суббота, 2 ноября 2013 г.

Rangoli - Part 01 - Shree Lakshmi Rangoli Pada - 12 Designs and natural colours for Rangoli

This Article consists of 4 Parts:

01. Rangoli - Part 01 - Shree Lakshmi Rangoli Pada - 12 Designs and natural colours for Rangoli - link

 02. Rangoli - Part 02 - 40 Ideas for Diwali (with only about 5 viable in reality) - link

 03. Rangoli - Part 03 - Making your own Black-and-White Draft of Rangoli with Invert and Colour Replace in Photoshop - link

 04. Rangoli - Part 04 - Tracing and Inking the Black-and-White Design of Rangoli - link


Very beatiful Designs from http://www.drikpanchang.com/rangoli/lakshmi-pada/rangoli-designs.html

Right now I am thinking how to process these Designs in Photoshop and Inkscape in order to print them out and to make my own Rangoli using just inking techique and colour pens!

My favourite Designs are NO. 4 and NO. 5.

By the way, these Designs are also very fit for everyday puja, not only for Deepawali!




I liked this Design very much

And this one is very much to my liking!








As for the natural colours, the following natural ingredients can be used:

White - Rice powder

Yellow - Turmeric powder, dals

Red - Sindoor/rose petals

Green - Mint leaves or
coriander powder

Orange - Marigold petals

Brown - Cinnamon powder, beans

Black - Mustard seeds

Blue - Lavender flower petals

Don't forget, that Rangoli can also be created from FLOWERS, NUTS, FABRICS, GLASS BEADS or just PAINTED ON PAPER. 

Befunky.com - new feature - "Collage" with rounded angles

There is a new feature on befunky.com, it is called "Collage" and it gives very decent results. It is especially useful if you maintain a blog and need collage pictures for your articles. 

As for me, I usually use just 3 squares designs or other extended designs. 

I will use 3 Pictures of Bhagavan Shree Narayana as an example below. 

The only bad feature in this collage creator, that it gobbles a part of the image. So, when you are preparing the Images for your collage, make the image a little bigger, than you expect it to look in the collage, that is leave the space, that will be gobbled by this editor!

So, I have 3 Images of Bhagavan Shree Narayana:




Actually, I have cropped the parts I need beforehand (you can use "Edit - Crop" in IrfanView or just any screenshot maker in order just to save the part of the image you need - I use Lightshot programme).



Now go to http://www.befunky.com/, choose Collage (upper, right corner in red, I am sorry for Russian language on the picture, but it is impossible to change!)


Now, choose any GRID you need, I am using very simple 3 Squares Grid.


Now, go back to very first tab, where added photos are stored. All you need now is to drag the Images into the squares. Don't forget, that every square has "EDIT" button (the notepad with pen on the each square).


Now the feature I liked the most - "ROUNDED ANGLES". It is in the Third Tab. As you see on the picture above it is called "Закругление углов" in Russian (yes, hahaha, tricky language)!

Ready!

Now it is time to save the Image, but if the size is very large (it was 4.4 MB for PNG), just change the size on the left (not 2400 x 800), but, for example 1200 x 400.


After the change the size is just 1.1 MB for PNG, which is OK for blog (I don't use JPG, because Google usually diminishes the quality of the image, when you publish in blog).


Kalpavriksha Kamadhenu


Very interesting blog, devoted to Shree Shreemad Madhwa-Acharya, Stotras, Bhakti, Recipes, but I haven't looked through it extensively yet - http://meerasubbarao.wordpress.com/

The Rubrique with receipts is really unique - http://meerasubbarao.wordpress.com/food/madhwa-recipes/

Very Beautiful Flower Altar


From http://meerasubbarao.wordpress.com/2013/09/01/kundan-rangoli-designs/

For the Priya sisters, music classes were fun sessions with Bhakti overriding the mood and ambience and not bhaya



From http://www.hindu.com/fr/2008/05/16/stories/2008051650910200.htm

It is normal to hear established musicians talk of their challenging childhood with exhausting practice sessions and demanding parents. But that’s not the case with vocalists Haripriya and Shanmukhapriya – popularly known as Priya Sisters . 

“We had no early morning wake up calls from dad and mom nor did they insist on systematic gruelling sessions. Our weekend classes were informal and we would sing along with my father’s students at home,” say the sisters, who were initially trained by father and vocalist V.V. Subbaram (student of Chittor Subramanya Pillai and Harikesanallur Vaidyalinga Bhagavatar) in Chittoor, Andhra Pradesh, where they were initially brought up.

The sisters, settled in Chennai, are unique in calling themselves after the ragas too - Priya Sisters - given the fact that most duos singing on stage have the names of places associated with them. 

