"Shree Lakshmi-Tantra", 04.39: "The devAs and the humans call Me as MahAlakshmi, MahASrI, CaNDA, CaNDI and CaNDikA"

Chapter 04 of "Shree Lakshmi-Tantra" is very beatiful and Shreemati Maha Lakshmi-Devi speaks about Herself as Being Shreemati Maha Kali-Devi, Shreemati Durga-Devi and Shreemati Chandika-Devi, BUT JUST IN ANTARYAMI ROOPAM. 

Sadagopan.org has published First 4 Chaptes of "Shree Lakshmi-Tantra" and I liked very much the explanation of the above-mentioned Names of Shreemati Lakshmi-Devi from Volume 04. 

What I especially liked is the explanation about Antaryami by Oppiliappan Koil Varadachari Sadagopan.

I have refered to 4 Volumes of "Shree Lakshmi-Tantram" (only 4 First Chapters were published by SADAGOPAN.ORG) and to "Dhvaya-Churukku" by Shree Shreemad Vedanta Desika while preparing this article (both editions of SADAGOPAN.ORG, please refer to my folders in order to study these Books - dropbox, box, cubby and google)

"Shree Lakshmi-Tantra", Volume 04 (from Verse 39)

SHREEMATI MAHA LAKSHMI-DEVI SAID:

04.39. "The devAs and the humans call Me as MahAlakshmi, MahASrI, CaNDA, CaNDI and CaNDikA".

Oppiliappan Koil Varadachari Sadagopan: "In  this  and  the  subsequent  Slokams,  MahA  Lakshmi  describes  Herself  with  different names connected normally to other goddesses. 

We can not conclude on this basis that MahA Lakshmi is same as these devatais.  

In the 10 th  chapter of  Bhagavat  GitA,  Lord  KrshNa  describes  Himself  as  Rudran,  Kuberan  et  al. 

What He meant was that He is the anataryAmi of all these devatAs, who are His servants. 

The situation is similar here and MahA Lakshmi is indicating that She  is  the  indwelling  and  empowering  force  in  all  these  devatas,  who  are created and  commanded by Her. 

04.40. "Further,  the  people  address  Me  as  BhadrakALi,  BhadrA,  kALi,  Durgai, MaheSvari, triguNA and by other names. They also call Me as Bhagavati since I am the consort of BhagavAn". 

04.41. "When I manifest My fundamental state in different ways, I am addressed by Names specific to that state. The Names referred to in the past two Slokams are some of these sacred names. I will elaborate on them now to You". 

The Meaning of the Name "MAHALAKSHMI"

04.42. "I am addressed as MahAlakshmi because I engage in sorting out the good deeds (puNyams)  and  bad  deeds  (pApams)  in  this  world.  Therefore  I  am  highly regarded and adored as MahAlakshmi".  

The Meaning of the Name "MAHASHREE", "CHANDI" and "CHANDIKA"

04.43. "They call Me as MahASrI since I am the refuge for the good people. They call me CaNDI because I am the consort of CaNDan (Rudran). I am called CaNDikA because I am beyond the power of any one to control Me".

Oppiliappan Koil Varadachari Sadagopan: "One  might  have  doubt  about  MahA Lakshmi  being  called  CaNDI  or  Rudran's wife. In Srimat Bhagavat GitA, GitAcAryan explains that He is Sankaran among the  RudrAs.  

He  revealed  that  He  is  Rudra  antaryAmi.  Here,  MahA  Lakshmi implies  that  She  is  the  antaryAmi  of  CaNDan's  (Rudran's)  consort  and  hence addressed as CaNDI". 

The Meaning of the Name "BHADRA" and "KALI"

04.44. "I  am  saluted  as  BhadrA  since  I  confer  all  MangaLams  to  My  devotees.  I  am called kALi in recognition of My protection of the auspicious and for being the kAlan (mrtyu) for all the enemies of the good people". 

The Meaning of the Name "BHADRAKALI"

04.45. "I  am  saluted  as  BhadrakAli  because  of  the  help  I  give  to  good  people  and punishments  I  mete  out  to  the  wicked.  Because  of  the  astonishing  arrays  of auspicious guNams that I display, I am addressed as mAyA". 

The Meaning of the Name "MAHAMAYA", "MOHINI", "DURGA"

04.46. "I  am  worshipped  as  MahAmAyA  since  My  mAyai/mahatvam  (greatness) pervades  everywhere.  I  am  saluted  as  Mohini  since  I  immerse  all  in  moham (delusion). I am called Durgai because I am hard to attain and also because I protect My bhaktAs".  

The Meaning of the Name "YOGA", "YOGA-MAYA" and "MAYA-YOGA"

04.47. "I am revered as YogA or Yoga mAyA because I unite the jIvan with My Lord and serve as a bridge in this action. I am also saluted as mAyA yogA since I am the bridge between humans and the J~nAnam". 

