlining both the feet are the ten "Kalashams" on top of the Gopuram. As we enter the temple through the "Gopuram-Feet", we first encounter "Prajaapathi" in the form of the "Dhwajasthambam"(Prajapathi is the Supreme God Who presides over procreation and is the Protector of the Universe).
In order to dispel any doubts that may arise in the minds of the readers, His Holiness has explained why the male reproductive organ is depicted as Prajaapathi. As the Creator of women, men, elephants, horses, cows, buffaloes, donkeys, dogs, deers, other wild and tame animals, crawling creatures like snakes, tortoises, ants, bugs,worms etc. and flying creatures like innumerable varieties of birds, mosquitoes, creatures that live in water like fish, and other sea -creatures, it is but natural that the reproductive organ of the male stands for the Dhwajasthambam. The primary deity for Prajaapathi is Lord Brahma according to epics. Moreover, the navel is placed in front of Prajaapathi. This navel represents the "Bali Peetham". The Bali Peetham is where the sacrifice is performed. His Holiness has named the 10 sacrifices one must perform in this place:-
1)Desire:- Desire for somebody's wife, one's own wife, sons, daughters, wealth, accumulation of property. Narakasura had perished due to this quality.
2)Anger:-Unable to bear other's prosperity and even attempting to hinder their growth. Bakasura had perished due this quality.
3)Selfishness:-Enjoying one's own wealth greedily, not sharing even a little with anybody. Duryodhana had perished due to this quality.
4)Fascination:-For mother, children, spouse, not being satisfied with one's own wealth-trying to accumulate more and more property. King Dasharadha had perished due to fascination for son, Lord Rama.
5)Arrogance:- Excessive success and accumulation of wealth could lead one to this state, where the native does not care for the feelings of others. Karthaveeryaarjuna perished due to this quality.
6)Spitefulness:-Not being able to bear others' prosperity even though the native himself is prosperous and happy. Trying to subjugate others and their growth. Sishupala became the victim of Lord Krishna's discus due to this quality.
7)Pomposity:-Giving charity, performing "yagnas"(holy rituals) on a grand scale only to impress others. Puroorava Chakravarthi is a fine example of this quality.
8)Condescension:-Assuming oneself to be the greatest in personal and monetary affairs. Parashurama had this quality.
9) Intolerance and ill-will:-Wishing that others are as unhappy as oneself. Hari Sakshi had this quality.
10)Jealousy/Envy:-Trying to harm those who have harmed you. Poundareeka Vasudeva had this quality.
Even if men and women do not possess every quality mentioned above, they may have atleast one or two qualities out of the 10 bad qualities. Therefore, these qualities have to be sacrificed at the "Bali Peetham" (navel) to enter the sanctum santorum of the temple with a cleansed and purified heart and mind.
The process of sacrificing the bad qualities at the "Bali Peetham" is as follows:-

As we enter the temple tower (Gopuram), and past the "Dhwajasthambam", we must stand next to the "Bali Peetham" with folded hands praying fervently, "I am sacrificing all my bad qualities and tendencies here at the 'Bali Peetha'. Now I do not possess bad qualities. Now I am going to enter the sanctum santorum of the temple to have the 'darshan' of God."
After offering salutations to the "Bali Peetham" and purifying ourselves we must enter the "Moola Sthaanam" (sanctum santorum) of the temple without any thought or feeling. When we are able to enter the 'moola sthanam' totally devoid of thought or feeling, such a state is called as "Samadhi."
(To be continued.....)

Ooru Kutcheri

2011-07-27T18:43:00.000-07:00

Following many requests to write about my travel experiences, I am publishing this light-hearted article, my experience in one of my innumerable concert tours in the past.

Ignoring the mobile which was ringing in my hand, I checked my handbag for the umpteenth time to see if I carried my train ticket. Thank God it was there! My husband reminded me about my water bottle. Wiping the sweat on my brow I replied, "Ya, I think the watchman kept the bottle in the car." Finally I answered the mobile, my guess was correct, it was my mother. "Amma, emiti?"

My mother sounded anxious, "Gayathri, neellu theesukunnaavaa? Trainlo emi thintaavu?(Have you taken drinking water, what will you eat in train?)"

"Amma, don't worry, we are having our dinner in Woodlands on the way to station."

"Be careful, call me as soon as you settle in the train."

I assured her, " Don't worry Amma, I will....."

She cut me short,"Have you packed the contact mike, veena strings and .."

I told impatiently,"Amma I have to rush, I will call you as soon as I board the train, ok?"

My mother was not satisfied with the conversation, "Ok, but don't forget to call!"

"Sure I won't!"

My husband was already outside the house, waiting in the car for me.

Hurrying across to the pooja room, I prostrated to Sri Vidyaranya Swami's idol and coming to the drawing room I stood in front of Lord Venkateswara's photo for a second and in front of Sri Ranganatha Swamy's photo too and prayed.

"Saab bula rahe hain." It was the watchman.

I rushed out of the house and pulled the door shut, my tension building at the thought of carrying my veena safely through the crowds in Chennai Railway Station.

As we drove to the hotel I declared thoughfully, "I don't want to travel with veena after this, I am fed up of carrying the instrument in all that crowd."

My husband observed, "You keep telling this everytime you go on a tour."

I sighed and started counting the hours to get back home, 2 nights in train, approximately 36 to 40 hours to come back home!

Thank God it was not a long trip!

As our car entered the railway station, I eyed the chaotic scenario in the railway station complex. Cars were lining up at the entrance to drop off passengers and their luggage.

Getting out of the car I looked around anxiously for a porter who seemed efficient enough to carry a musical instrument like veena. Even before I could call somebody, I saw my husband handing over the luggage to a porter.

I told my husband anxiously,"Don't give the instrument to him, he will not be able to carry the suitcase as well as the veena."

The porter understood my telugu.

"Don't worry Madam, I know how to take the guitar along with the suitcase."

Momentarily confused I realised he was referring to my veena!

Without bothering to correct him I exclaimed,"No no, you can't take both!'"

My gaze scanned the surroundings for another porter.

The porter highhandedly bent down to pick up the veena, suitcase in his other hand.

"No!", I shrieked and ran to grab the veena from the porter.

"Ayyo, Madam, why are you so worried?! Just last week I carried a guitar for an old lady along with 2 suitcases! I know how to do it, just leave it to me."

Refusing to be convinced I said firmly,"No means no, just give it to me."

My husband assured me, " Athanu theesukuntaaduley, nenu athani venakaaley velthaanu, veena kindha padakunda choosthaanu, nuvvu oorikey worry avaku! (He looks capable of taking the veena, I will walk right behind me and keep a watch on the veena to see he doesn't drop it. Don't panic!)"

Feeling helpless I winced as he bent down to pick up the instrument in a swift movement, lifting it up high, and placing the trunk of the veena over his shoulder.

I tried not to shriek as I voiced my protest.

"I know how to carry Madam..." I could see that he was getting impatient.

I told him firmly, "Look here, you either carry the instrument the way I tell you, otherwise give it to me."

He relented,"Ok, pl. show me how I must carry it."

Out of the corner of my eye I noticed my husband smiling at me while I showed the porter how to carry the instrument.

"Lecture-demonstrationaa?" my husband teased me.

"Yemi chesedi, kharma!" I answered. Suddenly feeling a wave of boredom and tiredness wash over me I realsied that I must have gone through the same railway station-scenario over a zillion times, in all my countless concert tours in the past.

As we walked through the chaos inside the station, the porter tried to chat me up.

"Do you play guitar on tv?"

The interview session was always the most dreaded thing for me as I hated answering questions regarding my profession.

"No." I said briefly, trying to move away a little in order to avoid conversation.

Not taking the hint the porter adjusted his gait towards me "Do you come in some tv serial?" he persisted.

My eyebrows knit in irritation, "No", trying to divert his attention I added, "You may drop the instrument, be careful."

The porter replied carelessly, "Don't worry Madam, I won't drop it."

After some silence he looked sideways at me, his eyes bright with surprise and pleasure as he exclaimed, "Now I know, you are a newsreader on some tv channel, no wonder you look so familiar!"

I had to smile in reply. The very next moment the veena slanted towards the back and I caught the instrument, preventing it from sliding further.

"Look, this is what I have been cautioning you about and you kept telling me that you knew how to carry it, now just give it to me."

"No no, I will manage", he protested, adjusting the veena back into position once again.

Glancing around the station, my eyes were inevitably drawn to a huge hoarding that displayed a collage of passport size photographs of petty thieves and criminals. The caption in bold letters, "BEWARE OF PICKPOCKETS....." warning passengers of the presence of such criminals around the place brought a smile to my lips. That poster always reminded me of what a mridanga vidwan told me once (who is well-known among music circles for his tremendous sense of humour) while we waited on the platform to board the train. A well-known music organisation advertised its performing artistes of the year in a similar fashion and the mridanga vidwan joked that the general public could be confused between the two hoardings (Central Station hoarding and the poster advertising the music organisation's artistes), owing to their identical designs and layout of the hoardings! I chuckled to myself as I reached for the ringing mobile in my handbag. It was the same mridanga vidwan on the other end,he asked,"Hi, are you already in the station?"

"Ya, where are you?"

"Just finished a concert and coming directly to the station."

"Oh, what about your dinner?"

He replied that his wife packed his dinner for the train.

"Oh, good, then we will meet in the morning."

"Ok, bye!" he said

"Bye, good night!"

As I was nearing the train another porter walking past our way teased my porter,"Hey, when did you start playing sitar?'

My porter retorted,"It is not a sitar, it is a guitar."

Rolling my eyes upwards I walked towards the compartment to search for my name on the chart.

Relieved to find my name on the chart I got into the train, my husband took the veena from the porter, asking him to keep the suitcase inside the compartment while he waited on the platform with the veena.

After paying the porter my husband got down from the train,"Call me as soon as you reach there. Be careful, take care."

I waved bye to him but found him making a u-turn and walking back towards me as though he suddenly remembered to tell me something, a hint of a smile on his lips.

"Emiti?" I asked curiously.

"You know, some people came to me and asked me for my autograph while I waited with the veena on the platform." His smile broadened.

"Your autograph?!" I exclaimed, my eyes widening in surprise.

"They mistook me for Chittibabu!"

THALLI-GURUVU

2011-07-27T12:47:00.000-07:00

Aim Hreem Shreem Aim Kleem Sowm Shree Maathrey Namaha.

Shree Gurubhyo Namaha.

Moshe Daniel's Musical and Astrological Harmonies

2011-07-21T11:47:00.001-07:00

Hamsa

2011-07-19T08:38:00.000-07:00

Swan is a bird of elegance, beauty and purity. Hamsa in Hinduism is the bird vehicle of the Goddess of Learning, Saraswathi. The swan-shaped constellation, Cygnus in the zodiac sign, Libra is believed to be the seat of Goddess Saraswathi from where scientists, many decades ago detected a hissing noise defined as the "Omkara" which pervades the Universe and oneself.

Vedic astrology states that 'Hamsa Yoga' occurs when Jupiter is in a kendra from the ascendant or the moon, in his own place or in the sign of exaltation (Cancer), should neither be combust nor conjoined with malefics or aspected by the same.

Results of Hamsa Yoga:-power of discrimination, equanimity of mind, mental state of a yogi while leading the life of a King (yogi/bhogi).

'Parama-hamsa' means 'Supreme Swan', applicable to evolved souls and Spiritual Gurus (like Sri Ramakrishna Paramahamsa).

Hamsa also figures in Soundarya Lahari, for example, the 38th sloka is as follows:-

"Samunmeelathsamvithkamalamakarandaikarasikam

Bhaje Hamsadvandvam Kimapi Mahathaam Maanasacharam

Yadaalaapaadashtaadashagunithavidyaaparinathihi

Yadaadaththey Doshaagunamakhilamadbhayaha Paya Iva."

Meaning of the sloka: "O Mother, I adore the pair of swans (Shiva-Shakthi) who take delight in imbibing the honey of the full-blown lotus of knowledge of the anaahatha chakra (heart chakra), and who swim in the minds of the great. Their mutual conversation is what have become the eighteen arts, and they separate good from evil, the way the swans separate milk from water."

The twin swans are depicted as Shiva-Shakthi and known for their power of discrimination.

In my recent trip to a famous park, I visited cottages representing various countries and their respective spiritual/cultural beliefs. Walking into the House Of Persia, I was fascinated to find information about the significance of the word "Hamsa" in Hebrew and Arabic. Hamsa finds place in Jewish Kabbalah, Islam and Judaism for centuries, but archeological research reveals that Hamsa originated with the Phoenicians (Phoenicia was an ancient civilization in Canaan, and most of the Phoenician cities were built along the coastline of the Mediterranean.) and associated with an ancient Middle Eastern Goddess.

The famous "Hamsa Hand" is an ancient Middle Eastern Amulet bringing its wearer great prosperity, joy, health and spiritual upliftment. It is also known as the "Hand Of Miriam" named for the sister of Moses and Aaron.

The word "Hamsa" (Arabic) or "Hamesh" (Hebrew) means five representing the five books of Torah for Jews, fifth letter of the Hebrew alphabet, "Heh" which represents God's holy names, Five Pillars of Islam for Sunnis, Five People of the Cloak for Shi'ites. For the Jews it reminded them of the five senses to be used for the praise of God.

Top photo is of the Phoenician Goddess of fertility Astarte (Goddess Lilith according to Jewish mythology) displaying Her open palms, second photo,Hindu Goddess of Learning, Saraswathi, third photo, Hamsa Hand Amulet of the Middle East.

Emergency Landing!

2011-07-14T09:53:00.000-07:00

Pilot training days of my mother before emergency landing into music as per instructions from ground staff (my grand father)!!

81st birthday !

2011-07-13T07:07:00.000-07:00

Smt and Sri M.Balamuralikrishna

81st birthday celebrations of Dr.M.Balamuralikrishna, the legendary singer/composer of unparalleled brilliance on the 11th of July. I sought his blessings on phone since I was not in Chennai for the event held at AVM Rajeswari Kalyana Mandapam on July 11th,2011. My best wishes to his wife, Smt.Annapurna and family on the occasion!

Poochi Thillana

2011-07-04T21:47:00.000-07:00

Late Sri.T.M.Thiagarajan

This Poochi Srinivasa Iyengar's thillana in Hindolam, set to adi thalam (tisra nadai) is one of my favourites, I particularly enjoyed learning this piece from my Guru, late Sri.TMT.

Tantra in daily life (Part 8)

2011-06-22T07:05:00.000-07:00

Those were days when I was studying 8th or 9th standard in school. I remember a Sunday morning when I woke up, jumped out of bed and ran sleepy eyed and groggy to the drawing room, to grab Indian Express before my father or anybody else at home laid there hands on the copy.
My classmate had to remind me many times the previous day (Saturdays were always half-a-days at school) to go through Peter Vidal's weekly forecast ( looking animated, she told me fervently in true schoolgirl spirit,"don't forget to read Peter Vidal's column in Indian Express ya, it is soooooooo true ya!! EVERYTHING he writes comes true, it is like magic ya!! Surely it will come true even for you ya!!). Even though I had my own doubts, I was curious as hell, I replied, "Yes ya!!"
My heart beating fast I scanned the magazine section hoping to find fairy tale stuff for Scorpios. I still remember how let down I felt when I read what was predicted for Scorpios. The forecast was all about repairs of old pipelines being a grand success that week and also a possible visit to the doctor towards mid-week. So much for my friend's great recommendation!I prayed fervently to God that the prediction should not come true, till date I hate going to the doctor and old or new,pipelines simply do not exist in my world!
The next day in school I had a tiff with my classmate about Peter Vidal. "All lies, I don't believe his prediction ya!" Looking very hurt she replied ardently, "No ya, even this week what he wrote about me came true!"
"Maybe he hates Scorpios!" I said heatedly.
"Nothing of that sort ya! Even for me the first few weeks nothing came true ya, after 3 or 4 weeks everything he said started coming true, as though he is writing only for my sake, it is like magic!"
"Don't tell me for you Librans he writes all about chocolate houses and picnics to great places and only for Scorpios he predicts old pipeline repairs!"
Wide eyed she replied, "No ya, once he wrote that I would meet with an accident. I was very careful and alert while walking on the road, but you know what?! I slipped and fell in my bathroom!"
"Really!!" fascinated, I decided to wait patiently for his predictions about Scorpios to come true.
The predictions for the following 2 to 3 weeks had no effect on my routine life but my interest in reading Peter Vidal's forecast stuck on and I continued to read his star forecast every Sunday without fail.
Around the 4th Sunday it suddenly struck me that the previous week went on just as Peter Vidal had predicted. Instantly alerted, I went through the star forecast for the following week with renewed interest. While reading the forecast I had a strong hunch that the prediction was going to come true the forthcoming week and Voila- the week turned out to be as predicted!
Gradually the weekly predictions, if not all of them, atleast most of them shaped into reality for me and I became a dedicated follower of Peter Vidal.
Somewhere along the line I lost touch with his columns but coming to think of the whole thing I firmly believe that there has to be a certain mechanism behind the manifestation of something as mundane as general forecast of sun signs. Only natal horoscope charts of individuals contain intricate dimensions of his/her nature, personality and events related to past, present and future of the native. Whereas a general forecast is based on mere sun signs and every sun sign relates to zillions of natives around the world and for the entire world to go through only 12 kinds (based on 12 sun signs)of events or circumstances every week is ridiculous if not bizarre!
The secret behind the materialization of a star forecast:- Those natives for whom the predictions fail are mostly the ones who are not reading the astrologer's columns!An avid follower of forecast columns is usually optimistic or wants solutions to his/her problems.
Therefore, those who go through the forecast are wishing/hoping/praying for the predictions to come true or bear fruit. Fervent hope and belief in the prediction are the driving forces behind its manifestation!
Our thoughts and beliefs are our lives. Instead of allowing somebody else to shape our lives according to their forecast,we could very well write down our own forecast. Just pen your dreams, desires and ambitions, with as much colour as you want. Believe in what you write! Let the writings be in present tense! They may sound like affirmations, no harm!
Maybe the first 2 or 3 weeks nothing may happen, but watch from the 4th week onwards- as accurate as Peter Vidal's forecast and just as my classmate said, it will be MAGIC ya!!
(To be continued.....)

Sri Venkatachala Mahathyam (wedding chapter 148-156)

2011-06-18T07:32:00.000-07:00

Lord Agni Deva who cooked the feast for the Lord's wedding

(Continued from June 4th, 2010 posting)

148)Ithi Devasya Vaakyaani Prashashamsurmaharshyaha!
Thadhaa Cha Kruthavaan Jaathavedaahaa Vedavishaaradhaha!!

Meaning:The sages and monks in the gathering were pleased by the Lord's instructions. The learned Vedic scholar that He was, Agnihothra carried out the Lord's wishes.

149)Evam Vichithrakarmaani Harervaikunthavaasinaha!
Yugaanusaarinasthasya Thadbhuthavidambanam!!

Meaning:It was fascinating to witness the Lord who resides in Vaikuntha, The One who reincarnates as the celebrated Forms according to "yugas" ( name of an 'epoch' or 'era' consisting of four yugas namely, 'Sathya Yuga", 'Threthaa Yuga', 'Daapara Yuga' and 'Kali Yuga') behaving like a human being!

150)Achinthyam Devathaakaaryam Avaangmanasagocharam!
Agnihi:-
Dadhyodanathilaanne Cha Paramaannam Madhusravam!!

Meaning:The words and deeds of God are beyond human mind or speech!
Afterwards, Agnihothra went ahead and prepared curd rice, rice mixed with sesame seeds, and sweet rice kheer dripping of honey.

151)Maashaapoopaahaa Gudaapoopaahaa Shaakadvaya Mathaha Param!
Sarvam Supakvathaam Neetham Thvathprasaadeyna Keshava!!

Meaning:Snacks made of Urad Dhal, sweet pancakes made of jaggery, two varieties of vegetable curries have been prepared due to the Grace of Thee!!

152)Amanthraya Dvijendraamscha Suraanapi Muneenapi!
Agnivaaneem Samaakarnya Sreenivaaso Niraamayaha!!

Meaning:...So please invite the learned brahmins, Devaas and sages' and Lord Sreenivasa felt pacified and to invite them....

153)Sampreshayachchivasutham Shanmukham Midhileshwara!
SREE SESHAADRAUKASHYAPAADIBHYO BRAHMAADIKRUTHOPACHAARAPRAKAARAHA
Sajagaamaathiveygeyna Japathognipraayanaan!!

Meaning:The Lord called out to Janaka Maharaja to summon Lord Shanmukha, son of Lord Shiva.
ON SESHAACHALAA LORD BRAHMA WAS PAYING OBEISANCE TO SAGE KASHYAPA.
Lord Shanmukha rushed towards in their direction and hastened Lord Brahma, Sage Kashyapa and the pit of fire (agnihothra) surrounded by mantra-chanting...

154)Braahmanaan Vedavidushaha Aajuhaava Janaadhipa!
Paaka Ssampoornathaam Uththishtatha Suradijaaha!!

Meaning:Learned brahmin scholars who are the best among twice born, noble personages! Please be kind enough to grace the luncheon, the food is ready!!

155)Ithi Thena Samaahoothaahaa Kashyapaathripurogamaaha!
Devaashcha Nikatam Thasya Paakasthaanasya Bhejirey!!

Meaning: On receiving the invitation, Sage Kashyapa and Sage Athri in the company of other learned sages and Devaas rushed towards he dining hall.

156)Vibhajya Thathra Vidhivath Paathrabhoothaan Prudhak Prudhak!
Panktheeshcha Kaarayithvaadha Thaarathamyaanusaarathaha!!

Meaning:Lord Shiva who was assigned the duty of attending to the guests, seated them in different groups according to their ranks.

(To be continued....)

Khatir Se Hardum, Naam Raam Se/Bhakta Ramadasu

2011-06-15T23:36:00.000-07:00

Music direction by my father, late Sri.G.Aswathama and sung by late Sri.Mohammed Rafi.

Subbalakshmi Sathyanand's Veena Recital

2011-06-11T08:08:00.000-07:00

http://www.swaralahari.org/site/playvideo.php?concertid=165

Tantra in daily life (Part 7)

2011-06-11T06:08:00.000-07:00

Tripura Bhairavi:-Hormonal balance in females, cure of problems related to menopause, courage and ability to cross hurdles and defeat of enemies.(She is the matured and tougher form of Tripurasundari, in whom menstruation has stopped completely. She is fierce and She is the Supreme Goddess who creates, sustains and at the same time destroys the manifested world.)
Raga Bhairavi in all its sublime melody represents Tripura Bhairavi.