Shanmukhapriya is a well known raga, and Haripriya too is a raga of Sarangi janyam, explain the sisters. “In fact Alathur Vijayakumar has sent us his composition in Haripriya which we will take will be taken up shortly,” says Haripriya.

For the sisters who now relish taking up at least 100 concerts a year, stepping on to the performer’s stage was something they wouldn’t have visualised for themselves. 

For, Shanmukhapriya, a quiet, calm and bold persona, graduated in zoology, music was always a part of her growing years and Haripriya, known to be a Tom-boy, specialised in English Literature and was part of the ‘Under-15 Women’s Cricket Team’! 

“Our parents insisted that we assimilate good culture and music. Name and fame were the last things we thought of,” says Haripriya.

“My father thought a formal training in music would help us tread the melodic path easily, so we moved to Chennai,” continues Shanmukhapriya, and we approached Radha and Jayalakshmi who were then in the peak of their career. 

“We could sense the initial hesitation as they were used to a briga-oriented style, but when we sang the Vasantha varnam, we knew we had knocked on the right doors.”

From then it was no looking back for the Priya Sisters. 

Even as they reminisced incidents of people being aghast about them leaving Chittoor for pursuing music, “the journey was worth it,” say the sisters, ever so grateful to the far-sighted decision taken by Mr. Subbaram.

Happy time

Music classes were fun sessions with Bhakti overriding the mood and ambience and not bhaya, recollect the duo.
Radha and Jayalakshmi would insist that we learn every aspect of melody with sincerity and present them with buoyancy, say Priya Sisters. 
Another aspect that comes through in Priya Sister’s performance is the clarity of rendition, much insisted upon in their classes, they say. 

“We would be told that our style on stage should help people take down notations , persisted Radha and Jayalakshmi.”

And what is the kind of understanding the sisters share on-stage, given the fact that they seem two ends of the spectrum off-stage, even their hair styles coming in as an example!

Says Shanmukhapriya, “Small time arguments do crop up, but with 25 years of performing, it is more or less a natural glide on stage. It is only after-concert that we reflect upon more often for our parleys. But we do plan our concerts as far as raga and kriti goes. We see to it that we get in both pratimadhyama and shudhamadhyama ragas in a concert and also have the Sahana and Andolika-kind to paint a canvas of melodic colours throwing in diversity. Also the order…it would be meaningless to take up Sriranjani after Harikambodhi, so we think of Mayamalavagowla, for instance.”

Priya Sisters are also known for their adherence to tradition as much as their love for tukdas. 

“We enjoy the middle order seriousness of a Todi or Bhairavi, as also the lilting Behag or Kapi as the tail-end entertainers,” says the cricket aficionado Haripriya, even as the sisters elaborate on their appreciation for ‘innovation’ in fusion ensembles.

Carnatic music has an abundance of everything that we should be proud of, say the sisters. “Look at the assortment of languages, composers, composition-styles and lyrics. It’s a challenge to deal with them,” feel the sisters who have several awards and albums to their credit. 

Priya Sisters are right now taking advanced Pallavi lessons from the King of Pallavis, T.R. Subramanian, who is taking them on an ingenious path of novelty.

That’s not all, “Interior décor too interests us,” is their parting comment.

Kamakoti Sankara Channel - Priya Sisters - RECOMMENDED



Kamakoti Sankara Youtube Channel has a lot of perfomances by "Priya Sisters" - http://www.youtube.com/user/kamakotisankara/videos

 All the Prayers are of superb quality. 

 Due to sadhana I have delayed the view of the concerts for a month, but this week I am going to listen to these concerts. 

 This channel is definitely worth of subscribing to!
Ranganathude - Sowrashtra - Ponniah Pillai - [Priya sisters]

http://www.youtube.com/watch?v=i1W6KSknYxU

Bala Tripura Sundari gaikonuma haarathi



YOUTUBE - http://www.youtube.com/watch?v=RxTymnOIWWQ

And also my dropbox, box, ge.tt, skydrive, cubby

Very beautiful Prayer!