The Meaning of the Name "BHAGAVATI" and "DHARMA PATNI"

04.48. "I  am  addressed  respectfully  as  Bhagavati  because  all  the  six  pradhAna (mukhya) guNams of the Lord are fully present in Me. I am recognized as the dharma  PatnI  of  the  Lord  since  I  receive  the  havir-bhAgam  during  the Yaj~nams".  

The Meaning of the Name "VYOMAN", "PURI" and "PARAVARA"

04.49. I  am  saluted  as  Vyoman  since  all  auspicious  guNams  are  present  in  Me  in  a generous  way  (broad  manner). 

I  am  addressed  as  pUri  since  I  pervade  in  all things in a full (pUrNa) manner. 

I  am  worshipped  as  ParAvarA  because  of  my  exalted  rUpam  (rUpa  guNa sampannai)". 

Oppiliappan Koil Varadachari Sadagopan: "The name ”parAvarA” is one Name for Brahman in the Upanishadic parlance (MuNDaka Upanishad 2.2.9: tasmin drshTe parAvare)". 

The Meaning of the Name "SHAKTI", "RAJNI" and "SHANTA"

04.50. "I am saluted as Sakti because I am capable of completing anything I attempt. I am  addressed  as  rAj~nI  since  I  gladden  the  heart  (ranjayati  iti)  of  my devotees. I am worshipped as SAntA since I do not undergo any changes and stay tranquil". 

The Meaning of the Name "PRAKRITI". 

Shreemati Lakshmi-Devi is the Precious Ashraya for Her bhaktas. 

04.51. "I am saluted as Prakrti since I construct (create) this universe and its beings. This is the third type of creation. I stay as the refuge for My devotees and remove their sins". 

04.52. "I hear the dInAkrAntam (sorrowful cries) of the suffering samsAri jIvans with compassion. 

I make this universe happy with My wide set of auspicious guNams. 

I stay inside the mind and Buddhi (anta:karaNams) of all jIvans. I gladden the hearts of the jIvans, who have accumulated puNyams". 

04.53. "All the devAs and devatais perform ArAdhanam for Me. I stay as the SarIram of  MahA  VishNu.  Those  experts  in  Veda  vedAntams  address  Me  as  SrI  Devi (because  of  their  knowledge  of  the  six  meanings  of  the  name  “SrI”)". 

THE SIX MEANINGS OF SRI SABDHAM 

SreeyathE:    She  is  reached  by  all  those,  who  want  ujjeevanam  (upliftment)  from SamsAric sorrows. 

SrayathE:  To  save  her  suffering  children,  she  approaches  Her  Lord. 

SruNOthi:      She  Listens.  She  listens  to  the  chEthanams  who  pray  to  her  to  place them at the sacred feet of Her Lord. 

SrAvayathi:  She makes the Lord listen to Her regarding the sufferings of the jeevans. 

SruNAthi:    She banishes. She banishes the Moksha VirOdhis for the Mumukshus (Those who desire Moksham). 

SreeNAthi:    She makes the jeevans attain a ripe stage fit to qualify for Moksham. She perfects the ChEtanam to perform Kaimkaryam for Her Lord. 

Our SrI DEvi, Our Mother with such Vaibhavam shines with Her Lord and stays in our  mind  permanently.  Swamy  Deikan  declares  that  the  Lord,  who  is  resplendent with  His  PirAtti  (ThiruvudanE  hihazhwAr)  stays  always  (nithya  vaasam)  in  his hrudhaya kamalam (YenKal chinthayuLE seRinthAr).  

"Venkatesha Mahatmyam" (Sanskrit-English)

"Venkatesha-Mahatmya" is truly incredible book. 

My favourite Chapters from "Venkatesha-Mahatmyam":

1) The Chapter, which tells about the Love of Shreemati Lakshmi-Devi to Bhagavan Shree Vishnu and the description of the Various Rupas, Which Shreemati Lakshmi-Devi assumes in order to serve to Her Beloved Husband Bhagavan Shree Vishnu (for example, Shreemati Lakshmi-Devi can assume the Forms of Amorous Gardens and Flowers in order to make Her Leelas with Bhagavan Shree Narayana more incredible and amazing).

2) The Chapter about the Lotus Foot of Bhagavan Shree Vishnu. 

The compiled PDF-file has been made by me, because initially there were 18 separate PDF-files, which you can find here - http://www.sistla.org/Srihari-Lyrics/Tirumala%20mAhAtmyaM.htm

Please don't hesitate to download the compiled file from my folders, because "Venkatesha-Mahatmyam" is outstanding masterpiece!!!

DOWNLOAD IN ONE PDF-file:

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T H I S   S C A N   B E L O N G S   T O   T H E   F A M I L Y   O F   M Y   C O M P A C T  

 V A I S H N A V A   E - L I B R A R I E S ,   T H E Y   C A N   B E   F O U N D   O N :  

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"Shree Lakshmi-Tantra", the Anugraha of Shreemati Lakshmi-Devi and the notorious "Kaivalya-Mukti" mistake of Sanskrit-English translators

Actually, I am against the studying of the separate Chapters from "Shree Lakshmi-Tantra", because this Tantra must be studied from the First Chapter to the very Last Chapter, because if you study only the excerpts, you will be misguided. 