Tripurasundari:- Beauty, charm, enhancement of feminine elegance (in male practitioners enhancement of overall charm), magnetism towards opposite sex, ability to entice people, charismatic looks /demeanour and influence in high places, contacts with royal personages.(This Red Goddess is an enchanting beauty of the Three Cities, in Her prime of youth. She is the main Goddess worshipped by Tantriks who belong to the Shaaktha tradition called as "Srividya Upasana.")
Raga Kalyani invokes Her. The delicate and delicious nuances of Kalyani epitomise and bring to life the form of Maha Tripurasundari in all Her beauty, grace and passion. Contemplation of this raga establishes contact with this Divine Beauty.

Balatripurasundari (Child form of Tripurasundari):-Brilliance, mental agility, dynamism and tremendous ease in achieving goals.(Bala is the child form of Tripurasundari and believed to be accessible and merciful to Her devotees. Her child-state makes the path easier for the practitioner to reach Her. Child that She is, She responds readily with eagerness and innocence. The best Form to worship.)

Raga Sudhdha dhanyasi cascades into Her form.

Sudhdha Saveri is the basic and general raga of all forms of Shakthi.

(To be continued.....)

Jasmine Strings

2011-06-10T08:03:00.000-07:00

SMT.SUBBALAKSHMI SATHYANAND (Strings of heavenly resonance and fragrance).

"A little girl just like you is going to play veena this evening in our sabha." Late Sri. Venkatakrishnan,President of Sri Parthasarathy Swami Sabha told me. As a tiny tot of nine, I was fascinated.
"Oh, who is she?" I asked him curiously.
"Her name is Meduri Subbalakshmi, like you even she is from Andhra. Come to the sabha and listen to her."
As I recall,that evening I was taken to the greenroom where Subbalakshmi was sitting demurely next to her veena, the tuning of tambura and mridangam in progress. Her sparkling nose stud and clear white blouse on top of her long silk skirt remain in my memory even now. I remember wishing for curly hair like hers. She looked my age, quiet and reserved. We smiled shyly as we were introduced to each other.I found her a lot more quieter than me as I jumped all over the place uninhibitedly.
Showtime and Subbalakshmi was shown the stage and myself a seat in the front row.
Her playing took my breath away right from the start! She was a natural with veena. Her plucking and left hand technique were absolutely aesthetic and stunning! Till date I remember her Kalyani and the excellent nuances she had produced in the raga.I looked at her with new eyes, noticing the uniqueness about her.
After that we met whenever she visited Madras to perform, ate together, and spoke affectionately to each other.There was never any tension or that weird sense of alertness between us while interacting with each other as veena artistes.
We gradually lost touch and later I heard that she got married and settled well (presently known as Smt. Subbalakshmi Sathyanand). Often I would think of her wondering about her approach to veena post marriage.
I chanced upon her younger brother's (Sri.Meduri Srinivassrinivasmeduri1234@rediffmail.com ) veena recital on SVBC Channel who is an artiste of repute. His versatility and manodharma revealed that he is Subbalakshmi's brother.
I was delighted to know that Subbalakshmi is in India (right now) and it seemed like old times as we chatted endlessly on phone (just like our childhood days). During our conversation I gathered details about her approach to veena. The above clipping of Thodi bears testimony to her meditative approach to veena.
Subbalakshmi is a wonderful veena vidushi, who plays her veena as an offering to God. She told me that she played during 'Sandhya" kalam (break of dawn and dusk, the junction between sunrise/sunset and vice versa) as worship by rendering vedic prayers on veena to Lord Ganesha, and "Siva Siva", the Pantuvarali krithi of Saint Thyagaraja everyday without fail .
Subbalakshmi also practises the krithis of Saint Thyagaraja, especially the two krithis (Rama Nannu Brovara and Undedi Ramudokkadu) in Hari Kambodhi as a spiritual exercise. She told me how she focused on the 'samyoga' (union) of feeling (bhava) and expression (technique) when she rendered the divine krithis of the great saint composer on her veena. Subbalakshmi cited the instance when she had to repeat the phrase "kshemakarudu" (in "Undedi Ramudu....) on veena innumerable times until she could merge her soul and the phrase through expression (her hand technique on veena).
Just like voice, there are true and false veenas too. The purity of approach and yogic way of playing veena are detected only in the absence of amplifying gadgets attached to the instrument. The resonance of veena is partly the prana shakthi of the player. Notice Subbalakshmi's veena without gadgets and one cannot miss the golden aura of sheer veena tones, which is the tone of her inner self resonating through the veena. The naked tones of prana combined with veena nada is audible only minus amplification. It is also noteworthy that Subbalakshmi has not wasted her pranic energy through strain and demands of over-performing. Also, her playing has not suffered the ill effects of "drishti" from jealous and antagonistic scrutiny, mostly an occupational hazard for artistes who are constantly exposed to public gaze.
Smt.Subbalakshmi Sathyanand is also an artiste with All India Radio/Doordarshan and performs regularly.

My Father's gems from Bhakta Ramadasu

2011-06-05T09:36:00.000-07:00

My favourite Kabir Bhajans from Bhakta Ramadasu, music direction by my late father, Sri.G.Aswathama and sung by the legendary singer, late Sri.Mohammed Rafi.

Tantra in daily life (Part 6)

2011-06-04T02:46:00.000-07:00

Goddess Saraswathi Devi

A child sits naturally erect while playing the veena, the 'veena dandi' while the veena rests on the child's lap, comes up to his/her arm level. The child is able to run its hands across the frets of the veena without looking down and stooping, the act causing his/her spine to bend. A child between between 4-6 years of age has to reach up for the 'dandi' to be able to play the veena and a child between 6 or 7 years of age to 13 or 14 is able to handle the 'dandi' by sitting naturally erect which results in a straight spinal posture. Why is it essential to keep the spine erect while playing the veena? (Kindly refer to my earlier posts on the science of veena and meditation through veena yoga).
Adults and tall practitioners may place cushions below the 'kudam'(the dome on the right side) to raise its height to elbow level and place correspondingly more number of cushions (more number than the right side)below the 'surakkai' (the left side rest of the veena) to make the left side of the veena raise above the right side, making it look inclined. The practitioner now sits between the right and left cushions to play the veena without placing the 'surakkai' on his/her thigh. The idea is to raise the height of the veena for the comfort of the practitioner, so that he/she does not have to bend or stoop to run the hands across the frets or to pluck the strings.
Many times I thought of even sitting in "Vajrasana" (this asana is most effective in accelerating the flow of pranic energy) for playing the veena, I should try it sometime! Rudra veena is played on "Vajrasana".
Now, as the practitioner settles comfortably with a raised veena according to the length of his/her torso, he/she should now concentrate on posture.
First push back shoulders, raise the chin up and look straight ahead as you play the veena. It is absolutely necessary to sit as erect as possible for free flow of pranic energy from the muladhara to upwards. The only disadvantage in such a posture is that the player cannot look down at the frets while playing. This may cause some slips in the swaras (notes), but for an advanced practitioner it may not be difficult. It helps to practice in a dark room without the lights on. To play veena for meditation, one must play without following the movements of the left hand with one's gaze.
The practitioner need not worry about the breath patterns, the melody and purity of the music which he/she is producing becomes the breath-regulator. At a point when the practitioner is lost in the melody, suspension of breath or 'kumbhakam' which is the key factor for 'kundalini yoga'(breath retention) becomes a natural phenomenon.
To practice as stated above on an "Ekanda Veena" ( veena which is not made of separate woods and joined at the neck region but made of a single piece of wood without a joint piece at the neck region) made of pure jack fruit wood yields maximum results. The benefits are bountiful and the practitioner witnesses great changes for the better in life. The pranic force generated by such a yogic rendering of veena surpasses all the benefits derived by usage of high potency vitamins, high potency nerve related or anti-stress medication. Veena is a magical instrument if rendered as per yogic principles.

Mantras for Veena:-

For practitioners who are unable to progress in veena for whatever reasons:-

BALATRIPURASUNDARI STOTRAM:-

"Veena Vaadana Thathparaam Thrinayanaam Mandasmithaam Sanmukheem
Vaamey Paashadhanurdharaam Thu Nikarey Baanam Thathaa Dakshiney.
Paaraavaaravihaarineem Paramayeem Brahmaasaney Samsthithaam
Vande Sankatanaashineem Bhagavatheem Maathangineem Baalikaam."

TRIPURASUNDARI ASHTAKAM:-

"Kadambavanavaasineem Kanakavallakeedhaarineem
Mahaarhamanihaarineem Mukhasamullasadvaaruneem.
Dayaavibhavakaarineem Vishadarochanaachaarineem
Thrilochanakutumbineem Thripurasundareem Aashraye."

TRIPURASUNDARI MAANASAPOOJA STOTRAM:-

"Veenaamupaanthey Khalu Vaadayanthyai
Nivedya Sesham Khalu Seshikaayai
Sowarnabhrungaaravinirgatheyna
Jaleyna Shudhdhaachamanam Vidheyhi."

The Eleventh chapter of Durga Sapthasathi.

All Durga related mantras.

"Vim" is the Bheejaakshara for veena.

Best Veena Mantra:-

"AIM HREEM SHREEM NAMO BHAGAVATHYAI VIM VEENAAYAI MAMA SANGEETHA VIDYAAM PRAYACHCHA SWAAHA."

(To be continued...........)

Advaita Ashram in California.

2011-05-28T22:58:00.001-07:00

sFRANKLIN MERREL-WOLFF (1887-1985) was an American mystical philosopher.

After formal education in philosophy and mathematics,at Stanford and Harvard, Wolff devoted himself to the goal of transcending the normal limits of human consciousness. After exploring various mystical teachings and paths, he dedicated himself to the path of Jnana yoga and the writings of Shanakara, Founder of the Advaita Vedanta School of Hindu philosophy. In 1936, Wolff experienced a profound sense of liberation and awakening, which provided the basis for his transcendental philosophy. He authored many books namely, The Philosophy Of Consciousness Without An Object, Pathways through To Space and Transformations In Consciousness The Metaphysica And Epistemology.

Excerpts from his work:-

"The Ways of Union

There are different ways of Yoga, primarily three: the Yoga of Devotion, the Yoga of Action, or of the Will, and the Yoga of Knowledge. There are technical forms of Yoga, such as Hatha Yoga, Raja Yoga, Mantra Yoga, Laya Yoga, Kundalini Yoga and so on. These are not really so much different forms as technical additives. The three forms are Devotion, corresponding to feeling; Karma, corresponding to the activistic element in consciousness (the technical term for it is conation); and Jnana Yoga, which is oriented to the cognitive faculties, the cognitive side. We'll not go into the relative valuation of these different forms of Yoga. Each will find his own way, ultimately. Aurobindo recommends a synthetic Yoga which involves going through all three forms, successively, or simultaneously. It's not necessary, but he may have a good idea there.

The valuation of them, as to which leads the furthest and so forth, is different with different writers. There's a tendency in human nature to regard the form which I take as therefore being the highest. Any "I am." I'm speaking to the I in you. In other words, there is a bit of egoism in that. Shankara places Jnana Yoga as the highest. Aurobindo rates Bhakti Yoga as the highest. It affords two different ways of interpreting the Bhagavad Gita, which deals with these three different forms of Yoga, the trimarga. Shankara would say the first, which is treated in the second chapter of the Gita, the Yoga of Knowledge, is the highest. But if you're unable to meet that altitude, then there is provided for you at a somewhat simpler and easier level, the Yoga of Action. And if that too is a little too much for you, there is the final form of the Yoga of Devotion, an orientation to the Person of the Divine, if you please, rather than to the Power or the Wisdom of the Divine, to use the religious form of language.

But what we'll sketch tonight will belong to Jnana Yoga, the Yoga of Knowledge, the Yoga I know. I sympathize with all who choose the other paths. There is no rejection whatever. But this I know.

Now I'll outline a philosophic position, to orient an attitude favorable to Jnana Yoga. It's for you to place, for the time being, in your emptied minds, not something you are forced to agree with. I ask you to take a journey with me and see how you like the scenery. If it is not to your taste, then you may turn otherwhere; it is perfectly all right. Just a journey, to see the scenery, if you can."

www.merrel-wolff.org

Above are photos of Ajna Ashram (the above links to site regarding the ashram). The ashram is not inhabited by anybody due to weather conditions. The photo of the homa gundam and stone-platform for meditation in one of the rooms in the ashram. Below is a youtube clipping of this advaitic ashram in California.

MY MOM, MY ICON!

2011-05-25T00:12:00.000-07:00

My mother and Guru, Smt.Kamala Aswathama was one of the many celebrity awardee mothers who received an award on the occasion of the event, "Salute To Mothers" on Mother's Day this month. Event was organised by Sri Krishna Sweets and held in Narada Gana Sabha. A dynamic person who initially trained to become a pilot, but had to become a veena artiste due to my grandfather's insistence, she has trained many successful professional veena artistes. She continues to train veena aspirants.
The most memorable occasion of her life was when she performed along with her Guru, Smt. Kalpagam Swaminathan in Music Academy during music season in the year 1957. At 78, living independently, she knows only how to help others and never sought any assistance from anybody. An epitome of dynamism, she has performed unimaginable feats all through her life! MY MOM IS MY ICON!

Below are snaps from the awards function ( to enlarge click on photos):-

Tantra in daily life (Part 5)

2011-05-20T22:41:00.000-07:00

GODDESS SARASWATHI DEVI

Goddess Annapoorna Devi: Good digestive system, cures Irritable Bowel Syndrome, anaemia, malnourishment. It is commonly believed that by praying to this Goddess one can obtain plentiful food like grains, delicious eatables etc. While this could be true only to a certain extent, the main effect of praying to this Goddess is felt in absorbing and digesting the best elements of whatever food that is consumed by the devotee. Hygenic and fresh food (essentially vegetarian and consumed within 8 hours of cooking) contains the best of 'tattva' (nature). The core and essence of this 'tattva' is absorbed when consumed by the devotee, enhancing his/her mental vision/clarity and physical glow/lustre . The grace of Goddess Annapoorna Devi results in healthy and charismatic appearance.

Goddess Saraswathi: Intellect, enhanced analytical skills, power of speech, shrewdness, extraordinary mental strength, skill in fine arts and occult subjects. Interestingly this Goddess's boon of art is a result of all the mental skills bestowed by Her. Ideal for students and almost everybody who seeks knowledge.

Goddess Lakshmi: Prosperity, contentment, optimism and fulfillment in every sphere of life. Prayers to this Goddess brings tremendous peace of mind and contentment. Contrary to popular belief (that this Goddess showers Her grace through cash and jewellery), Goddess Lakshmi gives great contentment that cannot be obtained even after possessing enormous wealth like vast estates, cash or jewellery. "Lakshmi Kataaksham" (Grace of Goddess Lakshmi) is visible in lustrous looks, tranquility and serenity of features, absolute contentment and a hint of a smile at all times.
(To be continued.....)

SRI GURU GEETA

2011-04-19T21:56:00.001-07:00

The holy scripture, " Sri Guru Geeta" reveals how Lord Shiva in His lessons on "Guru" to Goddess Parvathi strongly condemns fake "Gurus". Sri Guru Geeta is a part of Skaanda Puranam, authored by Sage Vyasa. This sacred scripture contains 351 slokas. Gems like excerpts about fake Gurus as Lord Shiva addresses the following slokas to Goddess Parvathi:-

198)Gnaanaheeno Guru Sthyaajyo Midhyaavaadee Vidambakaha
Svavishraanthim Na Jaanaathi Parashaanthim Karothi Kim.

Meaning:Do not recognise a foolish man as Guru. One who is quarrelsome and deceptive cannot achieve his own peace. When that is the case, he is not eligible to bring peace to his devotees.

199)Shilaayaaha Kim Paragnaanam Shilaasangha Prathaaraney
Svayam Tharthum Na Jaanaathi Param Nisthaaraye Thkadham.

Meaning:Such a person is like a big stone. He has the tendency to cheat few devotees. When this fellow himself does not know how to cross the shore of human life, how can he lead others?!

200)Na Vandaneeyaa Sthey Kashtam Darshanaa Dbhraanthikaarakaaha
Varjaye Ththaanguroon Doorey Dheerasya Thu Samaashrayeth.

Meaning:Fake Gurus who terrorise devotees just by their gaze are not fit to be worshipped. Such a Guru is to be chased away. Always worship a Guru who has knowledge of Self.

201)Paashandinaha Paaparathaa Naasthikaa Bhedabudhdhayaha
Sthreelampataa Duraachaaraaha Kruthaghnaa Bakavruththayaha.

Meaning:Pompous Gurus who are interested in bad vices, self-advertisement, atheism, propagation of controversial subjects, debaucherous, ungrateful and indulging in fake prayers are to be discarded.

202)Karmabhrashtaaha Kshamaanashtaa Nindyatharkaishcha Vaadinaha
Kaaminaha Krodhinashchaiva Himsraashchandaashshathaa Sthadhaa.

Meaning: Gurus who are unethical, immoral, impatient, who indulge in wasteful arguments, full of desires, aggressive and short-tempered and like to harass/torture, who are adamant and horrific by nature, yet advertise themselves as Gurus are also to be rejected and discarded.

203)Gnaanalupthaa Na Karthavyaa Mahaapaapaa Sthadhaa Priye
Ebhyo Bhinno Guru Ssevya Ekabhakthyaa Vichaarya Cha.

Meaning:Never consider a foolish man or a sinner as Guru. After careful inquiry, identify the correct person who has knowledge of Self and worship Him with faith.

204)Sishyaa Danyathra Deveshi Na Vadhey Dhyasya Kasyachith
Naraanaam Cha Phalapraapthau Bhakthi Reva Hi Kaaranam.

Meaning: Devi, please do no preach this to anybody other than the best devotee. A devotee attains the fruit of knowledge only through devotion.

Tantra in daily life (Part 4)

2011-04-10T03:09:00.000-07:00

LORD SHIVA

Gods and Goddesses are characterized by specific 'tattva' (nature) exuded by Their respective forms. We pray to particular Gods in the forms of Maha Vishnu, Shiva, Subrahmanya etc., and Goddesses in the forms of Maha Lakshmi, Saraswathi, Durga, Kali, Annapoorna Devi, Kamakshi, Meenakshi, Visalakshi etc. because they are our family deities ("kula deivam"), or as a ritual to fulfill a certain religious commitment. Rarely it is also due to love for the deity.
By worshiping a particular deity over a significant amount of time, the 'tattva' of the deity is imbibed by the devotee as he is gradually able to create a fine thread of connection with the particular 'tattva'/nature or quality of the deity. Therefore the devotee is succesfully able to perceive the 'tattva' by sponging off the quality or nature of the deity through effective chanting of mantras or meditation on the chosen deity.
Here are a few 'tattvas' imparted by Gods and Goddesses ( material benefits are not mentioned here):-

Lord Maha Vishnu: Tranquilising, peaceful and coolness of mind.
Chanting of Sri Vishnu Sahasranamam is the Maha Shanthi mantra which yields enormous peace and wisdom. This stotra, combined with Lakshmi Ashtotharam bestows great peace of mind, clarity of thought, elevation of mind and wisdom. Chanting of this Maha Shanthi mantra solves critical problems in life. When "Aapadudhdhdaaraka Stotra" is chanted after Sahasranamam, even the most critical health problems are solved. The essential 'tattva' one derives by chanting this stotra are wisdom, maturity and a peaceful demeanour. Worship of Maha Vishnu through Sri Vishnu Sahasranamam or Ashtaakshari (Om Namo Narayanaya) is highly suitable for hyper-active, highly strung,aggressive, nervous and sensitive people. Suited for people with high blood pressure.

Lord Rama: Willpower, mental strength and self confidence. Worship of Lord Rama enhances self-esteem, will power, strength of mind, ability to get rid of bad vices. The mere chanting of Rama nama yields astounding benefits. "Sri Rama" (Sri-yin, Rama-yang) balances the ida-pingala nadis in the body ensuring proper blood circulation and general good health.

The mela raga Hari Kambodhi is a Vishnu Tattva raga, extending to Rama Avathaara. "Rama Nannu Brovara", "Dinamani Vamsa", "Undedi Ramudu Okkadu", "Enthara", "Enduku Nirdaya"... etc. are vibrant krithis of Saint Thyagaraja providing deep insights into the majesty of Lord Vishnu and Rama Avathara. The rendition of these krithis are to be treated as meditation on Lord Vishnu/Rama for great spiritual elevation.

Lord Krishna:- Contentment. The Jagath Guru, Giver of Knowledge of the Ultimate Truth, He offers solace to the deprived. Srimad Bhagavatham is an ice pack for the agitated mind as Lord Krishna makes Himself felt through this grand scripture even in this day and age!!!!
Combined worship of Lord Krishna and Radha balances the yin and yang in oneself bringing about contentment and ending the search for temporary and worldly love. Quest for external love and companionship is discovered within through worship of Radha and Krishna. The worship of the Divine Lovers results in filling the void in the practitioner.

Raga Mohanam and Bilahari.

Lord Venkateswara/Balaji: Aptitude and attainment of high profile life, luxuries, material enjoyments and spiritual contentment.
The Sri Yantra, which is the yantra of Goddess Balatripurasundari was installed in the sanctum santorum of Lord Venkateswara Temple in Tirupathi. It is because of this "Bala Yantra" that the Lord is known by the name "Balaji!"

Raga Abheri and Surati.

Lord Shiva:- Spiritual bliss and detachment.For people pursuing the spiritual path. Equanimity of mind.

Raga Panthuvarali, Hamsanandi and Kambodhi.

Lord Vighneswara::- Rejuvenation. Worship of "Muladhara Murthy" (One who resides in the muladhara chakra or base chakra) activates the chakra, removing blockages and rejuvenating the entire system. The practitioner is able to perceive a burst of energy within and the rush of adrenalin. Suitable for depressed, dispirited and weak people.

Raga Nata, Gowla, Hamsadhwani and Malahari.

Lord Subrahmanya:- Dynamism, optimism, outgoing and action-oriented.Worship of Lord Shanmukha is highly suitable for the pessimistic, shy and vulnerable lot. Worship of this God makes one assertive and bold in confrontational situations. Ideal for fighting court cases and defeating enemies.

Raga Shanmukhapriya.

Lord Anjaneya:-Fearlessness, courage and valour.Worship of Lord Hanuman is ideally suited for people wanting to get rid of their phobias. Also for people to come out of imprisonment, fighting critical situations and mental ailments such as schizophrenia, paranoia and hallucinations.

