Issue 09 Volume 02 February Categories of Indian Thought MADANAGOPALA THE RED KRISHNA NARA ALLSOP MUMBAI BARRY SILVER SIVARATRI SWAMI SIVANANDA

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1 Issue 09 Volume 02 February 2009 Categories of Indian Thought MADANAGOPALA THE RED KRISHNA NARA ALLSOP MUMBAI BARRY SILVER SIVARATRI SWAMI SIVANANDA Hanuman soars over Chowpatty Beach, Mumbai. Photograph by Barry Silver. January 2009

2 Publishers & Founding Editors Robert Moses & Eddie Stern Advisors Dr. Robert E. Svoboda Meenakshi Moses Jocelyne Stern Editors Meenakshi Moses Eddie Stern Design & Production Robert Moses Eddie Stern Diacritic Editors Vyaas Houston Isaac Murchie Circulation & Distribution Youngblood Roche Assistance from Deborah Harada Website Development Matt Alexander Kendal Kelly Robert Moses Sri Swami Vishnu-devananda Sri K. Pattabhi Jois NÄMARÇPA uses diacritical marks, as per the chart shown to the right, for the transliteration of all Saêskäta words. While many of the articles do contain these marks, it is not a universal occurrence in the magazine. In those cases where authors have elected not to use diacritics, Saêskäta words remain in their simple, romanized form. Chart by Vyaas Houston. ISSUE 09 VOLUME 02 FEBRUARY MADANAGOPALA Nara Allsop 2. MUMBAI Barry Silver 3. SIVARATRI MAHIMA & ITS SIGNIFICANCE H.H. Sri Swami Sivananda अ आ इ ई उ ऊ a ā i ī u ū ए ऐ ओ औ e ai o au ऋ ॠ ऌ ॡ अ अ ŗ ř ļ ĺ ał aģ क ख ग घ ङ ka kha ga gha ńa च छ ज झ ञ ca cha ja jha ña ट ठ ड ढ ण ţa ţha ďa ďha ņa त थ द ध न ta tha da dha na प फ ब भ म pa pha ba bha ma य र ल व ya ra la va श ष स ह śa ša sa ha kša tra ña February

