SRIMAD BHAGAVAD BHARATHI-1 CHAPTER (1)

BHAGAVANJI Viswaguru Sri Vidyaranya Swami, Narasaraopet, Guntur District, AP

Srimad Bhagavad Bharathi dhyana slokam-

"Bhakthaaya Prathibodhithaam Bhagavathaa sarveshwarenasvayam

Thenaivagradhithaam puraana kavinaa hyadvaitha bhaavaadbhuthaam

Aanadaamrutha Varshineem Bhagavatheem Kaivalyasampathpradaam

Ambaaham Thvanusandadhaami Bhagavachchree Bhaaratheemthvaam Paraam."

1) YADRUCHCHAYOPALABDHAM HI MOKSHADWAARA MAPAAVRUTHAM

SEVITHVAA MAAM KRUTHAATHMAANO LABHANTHEY SHAASHVATHAM PADAM.

Meaning- Those who are fortunate are those who serve Me. They effortlessly within the spur of a moment reach the opened doors of 'Moksha Dwaaram' to attain the state of eternity.

2) BALOVAASTHU YUVAACHAANYAHA YO MAAM VETHTHI MAHESHWARAM

MAHAAN BHAVATHI DHANYAATHMAA SA POOJYA SSARVA SAJJANAIHI.

Meaning- Whether it is a boy or a young man, whoever realizes Me as Lord Maheswara is most fortunate and he will be worshipped by the noble ones.

3) SARVA DHARMAANSSAMUTHSRUJYA MAAMEKAM HI SANAATHANAM

SEVASVA SARVA BHAAVENA SARVAPAAPA VIMOCHAKAM.

Meaning- By recognizing and worshipping me as the One and Only who is Eternal and timeless my devotees transcend all the worldy laws (dharmas) and are freed from sins.

4) MAAMEESHWARAM VIJAANEEHI SARVASYA HRUDI SAMSTHITHAM

MAAMEVA SHARANAM GACHCHA SARVA VYAAPINA MAVYAYAM.

Meaning- Recognize me as Iswara residing in the hearts of all living beings. Seek refuge in Me, who am the All-Pervading, and undiminishable.

5)MADBHAKTHA SSARVA DURGAANI MATHPRASAADAA THTHARISHYATHI

GNYAATHVETHDHAM SUJANAASSARVEY BHAJANTHEY MAAM JANAARDANAM.

Meaning- My devotee crosses over unimaginable and impossible challenges due to My Grace. The noble ones who realize this fact worship me as Lord Janardana.

6) MAANA GARVAADI DOSHAIRYE PRANASHTAA HYAVIVEKINAHA

NABHAJANTHI NARAA STHEY MAAM MANUSHYA DEHA DHAARINAM.

Meaning- Those who have lost their wisdom due to negative traits like arrogance and ego do not worship Me as I am dressed in a human body.

7) VEDASHAASTHRA PURTAANESHU YATH GNYAANAM HI SUNISCHITHAM

GNYAANAM THATHSAMUPAASHRITHYA PAALAYAAMI JAGATHRAYAM.

Meaning- I reign over the 3 worlds (Bhuloka, Antarloka and Shivaloka) with the authority of the knowledge which is established through vedas, shasthras and puranas.

8) KADHAYISHYANTHI THEYGNYAANAM AACHAARYAASTHATHVA DARSHINAHA

GNYAANAVIGNYAANA SAMTHRUPTHAAHA SARVABHOOTHA DAYAALAVAHA.

Meaning- The Enlightened Spiritual Masters, with compassion, reveal the Supreme Knowledge to people who are satisfied by the mere knowledge of science and academics.

9) PRANIPAATHA PARIPRASHNA SUSROOSHAA VINAYOKTHIBHIHI

BRAHMACHARYA THAPOBHYAAMCHA PRANANEEYAA GURORMATHIHI.

Meaning- One must please the mind of the Spiritual Master by prostrating to His feet, relentless analysis and inquisition, dedicated service, respectful speech, celibacy and penance.

10) SHRUTHISMRUTHI PURAANESHU SOOTHRABHAASHYAKRUTHISHVAPI

PURAAMAYAA THADUKTHAM HI YATHGNYAATHAVYAM MUMUKSHUBHIHI.

Meaning- I have prior knowledge and Am the source (origin) of all knowledge which is sought from mumukshus (sages devoid of desires and who pursue the path of liberation), sruthis, smrithis, vedas, dharmas, shastras, puranas  and Brahma Sutras with their interpretations.