bala tripura sundari gaikonuma haarathi (2x)
gaana lola jaalamela daari chupumaa (2x)
bala tripura sundari gaikonuma haarathi (2x)
gaana lola jaalamela daari chupumaa (2x)
sundarangi andharu-nee saati rarugaa (2x)
sandehamunu andhamuga theerpumantimi (2x)
bala tripura sundari gaikonuma haarathi (2x)
gaana lola jaalamela daari chupumaa (2x)
vaasi kekki yunnadaana-vanusu nammithi (2x)
raasiga siri sampadalichi brovu-mantimi (2x)
bala tripura sundari gaikonuma haarathi (2x)
gaana lola jaalamela daari chupumaa (2x)
om kleem sreem yanuchu madini thalachuchuntimi (2x)
apadaleda baapavamma athiva sundari (2x)
bala tripura sundari gaikonuma haarathi (2x)
gaana lola jaalamela daari chupumaa (2x)

stiramuga

shreekadali yandu velasithi-vamma (2x)
dharanilo sree rangadasuni dayanu sudumaa (2x)
bala tripura sundari gaikonuma haarathi (2x)
gaana lola jaalamela daari chupumaa (2x)
daari chupumaa…daari chupumaa…

"She always stayed near the Goddess" - Mother and Daughter: Shreemati Maha Tripura Sundari Devi (Shreemati Lalita Devi) and Shreemati Bala Tripura Sundari Devi

I liked this Story about Shreemati Bala Tripura Sundari Devi very much!!!!!!!!!!




Within the Brahmāņḍa Purāņa, Bālā Tripurasundarī is mentioned in chapter 26 of the Lalitā Māhātmya, where She joins the battle against the forces of the arch-demon Bhaņḍa:

On hearing that the sons of Daitya Bhaņḑa the chief of whom was Caturbāhu had come for the purpose of fighting, Bālā (the daughter of Lalitā) showed interest in it.

She was the Daughter of Lalitā Devi. She came from the Golden Kavacha of Lalita. 

She always stayed near the Goddess. 

She was worthy of being worshipped by all Śaktis. She was adept in martial feats and exploits. 

Her Form and Features were like those of Lalitā. 

She was always like a nine year old girl, yet she was a Great Mine of all lores. 

Her Body was like the rising Sun. 

Her creeper-like slender Body was [missing text] in complexion. 

She was perpetually present near the Footrest of the Great Queen. 

She was as it were the vital breath of the Goddess moving externally. 

She was Her Fourth Eye. 

She became furious and thought thus: "I shall immediately kill those sons of Bhanda who have come here". 

After making up Her mind thus, Bālāmbā submitted to the Great Queen.
"Mother, the sons of Bhaņḑa, the great Daitya, have come to fight. I wish to fight with them. I am interested in this because I am a young girl. My arms throb with an itching sensation for war. This is my playful activity. It should not be curbed by your orders for prohibition. Indeed I am a girl loving toys and playful pastimes. By this play of fighting for a moment, I shall become delighted mentally."

Shreemati Lalita-Devi said:
"Dear Child, your Limbs are very tender and soft. You are only nine years old. This is your first step and performance. Your training in warfare is fresh and recent. You are my Only Daughter. Without you, My breathing activity does not go on even for a moment. You are My very vital breath. Do not go in for the great war. We have Daņḑinī, Mantriņī and crores of other great Śaktis for fighting. Dear Child, why do you commit this blunder?"
Although prevented thus by Śri Lalitādevī, the Girl was overcome by adolescent curiosity. She requested once again for permission to fight. On observing Her steadfast decision, Srī Lalitā, the Mother, granted Her permission after closely clasping her in her arms.

She took off one of Her armours and gave it to Her. From Her weapons, She gave Her the requisite weapons and sent Her off.

Kūmārikā (the Virgin Goddess) got into the covered palanquin that had been extracted by the Great Queen from the staff of Her bow and to which hundreds of swans were yoked for drawing.

Tulukka NAcciyAr: "The Muslim Princess, Who fell in Love with Bhagavan Shree Vishnu"


This Story is more than beautiful! 

 From - https://groups.google.com/forum/#!topic/afmc-a-batch/PtI7IUAHPFs


ROTIS FOR LORD RANGANATHA OF SRIRANGAM.

Most of us at least once would have visited Sri Rangam and worshipped  Lord Ranganatha.  Here is a small narration of why rotis are cooked and offered to Lord Ranganatha  which many may not be aware of.

At the Ranganathaswamy temple in Srirangam, a small sannidhi stands almost unnoticed in the corridor bordering the sanctum sanctorum. 

You might not even know that it houses the sannidhi of  Thulukka Nachiyar. 
She was the Muslim princess who became the Divine Consort of Lord Ranganatha. 
In Srirangam temple, the presiding deity, Ranganatha, a form of Vishnu, receives a daily offering of rotis, sweet with a heady scent of  ghee  – made with wheat (in contrast to the orthodox rice meal) and even wears colored lungis (not the white cloth worn by Hindus) to please a Muslim Princess. 

This shows how  beloved the Thulukka Nachiyar or Bibi Nachiyar  is to Ranga.