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4 MADANAGOPALA ~ THE RED KRISHNA PAINTING & TEXT BY NARA ALLSOP 2009 The form of Krishna known as Madanagopala is to be found in the sculptural programme of several Vaishnava temples of the Vijayayanagara era (fourteenth to eighteenth centuries) in southern India and, in particular, Tamil Nadu. Madana is sweet enchantment, the seducer of the mind, and Gopala is the youthful herder of cows. In this form, Krishna has absorbed and subsumed the qualities of the god of love and sexual passion, Manmatha or Kama. The heats of lust and infatuation have been transformed into the rich rasa of transcendental love. Madanagopala sweetly sings and plays His flute, calling all to approach this exalted disposition to enter His world of luscious, enlightened duality where manifest form is the scintillating vibration of His eternal love play. Madanagopala may be ten- or eightarmed and is depicted standing or seated upon a hexagon. In addition to His flute, He carries various implements. Starting at the deity s top right is the solar discus or chakra, the elephant goad/hook (ankusa) and then the flower arrow. From the top left, he holds the sacred conch (sankha), the three corded noose (pasa), and the sugarcane bow (ikshukodanda). The flower bow and arrow are both implements normally carried by Kama and his consort Rati, the goddess of pleasurable sensual enjoyment. Here, however, Kama and Rati are depicted as devotees of the Lord and they offer a garland of wild flowers from all seasons (vanamala). The single arrow held by Madanagopala is representative of Kama s five powerful arrows of desire, each arrow representing a unique aspect of passion: excitement (unmadana), heat (tapana), drying up (sosana), paralyzing of normal bodily functions (stambhana) and full infatuation (sammohana). The god of sensual love, Kama, is known by various epithets: Manmatha, Kandarpa, Madana, and Mara. Here He is shown on Krishna s right. He holds aloft his standard, the makara banner, from which Kama gets the additional name of Makaradhvaja, meaning that his flag is marked with the makara. It is symbolic of potent creation and fertility. Kama s skin color (nupura) is red, though variant forms are green or golden yellow. His father is Dharma Prajapati. The most famous mythological episode involving Kama is his having been burnt to ashes by Siva, whose meditation Kama had sought to disturb. Kama went on to be reborn as Krishna s son, Pradyumna. He has two consorts, Priti (delight) and Rati (pleasure). Rati is depicted on Madanagopala s left. She is the daughter of Daksa Prajapati and her presence is likened to the youthful unfoldment of vasant (spring) and with it, the longing in all nature for procreation. She is exceedingly attractive and well versed in seductive arts. Her hair is piled up into an elaborate ornamental knot (kesabandha), secured with a golden band decorated with fresh spring leaves and flowers. These impressive south Indian coiffures are to be seen on the figures of queens, princesses and highranking temple patrons. As a pair, Kama and Rati are carved on pillars leading to the garbha griha (home of the main deity). Their animal vehicles (vahanas), the goose, swan or parrot, are interchangeable. Lovely forms can be seen in the seventeenth century marriage hall (kalyana mandapa) in Kanchipuram s Varadaraja temple. Outstanding even in the superlative world of Vijayanagara sculptural art are the splendid examples in Sri Villiputtar s Andal temple complex. Here Rati sits astride a goose, admiring her own reflection in a mirror held aloft in her left hand, while the right holds a kohl stick. Seated in the center at the bottom of this painting is Vishnu s chief vahana, Garuda. He is shown as per his description in the Vishnu-dharmottara, with a body the color of an emerald, fierce bulging eyes and an eagle beak. There are many variant forms of Garuda; in North India one does not tend to see Garuda associated with Krishna, however, in the south, this association is more frequent. In Vaishnava temples, Garuda is installed in a small shrine facing the garba griha, or on a high pillar within the temple compound, or just outside the main entrance, as in Puri s celebrated Jagganath temple. Forming a canopy over Madanagopala s head is the lush foliage of a Kalpakataru (wish-fulfilling tree). The tree boasts many types of flowers and fruits and is perpetually in bloom. It is a feature of the god s celestial realms. Nestled within its foliage are several kili (parrots) and a mayil (peacock). Krishna cherishes both types of bird and is said to have several as pets. Midway to Madanagopala s right is his favorite tree, the Kadamba. It bears small, globular orange-yellow flowers with a beautiful perfume. In season, the flowers are much favored for use as garlands. Growing at the Lord s feet are a profusion of flowering sacred tulasi, a plant considered to be an incarnated goddess. Tulasi leaves are used as offerings to all Vaishnava deities and its wood is favored for use in malas for mantra sadhana. The two brown decorative panels at the sides of the arch display kinnaras. The term kinnara translates as something like what are these? as they are a bizarre and beautiful composite of various creatures, animal, human and divine. They are usually shown playing musical instruments, especially the veena. Kinnaras have intoxicating siren-like voices, but are auspicious in nature and loving by disposition. They are often carved in light relief on temple pillars. Lastly, within the orange border are two decorated friezes of the Vaishnava sectarian marking or Namam. The Namam is worn on the forehead and is typically of two forms (of course, there are variants). The form depicted on the upper strip is the Vadagalai which is U-shaped. The one on the lower strip is the Tengalai which is Y- or V-shaped. The central stripe between the U or V is known as the Tiruchurnam and is traditionally made of a lime and saffron mix or red ocher. The meaning of the Tiruchurnam is the same as that of the bindu: the wholeness of divinity and the point of utmost potency from which all manifests. The wearing of the Namam is a highly important preparation for all kinds of ritual action or worship within the Vaishnava fold and is considered to be sanctifying for both the wearer and the observer. Nara Allsop studied for five years with Robert Beer. He lives in Arizona under the auspices of his patron, Lee Lozowick. February