Raga Athana and Kanada.

(To be continued......)

Planetary position at the time of demise

2011-04-08T03:58:00.000-07:00

Yesterday I drew the chart of Teacher's demise. 09.30 AM, 6th April, 2011. Star of the day Bharani, same as her birth star !! (Incidentally M.S.Amma is another legend who has the same star). Time of demise, 09.30 AM, with Taurus rising. Lord of the ascendant, Venus sitting pretty in yogakaraka's house (in Satabhisha, constellation of Rahu who is responsible for veena playing) Aquarius indicates great artistic prowess of the departed. Moon in Bharani, lord of the constellation is Venus again! Moon was transiting the 12th house (Aries), the house indicating life after death and moksha.
Teacher passed away during Vasantha Navarathri during which Goddess Durga is worshipped. The Nava Durgas worshipped on Navarathris are !)Shailaputhri, 2) Brahmacharini, 3)Chandraghanta, 4) Kushmanda, 5) Skanda Matha, 6) Kathyayani, 7)Kalarathri, 8) Maha Gowri and 9)Sidhdhi Dhathri.
Teacher left this world on the third day of Navarathri (tritiya) that belongs to the third Durga of the Nava Durgas, "Chandraghanta" who wears a half-crescent moon on Her forehead.
I interpreted waxing Moon's presence in the 12th house as the presence of Goddess Chandraghanta. (Also Yogakaraka's placement in Hastha and ascendant's placement in Rohini, both moon's constellations are indicative of Goddess Chandraghanta's authority over the after life of Teacher.) I understood the direction where Teacher's soul is headed, which is undoubtedly the world of the Supreme Goddess! Yogakaraka Saturn in purva punya sthaana (Virgo) again in moon's constellation (Hastha) is aspecting all the four planets in Pisces (7th aspect). They are the lord of the eighth house (Ayush Sthana), Jupiter; lord of the fifth house (purva punya sthaana), Mercury; lord of the fourth house and atmakaraka, Sun; and the dispositor of the twelfth house Aries, Mars. All the four planets receiving the favourable aspect of yogakaraka, Saturn reveals the elevated status of the soul after death. Presence of Rahu as "Kodanda Rahu"( karaka for veena) in ayush sthana (Sagittarius) and Venus who is the lagnadhipathi as well as lord of constellation (Bharani) placed in the twelfth house (Aries), transiting Aquarius and Sathabhisha (Rahu's constellation) in particular reaffirms Smt.Kalpagam Swaminathan's yogic state through veena playing and the soul's travel to the celestial worlds.

VEENA QUEEN

2011-04-06T21:28:00.001-07:00

Kalpakam Swaminathan

Kalpakam Swaminathan, who dedicated over eight decades to veena playing and teaching, passed away here on Wednesday. She was 89.

Ms. Swaminathan, who began learning to play the veena when she was six, was a passionate exponent of the ‘Thanjavur style' of playing. Her vocalised style of playing was marked by its rich feel and was steeped in classicism. In the decades she dedicated to mastering the instrument, learning, engaging with theoretical aspects and aesthetics of veena playing, sharing and teaching, she emerged a unique vidwan and a revered guru.

Nuanced understanding

With her initial tutelage under Kallidaikurichi A. Ananthakrishna Iyer and association with the much-regarded scholar P. Sambamurthy, Ms. Swaminathan cultivated a nuanced understanding of raga playing and particularly, gamakas (oscillation of notes in a manner appropriate to the raga being played.)

Learning compositions of Muthuswami Dikshitar from T.L. Venkatarama Iyer, considered an authority on the subject, enriched her repertoire.

Much of her understanding came from her deep engagement with the instrument and introspection.

Her research-oriented approach to music helped her make significant contributions during her stints at the Kalakshetra and the Central College of Carnatic Music, now known as the Government Music College.

Several accolades

Her scholarship and expertise won her several accolades, including The Music Academy's ‘Sangita Kala Acharya' and the Sri Krishna Gana Sabha's ‘Aacharya Choodamani' titles.

Her relatives and admirers remember her as a modest, humble and accessible artist who believed that the art was always bigger than the artist. She is survived by her daughter-in-law, grandson and his family.

Published by The Hindu, dated 07/04/2011

QUEEN OF VEENA PLAYS CELESTIAL VEENA

2011-04-06T10:46:00.000-07:00

Smt. Kalpagam Swaminathan and myself in her residence, just before she was taken ill.

Queen of veena, Smt.Kalpagam Swaminathan breathed her last this morning around 9 a.m in her residence. Her rich life was filled with penance and worship of veena, apart from imparting great knowledge to innumerable worthy disciples.
Veena playing, according to ancient scriptures is meant to be "rahasya vidya" (secret art). This "kalaa" (art form), treated as upasana (penance) is equal to Srividya Upasana in the form of "nadopasana". Such an approach towards the vedic instrument makes the practitioner an expert in every nuance, intricacy and secrecy pertaining to the instrument. Smt. Kalpagam Swaminathan, a veena yogi and nadopasaka of the highest order had mastered all the techniques and aesthetics of veena. She lived and breathed veena. The last few months of ailment and heartache due to her inability to play veena have been the most critical times of her life. Having completed her remnants of karma, she has gone to the celestial world where she belongs, to the abode of God, in a timeless world, to play the celestial veena for eternity.

Chandrama Manaso Jaathaha

2011-03-21T00:07:00.000-07:00

Moon-like face of the Goddess Durga

Moon was closest to earth on the full moon day of March 20th, 2011 ( sometime between 19th midnight to 20th sunrise) in approximately 18 years or so. Even if the moon was still 356,577 kms. away, the size of the moon was 14% bigger than its usual size and 30% brighter than usual!!
Sri Adi Sankaracharya's Soundarya Lahari clearly conveys that the Goddess who is the Divine Spouse of Lord Shiva is the embodiment of moon. Her moon-like lustre and moon-like countenance are described most poetically by the great saint in almost all the 100 slokas of Soundarya Lahari. The day when Super moon happened was a full moon in the constellation of Poorva Phalguni (the nakshatra of Goddess Kamakshi/ Sri Bala Tripura Sundari).
"Chandrama Manaso Jaathaha", this verse from Purusha Sooktham conveys that the moon is born out of the mind. The approach of the Goddess closer to earth could be felt in the instant cooling of the mind.

Tantra in daily life (Part 3)

2011-03-16T04:35:00.000-07:00

Dasami thithi comes bang after the trying duo of Ashtami/ Navami. "Ashtami Navamulu Kashtapu Dinamulu", my mother keeps repeating my grand father's words, which means, "Ashtami Navami are difficult days". It is believed from times of yore that these two days that come one after the other are filled with negativity and therefore subject mankind to unexpected difficulties through obstacles and misfortune. Sri Rama Navami and Sri Krishna Ashtami are reminders that Divinity is all encompassing, leaving no scope for negativity. I also associate Ashtami with "Durga Ashtami" and Navami with Nava Durga.
An elderly priest once advised me to have oil baths on Dasami thithis. This practice (of having oil bath on Dasami thithi) would remove all negativity/misfortune subsequently yielding peace, joy and prosperity to the practitioner. Since Dasami comes right after Ashtami/Navami, it is possible that through oil bath we are cleansing by way of oil bath all the accumulated negativity of the previous two days! It doesn't harm to even give the house a thorough cleaning or changing the linen on a Dasami.
While on Durga, the Guardian Angel, (lexigram/anagram of DURGA is GUARD), it is advisable to stick Her picture on the main entrance door to ward off evil and negativity. The powerful image of Goddess Durga on the main door offers protection to the residents inside the house.
Even if spirituality is all about elevated thinking and contemplation of God, a simple practice in daily life brings about an instant rejuvenation of mind and life in general. If one's pooja room consists of very few photographs of Gods and Goddesses, the task would be simpler. Better still, if there is only one photograph or a just a couple of more God photos in the prayer room. More the photos, tougher the task!
Wash the photos (if difficult to remove, just wipe with a wet cloth and then with a dry cloth) clean. Make a wet paste of sandalwood powder. With devotion mark the key points of Gods'/Goddesses' images which are the forehead (between eyebrows), all the hands and feet, heart region with the sandal paste. On top of the paste stick red kumkum/vermillion. This procedure instantly cleanses, energises amd enhances the divinity of the act/subject and the doer, merging them into one. The resulting divinity and prosperity has to be enjoyed to be believed!
(To be continued...........)

Lifetime Achievement Award

2011-03-13T09:41:00.000-07:00

Rotary Club Of Madras East presented the Lifetime Achievement Award on the 13th of February, 2011 in Chennai. Dr.M.Balamuralikrishna, Sri.Murali of Sri Krishna Sweets, President of Rotary Club, Madras East, Rtn. Sri. K.Rajendran and myself at the event.

Incognito

2011-03-11T23:40:00.001-08:00

My husband and myself seated behind a bhajan singer along with everybody, enjoying the bliss of the evening "Aarthi" on the banks of Holy Ganges while listening to the rendition of bhajans. In Varanasi in the year 2008 when I bunked Chennai music season to enjoy myself in Deva Bhoomis, Haridwar, Rishikesh and Varanasi.

Women's Day

2011-03-08T01:55:00.000-08:00

Strong, vulnerable and graceful Uma Thurman in a scene from Kill Bill, as a tribute to my favourite actor who carried the phenomenal movie on her slim shoulders.

Tantra in daily life (Part 2)

2011-03-03T03:51:00.000-08:00

Sticker bindis that come in various shapes and designs ( the most hideous stickers are images of snakes, scorpions and other reptiles!!!!!!!!!!) abuse the power of 'agna chakra' which is the conscience of oneself. Tattoos are the latest fad. Many get their bodies tattooed according to body fengshui! I found dragons, raging bulls and other wild animals tattooed on arms, backs of people in my recent trip to the US. Imagining the consequences of wearing such sticker bindis or tattoos in the shape of wild beasts made me shudder!
To wear divine images or writings on the body conveys an attitude of recklessness towards religious principles. Making light of divine symbols and signs is nothing short of blasphemy. What should be placed on the altar of worship is abused when used for decorating the naked skin of a person, be it male or female! I have noticed women wearing sanskrit "OM" stickers on their arms and God forbid... even on their midriffs!
Such acts incur corresponding karma and are best avoided.
Designs made out of the leaves of Lawsonia inermis (marudhani in tamil, gorintaaku in telugu, henna in Arabic) is considered auspicious. Both Hindu and Muslim religions consider "mehndi" as auspicious. The red stain on skin which is caused by mehndi is considered a great omen especially for brides who decorate their hands and legs with the paste made out of these leaves. Application of the same even on regular days invokes auspicious events in one's life.
Betel leaf is yet another leaf that stains the body red ( the tongue to be precise) and considered to be equally auspicious ! Red is regarded as an auspicious colour for promoting love and passion which makes mehndi and betel leaves the most naturally auspicious symbols for celebrations and joyous occasions. Poor man's mehndi which is known as "alta" or red-dye is almost as good as mehndi for invoking love and auspiciousness into one's life.
Coming to body fengshui, the addition of a black or red mole on the correct place (by determining the north, south, east, west of the face) are believed to bring about changes. Come to think of it, even parting of the hair determines little occurences in day to day life. If someone has a side parting and is looking for a change, all he/she has to do is to change the side (from right to left or vice versa) or go for the middle parting. And wait for the changes to happen! It could happen sooner or a little later, but HAPPEN they will! Only caution here is to beware of adverse changes! If the results are negative, quickly revert back to the known devil, that is the old parting! The latest zigzag parting is a big NO NO!
During an interesting conversation with a tantrik, I learnt that there is a surefire remedy for artistes, especially women artistes and other popular personalities who are prone to negative effects of "drishti' or evil-eye. 'Drishti'/evil-eye results in the affected person falling gravely sick or even meeting with some freak accident! To divert the evil-eye or 'drishti' of public gaze, the tantrik advises the public personality to wear oodles of jewelry and other attractive accessories on the body. He asserts that the public attention is diluted/diverted by the presence of overwhelming jewelry and silks. The 'evil-eye' instead of being centered on the person in lime-light strays to the artiste's jewelry and other effects like, silks and flowers too! Of all jewelry, he claims that pearls are the best in capturing 'drishti'! (To be continued......)

Sashti in Tirumala

2011-02-21T07:58:00.000-08:00

24)Manmadhonyaha Pumaan Puthraha Pouthraputhraha Shadaananaha!
Jagathpraano Jyeshtaputhraha Snushaa They Bhaarathee Harey!!

Meaning:Lord Manmatha is your son! Lord Kumaraswami is your great grandson!!Lord Vayu is your elder son and Goddess Saraswathi is your daughter-in-law!...

The 24th sloka in Sri Venkatachala Mahathyam's wedding chapter clearly mentions the relationship between Lord Subrahmanya Swami and Lord Venkateswara. Not only that, Sri Venkatachala Mahathyam is a branch of Skanda Puranam in which Lord Subrahmanya Swami is stated to have played the key role in organising Lord Venkateswara's wedding. One of the seven sacred 'theerthas' on the seven hills is Sri Kumaradhara, named after Sri Karthikeya. Vamana Purana states that Lord Karthikeya performed penance on Lord Venkateswara as per the advice of His Father, Lord Shiva. There is also a certain belief that Lord Subrahmanya is automatically invoked through prayers to Lord Venkateswara in Tirumala. I firmly believe that "Kuja dosham" is nullified by prayers to Lord Venkateswara. For any malefic influence of Mars in a horoscope, Lord Venkateswara is to be propitiated and for moon's malefic influence Lord Karthikeya could be invoked.
"Nethra darshanam" of Lord Venkateswara on Thursdays and general darshan of Lord Venkateswara on Mondays mitigate the evil effects of badly placed moon in one's natal chart.When I looked up the 'panchangam' to check out the thithi and nakshatram of the day of my concert in Tirumala for SVBC Channel's Nada Neerajanam on 23/02/2011 at 6.oo PM, I was simply thrilled! The 'panchangam' revealed that the day of my concert happened to be 'Sashti' thithi and the divine birth star of Lord Karthikeya, Visakha nakshatram!
I felt it was a message from Lord Venkateswara, re-emphasizing and deepening my fascination for the relation between Lord Venkateswara and Lord Karthikeya!

Tantra in daily life (Part 1)

2011-02-16T08:15:00.000-08:00

r
Flowers adorning midnight dark and velvety hair of Indian women, swaying gently to the movements of their gait may present a delightful sight, but they represent a deeper significance. More than the attractive sight they present, the fragrance they emanate holds richer promise. If incense sticks or 'sambrani' are lit in houses to attract great prosperity, equally or more exotic results are assured for the wearer of flowers containing heavenly fragrance. Jasmines attract love and guarantees spiritual elevation ( a mixture of jasmine flowers and vermillion used as offering to Goddess Mahalakshmi for the ashtothara shathanamavali pooja for 41 days is said to materialize wedlock) and roses attract love as well as material prosperity. The 'Kadambam' flowers which is a mixture of jaaji (jaadi), malli, chamanthi. mogali (thazampoo), davanam, etc. are intensely fragrant, their intoxicating fragrance instantly warming the heart as it skips many a beat with unknown excitement. We can imagine the results of the combination of all these exotic flowers!!
Fragrance is also related to the kitchen! The auspicious sweets such as payasam, chakkara pongal etc., demand the usage of camphor (pachcha karpooram) and cardamom. Their rich and divine fragrance are powerful magnets for attracting peace and prosperity into houses. That is also one reason why the stove in the kitchen is considered to be the seat of Goddess Mahalakshmi. In orthodox houses stoves are cleaned and designs with streaks of vermillion (kolam) are drawn on them. On auspicious days such as Fridays, Pournami, general festivals and birthdays of kith and kin, traditional sweets are prepared by using camphor and cardamom powders liberally. Their strong scents invoke positive energies into the lives of the household members thereby promoting peace and harmony in the environment to a great extent.
Even images of flowers known as "Centaury", "Mimulus" and "Rockrose" when hung on walls of the house act as powerful protectors, warding off negativity and enemies!
Famous 'attars' like aragaja, javvadu, punugu (civet oil), sandal paste etc. are potent fragrances meant to attract and fulfill heart's desires. A common tantra is to apply these ingredients on the 'agna chakra' ( in the region middle of the eyebrows). "Agna" means to command and also represents one's conscience. Application of any substance on this vital point yields suitable results. It is therefore recommended that one should at all times apply only auspicious things like vermillion, vibhuthi, sandal paste, raksha of a homam (havan)etc. for all round prosperity and grace of God. Application of attars on agna chakra yields material prosperity and success in heart-related matters.
Usage of meaningless 'sticker' bindis abuse the power and potency of agna chakra.
(To be continued......)

Sri.Ramakrishna Math, R.K.Mutt Road, Chennai.

2011-02-12T05:26:00.001-08:00

The Divine Consort of Sri Ramakrishna Paramahamsa, Holy Mother Sri Sarada Devi.

Holy Mother, Sri. Sarada Devi had visited Chennai in the year 1911 at the request and invitation of Sri. Ramakrishna Paramahamsa's direct disciple, Sri.Ramakrishnaananda Swami. It is believed tha the Holy Mother had stayed in the R.K.Mutt Road premises of Sri.Ramakrishna Paramahamsa Ashram (very close to the old shrine).
The old shrine has a meditation hall with a huge potrait of Sri.Sarada Devi. Behind the potrait and at the end of the hall are two staircases leading to yet another meditation room on the first floor. The room is not too big with 3 old fashioned fans hanging from its high ceiling. Three potraits of Sri Ramakrishna Paramahamsa, Holy Mother, Sri.Sarada Devi and Swami Vivekananda are placed on the other side of the room. Homely curtains with floral prints sway gently to the breeze as they try to cover the open space behind the potraits. At the corner of the dimly lit room are a pile of mats, for devotees like me to spread on the floor for meditation.
The old shrine is full of spiritual vibrations possibly due to a particular Swamiji (a direct disciple of Sri. Ramakrishna Parmahamsa) attaining samadhi state in that room decades ago.
Meditating in this room is a boon for all spiritual aspirants. The air in the room is thick and vibrant, indicating the sheer Presence of the Holy Spirits of Sri Sarada Devi and Swamiji to devotees meditating in sukhasana. De-stressing oneself before meditation is very essential for mind control. The process of de-stressing is a natural phenomenon in this room.
On closing our eyes we instantly go through the process of de-stressing and relaxation. One becomes instantly attuned to the body shedding all the accumulated negative energy of mundane life.Even the limbs and torso droop weightlessly, shedding the burden of stress.
The comforting guidance of the spirits of Holy Mother and Swamiji are felt in this room, absolutely!

Veena And Acoustics

2011-01-03T23:16:00.000-08:00

(Published in The Hindu, issue dated 31/12/2010)

Veena and acoustics E. Gayathri Photo : R. Ravindran

E. Gayathri —

The primary aspect of concert acoustics is the microphone. Very often, veena artists are faced with the outcry, “Why do you need a contact mike? It distorts the tone of the veena.” For a veena concert to make an impact, the instrument should have the throw and power of a human voice. Whether in a closed auditorium or in open air, the music should basically reach out. Veena being a soft string instrument, a voice mike would make it sound feeble especially in a large concert hall. Even worse, the nuances that bring out the beauty of the instrument do not reach the audience in totality. This is the reason most veena artists resort to a contact mike.

Choosing the right contact mike can be a difficult task since its technical specifications and placement on the surface of the ‘ kudam' or inside the veena are the key factors that determine its compatibility with the instrument. Compatibility of a mike with the instrument can be defined in terms of the ability of the mike to amplify the true tone. With the advent of digital mike-mixer combinations, it is possible to increase the bass or treble content causing the veena to sound either like a bass guitar or a sitar. It is also possible to introduce distortion, leading to the lo-fi type of jarring electronic sound. These techniques can be used cleverly to alter the veena's tone. The need for conveyance of the true tone of the instrument is more of a personal prerogative and a question of artistic integrity.

While the onus of good acoustics in a concert is on the contact mike, the final amplification provided in the concert hall also bears considerable significance. In the older “valve” type of amplifiers, which only had a volume and tonal control, there was little room for dramatically changing the way the veena ultimately sounded although the amplification was feeble. Now that high performance processors are available, while very solid amplification is possible, the sound engineer might inadvertently tamper with the instrument's tonal quality by setting the wrong controls.

Other contributing factors are the construction of the hall for minimisation of echo, maintenance of optimal temperature and illumination levels. Very often, the temperature in the hall is reduced, increasing the tension and hence, the pitch of the veena strings. In contrast to this, the high intensity lighting loosens the strings. Both of these factors do not cancel out each other but cause vacillating shrutis in the veena, making it possible to produce errant notes every now and then thus demanding extreme concentration.

The choice of the right microphone for the veena brings out the vocal or gayaki style of presentation, in other words, the instrument gains the capacity to equal the power of a voice. In such a case, the popular notion that the accompanying percussionists (such as mridangam artists) need to subdue their performance in order to avoid drowning out the sound of the veena becomes antiquated. The accompanying artists are able to use the same vigour as in vocal concerts due to the enhancement of the tone of the veena with the help of the right type of contact mike.

(E. Gayathri is a noted

veena exponent)

4 generations!

2010-12-20T23:00:00.000-08:00

My elder daughter Deepta, my elder grand daughter Shreeya, myself and my mother Smt. Kamala Aswathama. Photo taken on Shreeya's first birthday on April 14th, 2009.

Karthika Guruvaaram

2010-12-09T03:09:00.001-08:00

My Guru, late Sri.T.M.Thiagarajan.

Tuning special hearts!

2010-12-02T23:21:00.000-08:00

Healing Session in Sadhanalay

Shyamala Sajnani does not talk about 'music therapies' or "raga effects". She actually DOES IT!!! And how??!!
In a city like Mumbai, she carries her own veena (carries it all the way down the three floors [in an apartment complex that has no lift] of her building, places the veena in her car and drives herself to Sadhanalay (school for special children)which is on Peddar Road, Mumbai) to offer musical solace to the special children with special needs and skills.
In her own words she told me about what makes her do this- "All Veenas ( almost all) have a dragon head at the left base. Legend goes that there used to be a fiery dragon which was wreaking havoc by breathing fire and causing devastation everywhere. Nobody could calm the dragon until the Goddess of learning, knowledge and truth, Saraswathi came to help. When She played on the Veena the dragon calmed down immediately.The dragon had just one wish. He asked for a boon by which he will never be separated from the sound of Veena, And that is how till today Veena bears a dragon head.I just felt that the dragon could be a metaphor and probably the sound of the Veena has the ability to soothe and calm the live dragons in all of us. It could be our desires, emotions, diseases and just about anything. I also realized that since I have been playing Veena regularly (through out the day) I also fall sick lesser. You can notice all the veena teachers and easily conclude that they all have longer, healthier lives.I happened to get talking to a teacher in this school and offered to play there for the kids for an hour simply to help them relax and feel calmer.I have no goal , some kids are very very receptive to music but are not able to go to specific teachers to learn. I just want to help them out , if I am able to, to have a better understanding of music, may be learn a bit myself. I do strongly believe that sound can bring in a lot of change.The change can be any which way,Sangeetha gnyanamu with bhakthi will have sanmargamu, as sung by saint Thyagaraja.