(TO BE CONTINUED....)

SRIMAD BHAGAVAD BHARATHI

BHAGAVANJI VISWAGURU SRI. VIDYARANYA SWAMI

ECHAMPATI SRI VENKATA RAMAKRISHNA

While in the midst of translating Sri Guru Gita I instinctively felt my beloved husband late Sri. E.Venkata Ramakrishna's (who is Bhagavanji's ardent devotee and who reached His abode on 10th May, 2021)  instructions (like in all aspects of my life) asking me to translate and upload Srimad Bhagavad Bharathi simultaneously. 

Srimad Bhagavad Bharathi is the divine work of Bhagavanji Viswaguru Sri. Vidyaranya Swami of Narasaraopet, Guntur District, Andhrapradesh. I will start uploading Srimad Bhagavad Bharathi from the auspicious day of Vijayadasami which is tomorrow.

BHAGAVANJI'S DHYANA SLOKAM-

MAHAADEVAM UMAAKAANTHAM SACCHIDANANDA MAADHAVAM

VIDYAARANYAM SHIVAM NAUMI VISWAACHAARYA YASHASVINAM

NITHYESWARAM NIRAAKAARAM NIKHILAADHAARAMAVYAYAM

NISSANGAM NIRGUNAM SHAANTHAM VIDYAARANYAM NAMAAMYAHAM.

SARVAARTHI SHAMANAM KRISHNAM SADAANANDADA SHANKARAM 

VARAM VISWAGURUM VANDE SHREE VIDYAARANYA ROOPINAM.

THAAPATHRAYAHARAM SHUDDHAM LOKATHRAYA SUBHOOSHANAM

SHLOKATHRAYAMIDAM PUNYAM MUKTHIM GACCHATHI YAH PATHETH

VIDYAARANYO PARAMBRAHMA VIDYAARANYO MAHESWARAHA

VIDYAARANYO MAMAATHMAAYAM THASMAI BHAGAVATHEY NAMAHA.

 

KADAMBAVANAVASINI-BHOOPALAM

SARASWATI POOJA-14th, OCTOBER, 2021

"KADAMBAVANAVAASINEEM KANAKAVALLAKEE DHAARINEEM

MAHAARHAMANIHAARINEEM MUKHASAMULLASADWAARUNEEM

DAYAAVIBHAVAKAARINEEM VISHADAROCHANAA CHAARINEEM

TRILOCHANAKUTUMBINEEM THRIPURASUNDAREEM AASHRAYE!!!"

(Extract from Tripurasundari Ashtakam, indicating Goddess Tripurasundari as a form of Goddess Saraswati)

"O Goddess Tripurasundari, residing in the woods of Kadamba trees and holding a golden Veena, who is adorned with beautiful jewelry studded with precious gems and whose face shines with ambrosia!

The compassionate Goddess who bestows abundance, the One with large eyes and whose sight is all encompassing, pervading the Universe and the Divine Consort of the three-eyed One, I seek refuge in Thee."

SRIVIDYA VEENA (4)-KUNDALINI YOGA (SARASWATI VEENA-24)

SRI RAMANASHRAM, TIRUVANNAMALAI

Usually, my frequent trips to Ramanashram, Tiruvannamalai are meant for soaking in the sheer peace, tranquility and vibrations of Sri Ramana Maharshi's presence. I got the same feeling of bliss in Himalayas, when I went there for A.R.Rahman's 'Jana Gana Mana..' in 1999. Prayers, mantras, slokas and meditation are not necessary in charged places such as these. An inexplicable bliss of inner silence and stillness fills our hearts in such places. I just sit down, do nothing...stare into space...nothing matters as GOD is felt through every moment...all around and within oneself.

I sat leaning against the wall in Ramanashram (almost 2 decades ago) and stared idly at an unkempt man seated right opposite to me in the men's section. He wore a soiled veshti, his long beard and hair were matted. I would have shifted my gaze if I didn't catch him smiling at me. Puzzled, I looked around wondering if the smile was directed at me or at somebody else.

I realised that he was smiling only at me and I smiled back. He immediately got up and walked steadily towards me. I thought he was going to ask me for money or assistance. 

(Conversation in tamil)

There was a wealth of wisdom in his eyes as he addressed me, "You were the one who played Veena here last night, isn't it?"

"Yes" I smiled.