5 MUMBAI TEXT & PHOTOGRAPHS BY BARRY SILVER was fortunate to spend a weekend I in Mumbai recently, and in a single jam-packed day participated in the ageold traditions that have kept India alive with vibrant spirituality: temple worship, teachings of the spiritual masters and holy festivals celebrated in grand style. The day began with pre-dawn puja for Lord Shiva at the Babulnath Temple in the heart of the city overlooking the Arabian Sea. Most of my time is spent in South India where direct deity worship is only done by the pujaris. So it is always exceptional to visit temples where flowers, fruit, milk, sandal paste and other items are available for visitors to do their own personal puja and worship. I then took a short cab ride to visit the home of Advaita master Ramesh Balsekar, who, at the age of 91, still welcomes any and all to his home on a daily basis for casual satsang and question-and-answer sessions. He delivered his straightforward message on non-dualism with a delightful sense of humor in the informal atmosphere of his living room. That evening, I joined an overflowing and enthusiastic crowd of devotees at the Radha Gopinath Temple, also known as the ISKCON Hare Krishna Hare Rama Temple, for Pushya Abhishek to celebrate the first day of spring. Imagine hour upon hour of ecstatic chanting, dancing and being showered with one ton of multicolored flower petals, some shipped all the way from Vrindavan. If George Harrison had thrown a rave, it would have looked something like this. In these unsettling times, ripe with threats of violence, modernization and materialism, this single day served as an uplifting and comforting reminder that the customs of ancient India are still alive and well and readily available for all who have a desire to participate. Barry Silver teaches Yoga in Tokyo. Ashtangayoyogi.com BarrySilver.net 2 Issue 09 Volume 02

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8 Dear God, This is my record of eternal gratitude to You. You gave me birth in a most respected Hindu family, but not high enough in social status to make me proud. You gave me a physical form well-admired for its perfection, but it was small enough to keep me humble. You gave me education high enough to be most useful in life, but not high enough to make me proud. You gave me success in sports high enough to be satisfied, but not proud. You gave me a career in which You took me high enough to be admired, but not high enough to make me arrogant. You gave me a wife and family for which I have always been eternally grateful, but You did not spare me some grief to remind me not to forget what life is all about, and to be always grateful for what I do have. You did not forget to place an adequate number of temptations in my way so that I may not be too critical of others who have to face their own temptations. I am now 84, and perhaps the only wish that remains is that the long life You have given me will not carry a burden at the end. But in that case, I know You will also give me the necessary courage to go with it. You gave me a lot to show me how little is needed to be content and how much could be given away. And, undoubtedly, the most important of all as if the bounty You have showered on me were not enough You crowned Your achievement by using this psychosomatic apparatus to convey to the world the most important message of Advaita. Truly I am blessed. Or, indeed, my Beloved, have You not blessed Yourself?! Finally, it occurs to me, if You were to design for Yourself a life in phenomenality, could it have been much different from this one? And, for this thought, no tears are enough to wash Your noumenal feet. Ramesh Balsekar Published in the book The Ultimate Understanding, Yogi Impressions Books Pvt. Ltd. February

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10 hat is the Ultimate WUnderstanding? asks Ramesh? He answers by saying, That there is no one to understand anything. He emphasizes that everything he says is a concept and, moreover, it does not matter whether the concept is accepted or not. Whether the acceptance happens or not is the Will of God, and the destiny of the individual concerned. According to Ramesh, many spiritual Masters instruct their disciples to kill the ego which results in a lot of confusion. In striking contrast, the point of his teaching is that it converts the ego. With this teaching can be observed, from one s own personal experience, the simple truth as enunciated by the Buddha, Events happen, deeds are done, but there is no individual doer thereof. Ramesh further points out that the main confusion arises with the question Who seeks what? What is the ego and what is the ego seeking? The ego wants self-realization and the ego can only be satisfied with something that can be understood and appreciated in this life. Self-realization is simply the realization by the ego that the ego itself is not a separate doer, that the doing is merely a happening through a human mechanism or instrument. This understanding annihilates the guilt and shame, pride and arrogance that accompany the sense of personal doership. The result is an enormous sense of freedom, of peace and harmony. The teachings that emanate from Ramesh are pure Advaita: Consciousness is all there is. The impact of the teachings is fuelled with the force of his Total Understanding. From his own life experiences, Ramesh makes the teachings relevant for the here and now. February