A small painting of the Princess hangs in the Temple Complex.

Tulukka NAcciyAr is worshipped as an Deity, ever serving His Thiru paadham. 

Her Face is covered by a purdhah (every respectable muslim woman wears a purdah). 

To commemorate Saint Ramanuja’s successful visit to Delhi to bring back the uthsava vigraham of Peruma, the Uthsavar is named SELVA PILLAI, the name given to the Idol at Sultan’s place by Beebi nachiyar.

Who is this Beebi Nachiar (Thulukka Nachiyar)?

When Malik Kafur invaded South India,(during 1310-1311), news reached the Temple authorities in Srirangam that Kafur was planning to plunder the Temple. 

Srirangam was captured and the riches were looted.

The invaders did not want to accept the rituals of  Hinduism. They took off the statue of Alagiyamanavalar Perumal and plundered the treasures, jewels and ornaments which belonged to Srirangam temple. 

The statue of Alagiyamanavalar Perumal was sent to Delhi. Most of the plundered and looted Golden Idols were melted and added to the treasury of the Sultan. 
The princess of Delhi, the daughter of Sultan, was much attracted by the beauty of Azhagiya Manavalan that she begged her father, the Sultan, not to melt Him and give it to her for playing with as a toy.  
He gifted the Golden Idol of Azhagiya Manavalan, to Her, to play with. She became quite attached to it!

She was so much magnetized by the beauty of Azhagiya Manavalan, that She became inseparable from Him and  fell in love with Perumal. 

She never left Perumal  even a moment. The Sultan didn't expect this.

When Ramanujar, the Vaishnavite saint, went to retrieve the Deity and the Princess wouldn't part with it.  
The Sultan however, happily, surrendered the statue of Alagiyamanavalar Perumal back to Guru Ramanujar. 

The Daughter of Sultan could not bear this. Ultimately She followed it back to Srirangam.  

At Srirangam the Princess became Ranaganatha's Consort. 
She is worshipped as Thulukka Nachiyar. Now there is a separate Temple for Her near Ranganathar temple next to Arjuna Mantapam, near the sanctum sanctorum.

Every year Kalyana uthsavam with Arangan is celebrated in a grand manner, when butter rotis and sugar, cooked Mughalai style are first offered to the Naachiyaar and then only offered to Rangan.

четверг, 31 октября 2013 г.

"Paramartha-Stuti" by Shree Shreemad Vedanta Desika: "They only seek the kaimkarya Aanandham (VarivasyA Rasam) to You and Your Devi at SrI Vaikuntam as a sukham arising from Moksha Siddhi"


M.K. Srinivasan has written the following in his Article "Sri Rama in Desika’s Stotras" (here): "The  Paramārtha-stuti  is  a  stotra  of  ten  verses,  sequentially  following  the  Rāmāyana  but  in  an esoteric way, and is recommended by Deśika himself for daily study by the prapannas (those who have surrendered), as Lord Rāma Himself has assured protection to those who surrender to Him". 

I have attached 2 Texts below:


2) Second Text in Devanagari and itrans - http://www.poemhunter.com/poem/paramartha-stuti/



First slOkam of SrI ParamArTa Sthuthi

*************************************

SrImadh-grudhra-saras-theera PaarijAtham upAsmahE
yathra Thungai; athungaisccha pranathai: gruhayathE Phalam

The valor of Lord Raamachandran is matchless. In DaNdakAraNyam, He destroyed 14,000 asurAs single handedly. 

He pulverized RaavaNA's army and finally RaavaNan Himself in a great battle. In AaraNya kANdam , our Lord's parAkramam is saluted as He destroyed Kharan , DhUshaNan , Thrisiras and the Moola Bhalam. 

Through His heroic acts, He destroyed the asurAs and made the lives of the Sages of DhaNdakAraNyam comfortable and free from fear.

Swamy Desikan has saluted these valourous deeds in SrI Raghuveera Gadhyam's AaraNya and Yuddha KhANdams following the foot steps of Aadhi Kavi, Sage VaalmIki. Swamy Desikan's summation of the Lord's Valour is housed in three salutations of SrI Raghuveera Gadhyam:

AsahAya Soora !
AnapAya Saahasa!
Raagava Simha !

In ParamArTa Sthuthi, Swamy Desikan continues celebrating the valour of the Lord of AyOdhyA and points out that He is the PaarijAtha tree at the banks of JatAyu PushkariNi (Grudhra Saras):

SrImadh-grudhra-saras-theera PaarijAtham upAsmahE
yathra Thungai: athungaisccha pranathai: gruhayathE Phalam

--First slOkam of SrI ParamArTa Sthuthi (anushtup metre)

At Thirupputtkkuzhi, the destroyer of RaavaNA and his clan gives His darsanam as Vijaya Raaghavn and is ready to grant all the boons that bhakthAs seek of Him just like a PaarijAtha tree in IndhrA's garden.