The kids were curious, happy, some sing along and some get emotional..... So far I have done very few compared to how many I would like to due to rains and also renovation work in progresss there has made it quite difficult to play for long.
The idea is to play for an hour when they are having lunch so they can relax and special time of 20minutes to 30 minutes for kids who have noticable skills in music. Ragas used have been, Desh,Hindolam,Shama and mostly Bhajans which they know from these ragas. "

TIME

2010-11-24T22:10:00.000-08:00

"Bhgavad Gita (11th Chapter-32nd Verse)

"Kaalosmi Lokakshayakruth Pravrudhdho
Lokaan Samaaharthumiha Pravruththaha.
Rutheypi Thvaam Na Bhavishyanthi Sarve
Ye 'Vasthithaah Prathyaneekeshu Yodhaaha"

Meaning: Lord Krishna stated: Time I am, the great destroyer of the worlds, and I have come here to destroy all people. With the exception of you (the Paandavaas), all the soldiers here on both sides will be slain.

"Kaalosmi" (I am TIME), Lord Krishna stated in Bhagavad Gita. Any mantra yields sure and fast results when recited at the same time everyday. As God and Time are one and the same, a time-conscious mantra becomes power-packed due to the grace of God and yields amazing results. Time is God and the needles on a clock are to be regarded as the representatives of God!
Timing of the mantra is very important, if somebody is able to recite the mantra only at 8.00 am everyday, it is advisable to maintain the same time everyday for the enhancement of the mantra-power. There are people who recite mantras at 12 noon sharp when all the three needles on the clock join together. Late Sri.Kama Sastri, music director and conductor of Vadya Vrinda, All India Radio, Chennai used to bring work to an abrupt halt at 12 noon to observe a minute's silence for offering prayers. There are many who keep awake at 12 midnight to repeat the recitation for further power-inducement into their mantra (it is best if the mantra is given by a spiritual Guru or a Srividya Upasaka if it is a Devi mantra). I have known few devotees who recite the same mantra four times in 24 hours, at 12.00 midnight, 6.00 am, 12.00 noon and 6.00 pm everyday.

VAINEEKA MUSIC -SINGAPORE (KARAIKUDI BANI)

2010-11-17T21:59:00.001-08:00

Veena Vidushi and Guru Smt.Jayalakshmi Sugumar
(Smt.Jayalakshmi Sugumar is the grand daughter of veena legend, late Sri.Karaikudi Sambasiva Iyer, founder of the magnificent Karaikudi Bani and the daughter of veena vidushi, late Smt.Sankari Ammal.Smt. Jayalakshmi Sugumar had taught in Kalakshetra from the year 1966 and shifted to Pondicherry in 1976 where she continued her services till the year 1981.After this she worked for Singapore Indian Fine Arts Society for 7 years to return to Pondicherry to teach in the prestigious music college of Pondicherry- Bharathiyar Palgalaikoodam.Smt. Jayalakshmi once again returned to Singapore Indian Fine Arts Society after her fruitful work in Pondicherry music college for 7 years. Her service for SIFAS was from 1995 to 1998. In 1998 Smt.Jayalakshmi Sugumar started her won veena school on the lines of her illustrious grand father, Sri.Karaikudi Sambasiva Iyer-VAINEEKA MUSIC.She is not at all for awards or rewards. Her affectionate, selfless and soulful approach to her students is evident in the high quality of music she imparts to them.)
"Veenayin Edirkaalam Singapoorla...." phrase from my extempore speech for the veena arangetram of Kumari G.V.Abhirami (disciple of Smt.Jayalakshmi Sugumar) was greeted by thundering applause from the audience.
The veena arangetram was designed on the lines of an elaborate and colourful opera. While appreciating the noteworthy effort and talent of the performer G.V.Abhirami, my mind registered the powerful role of Abhirami's Guru in the entire presentation of the veena arangetram. The style was unique and classy! As we all know, Karaikudi Bani is highly conservative and well known for combining voice with veena. Singing while playing the veena is no mean feat. Apart from sruthi alignment it is also difficult to coordinate voice with veena. Despite the ordeals, Karaikudi Bani is steadfast about not losing voice with veena and the school does a splendid job of the same!
The arangetram was also an informative affair with the opening Ata Thala varnam in Bhairavi (Viriboni) displaying all the "Dasa Vidha Gamakas" that are so important for veena. I was amazed at the meticulous thought and effort that went behind the preparation of the aragetram and the soulful guidance of Guru Smt.Jayalakshmi Sugumar.
The highlight of the arangetram was the ragamalika thanam. The design of the thanam was like an exotic piece of jewelry, the tonal modulation and the musical thrust, especially in the Malayamarutham segment were breathtaking.
The world of veena music need teachers like Smt.Jayalakshmi Sugumar to put an end to meaningless questions like ,"Is there a future for veena?" or "Why aren't there many veena players?" etc.
Owing to the fact that Smt.Jayalakshmi Sugumar lives in Singapore, "Veenayin Edirkaalam Singapoorla............."

Ultimate Bliss

2010-11-04T01:36:00.000-07:00

Ananda Acharya on Rest

You need rest, perfect rest. There comes a time in the life of man when the body and the brain and the mind want to feel the stillness of the Universal Spirit. Then, the best thing is to do nothing, to think about nothing. That takes away all misfortune, that cures all disease, that soothes all sorrow, that alone makes man whole again.

Ananda Acharya, Yoga of Conquest (Hoshiarpur, India: Vishveshvaranand Institute, 1971) pp. 33-34 [February 29, {1924}]

Rama Nama.

2010-10-08T21:40:00.000-07:00

"Ram" has more than one application in Sanskrit. It is the "Beeja Mantra" (seed sound) for the manipura chakra (solar plexus chakra). Manipura could be translated as "City of jewels". Meditation on this chakra yields occult powers and this is one of the important chakras responsible for radiating 'prana' or life-force energy throughout the body.
By reciting the mantra, 'RAM' the manipura chakra is activated to be able to handle the flow of kundalini energy.
Secondly, 'Ra' and 'Ma' that forms the name 'Rama' are interpreted as follows: 'Ra' which is associated with the solar energy flows through the right side of the human body whereas 'Ma' which is associated with lunar energy flows through the left side of the human body. Repeating the mantra, 'RAMA' (even mentally) one is able to balance the solar and lunar energies for sound mental and physical health. Sidhdhi of Rama Nama blesses the entity with spiritual powers and elevation of soul.

Following are 3 powerful Rama Mantras:-

1)Om Namo Bhagavathey Raghunandanaaya Rakshognya Vishadaaya Madhura Prasanna Vadanaaya Amithatheyjasey Balaaya Raamaaya Vishnavey Namaha Om!!

The above sloka if recited one lakh times will grant "mantra-siddhi".

2)Om Kleem Namo Bhagavathey Raamachandraaya sakalajana vashyakaraaya Swaaha!!

Above sloka is meant for general success and attraction.

3)Dasha Raama Naama Sthothram:-

Dhyaayaami RAAMA MabhiRAAMA
GiRAAMAranda DhaaRAAMAdhagna
MithaRAAMA MareyrviRAAMAm
AaRAAMA Madbhutha ThaRAAMAlasadgunaanaam
GhoRAAMAyagnya MasuRAAMAravandithaanghrim!!

The above if recited yields the benefit of chanting the powerful name of Lord Rama ten times within one sloka,

Out of the world!

2010-09-21T07:28:00.000-07:00

"Vishaalaneelothpalalochanaayai
Vikaasipankeyruhalochanaaya
Sameykshanaayai Vishameykshanaaya
Namah Shivaaya Cha Namah Shivaaya!"

(Excerpt from Ardhanaareeshwara Sthothram, by Adi Sankaracharya).

Kumudakriya, the janya raga of Panthuvarali (Kamavardhini), 51st melakartha has been chosen by the great saint vaggeyakara, Sri.Muthuswami Dikshithar for his grand composition, "Ardhanareeswaram". The scale of Kumudakriya-Ascending:-Sa Ri Ga Ma Dha Sa; descending:-Sa Ni Dha Ma Ga Ri Sa. This raga falls in the "adbhutha rasa" (wonderment and awe)category of the navarasas (nine emotions).
Contemplation on the prayogas or phrases Sa Ni Dha Ri', Ri Ga Ma Dha Ri, etc. invoke a sense of fantasy, make-believe or illusion. Imagine suddenly walking into somebody who is split into a perfect half of a perfect man and a perfect woman! It certainly is a heart-stopping sight! Absolutely dazzling and surreal! Kumudakriya, a breathtaking raga of fantasy, bestows wonderful events, fantastic happenings in life. Ragas yield results only when the "jeeva swaras" (soul-notes) are tapped and mastered. Mere humming or rendering of the scale are not sufficient to induce life into the raga.

Bhogavasantham another janya of Kamavardhini (Ascending:-Sa Ri Ga Ma Dha Ni Sa, descending:- Sa Ni Dha Ma Ga Ri Sa), so close to Kumudakriya (with only a slight variation in the ascending order) does not yield results like that of Kumudakriya. Bhogavasantham invokes joy, festivities and enjoyments.

Radhey Radhey!

2010-09-14T20:37:00.001-07:00

15/09/2010,Jyeshta Nakshathram, Ashtami Tidhi.
Divine Birth of Radha.

Radha-Gayathri:-
Om Vrishabhaanujaaya Vidmahey
Krishnapriyaaya Dheemahi Thanno Raadhaa Prachodayaath!

Popular Radha Bhajan by Shradeya AcharyaGaurav Krishnaji Maharaj

Sufism on Veena

2010-08-20T00:01:00.001-07:00

Hazrat Inayat Khan

Noor Inayat Khan

The Sufi saint and Saraswathi Veena player, Hazrat Inayat Khan had authored several books regading abstract and unstruck sound ('anahatha shabda'). He used Veena as his vehicle to attain self-realization. His daughter, Noor Inayat Khan (visit website www.geoffreyarmes.com for more details about Noor) was a fine musician herself and played the Saraswathi veena. She authored the book, Sufi Princess. Noor Inayat Khan was born in the year 1914 in Moscow, Russia to Hazrat Inayat Khan and Ameena Begum. Almost all her youth was spent in Paris. After her father's demise in 1927 and the declaration of the 2nd World War and the invasion of France, Noor had no option but to move to England and she returned to France (Paris) in 1943 as an Allied spy radio operator. Captured by the Gestapo, she was held in solitary confinement and subjected to cruel interrogation methods. Despite the torture, Noor never revealed her identity to her captors. At the age of 29, in the year 1944, she was executed by the Gestapo. England and France posthumously awarded her the "George Cross" and "Croix De Guerre" respectively.
In one of his innumerable Sufi messages Hazrat Inayat Khan has stated that the Sufi knows of the past, present and future, and about all things in life, by being able to know the direction of sound. Every aspect of one's being in which sound manifest has a special effect in every direction. The knower of the mystery of sound knows the mystery of the whole Universe. Whoever has followed the strains of this sound has forgotten all earthly distinctions and differences, and has reached that goal of Truth in which all the Blessed Ones of God unite. Space is within the body as well as around it; in other words the body is in the space and the space is in the body.
This being the case, the sound of the abstract is always going on within, around and about man. Man does not hear it as a rule, because his consciousness is entirely centred in his material existence. Man becomes so absorbed in his experiences in the external world through the medium of the physical body that space, with all its wonders of light and sound, appears to him blank.
This can easily be understood by studying colour. There are many colours that are distinct by themselves, yet when mixed with others of still brighter hue they become altogether eclipsed; even bright colours embroidered with gold, silver, diamonds or pearls serve merely as a background to the dazzling embroidery. So it is with the abstract sound compared with the sounds of the external world. The limited volume of earthly sounds is so concrete that it dims the effect of the sound of the abstract to the sense of hearing, although in comparison to it the sounds of the earth are like that of a whistle or a drum. When the abstract sound is audible all other sounds become indistinct to the mystic.

HU

2010-08-18T23:22:00.000-07:00

Above is the HU Song of the Eckankars (Eckankar is a religious and spiritual movement that identifies God with Sound and Light).
.Just as many traditions believe that the “OM” is the original creative sound, there are traditions that believe that this energy may be attributed to another sound—the “HU”. In the Shabd Yoga traditions, including Master Path and Eckankar and in the mystical Islamic path of Sufi, the “HU” is considered to be the highest vibratory mantra that can be sounded. Chanting the “HU” is said to lead one to transcendence—to God realization and enlightenment.

“HU” is believed to be the universal name of God, which is present in every existing language. The “HU” sound has been described as many things from the buzzing of bees to the rushing of wind to the flute of God. It is said to be present in the words we speak, in the sounds of animals; that it is the wind in the trees, the rushing of waters, the roaring of water falls, the beat of the sea against a beach—that it is everywhere, in every plane.

Like the “AH” and the “OM”, the “HU” may be perceived of as a seed syllable. Depending upon its pronunciation, it may also be perceived of as a vowel sound—the “U”. The “HU” creates extraordinary energy for balance and clearing. Many believe it activates both the heart and the crown chakras. When sounded together in a large group, it is extremely powerful and transformative.

What leads to "HU"? 'HU' or Saut-E-Sarmad (Abstract Sound or "Sarmad"-meaning 'intoxication' for Sufis) or Anahatha Shabda (unlimited and unstruck sound) according to vedas.The great Sufi saint, Hazrat Inayat Khan in his "The Mysticism of Sound" states that the soul of the listener becomes the all-pervading consciousness, and his spirit becomes the battery which keeps the whole universe in motion.
Select excerpts from Hazrat Inayat Khan's sayings:
Some train themselves to hear the Saut-E-Sarmad in solitude on the seashore, on the river bank, and in the hills and dales; others attain it while sitting in the caves of mountains, or when wandering constantly through forests and deserts, keeping themselves in the wilderness apart from the haunts of men. Yogis and ascetics blow Sing (a horn) or a Shankha ( a conch shell) which awakens in them this inner tone. Dervishes play Nai or Algosa (a double flute) for the same purpose. The bells and gongs in the churches and temples are meant to suggest to the thinker the same sacred sound, and thus lead him towards the inner life.
This sound develops through ten different aspects because of its manifestation through ten different tubes of the body; its sound like thunder, the roaring of the sea, the jingling of bells, running water, the buzzing of bees, the tweeting of sparrows, the Veena, the whistle, or the sound of Shankha until it finally becomes "HU", the most sacred of all sounds!
This sound "Hu", is the beginning and end of all sounds, be they from man, bird, beast, or thing. A careful study ill prove this fact, which can be realised by listening to the sound of the steam engine or of a mill, while the echo of bells and gongs gives a typical illustration of the sound "Hu".

In English the word 'human' explains two facts which is characteristic of humanity: 'Hu' means God and 'man' means mind, which word comes from the Sanskrit 'Mana'( mind being that of the ordinary man). "Human" therefore may be said to mean God-conscious, God-realised or God-man.In Hindi the word "Hum" means I or we, both of the words signifying ego. The sound "Hu" becomes limited in the word "Hum" for the letter "m" closes the lips. The word "Hamsa" is the sacred word of the yogis which illumines the ego (the Hindi "Hum") with the light of reality. The word "Huma" in the Persian language stands for a fabulous bird. There is a belief that if a Huma bird sits for a moment on the head of anybody it is sign that he will become a king. It is said in the old traditions that the Zoroaster was born of a Huma tree. This explains the words in the bible, "Except a man be born of water and the Spirit, he cannot enter the Kingdom of God.' In the word "Huma", Hu represents spirit, and the word 'Mah' in Arabic means water.
'Hur' in Arabic means beauties of the Heaven, which means Heavenly Beauty. 'Zuhur' in Arabic means manifestation, especially that of God in nature. 'Ahura Mazda'is the name of God known to Zoroastrians. The first word 'Ahura' suggests 'Hu', upon which the whole name is built. The word 'Huwal' suggests the idea of Omnipresence, and 'Huvva' is the origin of Eve, which is symbolic of manifestation; as Adam is symbolic of life (like 'Prakrithi' and 'Purusha' of Sanskrit). All these examples signify the origin of God in the word 'Hu'.
'Jehova' was originally 'Yahuva', 'Ya' suggesting the word 'Oh' and 'Hu' standing for God, while the 'A' represents manifestation. 'Hu' is the origin of sound, but when the sound first takes shape on the external plane, it becomes 'A', therefore 'alif' or 'alpha' is considered to be the first expression of 'Hu', the original word. The Sanskrit alphabet as well as that of most other languages begins with the letter 'A', as does the name of God in several tongues. The letter 'A' is pronounced without the help of the teeth or tongue, and in Sanskrit 'A' always means without.
The words 'Om', 'Omen', 'Amen', 'Ameen', which are spoken in all houses of prayer, are of the same origin; 'A' is the commencement of the word expresses the beginning, and 'M' in the midst signifies end; 'N' the final word is the re-echo of 'M', for 'M' naturally ends in a nasal sound, the producing of which signifies life.
In the word 'Ahud' which means God, the only Being, two meanings are involved in assonance.'A' in Sanskrit means without, and 'Hudd' in Arabic means limitation. Hazrat Inayat Khan quotes Sharif, "I by the light of soul realize that the beauty of the Heavens and the grandeur of the earth are the echo of Thy magic flute (abstract sound)"!

Aadi Pooram - Ariyakudi

2010-08-16T23:21:00.000-07:00

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Above is a photo of the street on which the Carnatic Music Emperor, Sri. Ariyakudi Ramanuja Iyengar lived. The first photo is of the legend himself.

I had performed in the Vairavar Temple (Kala Bhairavan) in Vairavanpatti on Aadi Pooram (August 12th). As it is a small, remote village my mother and I had to stay in Kaaraikudi which is around 15 kms from Vairavanpatti.That day being Andal Jayanthi, in the morning my mother and I went to Ariyakudi (5Kms from Kaaraikudi where we stayed) to Lord Venkateswara temple (famously known as "Thenn Tirupathi"). I asked the temple priest to give me guidelines to go to Sri Ariyakudi Ramanuja Iyengar's house. I was eager to see where the Monarch lived. Saying "Vaango" the temple pujari walked with me all the way outside the temple and pointing towards the opposite street he told me, "Ado avaaloda veedu inda theruvule daan irukku!"
Awestruck,I stared at the street. From there I clicked with my mobile.

Maitreem Bhajata!

2010-08-04T23:55:00.000-07:00

"Maithreem Bhajatha Akhila Hrith Jaithreem"

Meaning: Praise (or adopt), friendship which conquers the heart of the World!

"Athmavad Eva Paraan Api Pashyatha"

Meaning:See others as you would see yourself!

"Yudhdham Thyajatha, Spardhaam Thyajatha"

Meaning: Eschew wars and competitions!

"Thyajatha Pareshu Akrama-Akramanam"

Meaning:Eschew attack on others, this is not correct!

"Janani Prithvi Kaama Dughaasthey"

Meaning: The Earth is the Mother who grants all your desires!

"Janako Deva Sakala Dayaaluh"

Meaning:The Lord is the Father who is compassionate to all!

"Daamyatha, Dattha, Dayadhvam, Janathaa"

Meaning:Practice restraint, charity and mercy, Oh People!

"Shreyo Bhooyaath Sakala Janaanaam"

Meaning: Let there be all round prosperity for all people!

The above is composed by His Holiness, Sri Kamamkoti Peethaadhipathi Poojyashri Chandrashekharendra Saraswathi.

Concept and presentation:Shyamala Sajnani

Miracles of Veena

2010-08-02T03:44:00.000-07:00

Maithraayanniya Upanishad states-"A drop of blood as it circulates within a human body takes along with it one breath of the human being. This drop of blood along with one breath takes nearly 7 minutes to circulate within the human body. Similarly, when the veena string is plucked once, the nada wave emanating from it takes nearly 7 minutes to travel back and forth between the bridge of the veena to the base fret of the veena."

The different properties of the woods used have an effect on the tonal characteristics of the veena. The grain pattern of the jackfruit wood used is important for veenas. The choice of wood plays a vital part in the aesthetics of the instrument.
Veena playing is not only about chemistry between 'nadam' of the veena and 'life-force energy' of the player. The interaction between human-body cells and the wood grains in the veena are equally thought provoking. Coming to think of the interaction between cells and grains/ 'nadam' and kundalini', we are able to understand how types of veena affect the player. The veena, appearing deceptively innocent has a potent nature and life of its own which can directly affect the player (provided he/she adapts the posture and breathing patterns required for veena-playing).
Continuous practice on a good veena (wood of fine quality due to seasoning at spiritual places, temples, on the banks of holy rivers or under a banyan tree, thereby devoid of doshas) yields results corresponding to the nature of the veena such as- sudden spurt of energy, sense of positivity, improvement in complexion, lush hair growth (in the case of middle-aged and the old, reduction in hair fall), shedding fat, agelessness, youthful looks etc. Playing on such veenas bring about good fortune, spiritual elevation and general prosperity. While such is the case with good veenas, one should watch out for any untoward events, ill health, bad luck, general disharmony, deterioration in physical complexion/ lack-lustre looks, fatigue, depression etc while playing on certain veenas. While all events and circumstances in life cannot be attributed to the veena one is handling, continual turn of bad events or atmosphere could certainly be attributed to the veena one is handling at the time of occurrence of bad happenings. This could be due to doshas in the wood, alignment of the frets (bad 'melam' of the veena dandi) etc. I have seen a veena that was made only on full moon nights. The veena maker would keep the wood aside on all other days except full moon nights to periodically transform the wood into a veena. Such veenas contain great spiritual powers and also lend a heavenly glow to the player.
Even the size of the veena plays a major part in affecting the player. It is essential for the player to feel comfortable while running his left hand across the dandi and plucking the strings with his right hand. Any strain on his/her biceps, elbows, hands and the chest region means the veena he/she is handling is not the corresponding size of the player. Normally a Saraswathi veena measures roughly upto 24 and a half 1/2 inches from the base note to the top note and 4 and a half feet from the simha mukha to the end of the kudam. Any addition or subtraction even by an inch or two to the length of the veena could be due to the size of the kudam (right side of the veena), resulting in an overall distinction in size yielding corresponding effects on the player. An ideal veena merges with the player to become his/her extension.