Nevertheless, I will quote Chapter 13 from the English edition, because it is the Chapter about Anugraha of Shreemati Maha Laksmi-Devi and because I have noticed the mistake in the Verse 13.14 (in English translation, of course). 

Wikipedia falsely tells, that "Shree Lakshmi-Tantra" has Advaitic influences, but it is not "Shree Lakshmi-Tantra", that has Advaitic influences, but the English translation of the Tantra. 

There is a classic and very notorious mistake of nearly all Sanskrit-English translations: 

in 90% of cases translators don't differentiate between the kinds of Mukti and just write something Advaitic like "and then jiva merges in Brahman", though actually in 90% of cases the translation must be rendered as:

"jiva obtains Mukti at the Abode of Bhagavan Shree Vishnu" or 

"jiva becomes Brahm-rup" (this right and very good translatiton is often used in the Books of Shree SwamiNarayan Sampradaya) or

"jiva reaches the Abode of Bhagavan Shree Vishnu". 

I have been noticing this kind of mistake in many English translations ("Shree Padma-Purana", "Shree Varaha-Purana" and etc.). 

If a translator has Advaitic background and Shankara-influenced, then sorrowfully nearly all the verses about Mukti will be out of step with Vaishnava-Siddhanta and will be replaced by something like "and then jiva merges in Brahman". 

See page 70 in this English edition of "Shree Lakshmi-Tantra" and the note of the translator about Mukti to rest assured of the written above by me. 

"Shree Lakshmi-Tantra", page 70 (wrong  translation of the Verse 14 and Advaitic remark to it,  not suitable for the translation of Vaishnava-Tantra)

The translator (Sanjukta Gupta) writes the following in the remark: "Emancipation (mukti) is being identical with Brahman, the supreme Essence, which is but a return of the part to its original whole", that is he writes about Kaivalya-Mukti.

In reality, none of the Vaishnava-Acharyas never support the idea of Kaivalya-Mukti, because this type of Mukti is considered to be fit only for the lowest type of jivas (mainly for demons, cheap Gyani-advaitins and atmarama-yogins). 

All the Vaishnava-Acharyas always tell only about such type of Mukti, which implies the Dasya to Bhagavan Shree Vishnu and Shreemati Lakshmi-Devi. And Prema-Bhakti, of course. 

And, of course, Shreemati Maha Lakshmi-Devi in Her Own "Shree Lakshmi-Tantra" spoke about "jiva reaching the Abode of Bhagavan Shree Narayana and Shreemati Maha Lakshmi-Devi", but not about "becoming one with Brahman". 

I will dwell on this more in my commentary to the verse 14 below. 

So, there are no Advaitic influences in the original "Shree Lakshmi-Tantra" in Sanskrit, the Advaitic influences occur only in English translations. 

Vaishnava-Sankhya-Yoga in the spirit of Bhagavan Shree Kapila, yes, it is inherent to "Shree Lakshmi-Tantra", but Vaishnava-Sankhya-Yoga differs from Shankara-Advaita at 10000000000000000 rate. 

My original wish was actually to write not about the mistakes in translation, but about The Anugraha of Shreemati Maha Lakshmi-Devi. 

"Tirobhava" is also very crucial notion to write about, because Shree Shreemad Vallabha-Acharya used this notion a lot for explaining His Vedanta and the Idea of Leelavada. 

"Shree Lakshmi-Tantra", Chapter 13 "The true form of jiva"

13.01. Shreemati Maha Lakshmi-Devi said: "Shakra, the Anugraha-Shakti is traditionally known as My Fifth (Shakti). My son, I am now going to describe Her True Nature to you.

13.02-03. These (jivas) are deluded by avidya, subjected to the (illusion) of asmita (false material ego) and overwhelmed by my Shakti called Tirodhana.

In general they fall from a higher to a lower position; (but) at the same time they also show a tendency to ascend from lower to higher positions. Such jivas are subjected to three types of bondage and move through the three states (regions).

13.04. Broiling in their own deeds, (they) are in the very centre of the hot coal that represents mundane life; they inveterately seek happiness but (instead), owing to ignorance, get crushed by misery.

13.05-08. As movable and immovable beings they continuously pass through an endless chain of births. 

Inextricably enmeshed in the miseries of body, senses, mind and intelligence through the results caused by certain deeds, (jivas) are ever subjected to recurrent birth and death, and undergo affliction through systematic exertion or its absence (i.e. attempts to avoid misery or to pursue happiness, as the case may be). 

(These considerations) engender (in me) endless compassion for these jivas. 

I obliterate their sins and I, Shreemati Maha Lakshmi-Devi, ensure that (such) jivas escape beyond the clutches of misery.

(This act of compassion) is called Anugraha, which is also referred to as the 'descent' of the Supreme Shakti.

13.09. Having received My Grace, they are absolved from their karman (i.e. extinction of consequences). The jivas infused with My Grace possess only apascima 2 (non-phenomenal) bodies.