On the banks of the JatAyu PushkariNi with its nourishing water is a mighty tree with sweet fruits. There the lowly (athungai:) and the mighty (thungai:) worship the Lord, perform SaraNAgathi and are treated equally with respect to the Phalans without consideration of their Jaathi-KUlam -GuNam and material possessions.

That is indeed a miracle brought about by the PaarijAtha Tree (SrI Vijaya Raaghavan) of Thirupputtkuzhi. 

Swamy says that he meditates on that PaarijAtha Tree (Srimath-grudhra-saras-theera paarijAtham upAsmahE). Both the lowly and the lofty prostrate before this Grudhra Saras theera PaarijAtham and becomes kruthArTaas.

Second SlOkam:
**************
After Composing the first slOkam in anushtup metre, Swamy Desikan sets the rest of the 9 slOakms of SrI ParamArTa Sthuthi in lilting Oupacchandasikam metre:

Gurubhis-Thvadhanya SarvabhAvai:
guNa-sindhou krutha-samplavas-ThvadhIyE
RaNapungava vandhi-bhAvam icchan
aham asmi yEkam anugraha aaspadham tE

Oh the Lord of Thirupputkkuzhi, who is celebrated for Your valour in battles! Oh Vijaya RaaghavA! Our AchAryAs do not house anyone in their heart lotuses except You.

They focus on You and You alone and shine as ParamaikAnthis (Thvadhanya Sarva-bhAvai:). 

They have trained me to be deeply immersed in the ocean of Your anntha kalyANa guNams (Gurubhi: ThvadhIyE GuNa Sindhou krutha samplava: asmi) and adiyEn desires deeply to eulogize You (vanhdhi bhAvam icchan aham asmi). 

adiyEn has positioned myself to be the chief object of Your anugraham (Vandhi bhAvam icchan aham , tE yEkam anugraha aaspadham asmi).

Swamy Desikan reminds the Lord of the Upadesams of his AchAryans about ananya bhakthi (avyapachAra Bhakthi) to the Lord to become qualiifed as a ParamikAnthi. 

Then, Swamy Desikan states that he wants to go beyond the meditation about the Lord and engage in composing a Sthuthi about the Lord of Thirupputtkuzhi. 

He hints that his efforts to compose a sthuthi wont bear fruit unless he is so blessed by the Grudhra-saras-theera PaarijAtham. Therefore, Swamy Desikan prays to the Lord to bless him to create a sthuthi on Him .

Third SlOkam:
*************
BhuvanAsraya bhUshaNAsthra-vargam
manasi ThvanmayathAm mamAtanOthu
vapurAhavapunga ThvadhIyam
MahIshINAm animEsha darsaneeyam

Swamy Desikan points out about two things here:

(1) The entire assembly of ChEthnam and achEthanam adorn the Lord's ThirumEni as dhivya aabharanams and Dhivya aayudhams/weapons (BhuvanAsraya BhooshaNa-asthra vargam ThvadhIyam Vapu:).

(2) SrI DEvi and BhU Devi and other consorts of His can not take their eyes off from such a beautiful ThirumEni . They do not close their eye lids for fear of missing even a fraction of second's enjoyment of His dhivya soundharyam (MahIshINAm animEsha darsaneeyam ThvadhIyam Vapu:).

Swamy begs the Lord to grant him the boon as Grudhra-saras-thera PaarijAtham to make His manas become totally immersed in His beauty and anantha kalyANa guNams so that he can succeed in composing a Sthuthi befitting Him.

SrI VijayarAghavan blesses Swamy Desikan and grants him the requested boon and Swamy starts in right earnest with His sthuthi proper:

Fourth SlOkam:
*************
abhirakshithum agratha: sTitham ThvAM
PraNavE PaarTaraTE cha bhAvayantha:
ahitha-prasamai: ayathna-labhyai:
kaTayanthi Aahavapungavam guNa~jnaa:


Oh Vijaya RaaghavA! PraNavam is made up of three Letters: A+U+M (akAra-ukAra-makArams). The first letter is "A" (akAram denoting your Sarva Rakshakathvam (protecting one and all that perform SaraNAgathi to You). Swamy says: " Abhirakshithum PraNavE agratha: sTitham ThvAm).

Swamy goes on to point out where else He sat in front (agratha: sTithaam). He sat in front portion (the charioteer's seat) of the car (raTam) of Arjunan and performed GIthOpadesam) (PaarTa RaTE cha agratha: sTithAm ThvAm).