Yet another cosmic message!

2010-07-25T22:16:00.000-07:00

(Above is a photograph of the Mother of Pondicherry)
Many times we come across people with familiar features or attitude (body language, features, articulation etc.)bearing strong resemblance to our friends, relatives, acquaintances or someone who has hurt/angered or pleased/made us happy in the past. I made the startling discovery that such people bearing similar features of our past contacts cross our paths generally after we have lost touch ( for any reason) with those 'past contacts'. It could be a cosmic reminder or a karmic chain of contact!I recall the period when I had lost touch with a person many years ago. Within just a year of the event, I ran into another person from a totally different field, yet bearing an overwhelming resemblance to the past friend. That is when I realized that another entity bearing a strong resemblance to the past contact bumped into me to remind me of unfinished karmic business. Even if we are convinced that there is nothing more to the past, unfinished karmic business points to lingering thoughts or an interest from the past contact to reestablish contact. The only means to break the chain of karma is through detachment to the past and the person.
I tried to analyse the cosmic message behind such an occurrence (of meeting somebody who resembles a past contact). I understood that the person with whom we have lost touch could be mentally following us through powerful thought waves emanating from his/her aura, automatically invoking an interaction between their "breed" of people ( similar "saamudrika lakshanam") and ourselves. While all this is about living people, evolved souls have explained about after death phenomena such as the following:-
In one of the books by Navajata Bhaiji, a close associate and devotee of Sri Aurobindo and the Mother of Pondicherry, he states that Sri Aurobindo and the Mother have described in very great detail what happens to the soul, the psychic being and the astral personality after death. The mind continues to exist, the vital continues to exist, even after death. People may say out of ignorance that so and so would be born as a snake or a cat or a bird. Bhaiji states that it is incorrect. He says that according to what he has learnt from Mother, only a part of the personality of a person, like the lower part, may join a snake, a cat or a bird. That doesn't mean that his entire personality, including his soul have joined with that animal! He quotes Mother's examples of this phenomenon. She said that a young man She knew, died in the First World War. She was living in Paris at that time. She was sitting in a room when suddenly a cat ran to Her and pulled at Her dress. She saw in the cat's eyes the eyes of that man and could feel his presence. She immediately knew that the young man had been killed. Later She found that he had indeed died on the battlefront exactly at the time the cat had come to the Mother. So the astral body hardly took any time to travel from a battlefield in Germany right upto Paris and get in touch with the Mother. That is the speed with which the astral body can travel, it can even go through a wall and keep its personality intact.
The book has another account of the Mother's narration of an incident regarding a musician (a pianist). He had trained his hands in piano-playing over years of pracitce. After his death, his subtle hands got concretised- they got the skill- and so even after the man died, his hands, only the hands, remained in the subtle-physical. This is truly amazing that not the total personality but the hands alone could combine with the hands of another person who was trying to become a good pianist. But this second musician must be in an attitude of invoking- and this is very important- invoking some force to help him and for that moment he may play very beautifully, which normally he may be incapable of doing.
This means it is quite possible to build a connection; to build a contact with subtle-physical forces, and combine with even a part of the personality of another person who has died and thus improve one's life!

Who is the monk?

2010-07-22T03:47:00.001-07:00

Above is a group photo taken way back in early 60s, after I rendered 2 or 3 krithis in All India Sai Samaj (Saibaba Temple, Mylapore). In the audience were a revered monk (at whose feet I am seated) and somebody called "Professor Rege" (I still remember his name). The eyes of His Holiness are deep with knowledge of the Self. I was too young to know any details about Him. I wish to know particulars about His Holiness.
(Click on photo to enlarge).

Acupressure on veena for tonal enhancement- Clarification

2010-07-11T20:10:00.000-07:00

While thanking Music Lover for raising the point if other set of melakartha ragas that contain swaras (notes) missing in each other (for eg. Chakravakam-Simhendramadhyamam, Hanumathodi-Mechakalyani, etc.) could be used, I would like to clarify that it is acceptable and possible to do so. I had mentioned Mayamalavagowla-Haimavathi specifically only because the former is traditionally used for Sarali Varisai, Janta Varisai and Alankaram. Haimavathi is the only raga that has entirely different notes (swaras) than that of Mayamalavagowla.

Acupressure on veena for tonal enhancement!

2010-07-09T07:00:00.000-07:00

The brass-plated bridge (tonal enhancer)

Parts of Veena

'Naadam' (resonance) is the life of veena. A veena devoid of 'naadam' is lifeless and fails to evoke any emotion in the player as well as the listener. The tone of a veena is enhanced only when it is used. How does it happen? As we all know the bridge is the tone-determining part of the veena. It is located on the kudam-(see diagram).The process is like this:-
Veena is subject to acupressure simultaneously while the player is involved in producing music through the instrument. Acupressure is an ancient art using the fingers (or other parts of the body which is irrelevant in the case of veena)to skilfully press key points, which stimulates the body's (in this case -veena) natural abilities. When these trigger points (frets and strings) are pressed, they release muscular tension (tonal inertia) and promote blood circulation ('naadam'-resonance).
The index finger and the middle finger of the left hand press on the metal frets as they move from one swara to another. The right hand's index and middle fingers strike (pluck) the strings firmly, matching the movements of the left hand. As both the hands operate simultaneously,the strings that runs across the bridge rub tightly across the brass plate on top of the bridge (there are two bridges, the top of the bridge which is covered by a brass plate supports four main strings, holding them tightly and firmly while the side bridge, which is a curved brass plate supports the three side strings) creating a black line-like dent or mark over the brass plate while the metal frets, due to the pressure of the left hand fingers dip ever so finely into the wax-bed. Both, the line-like mark on the brass plated bridge and the frets that are being pressed and ground by the act of playing the instrument gradually bring about a deep timbre in the tonal quality of the veena. Obviously the points (swaras) wherever the frets are pressed by the left hand and plucked by the right hand fingers trigger particular zones on the brass plate resulting in tonal enhancement. If a particular krithi or raaga or the mere scale of Mayamalavagowla from open sarani to the middle shadjamam could produce tonal enhancement to a certain extent, the result would be far greater and wholesome when the veena is played or subject to acupressure from the first fret (rishabha) to the topmost shadjamam, that is, on all the 24 frets.
The two ragas, Mayamalavagowla and Haimavathi when played on three octaves (starting from the open shadjamam of the third bass string to the topmost shadjamam on the first string) in all the three speeds activate every zone on the brass-plate. The 15th melakartha raga, Mayamalavagowla and the 58th mealakartha raga, Haimavathi consist of swaras that are missing in each other, thereby encompassing the 24 frets of the veena, leaving no scope for an untouched pressure-point.

Sad demise!

2010-06-29T00:21:00.001-07:00

Veena Vidushi,Smt.VIDYA SHANKAR
Renowned veena Acharya, musicologist, sanskrit expert and reputed author of carnatic music texts, Smt. Vidya Shankar passed away this morning (according to news I had received from reliable sources). The field of veena suffers a great vacuum after her demise, the contributions she made during her life-time towards veena and the aspirants of veena have been immense and unparalleled! My heartfelt condolences to her family members and disciples.
I pray to God that her soul should rest in peace at the lotus feet of the Lord!

After a long tour!

2010-06-28T01:02:00.001-07:00

After a tiring, yet interesting tour, I have just returned from Singapore. Watching Michael Jackson's music show on the television marking the first anniversary (June 25th) of his death in my hotel room in New Park hotel on Serangoon Road, Singapore (ironically I watched news about his demise in Houston last year), brought tears to my eyes!
My all-time favourite, "Beat It" is embedded below. The last one-minute of the song builds into a crescendo of electrifying vocals, choreography and matchless dancing by the great genius!

Shyamala Sajnani in a concert

2010-06-07T00:15:00.000-07:00

My Younger Sister Shyamala Sajnani

2010-06-06T05:32:00.000-07:00

Click on photos to enlarge

Cool gurus all over the country are hooking onto Skype to teach their students scattered across Kazakhstan, Sydney, Paris and Wisconsin, finds Lalitha Suhasini

An hour before noon, veena and Carnatic vocal tutor Shyamala Sajnani dials Sydney from her suburban home in Mumbai to link to her 24 year-old student Madhumati Santosh, who has settled down for a mid-afternoon weekly veena session. "It's been a month since I've been learning on Skype now," says Santosh, over the phone from Sydney. Santosh learnt the veena under Sajnani for two years while she was based in Mumbai, before she moved to Australia after she got married. "I practised on my own at home, but learning like this is so much better. It's as easy, as say, looking for something on Google," she says.

Mumbai-based veena and vocal tutor Shyamala Sajnani connects with Madhumati Santosh, her student based in Sydney over Skype for her weekly veena lesson.
PIC/ HASHIM BADANI

Forty five-year-old Sajnani, a self-confessed technophobe, began taking classes on Skype just this January after much coaxing from overseas students. The clear Sydney-Mumbai connectivity has helped ease her into the new system, says Sajnani.
Supplementing Skype lessons
While Sajnani's Indian student based in Kazakhstan makes a trip to Mumbai to brush up her veena lessons, Krishnamurthy visits Paris once a year to conduct mridangam workshops. "There are times when because of time difference and syncing, it's difficult to understand the time signatures properly. Sometimes, there's also a language barrier with the French students and I have to make do with hand gestures. It can get a little challenging," admits Krishnamurthy, who also has students as young as 10-year-old Anirudh Bharve from Goa taking online lessons.
Above are the photograph and excerpts from the interview of my sister which appeared in today's (06-06-2010) Sunday Midday, Mumbai.Following enquiries, here are her contact details,
shyamalasajnani@gmail.com , mobile:09820710573.

Sri Venkatachala Mahathyam (wedding chapter 137-147)

2010-06-04T23:49:00.000-07:00

Sri Kumara Swami

137)Evamukthaha Kubeyreyna Sreenivaasaha Sathaam Gathihi!
Shanmukham Preyshayaamaasa Vahneyraahvaanakaaranaath!!

Meaning:Lord Srinivasa asked Lord Kumara Swami to summon Agnihothra (Fire God).

138)Sa Gathvaa Thvaritham Skandaha Shaasanam Gnyaapayan Hareyhe!
Sampraaptho Vaayuveygeyna Sahitho Jaathavedasaa!!

Meaning: Lord Kumara Swami set off immediately to carry out the wishes of Lord Srinivasa. Accompanied by Lord Agnihotra, Lord Kumara Swami returned in lightning speed.

139)Thathaha Provaacha Bhagavaan Thvaritham Havyavaahanam!
Sree Bhagavaan:-
Kshanaadbhrakshyaannashaakaadi Pacha Swaahaa Samanvithaha!!

Meaning:Lord Srinivasa ordered Lord Agnihothra-" I command Yourself and your wife, Swaaha Devi to prepare hot and delicious food immediately!"

140)Ithi Naaraayanavachaha Shruthvaagnisthamabhaashathaha!
Agni:-
Paakaardham Bhaajanam Krishna! Naa Sthye Kama Pi Mey Harey!!

Meaning:Lord Agnihothra said,"Krishna! How can I cook without any vessels here?!...

141)Kaaryaha Paako Mahaaraaja! Bahoonaam Bhakthavathsala!
Ithi Thasya Vachaha Shruthvaa Shaarngyinam Prathyabhaashatha!!

Meaning:O Merciful and Compassionate One to devotees! Lord Srinivasa! I have to cook for so many people and how is it possible without any vessels?!"

142)Sree Bhagavaan:-
Bhavathaam Bhavaney Thaatha! Kinchijjaathey Mahothsavey!
Bhaajanaani Mahaabhaaga Vardhanthey Vatabeejavath!!

Meaning:Lord Srinivasa said, "Agnihothra! I am sure you have as many vessels as Banyan seeds in your house which you use for festivities!

143)Mama Kalyaana Samaye Bhaanda Meykam Na Drushyathey!
Deivameyva Param Manye Sarveyshaam Sarvasaadhaney!!

Meaning:For my wedding celebrations I do not have even one vessel! Alas! Without God's grace how can anyone carry out the rituals and procedures?!

144)Upaayam Shrunu Sapthaasya Paakaardham Paajanairvinaa!
Annam Swaamisaromadhye Soopam Paapavinaashaney!!

Meaning:Agnihothra, One who is blessed with seven tastes ("jihwa")! If you do not have vessels to cook, please cook rice on the banks of Swami Pushkarini, Dhal on the banks of Papavinashanam...

145)Viyadgangaa Jaley Vahney!Paramaannam Gudaanvitham!
Deyvatheerthey Shaakamagney! Thumbutheerthey Thu Chithrakam!!

Meaning:Sweet Rice pudding made out of jaggery ('chakkera pongali') on the banks of Aakasha Ganga, Vegetables on the banks of Deva Theertham, Tamarind rice ('pulihora') on the banks of Thumburu Theertham....

146)Kumaaradhaarikaatheerthey Bhakshyaani nVividhaani Cha!
Paandutheerthey Cha Karthavyaha Thinthrineerasa Uththamaha!!

Meaning:On the banks of Kumara Theertham a variety of savouries ('pindi vantalu'), on the banks of Paandu Theertham tamarind soup (sambar and rasam)....

147)Vyanjanaanyanyatheerdheyshu Kandamoolaphalai Ssaha!
Kriyathaam Lehyapeyaani Theerdheyshvanyeshu Paavaka!!

Meaning:On the banks of the other 'theerthams' (divine lakes), dishes made out of herbal vegetables and fruits. Please organise for such dishes that can be licked and tasted with the tongue and delicious syrups and juices that are to be drunk, etc. on the banks of the rest of the divine lakes!"

Sri Venkatachala Mahathyam (wedding chapter 127-136)

2010-05-28T21:34:00.000-07:00

127)"Dhanam Dehi Dhaneyshaana!Pathrey Likhithamaathrakam!
Evamuktho Vasupthihi Vaasudeyveyna Bhoomipa!!

Meaning: "Kubera! As per the agreement, please handover the money to me!"

128)Dadau Dhanam Kubeyrasthu Klupthasankhyam Vrushaakapeyhey!
Drushtvaa Thadhdhanaraashisthu Thathkareydaadhdarirnapa!!

Meaning:Lord Kubera handed over the agreed amount to Lord Srinivasa. and Lord Srinivasa handed the money back to Kubera saying..........

129)Kuberamabraveeddevaha Sambhaaraanayanam Prathi!

Shree Bhagavaan:-
Aaneeyathaam Thandulancha Mitham Prasthairdhaneyshwaram!!

Meaning:"The required articles, rice grains to the required measure......

130)Maashaadikancha Mudgaadeen Godhoomaamshcha Samaanaya!
Guda Thaila Madhu Ksheera Sharka Raajya Dadheena Cha!!

Meaning:Black gram, whole green gram, wheat, jaggery, oil, honey, milk, sugar, ghee, curd, and other groceries,....

131)Vasthraani Yogyamoolyaani Soththareeyaani Chaanaya!
Thilahinjyu Mareechaadi Jeera Sarshapa Meydhikaan!!

Meaning:Nice and expensive 'dhoties' (garment worn by men, tied around the waist), 'uththareeyam' (garment worn around the shoulders by men), sesame seeds, asafoetida, pepper, cumin seeds, mustard seeds, fenugreek seeds, please purchase all these articles and groceries and bring them here....

132)Haridraakthaani Kurveedhaaha Vasthraani Dvijayoshithaam!
Kambalaashcha Dhanaadheesha! Kreeyanthaa Mithi Chaabraveeth!!

Meaning:Please soak the garments to be given to Brahmin women in turmeric water, purchase rugs, ....

133)Devaanaamuththareeyancha Devasthreenaam Dukoolakam!
Poogeephalaalani Divyaani Nagavalleedalaani Cha!!

Meaning:Also purchase 'uththareeyams' for the Devas (men of the divine clan) and silk garments for the women of the Deva clan. Along with it, please arrange for good betel nuts, betel leaves............

134)Elaalavangakarpoora Mruganaabhirasam Thadhaa!
Maangalyathanthum Kanyaardham Paadaangushthaadimudrikaam!!

Meaning:Cardamoms, cloves, camphor (Borneo-camphor), saffron, 'Mangalasuthram" for the bride (the auspicious yellow thread which the bridegroom ties around the bride's neck), bangles, mirrors, toe-rings (mattelu)....

135)Hasthaanguleeyakam Meydya Kubera! Kuru Sheeghrathaha!
Ithi Govindavachanam Shruthvaasau Nirmamey Kshanaath!!

Meaning:Please arrange for my finger ring at the earliest!" As Lord Srinivasa ordered, Kubera organised everything within just one minute and then....

136)Kuberaha:-
Thvathprasaadeyna Govinda! Sarvam Sajjeekrutham Mayaa!
Paakaardham Pundareekaaksha! Niyumkshvaagnimathaha Param!!

Meaning:Kubera said, "O Lord! I have organised everything (as ordered by Lord Srinivasa) with Your Grace! Please order "Agnihothra" to start cooking."

Sri Venkatachala Mahathyam (wedding chapter 113-126)

2010-05-26T21:50:00.000-07:00

113)Bruvathyevam Dhanapathau Shreepathirvaakyamabraveeth!
Sreenivaasaha:-
Ekasmin Brahmadivasey Thvavathaaraa Dasha Smrutha!!

Meaning:As Lord Kubera completed His speech, Lord Srinivasa said," The "Dasavatharam" (ten avathaaraas,'incarnations') had taken place during one day for Brahma. (Srimad Bhagavatham states that 1,ooo cycles of the four yugas (one cycle of four yugas equals 4.32 million years, which is also known as one "kalpam")....

114)Mamaavathaarasamaye Naanayaami Dhanam Gruhaath!
Bhoogathancha Dhanam Raajan! Naiva Neyshyaami Madgruham!!

Meaning:Whenever I incarnate (take an "avathaaraa"), wealth is neither supplied from Vaikuntham (the celestial world of Lord Vishnu) to Bhoolokam (earth where human beings reside), nor is the wealth carried from Bhoolokam to Vaikuntham....

115)Yadhaayugam Yadhaakaalam Yadhaadesham Yadhaavayaha!
Avathaaramaham Kurvan Rameythra Ramayaa Saha!!

Meaning:My "avathaaraa" (incarnation) on the planet of Earth along with my Spouse, Sridevi will be in accordance with the particular yuga (the four yugas being-Kritha Yugam, Threthaa Yugam, Dwaapara Yugam and Kali Yugam), in accordance with the times, in accordance with the circumstances and in accordance with the age.....

116)Nimiththamaathramapimey Dhanam Thvam Dhanadaadhunaa!
Yugaanusaariney Dehi! Deshakaalaanusaarathaha!!

Meaning: I take human form in adherence to the circumstances and times, therefore I appoint you as the caretaker of the wealth and give me when I need it!", as Lord Srinivasa asked..

117)Sa Thasya Vachanam Shruthvaa Kubero Vaakyamabraveeth!
Kuberaha:-
Yugaanusaarinastheydya Kadham Daasyaami Chakrabhruth!!

Meaning:Lord Kubera replied,"O Lord who adorns the discus ("Chakram"), how can I lend money to You who reincarnates according to changing times and cicumstances?!....

118)Yadi Daththam Thvayaa Pathram Thadaa Daasyaami They Vasu!
Adhanaha Sadhanam Lokey Yadhaa Kaankshathi Maadhava!!

Meaning:Just like how a poor man would seek loan from a rich man, You will have to apply for a loan in writing (document) and I shall then give You the required amount!"....

119)Thadhaiva Narashaardoola! Bhagavaan Loukikaissamaha!
Evam Thadvachanam Shruthvaa Harirbrahmaanamabraveeth!!

Meaning:Agreeing to that, Lord Srinivasa after consulting experts asked Lord Brahma....

120)Sreenivaasaha:-
Kadham Lekhyam Mayaa Pathram Runaadaaney Vadaadya Mey!
Brahmaa:-
Runagraahee Sreenivaaso Dhanadaayee Dhaneshwaraha!!

Meaning:Lord Srinivasa asked Lord Brahma, "O Four-Faced One! How do I draw a written document seeking loan?" Brahma replied as follows,"I,Srinivasa am the receiver of the loan. Kubera is the giver of the money....

121)Aathmakaaryanimiththam Thu Kalyaanaardham Kalau Yugey!
Vaishaakhey Shuklasapthamyaam Vilambey Chaiva Vathsarey!!

Meaning:In the 'Yuga' of 'Kali', in the year of 'Vilambi' (name of the year according to vedic panchangam), in the month of Vaishakha (31 days starting from April 21st), on the 'Tidhi' (date) of "Shuklapaksha Sapthami" (seventh day of the waxing moon), for my wedding......

122)Nishkaanaam Raamamudraanaam Lakshaani Cha Chathurdasha!
Dravyam Dattham Dhaneysheyna Vrudhdhigrahanakaaranaath!!

Meaning:With an agreement to pay back with interest a loan of fourteen lakhs of in the form of "maadalu" (currency during those times) bearing the imprint of Sri Rama has been received from Kubera.....

123)Sa Vrudhdhi Dithsathathaa Moolam Sveekrutham Chakrapaaninaa!
Vivaahavarshamaarabhya Sahasraanthey Dhanam Punaha!!

Meaning:Receiving the amount from Kubera, an agreement to return the loan with interest was subsequently issued by Lord Srinivasa. The period between the first year of the wedding to 1,000 years was marked as...

124)Daathavyam Yaksharaajaaya Sreenivaaseyna Shaarrnginaa!
Ekaha Saakshee Chathurvakthro Dwitheeya Sthu Thrilochanaha!!

Meaning: The time given to Lord Sreenivasa for returning the loan with interest to Kubera with Lord Brahma and Lord Shiva...

125)Thritheeyoshwathdharaajasthu Veththi Sarvamidam Drudham!
Ithyethadrunapathrasthu Sreenivaasolikhithsvayam!!

Meaning:And as the third person, theBanyan Tree as witnesses", as Lord Brahma dictated, Lord Srinivasa Himself drew the agreement with His own Hand....

126)Evam Pathraardhamaakarnya Runapathram Ramaapathihi
Likhithvaa Thathkarey Dathvaa Dhaneysham Chaabraveeddharihi!!