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14 Please visit bhakticollective.com at bhakticollective.com/2009/02/12/flowerfestival-in-mumbai/#more-779 for an enthralling description of the Pushya Abhishek by Sri Kausthub das. Here you will also find more pictures by Barry Silver as well as a link to a slide show of the puja by Stephan Crasneanscki entitled Flower Shower at bhakticollective.com/2009/02/13/803/ and an audio recording of H.H. Radhanath Swami Maharaja s inaugural talk which begins with these wise words: This wonderful festival is a festival of devotion. Please don t see just with your eyes, see through your heart, through the wisdom we receive from the Holy Scriptures and the great saints. It is a shower of our combined intent to please Krishna, to purify our own hearts and ultimately to be instruments of love in every aspect of our lives. February

15 SIVARATRI MAHIMA & ITS SIGNIFICANCE H.H. SRI SWAMI SIVANANDA from free books on Yoga, Religion & Philosphy at Silent adorations to Lord Siva, consort of Parvati, the destructive aspect of Brahman, who is known by the names Sambhu, Sankara, Mahadeva, Sadasiva, Visvanatha, Hara, Tripurari, Gangadhara, Sulapani, Nilakantha, Dakshinamurti, Chandrasekhara, Nilalohita, etc., who is the bestower of auspiciousness, immortality and divine knowledge on His devotees, and who does Tandava Nritya or the Dance of Death at the end of Time, the Cosmic Pralaya, and who is the real Regenerator but not the destroyer. Maha Sivaratri is the great night consecrated to Lord Siva. Maha Sivaratri falls on Trayodasi or the thirteenth day of the dark fortnight of Kumbha month (February-March). In the Santi Parva of the Mahabharata, Bhishma refers to the observance of Maha Sivaratri by king Chitrabhanu, when he was giving the discourse on Dharma, resting on his bed of arrows. Once upon a time, king Chitrabhanu of the Ikshvaku dynasty, who was ruling over the whole of Jambudvipa, and his wife were observing a fast on the day of Maha Sivaratri. The Sage Ashtavakra came on a visit to the court of the king. The Sage asked: O king, why are you observing fast today? King Chitrabhanu explained the reason for observing a fast on that day. He had the gift of remembering the incidents of his previous birth. He said to the Sage Ashtavakra: I was a hunter by name Susvar in my previous birth. I eked out my livelihood by killing and selling birds and animals. One day, I was roaming in a forest in search of animals. I was overtaken by the darkness of night. I was not able to return home and so I climbed up a Bilva tree for shelter. I shot a deer that day but I had no time to take it home. As I was tormented by hunger and thirst, I kept awake throughout the night. I shed profuse tears when I thought of my poor wife and children who were starving and anxiously awaiting my return. I engaged myself in plucking and dropping down the Bilva leaves. There was a Siva Linga at the foot of the Bilva tree. The tears and the leaves fell upon the Siva Linga. The day dawned. I returned home and sold the deer. I got food for myself and for my family. I was about to break my fast. A stranger came to me and begged for food. I served him with food first and then I took my food. At the hour of death, I saw two messengers of Lord Siva. They were sent down for the sake of conducting my soul to the abode of Siva. I learnt there for the first time of the great merit I had earned by the observance of the fast on the night of Maha Sivaratri, though I did it unconsciously by an accident. I lived in the abode of Siva and enjoyed divine bliss for long ages. I am now reborn on this earth as Chitrabhanu. Spiritual Significance of Sivaratri The Scriptures record the following dialogue between Sastri and Atmanathan, giving the inner meaning of the above story: Sastri: It is an allegory. The wild animals that the hunter fought with are lust, anger, greed, infatuation, jealousy and hatred. The jungle is the fourfold mind, consisting of the subconscious mind, the intellect, the ego and the conscious mind. It is in the mind that these wild animals roam about freely. They must be killed. Our hunter was pursuing them because he was a Yogi. If you want to be a real Yogi you have to conquer these evil tendencies. Do you remember the name of the hunter in the story? Atmanathan: Yes, he was called Suswara. Sastri: That s right. It means melodious. The hunter had a pleasant melodious voice. If a person practices Yama and Niyama and is ever conquering his evil tendencies, he will develop certain external marks of a Yogi. The first marks are lightness of the body, health, steadiness, clearness of countenance and a pleasant voice. This stage has been spoken of in detail in the Swetaswatara Upanishad. The hunter or the Yogi had for many years practiced Yoga and had reached the first stage. So he is given the name Suswara. Do you remember where he was born? Atmanathan: Yes, his birthplace is Varanasi. Sastri: Now, the Yogis call the Ajna Chakra by the name Varanasi. This is the point midway between the eyebrows. It is regarded as the meeting place of the three nerve currents (nadis), namely, the Ida, Pingala and the Sushumna. An aspirant is instructed to concentrate on that point. That helps him to conquer his desires and evil qualities like anger and so on. It is there that he gets a vision of the Divine Light within. Atmanathan: Very interesting! But how do you explain his climbing up the bilva tree and all the other details of the worship? Sastri: Have you ever seen a bilva leaf? Atmanathan: It has three leaves on one stalk. Sastri: True. The tree represents the spinal column. The leaves are threefold. They represent the Ida, Pingala and 2 Issue 09 Volume 02