He declared with a smile, "I normally don't come down here often. You are fortunate that I came in time to listen to you and that I am talking to you right now." There was an air of authority about him which was in sharp contrast to his dishevelled appearance.

"Oh"! I wondered who he could be.

He sat right in front of me. In close quarters it appeared as though he did not bathe for many days.

"Do you know Khechari Mudra?"

His question caught me unawares. I was stunned, not expecting him to ask me something like that.

"What is it? I don't know." 

He opened his mouth wide to show me the khechari mudra. 

"Do it."

He said in a commanding voice.

Embarrassed I looked around.

He urged, "You need to do it for your Veena playing. Very very important."

He got my complete attention. 

My eyes widened in fascination, "Why...how?" I asked

"If you do it while playing Veena, your kundalini will lead you to a higher state of consciousness."

"Really??!!"

"Do it."

Forgetting my surroundings I did the khechari mudra. 

"No...like this.."

He did the mudra along with me for a few seconds after ensuring I did it the correct way.

He got up abruptly and started to leave. Even I got up hastily to follow him. 

I addressed him anxiously, "Where do you stay? I want to meet you again. I need to know a few things about Veena and yoga."

"I live somewhere up the hills, I don't stay in any particular place. You can't meet me. You carry on with what I told you. That's enough."

"No...please I want to see you again,  just one more time." I pleaded, feeling like a kid.

Looking straight he kept walking ahead, "No child.. please go on...Keep doing what I showed you. I have to leave."

I stopped in my tracks, a feeling of sadness washing over me as I watched his retreating figure helplessly.....

Dil Mein Tujhe Bithakar- A VEENA/VOICE PROJECT (Voyage Of Inspiration-Lata Mangeshkar hits on Veena produced by Music World in the 90s)

SRIVIDYA VEENA (3)- KUNDALINI YOGA (SARASWATI VEENA-23)

SHANKARACHARYA OF SHAKATAPURAM MUTT, SRI KRISHNANANDA THEERTHA MAHASWAMI, SRIVIDYA PEETHAM
 

                                    VEENA SHYAMALA/ RAJAMATHANGI 

90S, SANSKRIT COLLEGE, LUZ, CHENNAI-

It was an auspicious full moon day in the month of August in the 90s (I do not recall the exact year). The campus of Sanskrit college in Luz, Chennai was crowded with devotees of Sri. Shankaracharya of Shakatapuram Mutt which is Srividya Peetham.

I stood waiting in the queue wearing a 9 yards saree, my hands full with bags of fruit and flowers and a huge plate to place them at the time of offering to Periyava of Shakatapuram Mutt, Sri Krishnananda Theertha Mahaswami.

I was thrilled and eager to take the Rajamathangi and Veena Shyamala 'upadesham' from Periyava.

"Did you know that Veena has a beejakshara?" Preparing for the upadesham Periyava asked me matter of factly.

"No". I shook my head.

He proceeded with the upadesham, I felt sanctified as I left Sanskrit college. And fully authorized to play whatever little I knew of Veena.

SRIVIDYA VEENA (2) KUNDALINI YOGA (SARASWATI VEENA-22)

 

                             (1977-HANUMAKONDA, ANDHRAPRADESH) SRI SIVANANDA MURTHY IN HIS POOJA AND WITH HIS FAMILY. The photographs were taken when I was invited to perform in Warangal. Concert was organised by  the devotees of  Sri Sivananda Murthy in the year 1977.

Most of the content about Veena and the instrument's spiritual benefits in this blog was given by Sadguru Sivananda Murthy in 1998, during one of my many visits to His ashram in Bheemli, Andhrapradesh.

RECEIVING THE GANGA DEVI AWARD FROM FORMER GOVERNOR OF ANDHRA PRADESH, SRI. KRISHNA KANT, IN THE PRESENCE OF SRI. SIVANANDA MURTHY IN VIZAG.

1996, BHEEMLI, AP-

After His morning pooja Sri Sivananda Murthy sat down to talk. Excerpts regarding Veena-

CONVERSATION IN TELUGU-

"Wear an abdomen belt." His face had the serious look of someone who was imparting the most precious secret.

My eyes opened wide, "Abdomen belt in concerts?" I could well imagine the discomfort of performing for 2 and a half to 3 hours, with an abdomen belt around my waist. 

He watched the confusion and doubt on my face. He said vehemently, "But you can't waste precious 3 hours!"

I didn't answer as I tried to figure out how it would feel to play Veena with an abdomen belt. I looked at him uncertainly.