13.10. The precise moment of the descent of Anugraha is known only to Me. It cannot be brought about by human effort, or by any other means.

13.11. Solely through the arbitrary exercise of My own discretion do I sometimes look upon a certain individual with Favour. Thenceforward that individual (becomes) pure and his internal organ becomes cleansed.

13.12-14. And he, having reached the state of karmasamya (pacification of karman), then confines himself to performing good deeds, to attaining knowledge of the Vedanta, to following (the course of speculation and meditation laid down in) the Samkhya and Yoga and through a correct understanding of Sattvata (philosophy), becomes imbued with pure devotion for Bhagavan Shree Vishnu. 

Then (gradually) after lapse of time the yogin (the meditating adept), who has shaken off all accumulated afflictions (klesas) by freeing himself from every shackle, glows brightly (liberated) from all attachments

and (ultimately) becomes one with the supreme Brahman represented by Laksmi and Narayana.

Vishnudut1926: This is the Verse 14, I have talked above. Now let's turn to the original Sanskrit Variant of "Shree Lakshmi-Tantra". 

The Verse 14 is:

"Shree Lakshmi-Tantra", Verse 13.14 from Original Sanskrit Tantra

The last line is:

"prapnoti param brahma LakshmiNarayanatmakam". 

Thus, the translation must be either:

• "this bhakti-yogin attains the Abode of Para-Brahman Shree Shree Lakshmi-Narayana"

or

• "this bhakti-yogin attains the Loving Service to Para-Brahman Shree Shree Lakshmi-Narayana" 

or

• "this bhakti-yogin attains the Para-Brahman which True Nature is  Shree Shree Lakshmi-Narayana" 

or

• "this bhakti-yogin becomes brahm-rup (shuddha-sattva, free from bandha, only atma-state) and attains the Abode of Para-Brahman Shree Shree Lakshmi-Narayana)"

So, as you see, 4 translations are possible, none of them is Advaitic and all of them are only Vaishnava and Bhakti-influenced. 

13.15. This is My Fifth Shakti known as Anugraha. The reason for My engaging in activities such as Tirobhava etc. is purely a matter of My Own Choice.

13.16. Thus, O Shakra, understand My fivefold Divine functions, about which I have nothing further to add.

Sakra said: - I salute Thee, Who livest in the lotus, I salute Thee, who shelterest in Bhagavan Shree Narayana.

13.17-18. I salute Thee, Eternal and Flawless Goddess, Who art, as it were, the Ocean of all blessings. 

(Though) the great darkness (of my mind) has been dispelled by the flow of Thy nectar-like words, (yet),

I am eager to know more about the excellent form of Chit-Shakti.

13.18. Shreemati Maha Lakshmi-Devi said: "Bhagavan Shree Narayana is the Unique God, the Eternal Supreme Soul.

13.19. Bhagavan Shree Narayana is the Everlasting Embodiment of (all the attributes, viz.):

1) Jnana, 

2) Bala, 

3) Aishvarya, 

4) Veerya, 

5) Shakti and 

6) Ojas (i.e. Tejas). 

Bhagavan Shree Narayana is Beginningless and without limitation in space; time or form.

13.20. I, the Supreme Goddess, am His Sakti, consisting of His I-hood, resplendently displaying the Six (Divine) attributes; Omnipotent and Eternal.

13.21. My Unique Essential Form consists of Pure and Unlimited consciousness. All the successful (yogins) amongst all the jivas exist in Me.

13.22. Through My Sovereign Will, I manifest the whole of creation on Myself as the substratum. All the worlds dart (start) into existence on me, as birds dart on water.

13.23. Of My own choice I descend (through Limited Forms) in fulfilment of My five functions. This, My descending Self is called Chit-Shakti.

13.24. This is My Limited (Self) consisting of concentrated consciousness, which is Pure and at the same time Independent. 

Even in this (concentrated consciousness) the universe is manifest, similarly as the reflection of a mountain may be caught in a (small) mirror.

13.25. This (limited manifestation of Mine) is transparent and ever shining like a diamond. As pure brilliance is the quality of the sun, so is consciousness its quality.

13.26. Jiva is spontaneously manifested by her (Chit-Shakti) possessing similar traits and this jiva is also continuously occupied in performing the five daily duties.

13.27. The contact (of Chit-Shakti) with (objects such as) blue, yellow etc. is called by the wise "srshti". Attachment to such objects (of Chit-Shakti) is called "sthiti".

13.28. The cessation of (the jiva's) attachment to objects, caused by the desire to seize another, is referred to by the learned in the science of the principles, as "samhrti".

13.29. The impression (vasana) left by them (i.e. objects) is tirobhava and the eradication of that impression is Anugraha. 

This destruction has the propensity, like fire, to destroy everything within reach.

13.30. This jiva is sustained by merely an infinitesimal part of Myself. I have previously explained to you My illusory Form in association with its relevant objects.