Those who possess unimpeachable aathma guNams reflect on this important tatthvam and meditate on the meaning of PraNavam to banish their desire, anger et al. 

They recognize that You did not need to take weapons against the evil KouravAs. You won the victory over them by mererly sitting in the front seat of the raTam. 

These superior souls comprehend Your parAkramam to destroy Your and Your BhagavathA's enemies by Your sheer presence and eulologize You hence as asAdhAraNa RaNa Punghavan (Aahavapungavam kaTayanthi).

Fifth SlOkam:
*********
KamalA nirapAya DharmapathnI
KaruNAdhyaa: svayam ruthvijO guNAstE
avanam srayathAm ahInamAdhyam
Sa cha dharmas-Thvadhanya sEvaneeya:


Swamy Desikan now shifts his attention to another aspect of SrI Vijaya Raaghavan :

His performance of the SaraNAgathi Yaj~nam with His dharma pathni, SrI DEvi (SrI Maragathavali ThAyAr) under the shade of VijayakOti VimAnam at JatAyu KshEthram to protect PrapannAs :

Oh Vijaya RaaghavA! Your ThirunAmam, "RaNa Pungavan" has two meanings: 

(1) The greatest One in battles and 

(2) the greatest One in performing Yaj~nams. 

You perform a Yaagam with Your dharma PathnI, SrI Maragathavalli, who is never ever separated from You.In that Yaagam , Your kalyANa guNams like karuNai serve as the Rthviks (officiating priests). 

The name of Your Yaagam is "SaraNAgatha Rakshanam " (SrayathAm avanam aadhyam ahInam). 

That sanctimonious yaagam cannot be done by anyone other than You (Sa dharma cha Thvadh ananya sEvanIya:).

AhInam is a Soma Yaagam that takes many days to perform. Swamy Desikan hints that this "SaraNAgatha Vrathi" continues to do this Yaagam of SaraNAgatha RakshaNam without interruption while accompanied by His PirAtti.

IndhIvaradhaLa-SyAma: PuNDarIkanibhEkshaNa:
Dhrutha kOdhaNDa-thUNIrO RAAMA YEVA GATHIR-MAMA

--Raama KarNAmrutha SlOkam

(Neela mEgha SyAmaLan with the lotus soft and beautiful eyes is Lord Ramabhadran with Kodhandam and arrow in His hand is my sole refuge).

visAla nEthram paripoorNa ghAthram
SitA KaLathram sura-vairi-jaithram
KaruNya paathram jagatha: pavithram
SRI RAAMARATHNAM PRANATHOSMI NITHYAM

--Raama KarNAmrutham SlOkam

(I prostrate before the gem of Raghu Vamsam, Raama Rathnam always. I bow before that Lord of SitA Devi known for His broad eyes, and majestic, upright body. He is the abode of mercy and the unfailing victor over the enemies of the DevAs.He is the most sacred ParamAthman in all the worlds. I bow before Him always).


Sixth SlOkam:
*********
krupaNA: sudhiya: krupAsahAyam
SaraNam ThvAm RaNapungava PrapannA:
apavarga-nayAdh-ananyabhAvA:
varivasyA rasam yEkam aadhriyanthE

Oh Lord Vijaya RaaghavA! Oh The most celebrated (foremost) among Warriors(RaNa Pungava)! 

Those buddhisAlis (SudhiyA:) who recognize their unfitness to stand up to the rigors of practising Bhakthi yOgam feel importunate (krupaNA:)and perform SaraNAgathi at Your holy feet fully knowing that You are the ocean of Mercy and that You will protect them. 

They are clearly aware of Your KaruNai as Your primary help (KaruNA SahAyam) and perform SaraNAgathi as prapannAs (ThvAM SaraNam PrapannA:). 

They do not get distracted by any tatthvam except Your anantha kalyANa guNams and SaraNAgatha rakshaNa Vratham (ananya BhAvA:) and perform prapatthi unto You. 

They wish for only one Phalan (YEkam aadhriyanthE). 

What is it these Sudhiya: wish a svboon form You?

They only seek the kaimkarya Aanandham (VarivasyA Rasam) to You and Your Devi at SrI Vaikuntam as a sukham arising from Moksha Sidhdi.

Seventh SlOkam:
*********
avadheerya chathurvidham pumarTam
BhavadharTE viniyuktha jeevitha: sann
labhathE Bhavatha: phalAni janthu:
nikhilAnyathra nidharsanam JaDAyu:

Oh Lord of Thriupputtkkuzhi! Any embodied jeevan, which casts aside the four kinds of PurushArTams (Dharma-ArTa-Kaama-Moksham) and places its life as samarpaNam in Your service gets in return from You fruits of every kind (Bhavatha: nikhilAni phalAni labhatE). 