His voice was serious, "How many concerts do you have in a month?"

"Hmmmm...minimum 10, sometimes 15 to 20."

"All for 3 hours?"

"Not less than 2 hours."

"Just look at how much time you are losing!"

I nodded in agreement.

His voice was firm, "Every minute of Veena playing is precious. You need to apply your Veena playing to your kundalini. While you are immersed in playing you will not be able to maintain posture. You will naturally stoop." He paused to look at me. I nodded.

He continued, "To keep the base of spine erect you need to wear the abdomen belt. Your mooladhara to Swadhishtana to Manipura chakras will be held in alignment and erect by the belt."

I said hesitantly, "I am only worried if it will be too tight. If it's like that I may not be able to give my best because of the discomfort...." my voice trailed off.

"Start by playing Veena with the belt at home."

Looking at Him decisively I nodded in agreement. "I will, I will buy one immediately."

His face relaxed into a gentle smile.

"Good. Any other doubts?"

I smiled hesitantly as I shook my head negatively, unable to express my fears of managing the heaviness of silk saree on an abdomen belt. As though reading my mind He smiled gently and said, "It's a matter of getting used. Try to wear something comfortable on stage and nothing too heavy so that the abdomen belt won't be an added weight."

My eyes widened. Finding my voice I said in reverence, "I will surely do as per your instructions. Please bless me!" (TO BE CONTINUED....)

My most beloved mother, My Guru- Smt. Kamala Aswathama

 

A RARE VIDEO CLIPPING OF HER PERFORMANCE IN  HYDERABAD , TELANGANA....

RADHASHTAMI (14th September, 2021)

THE BEAUTY OF DIVINE LOVE IN HER FACE AND VOICE……

SRIVIDYA VEENA- (1) KUNDALINI YOGA (SARASWATI VEENA-21)

VEENA VENKATARAMANADAS

Many years ago Veena was held vertically by yesteryear practitioners in order to keep the spine erect (the above is the only  photo I managed to find. Veena Vidushi Tata Bhanumathi's (Puducherry) father late Sri.Tata Somayazulu used to hold the Veena vertically, I have had the fortune of witnessing this personally).

SRIVIDYA VEENA (KUNDALINI YOGA)-

I always wondered if it was only me who observed that Goddess Saraswati did not place the 'sorakkai' (left side dome of Veena) on the left thigh!

Further, there is no authentic text that demands any particular posture for Veena playing. The recent practice of holding the Veena horizontally across the left thigh has many disadvantages in the areas of health and spiritual benefits. In my personal and professional experience I have realized that an erect spine plays the foremost role in Veena playing.

Saraswati Veena made of pure jackwood is ideal for kundalini activation. The posture plays an equally important part as the sruthi  and laya suddham (perfection in tune as well as rhythm). If you ask me, posture is the primary most important factor. 

Veena practice for professional reasons maybe set aside as the focus on posture can disturb intellectual planning unless the player has mastered the erect-spine-posture.

 To start with at least half an hour should be allotted for kundalini practice on an authentic Saraswati Veena made of jackwood. Contact mikes, whether they are contact mikes for acoustic Veenas or electric Veenas (where magnetic strings are used and the wood grains are shunned) are not be used during this practice session. Mikes are to be avoided in order to gauge the enhancement of the 'naadham' (resonance). 'Naadham' is the measuring scale of the rising life-force energy which is sponged off by the wood grains of the Veena's jackwood and reflected as 'naadham' or resonance of the Veena.

If the practitioner is young, energetic, hale and healthy the practice of posture becomes easy and demands slight variations only. Placing the Veena's left side dome (Sorakkai) on the left thigh requires the player to stoop over the Veena dandi (especially in the case of a tall or broad-shouldered player). Instead of placing the sorakkai on the left thigh the player should find something (like a pile of cushions, thick cloth material, small stool covered by cloth etc.) to be able to raise the Veena to the required height on the left side in order to avoid stooping over the Veena. At the same it is necessary to balance the height of the right side dome ('kudam') in order to achieve the correct inclination. The right side is not to be raised to the level of the left side, but only to the extent where the player is able to play the Veena with his/her shoulders pushed back, chin raised and most importantly with his/her spine erect. (TO BE CONTINUED.....)

CONCERT IN MYLAPORE SAIBABA TEMPLE IN LATE 60s.

LATE 60s, after my concert in Mylapore Saibaba temple- spiritual stalwarts and siddhas from Shirdi attended the concert. I am seated on the floor.