13.31. When in consequence of (the advent of) pure knowledge, the jiva discards its limitations, then freed from every shackle it becomes illuminated (with knowledge).

13.32. In consequence of (the advent of the Divine Attributes) jnana and kriya, it (then) becomes omniscient and omnipotent; and since all fetters have been removed, in acquiring my nature it even becomes non-molecular (in size, i.e. infinite).

13.33. As long as it is unnoticed by Me, who am moved by pity, its knowledge continues to be restricted and it (continues) to experience the universe through its senses (lit. instruments of knowledge).

13.34. Observing objects with the eye (i.e. a sense organ), using the mind to form notions, attributing ego-consciousness by virtue of ahamkara, it finally uses intelligence to determine (an object).

13.35. Thus from having lived in the waking state, it enters the dream state by relying then solely on its internal senses. From that state, in a state of profound sleep, it reverts to its own true nature.

13.36-39. These three states actually belong to prakrti, and not to the jiva. 

Even the state of turya, entered during the jiva's meditative trance, does not properly belong to it. 

The jiva does indeed consist of pure transcendental substance (Shuddha-Sattva).

It is independent of all states, is unaffected by any attributes belonging to prakrti, is unlimited by the conditions (upadhis) and is indivisible. 

In fact the jiva incorporates (pure) consciousness.

But although that is its essence, it becomes blinded by avidya and hence does not see Me, who am (however) clearly visible and am identical with its own self.

Shakra said: "O Goddess, how can You say that You are clearly visible, when You are beyond the reach of all senses? O Ambuja, even the Vedanta (Upanisad) fails to clarify your true nature.

Vishnudut1926: "Ambuja" (अम्बुज) translates as "born from the water". Shreemati Lakshmi-Devi is Ambuja (अम्बुज), because She has manifested from the Ocean (see the famous Verse 8.8.8 of "Shreemad Bhagavatam"). 

13.40. Shreemati Maha Lakshmi-Devi said: "Shakra, consider Me to be intuitively realizable by all embodied beings. Now hear with attention My (True) Nature".

"Maha Lakshmi Karuna Rasa" - The Power of the Lady, who stole the mind of Maadhavaa

"Maha Lakshmi Karuna Rasa" is of my most favourite Krithis and it is included in my everyday Dhyana and Listening List.

You can see and  listen to this Krithi on Shangu Chakra Gadha Padmam Channel - https://www.youtube.com/watch?v=GU-li9iEpOQ

I have downloaded the Krithi from Shangu Chakra Gadha Padmam Channel and now it is my folders too:

Yandex  Dropbox   Google   Skydrive   Copy

The meaning of "Maha Lakshmi Karuna Rasa" is incredible.

See how wonderfully and beautifully Shreemati Lakshmi Devi connected to "MADHAVA" name of Bhagavan Shree Vishnu and you will be amazed too!

Excerpt from the Krithi and explanation from "Dikshitar's MahaLakshmi Kritis" (see AV049 at sadangopan.org)

"adiyEn  will  now  cover  the  Krithi  set  in  the  Uphanga  Rakthi ragam known as Madhava Manohari (MahaaLakshmi Karunaa rasa Lahari).

The fourth of the seven Krithis composed by Dikshitar on Mahaalakshmi is inragam  Madhava  Manohari,  a  Janya  ragam  of  the  Melam  Hari  Hara  Priyaa (Karaharapriyaa).

The name of this rakthi ragam itself has sacred connotations. 

It is a feminine raga  devatha  symbolizing  the  Mangala  Devathaa,  who  charmed  the  mind  of Maadhavaa.

It  is  instructive  to  understand  the  significance  of  the  name Maadhavaa, so that one can understand the power of the Lady, who stole the mind of Maadhavaa.

The  name  Maadhavaa  is  the  169th  Sahasra  Namam  of  Vishnu  (http://www.ahobilavalli.org/ebooks_s4.htm).

There  are  two  explanations  for  this Name.  

1.  First,  Niruktham  says:  

He  is  Maadhava  since  He  propounds  the  true knowledge about Himself as the supreme being.

The knowledge of Hari is called "Maa".

Thou art the master of that knowledge.

Therefore Thou art known as Maadhavaa. "Dhavah" means Lord.

2.  The  second  explanation  is  given  in  Mahaa  Bharata  to  Arjuna:  

"O Bharata!  Know  that  He  is  called  Maadhavaa  since  He  is  endowed  with Mauna (Maa), Dhyanaa (Dha) and Yoga (Va). He is thus the embodiment of Silence, meditation and practice (Maadhavan).

MahaaLakshmi,  who  allures  the  Lord Maadhavaa's  mind  (Manohari)  is  hence known as Maadhava Manohari.

There are no other krithis known in this ragaa.

Dikshitar chose an appropriate Ragam with such powerful meaning for saluting Mahaaa Lakshmi."

Selected Images from the previous 95 ones

Actually all the Images are being extremely liked by me, but the following 15 Paintings are especially significant. 