In this matter, JaDAyu is the prime example (athra JaDAyu: nidharsanam).

During Your incarnation as SrI Raamachandran, the eagle king JaDAyu fought with RaavaNan to free Your dear Consort from him and got mortally wounded. 

It gave all what it had inspite of its advanced age. It fought heroically without asking anything in return from You. 

What did you do for that noble JaDAyu? 

You blessed JaDAyu superior worlds and then Moksham. 

For those, who perform kaimkaryam to You without anticipating anything in rturn all the isvaryams in this and the other world come their way automaticaly.

Eighth SlOkam:
*********
SaraNAgatha-rakshaNa-vrathI maam
na vihAthum RaNapungavaarhasi Thvam
vidhitham bhuvanE VibhIshaNO vaa
yadhi vaa RaavAna ithyudhIritham tE

Oh Lord of Thirupputtkkuzhi! Foremost among Your Vrathams is that of protecting those who perform SaraNAgathi at Your Thiruvadi. You are the SaraNAgatha RakshaNa DhIkshithan. 

It is not fit for You as the one who has undertaken SaraNAgatha RakshaNa dhIkshai to abandon adiyEn SaraNagata-rakshaNa vrathI Thvam maam vihAthum na arhasi). 

People of the world know very well Your command to SugrIvan at Sehtukkarai (TE udhIritham bhuvanE vidhitham): Be it VibhIshaNan or RaavaNan himself bring them to Me. 

I will grant them abhayam. When You are known all over the world for this Vratham, adiyEn alone should not be abandoned by You in spite of my paapams.

That wont be consistent with Your role as Sarva-lOka SaraNYan.

Ninth SlOkam:
*********
BhujagEndhra GaruthmadhAdhi labhyai:
Thvadhanuj~naa- Anubhava pravAha bhEdhai:
SvapadhE RaNa-pungava Svayam mE
paricharyA vibhavai: parishkriyETA:

Oh Vijaya RaaghavA! At Your Supreme abode (Sva padhE) AdhisEshan (BHujagEndhra:), GaruDan , the other Nithya Sooris as well as Muktha Jeevans enjoy You in a manner befitting Your wish. 

Their enjoyment overflows as flood in many directions. Many special kaimkaryams that please Your ThiruvuLLam arise form their kaimkarya prApthis. 

It is adiyEn's prayer to You for gaining such kaimkarya prApthi at Your Parama Padham. The anubhavam of enjoying You should blossom forth in the shape of many Kiamkaryams to You. 

Those kaimkaryams should be accepted by You and should cause pleasure to You. 

It is well known that You feel happy over nishkAma Kaimkaryams by ParamaikAnthis.

Tenth SlOkam:
**********
vimalAsaya VenkatEsa JanmA
ramaNIyA RaNapungava-prasAdhAth
anasooyubhi: aadharENa bhAvyA
ParamArTa-sthuthi: anvaham prapannai:

This delectable (RamaNIya) eulogy named ParamArTa sthuthi arose from the VenkatEsa Kavi of blemish free mind. 

This happened as a result of the grace of Thirupputtkkuzhi VijayarAgava PerumAn. 

The PrapannAs, who have performed SaraNAgahti at the Thiruvadi of the Lord get cleansed from the dhOshams such as Jealousy and intolerance. 

May Those PrapannAs free of dhOshams recite this Sthuthi daily with sraddhA and gain the anugraham of SrI Maragathavalli SamEtha Sri Viujaya Raaghavan!

Kavi-taarkika SimhAya KalyANa-guNa-saalinE
SrimathE VenkatEsAya VedAntha GuravE nama:

SrI VijayarAghava ParabrahmaNE Nama:
Swamy Desikan ThiruvadigaLE SaraNam,
Daasan , Oppiliappan Koil VaradAchAri SadagOpan


"Paramartha-Stuti" by Shree Shreemad Vedanta Desika



श्रीमान् वेङ्कट नाथार्यः कवितार्किक केसरी । 
वेदान्ता चार्य वर्योमे सन्निधत्तां सदाहृदि ॥ 
श्रीमद् गृध्र सरस्तीर पारिजातं उपास्महे। 
यत्र तुङ्गैर् अतुङ्गैश्च प्रणतैर् गृह्यते फलम्॥१ 



shriimaan.h veN^kaTa naathaaryaH kavitaarkika kesarii | 
vedaantaa chaarya varyome sannidhattaaM sadaahR^idi || 
shriimad.h gR^idhra sarastiira paarijaataM upaasmahe. 
yatra tu~Ngair.h atu~Ngaishcha praNatair.h gR^ihyate phalam.h..1 