Meaning:And Lord Srinivasa handed over the document to Kubera and told him.....

Sri Venkatachala Mahathyam (wedding chapter 104-112)

2010-05-26T05:03:00.000-07:00

Lord Kubera

104) Sri Bhagavan:-
Sabhaayaam Kimidam Proktham Pourusheyna Vachashshiva!
Ko Vaadya Runadaathaasthi Vivaahasyaasya Pushkalam!!

Meaning:Lord Srinivasa said,"Rudra! You are talking so vehemently in this assembly! Now who will give us required money to conduct this marriage?..

105)Purushaha Pourusham Yathnam Aachareynnaiva Bhashayeth!
Evamukthvaa Shivam Praaha Kuberam Purushoththamaha!!

Meaning:Man should act instead of speaking loftily!" Having said thus, Lord Srinivasa addressed Lord Kubera (God of wealth)....

106)Nimiththam Varthathey Kinchi Ditha Ehi Dhanaadhipa!
Ithyevamuktho Dhanadaha Pithaamahasamanvithaha!!

Meaning:"O Lord of wealth! I have a job for you, please come here!", on being summoned, Lord Kubera along with Lord Brahma....

107)Samuththasdhau SabhaamadhyaathThvaritham Shivasamyuthaha!
Brahmanaa Sa Kubeyreyna Shankareyna Ramaapathihi!!

Meaning:Stood up hurriedly. Accompanied by Lord Shiva and Lord Brahma, Lord Kubera followed Lord Srinivasa....

108)Ekaanthey Swaamitheerthasya Pashchimeyshwaththasannidhau!
Gathvovaacha Dhaneyshaanaam Sreenivaasaha Sathaam Gathihi!!

Meaning:To the western side of the lake Swami Pushkarini, at a secluded place near the banyan tree. The protector of all....

109)Sreenivaasaha:-
Saadhayasva Mahaabhaaga! Kalyaanam Mey Kalau Yugey!
Dathvaa Dhanam Yaavadishtam Puthrasya Naravaahana!!

Meaning:Lord Srinivasa said:- "Kubera! Please lend required amount of money to Lord Brahma for conducting my marriage in this "Kali Yuga"!

110)Vaasudevavachaha Shruthvaa Vasupaalobraveedhdhareem!!
Kuberaha::-
Thvadadheenam Deva! Sarvam Jagadeythachcharaacharam!!

Meaning:On hearing the Lord speak thus, Kubera spoke,"O Lord! The entire Universe is in your control!....

111)Bahoonaam Jeevaraasheenaam Madhye Koham Jagathpathey!
Niyojitheyna Bhavathaa Rakshitham Thvaddhanam Mayaa!!

Meaning:Am I not insignificant among the crores of living beings in this Universe?! I am at your command and the Guardian of Your wealth....

112)Thaddaanaa Daanayoho Shakthihi Mama Nasthi Khagadwaja!
Graheethaa Thvam Cha Daathaa Cha Svathanthrothra Thvameyva Hi!!

Meaning:I am not eligible to lend you the wealth nor claim the wealth as mine! You have all rights to claim the wealth as your own or to gift the wealth to others!!"

The Divine Bird!

2010-05-24T03:08:00.000-07:00

Learned scholars and pundits are aware of the fact that Lord Krishna had never cohabitated with any of His 16,000 wives. It is blasphemous to view Lord Krishna as a mere human being in whatever sphere of His 'Avathaara'.. His Divine presence and "saanghathyam" (company) gave Ultimate contentment and joy to all His 16,000 wives. His divinity was overpowering, throwing open flood gates of overflowing love residing in the center of the hearts of all His wives.
This pure and divine love is termed as "Bhakthi Yoga", which is sublime and not in the least related to physical desire or chemistry. The peacock feather adorning Lord Krishna's forehead depicts the purity of the Lord. Hindu mytholgy claims that peacocks are pure and chaste. It is also largely believed that a peahen conceives by consuming the teardrops of a peacock in order to maintain the pristine purity of the peacock.
Peacock is also the 'vaahana' (vehicle) of Lord Subrahmanya Swami. The Lord was seated on a peacock when He fought Surapadma.
A certain section of tribals firmly believe that Goddess Saraswathi changed Her "vaahana" from the Swan to a Peacock!
In Ramayana, Sage Valmiki has stated that Bharatha was assisted by peacock breeders called Mayoorakaas when he went in search of Lord Rama during His exile in forest. Separated from Sita, Lord Rama expresses His grief to His brother, Lakshmana. In His conversation, Lord Rama makes a special mention of the affinity between a peacock and peahen lamenting that He was not as fortunate as the peacock which is inseparable from the ever-loving peahen! During their separation, Lord Rama recalled how Sita clapped her hands daintily to the dancing steps of a majestic peacock on the branch of a "Kadambaa Tree". That particular peacock became as dear as a son to Lord Rama.
Peacock represents the spring season. The joyous dance of peacock is associated with this most romantic and aesthetic season. The ragas Vasantha and Brindavani are strongly associated with this bird and are said to invoke the beautiful peacock dance, as it spreads its enchanting feathers!

The note "C" in the western music and the shadjamam of Indian classical music are described as the voice of the peacock by renowned musical treatises. Even veenas are made with peacock heads in the place of lion heads.

Sri Venkatachala Mahathyam (wedding chapter 94-103)

2010-05-20T22:47:00.000-07:00

94)Brahma:=
Kruthvaa Punyaahakarmaani Prathishtaapya Kuleshvareem!
Nopavaaseyna Govinda! Ganthavyamithi Mey Mathihi!!

Meaning:Lord Brahma said, "Having performed all the auspicious rituals like the 'naming ceremony' ("Punyah Vachanam") and installed your Kula Devatha, which is the Samee Vruksham, O Lord Govinda, please do not fast and travel on an empty stomach! This is my opinion..

95)Munayaha Kshudhithaassarvey Baalavrudhdaadayasthadhaa!
Vadathyevam Chathurvakthrey Chakrapanirabhaashitha!!

Meaning:Children, women folk and all the monks are hungry!" as Lord Brahma tried to convince....

96)Srinivaasaha:-
Vachanaani Mahaarhaani Thava Puthra! Pithaamaha!
Kadham Kaaryamakaaryancha Naiva Jaanaasi Puthraka!!

Meaning:Lord Srinivasa said,"Dear Son, O Four-Faced One, Your words are invaluable!But how is it that You are unaware of the good and bad of a situation?...

97)Deshakaalaavanaalochya Bhaashasey Baalisho Yadhaa!
Dravyaanaamayutham Thaatha! Gatham Mey Kaananey Girau!!

Meaning:You are ignorant of the ways of the world and you are talking like an unintelligent man! On the hills amidst the deep woods, thousands of my properties were destroyed!....

98)Evam Vyayam Samaapannam Kadham Pashyasi Chakshushaa!
Gnyaathvaapi Rikthathaam Vaachaa Thveyvamukthey Kadham Bhaveth!!

Meaning:Have not you seen the loss of much property with your own eyes?! Having known about poverty, how could you speak like this?!"

99)Vadathyevam Svapithari Brahmaa Lokapithaamahaha!
Thooshnimabhoonmahaaraaka! Bhagavathpurathasthadaa!!

Meaning:Lord Brahma listened silently while Lord Srinivasa was speaking.

100)Neelakanthobraveedvaakyam Pitharam Svapithusthathaha!
Neelakantha:-
Shrothavyam Vachanam Thaatha! Mama Balasya Maadhava!!

Meaning:Lord Shiva addressed His Father, Lord Srinivasa, "Srinivasa! As your son I request you to listen to my words!...

101)Vivaahakaraney Deyva! Thadhaa Bhavanakarmani!
Praarabdhasyaanthaparyantham Yo Hi Yathnam Samaachareth!!

Meaning:While performing a wedding or a house-warming ceremony, an ideal man would perform all the necessary rituals unfailingly as his duties.....

102)Sa Eva Punyavaan Lokey Keerthimeythi Na Samshayaha!
Sampaadyaaha Sarvasambhaaraaha Shubhakaaryeshu Pushkalaaha!!

Meaning:Undoubtedly such a man is most fortunate and will attain great name and fame! It is necessary to gather abundant goods and articles for performing auspicious ceremonies...

103)Bahulaardhavya Thadabhaavey Thvrunam Chareth!
Sa Shambhuvachanam Shruthvaa Shambaraaripithaabraveeth!!

Meaning:For accumulating articles and things needed to perform an auspicious ceremony such as this, wastage of any amount of money should not be taken into account! When somebody cannot afford so much money, He should atleast acquire loan to be able to perform all the necessary rituals!" As Lord Shiva spoke, Lord Srinivasa....

Sri Venkatachala Mahathyam (wedding chapter85-93)

2010-05-16T21:42:00.000-07:00

Above is a photograph of the temple of Lord Sreenivasa and Goddess Padmavathi's wedding, Narayanavanam

85)Varaahavachanam Shruthvaa Vaasudevobhyabhaashitha!
Sreenivasaha:- Kuladeveeprathishtaancha Karishye Sharaney Thava!!

Meaning:Lord Sreenivasa told Lord Varaha Swami,"I shall place my Kuladeivam, Shamee tree close to You, here itself!"

86)Ithyevam Praardhayantham Tham Sreenivaasam Paraathparam!
'Thadhaasthvi Thyabraveedraajan!' Kolaroopee Harissvayam!!

Meaning:Lord Varaha Swami agreed with Lord Sreenivasa, Who is the Lord of the Universe!

87)Kalashey Swarnakhachithey Mukthaaraashim Prapoorya Cha!
Vasthreyna Veyshtayithvaadha Poojaam Kruthvaa Vidhaanathaha!!

Meaning:Taking a gold pot (kalasham) filled with pearls and covered by fine fabric, worshipping the same reverentially....

88)Prathishtaapya Varaahasya Sannidhau Praakrutho Yadhaa!
Swashthaanam Punaraagathya Sreenivaasaha Sathaam Gathihi!!

Meaning:Like a common man, installing the Shamee tree along with the golden pot close to Lord Varaha;Lord Sreenivasa returned to His place...

89)KUBERAACHREENIVAASAKRUTHASVAPARINAYAARDHARUNAADAANAPRAKAARAHA

Abhojaneyna Ganthavyam Naaraayanapuraahvayam!
'Aakaasharaajanagara' mithi Nishchithya Cheythasi!!

Meaning:Even without having His meals, Lord Sreenivasa decided to go to Narayanapuram which is the township where King Aakaasha Raja (Goddess Padmavathy's father) resided...

90)Brahmaanamabraveethraajan! Thvarayaa Gamaney Rathaha!
Sreenivasaha:-
Vidhey! Dyaiva Niyukshvaithaam Seynaam They Chathurangineem!!

Meaning:Lord Sreenivasa was eager to start His journey to Narayanapuram, He requested Lord Brahma, "Chathuraananaa, Organise an army consisting of immense strength (all the vital four strengths) to accompany me in the journey...

91)Sheeghram Ganthum Chathurvakthra! Naaraayanapuram Prathi!
Maa Bhoothkaalo Vrudhai Vaathra Doorodhvaa Hyasya Varthathey!!

Meaning:Aakaasha Raja's city, Narayanapuram is very far away from here. Let us not waste anymore time!...

92)Balam Sarvey Vaney Thaatha! Vrudhdabaalaabalaanvitham!
Shanairgachchathu Raajendra! Munimandalapoorvakam!!

Meaning:Let the old people, children and women be accompanied by the army that has been allotted for the group of pious monks!"

93)SaThasya Vachanam Shruthvaa Chakrapaaneyshchathurmukhaha!
Vachanam Vyaaharachcheeghram Pitharam Purushoththamam!!

Meaning:Lord Srinivasa spoke thus. After listening to what Lord Srinivasa had to say, Lord Brahma spoke as follows to Lord Srinivasa who was his Father....

Karma control!

2010-05-09T23:08:00.000-07:00

Above is an image of planet Mars

Mars has been in debilitation in Cancer for nearly 6 months (right from October 2009-May 26th 2010). Mars being a fiery planet, its debilitation generally causes world wide disturbances on the political arena, terrorism, aggressive tendencies in women and children (Cancer being a moon sign), crime rates and general violence. Thankfully Jupiter's transit in Pisces from May 2nd till Mars's departure from Cancer on May 26th could slow down the aggressive Mars, the fifth aspect of Jupiter on Mars is most welcomed by Aries, Gemini, Cancer, Leo, Scorpio, Sagittarius, Capricorn and Pisces signs.
No science is superior to God:-
"Sooryendubhouma Budhavaakpathi Kaavya Souri
Swarbhaanukethu Divishathparishathpradaanaa
Twaddaasa Daasa Charamaavadhi Daasadaasa
Sri Venkatachalapathey! Thava Suprabhaatham!"
The sloka above (from Sri Venkateswara Suprabhaatham) states that all the planets are subservient to the Lord, directed and maneuvered by Him While unconditionally accepting the above, astrology could still be viewed as a very relevant science. The Law of Karma being the determining factor behind the planetary alignment in one's natal chart, I strongly believe that our good deeds could strengthen the weak planets in our natal charts, likewise sins and bad deeds could contaminate the best 'yoga' in one's natal charts.
A business man who ran into tough times and bankruptsy knew just how to get his fortune back. He simply shut down everything (his residence and his business) and went away to a lepers' colony to serve them. He spent nearly 6 months serving the lepers dedicatedly. On his return, he found that his business not only picked up momentum rapidly, but flourished like never before!
Even small gestures add upto good Karma. A simple smile invokes good karma! Regardless of whether it is a salesperson from a famous brand name, hellbent on demonstrating his vacuum cleaner and water filter (never mind if you don't want to buy it, he is only obsessed with demonstrating the item), or the innumerable couriers you have sign for in a day - wedding invitations ,arangetram invitations etc. etc.,umpteen wrong numbers one receives on the landline, the servant not turning up on one of your crucial days, the list is too long to complete; the bottomline is-SMILE kindly at everybody! It is true that even a frown or a minor show of irritation (that could hurt many sensitve souls like me) adds up to bad karma. Smile even when you are simmering within. After all, doesn't every religion demand the same thing? Smiling comes easily when you know that it can lessen the intensity of a bad planet in your natal chart!
Serving a cause, a sickly person, keeping company with a lonely person, offering solace and comfort to destitutes, emotionally deprived and abused people, being generally kind, helpful etc. nullifies bad planetary alignment and their consequences in one's natal chart.
The following are the best ways to get out of misfortune:
1)Healing a sick person (it could be through Pranic or Reiki, charging a reasonable fee for healing is perfectly alright).
2)Feeding a hungry or an under nourished person.
3)Offering shelter.
4)Keeping company with old and neglected people and orphans.
5) Serving handicapped or terminally ill people.
General patience, kindness, generosity, love and warmth contribute towards enhancing one's fortune in life! Not to mention that optimism and positive thinking literally eradicate doshas from one's natal chart.
This posting started with the lengthy transit of debilitated Mars in Cancer, to enter Leo on May 26th and to stay there till July 20th, 2010. How is it going to be for the 12 moon signs while Mars transits Leo?

Mesha Rasi (transit in 5th house) (Aswini 4 padams, Bharani 4 padams, Krittika 1st padam):-
Fever, futile and unnecessary worries, if having progeny, anxiety due to them. Misunderstandings and clashes with one's children, strife and jealousy.

Vrishabha Rasi (transit in 4th house)-(Krittika 3 padams, Rohini 4 padams and Mrigasira 2 padams):-
Lack of happiness and peace, loss of position and humiliation. Mother should be taken care of.

Mithuna Rasi (transit in 3rd house)- (Mrigasira 2 padams, Ardra 4 padams, Punarvasu 3 padams):-
Happiness through victory, success and enjoyment. Extremely favourable transit.

Kataka Rasi (transit in 2nd house)-(Punarvasu 1 padam, Pushyami 4 padams, Aslesha 4 padams):-
Loss of wealth, aggressive speech, arguments and quarrels.

Simha Rasi (transit in 1st house)- (Makham 4 padams, Poorva Phalguni 4 padams, Uttara Phalguni 1 padam):-
Dejection and separation from loved ones. Blood impurities and diseases related to the same.

Kanya Rasi (transit in 12th house)-(Uttara Phalguni 3 padams, Hastha 4 padams, Chittha 2 padams):-
Misunderstandings with wife, quarrels and lack of sleep, restlessness of mind, tiresome travels to distant places.

Thula Rasi (transit in 11th house)-(Chittha 2 padams, Swathi 4 padams, Vishakha 3 padams):-
Financial gains, freedom from diseases, gaining properties, contentment and good health.

Vrischika Rasi (transit in 10th house) ( Vishakha 1 padam, Anuradha 4 padams, Jyeshta 4 padams):-
Obstacles in work, tedious works, health problems, generally unfavourable transit.

Dhanush Rasi (transit in 9th house)- (Moola 4 padams, Poorvashadha 4 padams, Uttarashadha 1 padam):-
Humiliation, loss of position, tremendous body weakness, wastage of dhatus in body and energy and dispirited attitude.

Makara Rasi (transit in 8th house)- (Uttarashadha 3 padams, Shravana 4 padams, Dhanishta 2 padams):-
Insults, travel to distant places, loss of wealth, problems due to debts, blood impurities and bodily sickness.

Kumbha Rasi (transit in 7th house)- (Dhanishta 2 padams, Sathabhisha 4 padams, Poorvabhadra 3 padams):-
Loss of conjugal happiness, uterus related problems for women, problems regarding food and clothing, untimely food, eye diseases, misunderstandings with one's family.

Meena Rasi (transit in 6th house)-(Poorvabhadra 1 padam, Uttarabhadra 4 padams, Revathi 4 padams):-
Victory over enemies, freedom from diseases, conducting religious and auspicious functions, gain of wealth, success in all fields, fame, general happiness and enthusiasm. Excellent transit.

Mars being a fiery planet, the results due to its transit in unfavourable houses may sound a little scary, but as long as we know that karma depends upon our actions and that natal charts are ever changeable through attitude and behaviour, there is no cause for worrying!!
P.S:To appease Mars, prayers to Lord Subrahmanya Swami, fasting on Tuesdays and "Angarakam" in Surati are recommended.

While on Mars, the famous saying, "Men are from Mars and women are from Venus" has a contrary functioning when it comes to instant attraction and chemistry between man and woman. It is Venus in the man's chart and Mars in the woman's chart and their respective placements in mutual charts that are given primary importance in determining mutual attraction. Woman's Mars and Man's Venus in conjunction, opposition or mutual squares (kendras) cause deadly attraction and magnetic pull towards each other. In such cases the benevolent aspect of man's Jupiter on woman's Mars safe guards the woman's position, by leading to matrimony in most cases.

Spiritual action!

2010-05-05T22:52:00.000-07:00

Above is a photograph of a snowboarder

Dr. Frederick Lenz's conversations with Master Fwap in "Surfing the Himalayas" are so awe-inspiring, which is not the only reason why I read the book so many times! This book literally transports me to the Divine Himalayas, I can almost feel the air turning chilly around me every time I read it!
Master Fwap is a Buddhist monk who identifies Dr. Frederick Lenz as 'the chosen one' for enlightenment. In all the preachings of Master Fwap, the best one was about the practice of perfection towards 'samyoga' through one's profession or constant job.
According to Master Fwap, in Tantric Buddhism even inanimate objects possess inherent knowledge (which the Buddhists term as 'emptiness'). Buddhist believe that all things, experiences and people are inherently empty! Tantric Buddhism further states that all physical and nonphysical things have another side, a side that is not visible to the senses or accessible to the reasoning mind. This different side can only be known and experienced intuitively by emptying one's own mind of thoughts, judgements and predispotions about life and how it works.
Master Fwap further describes Dr. Frederick Lenz's snowboarding as 'samyoga' ( the act of uniting), in which the action aimed at perfection (of performing the act of snowboarding) synchronises the doer (Dr. Frederick Lenz) and the object (the board) to a state of 'oneness'!
According to Master Fwap, the first step is to allow the action of an activity or an event to take precedence over one's point of view. That is the Tantric Buddhist way. To allow the emptiness inherent within actions and experiences to guide and shape one's choices thereby letting the actions to direct us, the actors, and not the other way around.
The Tantric Buddhist way - before beginning an activity one must always empty oneself of thoughts regarding what is to be done. Then allowing the inherent emptiness within to act as a guide instead of one's ego directing and making innumerable mistakes. One should allow oneself to be guided by the invisible principles of the Universe WITHIN one's actions! At that time there will be a perfect flow of energy in whatever one chooses to do, and there will be a grace and power present in all of one's movements. Tantric Buddhism hails such an act as perfect!

At this juncture, Master Fwap instructs Dr. Frederick Lenz,"Now you will go on your board down the mountain. But first you must make your mind still. Then allow the emptiness within your BOARD to guide you. Let it become your will. Remember, YOU are the BOARD!!! Then your ride down the mountain will be perfect action!"

To achieve the above, the aim should be towards nothing less than perfection! In the quest for perfection, man loses himself in the job at hand to the extent of naturally blending/ merging ('samyoga')with the action as well as the inanimate object he is handling! Many great instrumentalists, engineers, doctors, accountants, carpenters, electricians, mechanics, sportsmen, ......................the list includes everybody belonging to various fields, are eligible for this yoga. The bottom line is to discard ego and turn into the object ( it could be a musical instrument, sports equipment, or any gadget in relation to one's profession) towards which your actions are directed, thereby inducing power of action into the inanimate object, creating the 'samyoga' of the actor, action and the object. It is therefore not surprising that the actions of experts handling various gadgets in different fields are natural and almost involuntary! Such experts take their natural skills for granted without realizing that they have merged themselves with whatever they are handling!

Sri Venkatachala Mahathyam(wedding chapter 76-84)

2010-05-04T06:09:00.001-07:00

Above is a photograph of Bhudevi Sametha Sri Varaha Swami

76)Ithi Sampraardhya Deveyshaha Kuladeyveem Suraarchithaam!
Archayithvaa Vidhaneyna Skandhamalpam Maheepathey!!

Meaning:Lord Srinivasa followed all the necessary procedures for prayers of the tree which is worshipped by the Divine clan (Devas). After that, He plucked a small branch from the tree...

77)Nikruthya Shirasaa Dhruthvaa Vaadithraanaam Swaneyna Cha!
Poorayannambaram Sarvam Punaha Swasthaanamaagathaha!!

Meaning:And wore it on His head, and accompanied by auspicious instrumental music, He returned to His throne.