Shreemati Lakshmi-Devi, very unusual pallette is used in this picture

After reading the "Venkatesha Mahatmyam" I was very eager to find the most beatiful Images of the Foot of  The Husband (Bhagavan Shree Krishna)

Incredibly romantic Image. This week Moscow is plagued by rains, so this Image has interwined with reality. Its mood is very romantic: Krishna so tenderly provides a shelter for His Most Beloved Girl - Shreemati Radhika-Devi. 

The Marriage of Shreemati Parvati-Devi and Shiva. Shreemati Parvati-Devi is very beautiful and modest in this Image. 

Vishva-Rupa of Bhagavan Shree Krishna. Very unusual Image. 

I fell in love with this picture. It is very girlish and all about girlish daydreaming.  

Very unusual Image in Chinese Ink style!!!!!

Krishna loves to be surrounded by Dasis and as you know during the day a lot of  Dasis  surround Shree Krishna with  Warm, Love and Care: some Dasis brush His Hair, others prepare the most Beautiful Garments for Abhisars, other Girls are joking with Him and entertain Krishna with songs and a lot of things, which a Girl in Love can grant to Her Most Precious Beloved. 

I love dark green pallettes very much. Shreemati Radharani-Devi  transfers the very complicated  mix of emotions in this Image: She is very glad of being with Krishna, but it is can be seen, that Praneshvari is also joking at her Sakhis. Shreemati Radhika also holds Her Hand in this picture in such way, as if the very next moment She turns to Krishna and  start to kiss Him, because She can't hold Her Feelings anymore! 

Gopikas swoon because of Bhagavan Shree Krishna playing the Flute.  I wish, everyone could feel that hypnotic  warm and very lovely sensation which arouses from hearing the Flute of Krishna. Actually, there is no distinction between states of mind in the Spiritual World (there is no sleep and etc.), there are only the sequence of Bhavas and Leelas with Krishna, but imagine what Gopis feel, when they suddenly shift from one Bhava to another one. Imagine, that you were sitting with Sakhis and talked about Your Beloved Krishna, but the very next moment you heard His Flute and the Sound suddenly immersed you in very distinct Bhavas, for example, in Bhava of Being with Krishna in Several Love Leelas simaltenously. 

This Image of Shreemati Radharani-Devi is an Ideal Image for Dhyana-Yoga.  Today, in the night, I am going to listen to the Hymns, devoted to Shreemati Lakshmi-Devi, but during the listening I will lovingly look just on this Image. 

Shreemati Lakshmi-Devi. I love all the Images of Shreemati Lakshmi-Devi in red pallette, because Shreemati Veera-Lakshmi is One of my favourite Ashta-Lakshmis. I will devote the special post to Shreemati Veera Lakshmi-Devi in this week. 

Bhagavan Shree Krishna and Shreemati Rukmini-Devi. Yesterday, I have been reading Rukmini-Sandesh,  which is more precious than all the Vedas for me. Actually, Rukmini-Sandesh is the Most Precious Part of "Shreemad-Bhagavatam". 

Krishna plays Love Serenade for Shreemati Radharani-Devi. 

Rasas, Colours and Presiding Avatars of Bhagavan Shree Vishnu and why Gopis never suffer when Krishna leaves Vrindavan

Recently there was a question on one of the Russian forums dedicated to Krishna: "Why Bhagavan Shree Krishna leaves Vrindavan, when He knows, that Gopis will suffer from Vipralambha?". 

I have replied with the point of view of Mukta-Jivas and Shuddha-Advaita. Actually, there is no such notion as Krishna-Vipralambha as Bhagavan Shree Krishna is All-Pervading and Krishna is Everywhere and His Bhaktas perfectly knows that Krishna never leaves His Bhaktas. 

Besides, Mukta-Jivas can create a certain number of siddha-dehas. It means, that if they are not with Krishna in One Universe, They are with Krishna in some other Universe. 

It is an ordinary life of Mukta-Jiva: you can create one Siddha-Deha, which will participate in Vipralambha-Leela and the other Siddha-Deha, which will participate in Rati-Keli with Bhagavan Shree Krishna. 

But I forgot to note in my answer, that with the Pure Bhakti point of view, Karuna-Rasa never pose a threat for Raganuga and Ragatmika-Bhaktas. Shree Shreemad Rupa Goswami writes about this Siddhanta from the Verse 2.5.123 in "Shree Bhakti-Rasamrita-Sindhu". 

Before I cite these Verses very interesting Chart with Rasas is published, because this article was implied just as the comparison of charts by Shree Shreemad Bihari and Shree Shreemad Rupa Goswami. 

But now it is article about the NON-sufferings of Gopis. HAHAHAHAHAHAHA!!!!!!!!!!!!!

The comparison of Shree Shree Bihari and Shree Shreemad Rupa Goswami are intended only for the Happiness of Study. I warn you against judging which chart is better. Both Acharyas were Geniuses and the comparison will be a sin and an offense to Them. 

Shree Shreemad Bihari discusses the relation "Rasa - Avatar of Bhagavan Shree Vishnu" in Satsai.