16 Sushumna nadis, which are the regions for the activity of the moon, the sun and fire respectively, or which may be thought of as the three eyes of Siva. The climbing of the tree is meant to represent the ascension of the Kundalini Shakti, the serpentine power, from the lowest nerve centre called the Muladhara to the Ajna Chakra. That is the work of the Yogi. Atmanathan: Yes, I have heard of the Kundalini and the various psychic centres in the body. Please go on further; I am very interested to know more. Sastri: Good. The Yogi was in the waking state when he began his meditation. He bundled up the birds and the animals he had slain and, tying them on a branch of the tree, he rested there. That means he had fully conquered his thoughts and rendered them inactive. He had gone through the steps of Yama, Niyama, Pratyahara, etc. On the tree he was practising concentration and meditation. When he felt sleepy, it means that he was about to lose consciousness and go into deep sleep. So he determined to keep awake. Atmanathan: That is now clear to me; you certainly do explain it very well. But why did he weep for his wife and children? Sastri: His wife and children are none other than the world. One who seeks the Grace of God must become an embodiment of love. He must have an all-embracing sympathy. His shedding of tears is symbolical of his universal love. In Yoga also, one cannot have illumination without Divine Grace. Without practising universal love, one cannot win that Grace. One must perceive one s own Self everywhere. The preliminary stage is to identify one s own mind with the minds of all created beings. That is fellow-feeling or sympathy. Then one must rise above the limitations of the mind and merge it in the Self. That happens only in the stage Lord Siva. Sketch by Pamela Olecki of Samadhi, not earlier. Atmanathan: Why did he pluck and drop the bilva leaves? Sastri: That is mentioned in the story only to show that he had no extraneous thoughts. He was not even conscious of what he was doing. All his activity was confined to the three nadis. The leaves, I have said before, represent the three nadis. He was in fact in the second state, namely, the dream state, before he passed into the deep sleep state. Atmanathan: He kept vigil the whole night, it is said. Sastri: Yes, that means that he passed through the deep sleep state successfully. The dawning of day symbolizes the entrance into the fourth state called Turiya or superconsciousness. Atmanathan: It is said that he came down and saw the Lingam. What does that mean? Sastri: That means that in the Turiya state he saw the Siva Lingam or the mark of Siva in the form of the inner lights. In other words, he had the vision of the Lord. That was an indication to him that he would realize the supreme, eternal abode of Lord Siva in course of time. Atmanathan: It appears from what you say that the sight of the lights is not the final stage? Sastri: Oh no! That is only one step, albeit a difficult one. Now think of how the story continues. He goes home and feeds a stranger. A stranger is one whom you have not seen before. The stranger is none other than the hunter himself, transformed into a new person. The food was the likes and dislikes which he had killed the previous night. But he did not consume the whole of it. A little still remained. That was why he had to be reborn as King Chitrabhanu. Going to the world of Siva (Salokya) is not enough to prevent this. There are other stages besides Salokya. Atmanathan: Yes, I have understood now. February