78)Srinivaasaha :
:Saa Kuthra Sthaapyathey Brahman ! Vasishta ! Kuladeyvikaa"!
Vadathyevam Vaasudeyvey Vasishtam Vasudhaadhipa!!

Meaning: Lord Srinivasa asked,"Vasishta! Where should I place this tree (Samee Vruksham) which is my 'Kula Deivam'? While He asked...

79)Sree Naaradaha:
Varaahasharaney Deyva Sthaapyathaam Kuladeyvathaa!!

Meaning:Narada said,'Lord Srinivasa, please keep the tree where Lord Varaha is placed!..

80)Yasmin Sthaaney Svakam Dhaama Thathra Thaam Krishna! Poojayeth!
Evam Vidvanmatham Poorvam Nirmitham Parameyshtinaa!!

Meaning:....As each and everything has a place of its own, it is mandatory to place the Divine tree where it belongs for the purpose of worshipping, as opined by the elders and as decided by Lord Brahma.'

81)Sa Naaradavachaha Shruthvaa Vasishtasahitho Harihi!
Varaahasharanam Gathvaa Vacha Ethaththamabraveeth!

Meaning: When Narada told as above, Lord Srinivasa, along with Sage Vasishta went to the place where Lord Varaha resided and told Him as follows:..

82)Sreenivaasaha:
Prasaadaaththava Govinda!Vivaaham Karthumuthsukaha!
Sahitho Dharayaa Saardham Thvamaagachcha Nrupaalayam!!

Meaning:"Govinda! I wish to marry with Your blessings and Divine Grace! I invite you and Bhudevi to the residence of Aakaasha Raja..

83)Gurusthvam Sarvalokaanaam Kruthakruthyancha Maam Kuru!
Sreenivaasavachaha Shruthvaa Bhoodharo Vaakyamabraveeth!!

Meaning:You are the Guru (Acharya) of the entire Universe! I want to fulfill all my duties with you Divine Grace!" Lord Srinivasa spoke reverentially.

84)Sree Varaahaha:
Mama Sthaaney Mahaaraaja! Vakulaam Vidhdhi Mey Sakheem!
Kshethram Pakvam Madeeyam Yath Thasmaanmaam Thyakthu Marhasi!!

Meaning: Lord Varaha said," Srinivasa! My friend Vakula is already with you! Please do not insist that I should come, as my paddy field is fertile!"

Sri Venkatachala Mahathyam(wedding chapter 67-75)

2010-04-30T22:13:00.000-07:00

Above are photographs of "Shamee Vruksham" which is the Kula Deivam of Lord Venkateswara and the Pandavas. Also known as Jhand (hindi), Jammi Chettu (telugu), Jambu Maram (tamil) and Prosopis Cineraria (Botanical name). According to epics, Pandavas hid their weapons on the Shamee Vruksham during the last leg of their exile in forest (AGNYAATHAVAASAM).Click to enlarge photos.

67)Thatho Niyukthavidhinaa Dakthvaa Thaambooladakshinaaha!
Vipraanaam Vedavidushaam Thadhaa Mangalavaadinaam!!

Meaning:Afterwards 'thaamboolam and dakshina' (auspicious gifts like beetle leaves, nuts, vermillion and turmeric along with remuneration) was given to the vedic pundits and musicians who sang auspicious tunes.

68)Dadurdevaa Dhanam Vasthram Vaasudevasya Ye Priyaa!
Thathaha Samaapya Karmaani Shaasthrokthaani Yadhaavidhi!!

Meaning:The near and dear of Lord Srinivasa presented gifts like cash and clothing to the Lord. After the presentation ceremony, they proceeded with other auspicious rituals.

69)Kuladeivamapruchchaththam Vasishto Vasudhaadhipa!
Sa Thasya Shruthvaa Bhagavaanaaha Vai Munim!!

Meaning:Sage Vasishta asked Lord Srinivasa, " Srinivasa, Who is your 'Kula Deivam(God of His clan)?"

BHAGAVATHKRUTHAPARINAYAANGAKULADEVATHAAPRATHISHTAAVIDHAANAM

70)Sri Bhagavaan:-
Vasishta Mama Kalyaanee Kuladevee Smruthaa!
Mamaapi Paandavaanaancha Naathra Kaaryaa Vichaaranaa!!

Meaning:Lord Srinivasa told Sage Vasishta:" O Vasishta, my clan as well as the Pandavaa clan have "Shamee Vruksham" (jammi tree) as our 'Kula Deivam', there are no second thoughts on this matter."

71)"Kva Chaasthi Sa Dhrumasreshtaha" Ithyuktheygasthya Oochivaan!
Agasthya:-
Athraivoththaradibhaagey Theerdhey Kowmaarasanjakey!!

Meaning:When Sage Vasishta questioned regarding the location of "Shamee Vruksham", Sage Agasthya replied that in the Northern direction on the shores of "Kumaradhara Theerdham"...

72)Varthathey Vruksharaajashcha Thathra Gathvaa Thamaanaya!
Agasthya Vachaneynaivam Thathra Gathvaadha Tham Dhrumam!!

Meaning: Shamee Vruksham could be found. When asked to go there and fetch the tree, Lord Srinivasa who is the incarnation of "Dharma Varaaha" went there...

73)Kruthvaa Pradakshinam Raajan! Bhagavaan Loukika Samaha!
Samshchakrey Shameevruksham Kuladeivam Vrushaakapihi!!

Meaning:and like an ordinary mortal, the Lord performed the circumambulation and worship of the tree..

74)Sri Bhagavaan:-
Shamee!Paapam Shamaya Mey Shamee! Shathruvinaashini!
Arjunasya Dhanurdhaathri Raamasya Priyadarshini!!

Meaning:The Lord said:-"O Shamee Tree! Please rid me of my sins! You are the destroyer of enemies! You became the armoury for Arjuna's weapons! You are dear most to Rama!

75)Maatharmey Kuru Kalyaanam Avighneyna Surapriye!
Kalahaha Sarvadevaanaam Raagnyasthasya Cha Nodbhaveth!!

Meaning:O dear most of the entire Deva clan (Divine clan), please conduct my wedding smoothly without any obstacles. During the wedding, please prevent clashes between Deva clan (Divine clan) and Aakaasha Raaja (father of Goddess Padmavathi)!

Maha Periyava's message!

2010-04-24T22:42:00.001-07:00

rAbove is a crown made of Tulasi beads, cardamom and 'lavangam' strewn around and shaped as "OM" (in sanskrit) on it. This is the crown which His Holiness, Pujyasri Sri Sri Chandrasekharendra Saraswathi asked me to wear on my head while I performed in His Divine Presence (in Orikkai village, while He was observing Silence) when I was 11 years old.
Kumudam Bhakti magazine (Issue:-April 16-30,2010) carried my photographs and interview. The interview though well presented had a few gaping holes (obviously due to a communication gap) which I thought I would fill up here.
The interview states that I had been to the Ashram of Paramahamsa Yogananda in Encinitas and I also had His darshan!!!! He had attained liberation in the year 1952,even before I was born!
The article also states that I do not go abroad due to my belief that Hindu Dharma is opposed to flying overseas. This statement is partially true. There was a long period of time (through the best part of the 80s and all through the 90s) when I had simply refused to go abroad as I firmly believed that my living God, Paramacharya was against Hindus crossing the high seas. In the bargain I had even rejected plum offers from abroad inviting me to perform veena. In the latter half of 80s to the best part of 90s, I was frequenting Kanchipuram, involving myself (for a brief period during mid-90s) in the fund raising of the temple that is being constructed for Paramacharya in Orikkai village, near Kanchipuram. In the bargain I had the great fortune of meeting and interacting with renowned vedic scholars and close associates of Paramacharya. In all our conversations, the one thing that struck a chord in me was His objection to Hindus crossing the mighty Oceans. I wondered whether the rule (not to go abroad) applied only to vedic pundits and sanyasis. I even knew of a few staunch devotees who not only travelled abroad frequently, but also raised funds abroad towards the construction of Paramacharya's temple. I was genuinely confused and no matter how much I discussed about this, I could never get a clear and concrete answer whether women and artistes could go abroad. After much introspection, I decided not to accept concerts abroad. My trips to Muscat in early 90s and Berlin, Germany in 2002 for unavoidable reasons were the only exceptions. I had rejected many offers all through till last year, when the mother got the better of the aritste in me.
2009 was the year I rushed to San Diego to be with my daughter, Haritha who works for Qualcomm.
In my interview I had mentioned all about the dreams I had while in San Diego. From day one in San Diego, I had dreamt of saints and great sages. The prophetic dream about Paramahamsa Yogananda got me trailing the path to His ashram in Encinitas (a half-an-hour's drive from San Diego).
I had semi-visions of Sri Vidyaranya Swami while in San Diego and Houston. I was taken aback that all these divine things were happening to me in the US!!!! While I was posting articles on Soundarya Lahari (mantras,yantras and text) in my blog, 'Jasmine Strings' while in San Diego, I had curious dreams of 'Kundalini' rising like a serpent!
The ultimate dawning (that I was all along wrong in believing that Paramacharya was opposed to Hindus going abroad) ascended on me in the form of a prophetic dream!
In my dream, Paramacharya, in His saffrons,smiled gently as He beckoned to me. I was pushing back my two plaits and more keen to play in the sand (which means I was a child of 6 or 7 when I used to wear two braids and loved to play in the sand!) I slowly walked towards Him and He smilingly made me sit on His lap. He started chanting a famous and most powerful mantra and asked me to repeat it. I repeated it and word by word He made me repeat the entire mantra. In between, when I mispronounced a verse, He smiled and asked me "Idu yaaru solluvaa?". I corrected myself and repeated the whole mantra to His satisfaction. I asked Him in english,"how many times should I say this everyday?" He smiled widely as though to a child and told me the number, allowing me to run towards the sand.
When I woke up the next day, I understood the implication of Paramacharya appearing in my dreams while in San Diego. His appearance in my dream not only reaffirmed the fact that He was "Sarvaantharyaami" (Omnipresent), He also let me know through the dream that He was not against Hindus travelling anywhere under the sun! He actually sought His child (myself) in the US to preach me the mantra! I also realized that while I was in India I had never had such powerfully divine dreams almost everyday! From the next day of my dream till today, I recite the mantra everyday as instructed and guided by Paramacharya in my dreams in San Diego.
The Kumudam Bhakti interview mentions my dream without mentioning the crux, that Paramacharya IS NOT opposed to Hindus crossing the oceans to go abroad.

Prayers as Affirmations!

2010-04-20T02:28:00.000-07:00

Above is the photograph of Lord Vishnu (jalashayanam) at Budhanilkantha, Kathmandu, Nepal.(This temple has devotees from Hinduism and Budhism sects. The entire idol is carved out of a single stone. This temple is one among the 108 Sri Vaishnavite Divya Kshetrams).
Rhonda Byrnes' "The Secret" is all about the well-known law of attracting whatever we think. OUR THOUGHTS BECOME THINGS! So think positively!!!! Simple but tough! For instance, when someone abuses us right on our faces, we not only have to smile at them warmly in return, the warmth (here is the crux of the matter) has to originate from the bottom of your heart to fill your being, (better still if the warmth overflows!!!!). Now we know how tough it is!!!!!! We would be incensed and nothing would deter us from getting the final word or having the 'last laugh'?!
Modern philosophers and self-help experts (like Louise L.Hay)advise the practice of affirmations for the implementation of positive thinking. It goes like this-
Take a book and pen, sit down to write what you desire the most in present tense (at least 10 times a day).
A few affirmations,
1) I am beautiful
2)I am slim and I have a great body
3)I am surrounded by love
4)Divine energy flows through me to attract the best of people and opportunities.
5)The Universe is my home and everything belongs to me
6) I have a great life
and blah, blah, blah.......

Our "nithya parayanam" of slokas are nothing but affirmations and we know that the phrases mentioned above are no match to the slokas that sing the glories of God!
Whenever a paaraayanam (sloka recitation) is performed, it is important to visualize God in the centre of our heart region. Once this is accomplished, each and every naamam (name) of the ashtotharam or sahasranamam is automatically directed to the divinity within us, thereby strengthening and enhancing the Divine within us ( as consciously visualized and practised by us), transforming our prayer into an affirmation!!
The power of vedic affirmations :-
"Om Vishvam Vishnurvashatkaaro
Bhoothabhavyabhavathprabhuhu
Bhoothakrudbhoothabhrudbhaavo
Bhoothaathmaa Bhoothabhaavanaha!"

(Meaning:1)Vishvam-Universe or cause of Universe orOne who is full in all respects (Om Vishvaaya Namaha)
2)Vishnu-One who permeates everything, One who is inside every sentient and non-sentient being. One who surrounds everything (Om Vishnavey Namaha)
3)Vashatkara-One who controls and directs (not merely permeates)
4)Bhootha-Bhavya-Bhavath-Prabhuhu-The Lord of all things that exists in the past, present and future.
5)Bhootha-Krud-The Creator of all beings.
6)Bhootha-brud- The Supporter of all beings. One who supports all.
7)Bhavaha-He who exists in all splendour, always independent of everything else.
8)Bhoothaathma- The soul or life of all beings.
9)Bhootha-Bhaavanaha-One who nourishes and nurtures all beings He has created.

Sri Vishnu Sahasranama or Sri Lalitha Sahasranamam or the other ashtotharams/sahasranamams (slokas or stothra parayanam like Sri Subrahmanya Bhujanga stothram, Lingashtakam, Soundarya Lahari, Devi Khadgamala, Vinayaka Agaval, Srimad Bhagavatham, Sri Venkatachala Mahathyam, Srimad Narayaneeyam, Bhagavad Githa, Sri Venkateswara Suprabhatham etc. etc.............the list of our rich slokas are endless) if understood and implemented correctly as affirmations (because the Divine is within ) yield results beyond the proportions of nature!!!! It is important to understand that it is God we are invoking here and not merely a few material benefits for the sake of our jivaathma like the english affirmations mentioned above!
Sri Vishnu Sahasranamam combined with Sri Lalitha Sahasranamam are the most mind-blowing affirmations one could ever think of in our present times!
Likhitha japa (written affirmations like "Sri Rama Jayam", Sri Maathrey Namaha" etc. are absolutely potent too!)
If one has the time and energy, 'aakarshana mantras' of Lord Sudarshana or Goddess Raja Mathangi could also be used as written affirmations. The results are absolutely instantaneous and magical!
The western author, Thomas Ashley-Farrand has mentioned many mantras in his book, "Healing Mantras".
For health:
1)Rama Mantra-"AAPADAAMAPAHARTHAARAM DAATHAARAAM SARVA SAMPADAAM
LOKAABHIRAAMAM SREERAAMAM BHOOYO BHOOYO NAMAAMYAHAM."
2)Ganapathy Mantra-"OM GUM GANAPATHAYE NAMAHA"(to remove energy blockages and obstacles).
The above two mantras are two examples out of the innumerable mantras given in his book that has mantras for health, wealth, prosperity, peace, joy, love and marital relationships.

Sri Venkatachala Mahathyam(wedding chapter 58-66)

2010-04-12T21:39:00.000-07:00

58)Thadaa Muhoothakaalasthu Darshitho Deivachinthakaihi
Bhooshanaani Svaputhrasya Pouthrasthu Jagadeeshithuhu!!

Meaning:After that, the divine authorities declared the auspicious time.

59)Yaachayithvaa Mahaaraja! Kubera Madha Saa Ramaa;
Aaadaaya Tham Dadarshaadha Bhagavaanaaha Thaam Nrupa!!

Meaning:Pleading Kubera for goods, Goddess Lakshmi Devi displayed them to Lord Sreenivasa, and He said....

60)Sree Bhagawan:-
Sambhooshaya Varaarohey! Bhooshanairmaam Varaananey!
Evamukthaa Hasanthee Saa Bhooshanaisthamabhooshayath!!

Meaning:"O Beautiful One! Please decorate me with those ornaments!" and the Goddess smilingly decorated the Lord as He wished!

61)Peethaambaram Dadhaaraashu Katisoothramanarghyakam!
Swarnairaabharanairvasthraihi Bhooshithasthu Thatho Harihi!!

Meaning:After the decoration of ornaments, Lord Sreenivasa adorned Himself with 'peethambaram' ('dhothi' made out of pure gold) and invaluable waist bands.Lord Sreenivasa, adorning priceless jewels and golden attire....

62)Kashyapaathribharadwaaja Vasishtaadeen Mahaamuneen!
Namashchakrey Virincheysha Vinuthopi Vidambayan!!

Meaning: And despite being worshipped by Lord Brahma and the enitre Universe, pretending and behaving like a common man, prostrated to the sages, Kashyapaa, Athri, Bharadwaaja and Vasishtaa!

63)Sandhyaamupaasya Vidhivath Kruthvaa Thaathkaalikakriyaaha!
Vasishtamaahooyovaacha Santhoshodrikthamaanasaha!!

Meaning:After that, Lord Sreenivasa performed all the necessary rituals to carry out 'Sandhyaavandanam' and summoned sage Vasishta.

64)Sree Bhagavan:-
Munisreshtaa! Vasishtaa! Thvam Uththaram Kaaryamaachara!
Vaasudevavachaha Shruthvaa Vasishto Vadathaam Varaha!!

Meaning:"O Virtuous sage! Kindly carry out all the necessary auspicious rituals!" thus spoke Lord Sreenivasa, and on hearing Him Sage Vasishtaa..

65)Virachya Vedikaam Thathra Moukthikaishchathurashrikaam!
Sreenivaasaam Prathishtaapyaa Sankalpavidhipoorvakam!!

Meaning: Seated Lord Sreenivasa on a dais that was decorated with pearls on all four sides

66)Chakrey Punyaahakarmaadha Varayithvaa Dvijanmamaha
Ashtavargam Thathashchakrey Srushtikarthaa Pithaamahaha!!

Meaning: where the naming ceremony of the Lord was conducted. After the ceremony, Lord Sreenivasa, with the assistance of the brahmin purohiths performed the vedic ritual for marriage known as "Ashtavarga."

The making of "How to play veena?"

2010-03-26T19:07:00.000-07:00

Above are work stills of the DVD shoot. Smt.Aruna Sivaramakrishna, Sri.Gopi (cameraman), Sri.Sivaramakrishna and myself.
The DVD shoot yesterday by Navin Daswani's Super Audio Company on "How To Play Veena"was exciting. The entire day was spent on teaching the camera lens how to play the following on veena: sarali varisai, janta varisai, special veena gamaka exercises, thristhaayi practice (sa ri ga ma... on three octaves), variety of 'daatu varisai, alankarams, geethams, swarajathi and varnam was great to say the least. The entire coordination/concept and direction is by Sri. Sivaramakrishna (http://sitarsivaramakrishna.com/) and his wife, Smt. Aruna. They were so well-planned and fantastic in their directions! Recording in Karpagam Studios (so ancient!) was like stepping into my father, late Sri.G.Aswathama's time. The old studio with its high ceiling reminded me of my film-recording days when I was in my teens! Felt great!
A sense of fulfillment in reaching out to a great number of people at the same time(more so after the innumerable requests asking me to teach veena)! Performing is one thing, but to be able to reach out to guide aspiring veena practitioners is something else!!

Sri Venkatachala Mahathyam (wedding chapter49-57)

2010-03-21T20:36:00.000-07:00

Above is a photo of the temple in Narayanavanam (35kms from Tirupathi, 95kms from Chennai and 5kms from Puttur, where Lord Venkateswara married Goddess Padmavathy).

49)Rathishachyau Chaamarey Cha Veejayanthyau Sthithey Thadaa
Chchathram Dadhaara Saa Devee Bhaarathee Bhakthisamyuthaa
Paadukey Pradadau Bhadraa Gangaa Gangaapithusthadhaa!!

Meaning:Rathidevi and Sachidevi holding the fans ('chaamaram') in their hands, fanned gently. Bharathidevi held the umbrella ('chathram') reverentially. The most auspicious Ganga having originated from the Feet of Lord Vishnu, offered footwear to Her Father, Lord Srinivasa.

50)Nidhaaya Paadau Parapaadukaadvaye
Yayau Prapannaarthiharo Harihi Swayam
Yaabhyaam Puraa Paavanathaam Gathaa Muneyhey
Shaapeyna Chaashmathvamupaagathaabalaa!!

Meaning:Ahalya, who had taken the form of a rock due to the curse of Sage Gauthama, placed both the feet that had cleansed and purified her (relieving her of the sage's curse), in their holy footwear ('padukas').Lord Srinivasa who offers shelter to the needy...

51)Paadukaabhyaam Charan Bhoomim Varaasana Magaadharihi!!

Meaning:Walking on the planet Earth, seated Himself,decorating the throne.

52)Brahmaadaya Ssurasreyshtaaha Indraadyaaha Lokapaalakaaha
Kashyapaadimunisreshtaaha Vasishtaadithapodhanaaha!!

Meaning:The divine clan including Brahma, the rulers of the Indraloka (heaven of Lord Indra), great sages including Kashyapa Maharshi, sages known for their penance including Sage Vasishta....

53)Sanakaadyaashcha Yogeendraaha Bhrugvaadyaashcha Rusheeshwaraaha
Aaaryamaadyaashcha Pitharaha Thumburvaadyaashcha Gaayakaaha!!

Meaning:Yogis such as Sanaka, 'mouneendras' (who practice silent penance) like Sage Bhrigu, the likes of Arya who are the 'pithru devathas' (dead ancestors or departed souls), great singers such as Tumburu..

54)Rambhaadyaashchaiva Narthakyaha Soothamaagadhavandinaha
Upaasathaasaney Ramye Pashyanthaha Purushoththamam!!

Meaning:Dancers such as Rambha, the 'Soothas'( the race of 'soothas' is highly celebrated in the puranas.They were widely known as the reciters of Ithihasa-puranas like Ramayana, Mahabharatha and the eighteen puranas. They were devoted to the vow of truth), 'maagadhas' (who sing epic poems and ancient ballads), people who praise others for a living....

55)Swaamipushkarineetheerey Dakshiney Pakshivaahanam
Ashtameendukalaakaarey Lalaatey Darpanasphutey!!

Meaning:All the above mentioned meditated on Purushottama (the best among human race), who was seated on a ruby-studded plank placed in the southern direction of Swami Pushkarini Lake, and on Whose clear forehead , the crescent moon of the eighth lunar digit..

56)OordhvapundramDadhaaraadha Sreenivaasa Ssathaam Gathihi
Thadaaha Kamalaam Raajan! Vakulaa Lokamaatharam!!