Shree Shreemad Rupa Goswami writes about this relation in "Bhakti-Rasamrita-Sindhu".

The version of Shree Shreemad Bihari (the also can be seen at dropbox and minus):

And this is the version of Shree Shreemad Rupa Goswami from "Bhakti-Rasamrita-Sindhu".


tatra mukhyaḥ — 
mukhyas tu pañcadhā śāntaḥ prītaḥ preyāṁś ca vatsalaḥ | 
madhuraś cety amī jñeyā yathā-pūrvam anuttamāḥ ||2.5.115||

Mukhya-rasa (primary rasa):
“The primary bhakti-rasas are five: śānta, prīti, preyo, vatsala and madhurya. The order of excellence is from first to last.”

atha gauṇaḥ — 
hāsyo’dbhutas tathā vīraḥ karuṇo raudra ity api | 
bhayānakaḥ sa bībhatsa iti gauṇaś ca saptadhā ||2.5.116||

Gauṇa-rasa (secondary rasa):
“There are seven secondary rasas: hāsya (humor), adbhuta (astonishment), vīra (enthuiasm), karuṇa (lamentation), raudra (anger), bhanāyaka (fear) and bībhatsa (disgust).”

evaṁ bhakti-raso bhedād dvayor dvādaśadhocyate | 
vastutas tu purāṇādau pañcadhaiva vilokyate ||2.5.117||

“Thus there are a total of twelve primary and secondary rasas, but only five are mentioned in the Purāṇas.”

śvetaś citro’ruṇaḥ śoṇaḥ śyāmaḥ pāṇḍura-piṅgalau | 
gauro dhūmras tathā raktaḥ kālo nītaḥ kramād amī ||2.5.118|| 

The twelve rasas have twelve colors as follows: white (śānta), multicolored (prīti), saffron (preyān or sakhya), crimson (vatsala), indigo (madhura), light yellow (hāsya), yellow-green (adbhuta), gold (vīra), purple (karuṇa), red (raudra), black (bhayānaka) and blue (bībhatsa).

kapilo mādhavopendrau nṛsiṁho nanda-nandanaḥ | 
balaḥ kūrmas tathā kalkī rāghavo bhārgavaḥ kiriḥ | 
mīna ity eṣu kathitāḥ kramād dvādaśa devatāḥ ||2.5.119|| 

“There are twelve Deities assigned to the twelve rasas as follows: 

Kapila (śānta), 

Mādhava (prīti), 

Upendra (preyān or sakhya), 

Nṛsiṁha (vatsala), 

Kṛṣṇa (madhura), 

Balarāma (hāsya), 

Kūrma (adbhuta), 

Kalkī (vīra), 

Rāma 

(karuṇa), 

Prāśurāma (raudra), 

Varāha (bhayānaka) and 

Mīna (bībhatsa).” 

(note by Vishnudut 1926: "Mīna = Matsya-Avatara of Bhagavan Shree Vishnu")

pūrter vikāra-vistāra-vikṣepa-kṣobhas tathā | 
sarva-bhakti-rasāsvādaḥ pañcadhā parikīrtitaḥ ||2.5.120||

“There are five tastes in the bhakti-rasas: pūrti, vikāśa, vistāra, vikśepa and kṣobha.”

pūrtiḥ śānte vikāśas tu prītādiṣv api pañcasu | 
vīre’dbhute ca vistāro vikṣepaḥ karuṇograyoḥ | 
bhayānake’tha bībhatse kṣobho dhīrair udāhṛtaḥ ||2.5.121|| 

“The learned say that pūrti (satisfaction) is manifested in śānta-rasa, vikāśa (brightness) is manifested in all the rasas from prīti to hāsya, vistāra (expansion) is manifested in vīra-rasa and adbhuta-rasa, vikṣepa (distraction) is manifest in karuṇa-rasa and raudra-rasa, and kṣobha (disturbance) is manifest in bhayānaka-rasa and bībhatsa-rasa.”

akhaṇḍa-sukha-rūpatve’py eṣām asti kvacit kvacit | 
raseṣu gahanāsvāda-viśeṣaḥ ko’py anuttamaḥ ||2.5.122|| 

“Though all the bhakti-rasas are the embodiment of pure happiness, among the rasas there is sometimes a special deep incomparable taste.”

pratīyamānā apy ajñair grāmyaiḥ sapadi duḥkhavat | 
karuṇādyā rasāḥ prājñaiḥ prauḍhānanda-mayā matāḥ ||2.5.123|| 

“Though the completely ignorant people and those with mistaken knowledge immediately think that rasas such as karuṇa are full of grief, those persons with knowledge of rasa say that these rasas are full of profound bliss.”

alaukika-vibhāvatvaṁ nītebhyo rati-līlayā | 
sad-uktyā ca sukhaṁ tebhyaḥ syāt suvyaktam iti sthitiḥ ||2.5.124||

“It is well-established by the knowers of rasa that, by the speeches of the devotees and by the nature of rati itself, karuṇa, bhayanaka and bībhatsa will produce happiness, since those rasas have the nature of manifesting vibhāva (Kṛṣṇa) and other elements that produce extraordinary, astonishing bliss.”

tathā ca nāṭyādau — 
karuṇādāv api rase jāyate yat paraṁ sukham | 
sucetasām anubhavaḥ pramāṇaṁ tatra kevalam ||2.5.125||

This is confirmed in the statement of the Nātya-śāstra:

“The absolute proof that karuṇa and the other ‘negative’ rasas produce happiness is the experience of the soft-hearted devotees.”

sarvatra karuṇākhyasya rasasyaivopapādanāt | 
bhaved rāmāyaṇādīnām anyathā duḥkha-hetutā ||2.5.126||

“If karuṇa-rasa did not give rise to happiness, then Rāmāyaṇa would be a cause of grief for the bhāvaka-bhaktas, since that and other works reveal karuṇa-rasa throughout.”

tathātve rāma-pādābja-prema-kallola-vāridhiḥ | 
prītyā rāmāyaṇaṁ nityaṁ hanumān śṛṇuyāt katham ||2.5.127|| 

“If Rāmāyaṇa were a cause of grief, why should Hanumān, who is an ocean filled with the waves of Rāma’s lotus feet, continually hear Rāmāyaṇa with  pleasure?”

New Flickr Images (95 IMAGES)

I have added 95 Images to Flickr today, so I invite you to visit my Flickr Photostream - http://www.flickr.com/photos/98170374@N03/

New Images also can be found at DROPBOX - https://www.dropbox.com/sh/l2cnwf6kid8hl5q/GV30lZVfh5

SATSAIYA SATSAI OF BIHARI with Lala-Chandrika by Lallu Lal Kavi Calcutta 1896

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English annotation by Vishnudut1926: Sorrowfully, but only the first part of the Book is English, the second part is the Original in Braj Bhash, but the first part is superb.

The matter is that it repeats the main Rasik Aesthetic concepts. Bhavas, Sthayi-Bhava, Vybhicari-Bhavas, Alambanas and Uddipanas are discussed.

Besides, a lot of techiques, inherenent to Sanskrit Kavya are being discussed in the book (similes, word meanings and etc.) and this part of the book resembles the concepts of Dhvani School of Sanskrit Kavya.

If you read "Bhakti-Rasamrita-Sindhu" by Shree Shreemad Rupa Goswami or the Chapters 26-40 of "Jaiva-Dharma" by Shree Shreemad Bhaktivinoda Thakur (in these Chapters Shree Shreemad Bhaktivinoda Thakur discusses Rasa-Tattva) you will find all the notions very familiar.

The Character of Krishna

This story reminded me about Krishna and I laughed. Yes, it is very much in the character of Krishna to be so carried away by a new Kanya in Harem, that even the Kingdom is cast away entirely.

The story is very beautiful and lovely. If you belong to Rasika-Bhaktas, the story will entail the enormous number of Bhavas in your soul!

From http://allpoetry.com/Bihari

There is an interesting story behind the origin of Bihari's Sat Sai, which finally consisted of 700 couplets. 

The Raja of Amber married a young girl and was so enamoured with her that for a year he did not bother with court affairs till the affairs of the kingdom fell into confusion, this worried the prime minister and the Raja's head wife, who summoned Bihari and asked for his help.

Bihari wrote down the famous verse of the Sat Sai commencing with nahin paraga, which, ostensibly praising the beauty of the young queen, alludes to her age and gave a clear hint as to the state of affairs. 

"There is no pollen; there is no sweet honey;

nor yet has the blossom opened. 

If the bee is enamoured of the bud, 

who can tell what will happen 

when she is a full-blown flower." 

This verse was concealed amongst the flower petals which were sent each day to the harem, to form the bed of the happy spouses. 

In the morning the paper remained stiff amidst the withered petals, and bruised the king's body. He drew it out, read it, and at once returned to a sense of his responsibilities. 

He went outside, held a public court, and summoned the ingenious writer of the verse. 

Bihari Lal appeared, and the king, to show his satisfaction, promised him a gold mohur for every doha he might bring him in this way. 

Bihari Lal wrote two or three dohas, and received on each occasion the promised reward, till some seven hundred in all had been composed. These were collected and made into a book. 

The verses of the Sat Sai are rich in poetic flavour, elegance, and subtlety of feeling. They have the quality of miniature painting for vividness. 

Brevity of expression is combined with richness of content and a power to elicit spiritual sentiment. They excel in refinement and grace. 

The dramatic personae in these poems are Radha and Krishna, who are the Nayika and the Nayaka, and the sakhis, the maids of Radha. 

The sakhis carry messages between the Lovers, they conciliate them when they quarrel, and among themselves they keep up a running commentary on the course of love. 

Prince Azam Shah, third son of the Emperor Aurangzeb, who was a lover of Hindi poetry, called an assembly of poets and had the verses of the Sat Sai arranged.

This was entitled the Azam Shahi.