Meaning:formed the symbol of 'Oordhvapundram' ('thilakam' or traditional symbol). The Divine Mother, Vakuladevi addressed Goddess Sridevi,...

57)Rekhaam Rachaya Kalyaani Lalaatey Kunkumeyna Thu
Evamukthaa Devamaathraa Ramaa Kunkumamaalikhath!!

Meaning:"Sridevi, please decorate His forehead with 'kumkum' (sindoor' or vermillion)". Sridevi followed the Divine Mother's instructions.

Sri Venkatachala Mahathyam(wedding chapter39-48)

2010-03-18T21:38:00.001-07:00

AKASHA GANGA TEERTHAM

39)Haridraachoornapishteyna Nirmrujya Cha Vrushaakapim
Sumangalairvaadyaghoshaihi Saha Parichchadaihi!!

Meaning:Auspicious musical instruments resonated with melodious tunes as Goddess Sridevi anointed Lord Srinivasa's body with turmeric paste.

40)Samanthaathsarvaveedheeshu Karikumbhairupaahruthaihi
Samanthaath Punyatheerthastha Punyatheerdhaabhipoorithaihi!!

Meaning:Majestic elephants on all the pathways walked elegantly, carrying great pots on their backs that contained holy water and other auspicious ingredients...

41)Sarathnaihi Kaanchanaihi Kumbhaihi Thaapithodakamishrithaihi
Abhishekam Thathashchakrey Kamalaa Jagadeeshithu!!

Meaning: Hot water mixed with holy water showered over Lord Srinivasa from golden pots studded with rubies.

42)Aapadamouliparyantham Saa Kruthvodvarthanam Hareyhe
Meyney Kruthaardhamaathmaanam Sevayaa Keshavasya Thu!!

Meaning:After anointing Lord Srinivasa from His head to His toes with turmeric paste, Goddess Sridevi felt contented and fulfilled.

43)Chathurasthru Suvaasinyaha Paanibhihi Kalashaanrupa
Dhruthvaa Moukthikathoyai Stham Abhyashinchi Sureshwaram!!

Meaning:Four married women showered Lord Vasudeva with water and pearls that poured out of the golden pots in their hands.

44)Jalairneeraajayaamaasuhu "Puthraan Dhanavaan Bhava
Ithyaashishaabhinandanthyaha Sreenivaasam Suraanganaaha!!

Meaning:Carrying auspicious vessels ('poorna kumbham') and offering camphor-fire ('haarathi') the married women blessed Lord Vasudeva to beget sons and wealth.

45)Gaayanthyaha Shubhageethaani Kownkumaihi Salilaisthathaha
Aaaraarthikaam Maangalikeem Sarvaashchakrusthadhaanganaaha!!

Meaning:Singing divine songs, those women offered camphor-fire ('haarathi') in water mixed with saffron.

46)Thadaa Dadau Brahmapthnee Saavithree Vasthramuththamam
Theyna Vasthreyna Sarvaangam Mamaarja Vidhivadramaa!

Meaning:Afterwards, Goddess Savithri, the Divine Spouse of Brahma offered a rich-textured cloth and Goddess Sridevi used the cloth to gently wipe Lord Srinivasa's body.

47)Paarvathee Dhoopamaadaaya Dadau Lakshmeekaraambujey
Dhoopayithvaa Sudhoopeyna Vikeeryomjhithabandhanaan!

Meaning:Goddess Parvathi brought incense-smoke ('sambrani'), Goddess Ramadevi combed Lord Srinivasa's hair to remove tangles. She then dried His hair over the incense-smoke...

48)Babandha Kamalaa Devee Moordhajaan Madhughaathinaha
Aadarsham Darshayaamaasa Saavithri Swarnabhoshitham!

Meaning:And tied His hair. Goddess Savithri showed a gold-framed mirror to Lord Srinivasa.

BHAGVAN NITYANAND

2010-03-13T01:41:00.001-08:00

Jeeva-samadhi of Pujyasri Nityanand Maharaj is in Ganeshpuri, Maharashtra. He was a born siddha, an Avadhooth, born in a state of enlightenment (a perfected yogi by birth). He hailed from Kerala where He had spent the eary part of His life. In later years He moved to Ganeshpuri, 75 kilometers from Mumbai, in Maharashtra.
Right from His young age He became famous for His healing powers. He attained the name "Nithyanand" as He was constantly in a state of bliss, immersed in Supreme consciousness. He always maintained silence, speaking very rarely and only when it was necessary. Wearing a
loin cloth, He was totally oblivious to His surroundings, having no material possessions to call His own. Disciples followed Him everywhere, magnetized by His divinity and preachings.
Sadguru spread the message of Advaitha, urging disciples and followers to travel inwards towards their heart, which He said was the "hub of all sacred places!" He asked everybody to go to their hearts and roam within their hearts.
The village of Ganeshpuri grew larger after His arrival, and subsequently He established an ashram and hospital in the village. The Sadguru did not adhere to any particular spiritual practice or tradition. Sadguru Nityanand preached unique 'mantra deeksha' to His disciples.
The Swami Nityanand Ashram was also known as Gurudev Siddha Peeth. The region around the ashram had always been famous for hot-water springs. Ganeshpuri is on the banks of River Tansa which is surrounded by hot-water springs. Sadguru Nityanand Maharaj attained samadhi on August 8th, 1961.

Most powerful Rama Mantra

2010-03-08T20:17:00.001-08:00

At sunrise today (09/03/2010)

Nakshatra (star):-Moola

Date (tithi):-Navami
Today is the auspicious star of Lord Anjaneya and the auspicious date of Lord Rama's birth. It is ideal to chant the most powerful Rama Mantra to invoke His grace.

"Raamaaya Raamabhadraaya Raamachandraaya Vedasey
Raghunaathaaya Naathaaya Seethaayaah Pathaye Namaha!!"

Why is this the most powerful Rama Mantra?
This sloka consists of the various names of Lord Rama as addressed by the most near and dear personalities of Lord Rama in His lifetime. Each name is laden with emotional intensity and content, revealing the adoration of all who were related to Lord Rama.
1)Raamaa: As sage Viswamithra addressed Him.
2)Raamabhadraa: Lord Rama's father, King Dasaratha addressed Him as Rama Bhadra.
3)Raamachandra: Lord Rama's mother, Queen Kausalya called Her divine son as Ramachandra.
4)Vedasey: All the rishis and munis (monks and sages) in the forest addressed Him as Vedasey.
5)Raghunaathaa: The citizens of Ayodhya addressed Lord Rama as Raghunatha.
6)Naathaa: Lord Rama's Divine Consort, Vaidehi addressed Him as 'Nathaa'.
7)Seethapathi: Lord Rama was known as Seethapathi to the people of Mithila (His inlaws' kingdom).
8)Namaha: I bow to Thee!

Chanting this sloka would strike a chord with Lord Rama, reminding Him of the various emotions contained in the different forms of addresses. Each name is fragrant with love and adoration for Lord Rama! Chanting this sloka repeatedly endears the devotee to Lord Rama, while He is reminded of His Guru- Sage Viswamitra, His beloved father- King Dasaratha, His beloved mother- Queen Kausalya, the revered and pious sages of the forest, His dear most people of Ayodhya, His beloved wife-Sita, and His inlaws and citizens attached to them, all of whom were His well wishers !

Radhe Radhe!

2010-03-07T20:58:00.001-08:00

At sunrise today (08/03/2010):-
The auspicious nakshatra (star) and date (tithi) of Radha Rani's birth!

Star:Jyeshta
Date:Ashtami

Sri Venkatachala Mahathyam(wedding chapter 29-38)

2010-03-03T01:52:00.000-08:00

29) Uththishta Thyaja Dukham They Samaaroha Varaasanam!
Sa Ramaagirimaakarnya Santhoshaannayanaajjalam!!

Meaning: Shedding tears of joy when Goddess Sridevi pleaded, " Please leave your sorrow behind and kindly be seated on the most auspicious "asana" (seat,'plank')."...

30)Munchan Munivaraan Raajan! Nandayan Narasaaradhihi!
Kashyapaathribharadwaaja Viswaamithrapurogamaan!!

Meaning:And making all the assembled sages and rishis happy, and to sages like Kashyapa, Athri, Bharadwaaja, Viswaamithra..

31)Pranipathya Vasishtam Cha Aaha Viswam Vidambayan!
Sreenivaasaha:-
Anugyaam Dehi May Brahman! Majjanaardhamahamuney!!

Meaning:- And Vasishta, He prostrated. Pretending in the eyes of the world that He is a mere human being, Lord Sreenivasa addressed thus,"Vasishtaa! Kindly permit me to partake in the "abhishekam" (holy shower)."

32)Thadhaasthvi Thyabraveethkrushtam Vasishtaha Sapurohithaha!
Sapathneekaan Suraan Sarvaan Sabhaaryaan Rushimandalaan!!

Meaning:-Sage Vasishta, along with the 'purohith' (priest), blessed the ceremony of 'abhishekam' (holy shower) and asked Lord Sreenivasa to proceed with the ceremony. Devas and Rishis (monks) along with their wives...

33)Anugnyaapyaanugaissaardam Udathishthathsuroththamaha!
Vikeerya Keshamoolaani Poorvaashaabhimukham Thaha!!

Meaning:-Were taken into confidence by Lord Sreenivasa as He rose along with His companions. Beautiful women belonging to the Deva clan untied Lord Sreenivasa's hair and facing East...

34)Aaropayan Rathnapeethey Sreenivaasam Suyoshithaha!
Thaasaam Madhye Sindhuputhree Ramaa Kamalalochanaa!!

Meaning:-They made the Lord sit on the gems-studded plank. In their midst, the Daughter of the ocean and lotus-eyed Sreedevi...

35)Rukmapaathram Samaadaaya Thailapooritha Maadaraath!
Abhyaanchayaththadaa Devee Swasheerbhirabhinandya Tham!!

Meaning:-Carrying a gold vessel filled with oil and supported by the blessings of the entire gathering, started to oil the Lord's hair...

36)SreeRamaa:-
Dheerghaayurbhava Govindaa! Bahuputhro Dhanaadhipaha!
Chathurdashaanaam Lokaanaam Ekachchathraadhipo Bhava!!

Meaning:-O Govinda! May you be blessed with longevity, many sons, unlimited richness and the ability to be the best Ruler in all the fourteen worlds.......

37)Evamukthvaa Thadaa Devee Sabhya Nakthisma Maadhavam!
Devaangam Mardayaamaasa Thailenaathisugandhinaa!!

Meaning:-May you prosper in all that I have mentioned!".Saying thus, Goddess Sreedevi applied the most fragrant oil all over the Lord's body.

38)Thadaa Dadhau Brahmapathnee Chandrakaashmeerakardamam!
Theyna Maarjaalathailena Thadhaa Mrugamadeyna Cha!!

Meaning:-Goddess Saraswathi offered 'pachakarpooram' (camphor). With cat-oil and kasthuri....

Soup for the sole!

2010-02-20T23:04:00.000-08:00

Vishnu Paadam

Our lives have become so conditioned that we spend most of our time without letting our feet come into direct contact with the ground. Most of the people (especially women ) after crossing their 30s suffer from foot pain that demands the usage of footwear even inside their homes. Many live in wall to wall carpeted houses/apartments. Outside our houses we use footwear made of all kinds of material. As a result we miss out on the most vital of energies derived from the magnetic field of Earth. Earth sends out magnetic energy through the soles of our feet, this energy not only enters and infuses our bodies, it also releases stagnated and stale energy. All kinds of material used as footwear not only deprives us of the magnetic energy from Earth, the footwear by itself could be a carrier of negative energy!
Pranic healing states that Earth Prana is one of the most vital pranas (others are, divine prana:_derived from through meditation, air prana:-derived from the atmosphere, solar prana:- derived from sun and earth prana:- derived from the ground beneath our feet). By walking barefoot, the soles of our feet draw the pranic energy from the earth.
Walking barefoot in sand draws the purest of energies closest to the ocean. It also acts as a great reflexology massage. By walking unconstrained without footwear in the sand results in the stimulation of relevant reflexology points in the soles of the feet and their correlated organs throughout the body.
Standing on grassy or muddy ground with feet wide apart and visualising roots growing from the soles into the earth is a form of meditation. The practitioner inhales deeply, taking in all the vital energies through the roots of his/her soles all the way from below the earth. This practice is a tremendous energizer, simultaneously aiding in releasing the body-toxins.
Allowing bare feet to wriggle in lush, green and moist grass is absolutely rejuvenating. One could do that for hours together, feeling increasingly fresher by the minute!
Water is an equally pure and natural agent that aids in energizing the bodily chakras through our feet. We all know the magic of standing by the sea shore. Ocean waves, big and small, gentle and forceful, as they wash our feet magically rejuvenate us. A person in a state of depression or turmoil should try spending a few minutes alongside the sea shore with feet in sea-water. He/she would experience an immediate release from tension and negativity, feelings of hope and sheer positivity following closely on the heels! I remember the time when I dipped my feet in Holy Ganges in Haridwar, it felt as though I had taken a rebirth. It was such an overwhelming experience which I am not likely to forget!
At home it is best to immerse our feet in a basin of warm water. Adding a handful of rock salt and healing oils like eucalyptus energizes, cleanses and soothens tired feet, simultaneously removing all the negative energies which feet tend to absorb from public places. Keeping feet immersed in hot water activates Swadhishtana Chakra.
By walking barefoot in temples, ashrams and jeeva-samadhis of liberated souls, feet absorb great energies from the spiritually charged earth around such places.

Solely soul!

2010-02-13T22:02:00.001-08:00

Goddess Radha's feet.

I had always wondered about the importance given to the feet of a person. We touch the feet of our parents, Gurus and elders. We meditate on the feet of God/Goddess. The famous "Paduka Sahasram" by Sri. Vedantha Desikar is all about the footwear ("padukas") of Lord Ranganatha. All the vaishnavite temples have "Vishnu Padam" (Feet of Lord Vishnu).
This subject about feet brings to my mind an incident-In 1993, (just a year before Maha Periyava's Brahmaleenam) I had been to Kanchipuram for the darshan of Maha Periyava. His Holiness was seated in an easy chair, His gaze blankly surveying the overwhelming crowd of devotees thronging the place around Him. Devotees were craning their necks over each other to catch a glimpse of Maha Periyava. The two men flanking His Holiness bent down towards Maha Periyava to whisper something in His ears. Maha Periyava listened to them intently and nodded His head ever so slightly. The two men bent down to lift His legs and placed Them on a stool in front of Him. Placed in that angle, the soles of His Feet were pointed upwards, and the naked soles of His feet were clearly visible to all of us. The devotees standing around me gasped in open wonderment and awe! They started pushing each other for a good view of Maha Periyava's feet, chanting aloud while doing so, "Paada Darshanam, Paapa Vimochanam, "Kamakshi Paadam!" I tried to hold the view of the smooth and glistening soles of His feet with my gaze, intending to store the image in my heart. It was a moment of great significance that left a deep impression in my heart!
That was the beginning of my contemplation on "feet". Due to my habit of interpreting words (lexigram or similar-sounding words), I felt there had to be an authentic theory behind the similar sounds of 'feet' and 'feat' . Feet / 'feat', thought-provoking indeed!
There is always a scientific reasoning behind every religious belief and based on this fact I had studied a little about feet reflexology and acupressure. The subjects are all about applying pressure on minute areas of the feet for healing. This pressure actually stimulates important points on the foot that transfers energy throughout the body to stimulate balance throughout the body.
Reflexology also states that the body is divided into five longitudinal zones on either side of the body totalling to ten. Every part or organ of the body is connected to the feet of the body. Ailments are diagnosed by feeling the feet and to treat the ailment, the corresponding pressure point in the foot is massaged. This also stimulates the flow of energy, blood, nutrients and nerve impulses to the corresponding zone thereby relieving the ailment in that particular zone.
Since feet contain the key points to each and every zone in the human body, the 'sole' of the foot could be described as the 'soul' of the body!
For maintaining the purity of the body temple, it is essential to keep the feet clear from bad energies that are mostly transmitted through footwear. These bad energies are absorbed by our footwear from various places outside our homes. Also the reason why we wash our feet as soon as we enter our homes!
Monks wear wooden 'padukas', probably because wood resists the invasion of negative energies! It is also understandable why we do not wear our footwear inside our homes.
A couple of months back, I fell sick with imaginary fever. The thermometer would read normal temperature, but I would still be feeling feverish. I tried various medication, but nothing worked. A reiki healer and clairvoyant who is a good friend told me that the shoes I used for treadmill were polluted with bad energies which was causing the ailment. As I threw my shoes away I gradually experienced a release from my feverish condition! Shoe is not merely footwear, bad energies are shooed away by shoes!
Our souls are in our soles - the sole reason being that, feet are not just about pedicure!

Decoding Cosmos!

2010-02-07T20:04:00.000-08:00

"Enthamaathramuna Evvaru Thalachina Antha Maathramu Nuvvu", the opening lines of the famous Annamacharya Krithi is translated as:- "O Lord, You assume whatever form that is attributed to You by Thy devotee!"

Fantasy plays a big part in our lives. We fantasize about material and emotional fulfillment in our day to day life. Fantasy, is a powerful form of meditation as the mind is focused on the desired object/relationship. Over a period of time many of us attain our desires as a result of the intensity of our thoughts and wishes. Even God is realized through fervent thought-practice and staunch conviction that He is in and around us. As the famous saying goes, "God is in faith"! To fantasize about God, the practitioner needs to have a chosen deity. Since God responds only to emotional appeal, it is mandatory to choose a specific relationship with Him/Her (in case of a Goddess). A clinical approach to God does not work. Love and faith gradually train mind and eye to become vigilant for identifying messages from the cosmos.

I started this practice many years ago, I vividly remember the time when I used to take my daughters for their swimming classes in Savera. I used to sit by the pool and imagine God, Lord Venkateswara, in all His finery streched out as Lord Ranganatha on the other side of the pool. I alternate between Lord Venkateswara and Goddess Durga whenever I spin yarn out of my fanciful thoughts about God's presence in my day to day life.

Then comes observation, this part is absolutely blissful and exciting! It may take a while for the trained eye to figure out messages from God. When curious messages, occurrences and coincidences (hinting at the presence of God )are recognized by the psychic core of our minds (call it premonition or intuition!) we can be convinced that we are finally THERE! The messages could come in the subtlest of forms or manner, it depends upon the ability of the practitioner to interpret the message from God. The understanding manifests itself into Truth or God! For a practitioner who is not convinced by cosmic messages, God remains in His Nowhere Land and would not budge! For the non-believer God remains as inaccessible as ever!
To invoke God, the best thing would be to develop feelings of love and kinship towards Him.
A clinical approach to God is a big no-no! God responds ONLY to emotional appeal! Love and belief gradually train the mind and eye to be vigilant and alert for grasping messages from God.

I couldn't help but notice a few coincidences of late. I found that whenever I checked my mobile for missed calls or messages, the time would read as 12:12, 10:10, 03:03, etc.,always showing even hours and minutes on my mobile. My instinct would nag me that God was making His presence felt ("KAALOSMI"- "I AM TIME" as Lord Krishna stated in Bhagavad Gita)! After convincing myself that it was indeed God Himself who was revealing His divine presence through the even hour/minutes that showed on my mobile, I started treating my mobile reverentially. My observation has further led me to believe that when the time showed as 10:37, 12:48, 09:36, 06:24 etc. (the minutes adding up exactly to the sum of the hour), even that implied God! At times when the time (during my random check for missed calls or messages) showed one or two minutes lesser than 10:10 or 07:34 etc., I would wait for the one or two minutes to pass to feast my eyes on God!
During instances like travel by car, flight or train or while stationed in some place, my gaze would casually encounter messages like "Sri Kamakshi Thunai", "Do not fear, I am here" etc. on lorries, buses or cars. When I look at pictures of fierce looking lions (representing Goddess Durga), elephants (for Lord Vighneswara), monkeys (for Lord Anjaneya) etc., I recognize them as my guardians .
Way back in 1994, I had a terrifying experience while flying from Coimbatore to Chennai (returning from a holiday in Ooty). The air turbulence was so intense that I thought I would not survive the flight! It took me a very long time to get over my phobia for flights. In the midst of my fear of flying, I had to take up a journey to London for a veena concert. I prayed fervently to Lord Ranganatha to make my journey pleasant without air pockets and turbulence. Despite all my prayers, during the flight my knees were shaking and my palms wet and sweaty due to fear. After sometime I heard the captain of the flight announce that we were flying across Madurai (close to Trichy, Srirangam) and I got goosebumps listening to the announcement. I recognized it as God's way of declaring that He was protecting me! I was simply thrilled! As though the assurance was not enough, another miracle took place just then!
Sensing somebody occupying the empty seat next to me. I turned to notice that he was an elderly Indian. It was obvious that he sat next to me to strike a conversation. He asked me curiously, "Are you Veena Gayathri?"
Small talk was the last thing I needed, at the same time I was glad to have company to be able to keep my mind off the flight! I replied with a tired smile, "Yes".
He introduced himself,"I am Rangarajan"! His name made me jerk my head towards him, my eyes growing wide in awe and wonder!
All through the journey, the gentleman discussed music and the temple rituals in Lord Ranganatha's temple in Srirangam (he told me that one of his relatives worked as a priest in the temple!). Time flew and I hardly noticed the flight. In London Heathrow Airport, Mr.Rangarajan refused to leave my side till the organisers came to meet me. Walking along with the organisers I turned to look behind. Mr.Rangarajan was still there, waving goodbye to me with a smile!
On my return to India I knew it would be too much to ask God for a repeat performance, but somehow I couldn't shake off the premonition that He would once again escort me back to India. While I was pondering about the curious ways of the Divine, I heard a voice from behind, "Gayathri! Neeyaa!!". I turned back to find ghatam vidwan, Sri. T.H.Subashchandran looking at me in surprise and delight. I had known Sri.Subash from my childhood as he had accompanied me on mridangam as well as ghatam for many of my concerts.
"Subash Anna! How nice to see you!" Being in the company of any member of Sri. T.H.Vinayakram's family feels like being in a religious discourse about Maha Periyava. The members of the entire family are staunch devotees of Maha Periyava of Kanchi Mutt. I was simply thrilled to know that my premonition had come true and that God would be with me on my way back to India too.
On the way to London if the conversation between Sri.Rangarajan and myself was all about Srirangam temple and Lord Ranganatha, on the way back to India the conversation between me and Subash Anna was all about Maha Periyava and the miracles He performed in the lives of His devotees!

God is within our grasp, it is simply an art of decoding cosmic signals!