गुरुभिस्त्वदनन्य सर्व भावैः 
गुण सिन्धौ कृत संप्लवस्त्वदीये। 
रण पुङ्गव वन्दि भाव मिच्छन् 
अहं अस्म्येकम् अनुग्रहम् आस्पतम् ते॥२ 


gurubhistvadananya sarva bhaavaiH 
guNa sindhau kR^ita saMplavastvadiiye. 
raNa pu~Ngava vandi bhaava michchhan.h 
ahaM asmyekam.h anugraham.h aaspatam.h te..2 


भुवनाश्रय भूषणास्त्र वर्गं 
मनसि त्वन्मयतां ममातनोतु। 
वपुराहव पुङ्गव त्वदीयम् 
महिषीणां अनिमेष दर्शनीयम्॥३ 


bhuvanaashraya bhuuShaNaastra vargaM 
manasi tvanmayataaM mamaatanotu. 
vapuraahava pu~Ngava tvadiiyam.h 
mahiShiiNaaM animeSha darshaniiyam.h..3 


अभिरक्षितुम् अग्रतः स्थितं त्वाम् 
प्रणवे पार्थ रथे च भावयन्तः। 
अहित प्रशमैर् अयत्न लभ्यैः 
कथयन्ति आहव पुङ्गवं गुणज्ञाः॥४ 


abhiraxitum.h agrataH sthitaM tvaam.h 
praNave paartha rathe cha bhaavayantaH. 
ahita prashamair.h ayatna labhyaiH 
kathayanti aahava pu~NgavaM guNaj~naaH..4 


कमला निरपाय धर्म पत्नी 
करुणाद्याः स्वयम् ऋत्विजो गुणास्ते। 
अवनं श्रयतां अहीनम् आद्यम् 
स च धर्मस्त्वद् अनन्य सेवनीयः॥५ 


kamalaa nirapaaya dharma patnii 
karuNaadyaaH svayam.h R^itvijo guNaaste. 
avanaM shrayataaM ahiinam.h aadyam.h 
sa cha dharmastvad.h ananya sevaniiyaH..5 


कृपणाः सुधीयः कृपा सहायम् 
शरणम् त्वाम् रण पुङ्गव प्रपन्नाः। 
अपवर्ग नयाद् अनन्य भावाः 
वरिवस्या रसमेकं आद्रियन्ते॥६ 


kR^ipaNaaH sudhiiyaH kR^ipaa sahaayam.h 
sharaNam.h tvaam.h raNa pu~Ngava prapannaaH. 
apavarga nayaad.h ananya bhaavaaH 
varivasyaa rasamekaM aadriyante..6 


अवधीर्य चतुर्विधुं पुमर्थं 
भवदर्थे विनियुक्त जीवितः सन्। 
लभते भवतः फलानि जन्तुः 
निखिलान् यत्र निदर्शनम् जटायुः॥७ 


avadhiirya chaturvidhuM pumarthaM 
bhavadarthe viniyukta jiivitaH san.h. 
labhate bhavataH phalaani jantuH 
nikhilaan.h yatra nidarshanam.h jaTaayuH..7 


शरणागत रक्षण व्रती माम् 
न विहातुं रण पुङ्गवार्हसि त्वम्। 
विदतिं भुवने विभीषणो वा 
यति वा रावण इत्युदीरितम् ते॥ ८ 


sharaNaagata raxaNa vratii maam.h 
na vihaatuM raNa pu~Ngavaarhasi tvam.h. 
vidatiM bhuvane vibhiiShaNo vaa 
yati vaa raavaNa ityudiiritam.h te.. 8 


भुजगेन्द्र गरुत्मदादि लभ्यैः 
त्वद् अनुज्ञानुभव प्रवाह भेदैः। 
स्व पदे रण पुङ्गव स्वयम् माम् 
परिचर्या विभवैः परिष्क्रियेथाः॥९ 


bhujagendra garutmadaadi labhyaiH 
tvad.h anuj~naanubhava pravaaha bhedaiH. 
sva pade raNa pu~Ngava svayam.h maam.h 
paricharyaa vibhavaiH pariShkriyethaaH..9 


विमलाशय वेङ्कटेश जन्मा 
रमणीया रणा पुङ्गव प्रसादात्। 
अनसूयुभिर् आदरेण भाव्या 
परमार्थ स्तुतिर् अन्वहम् प्रपन्नैः॥१० 


vimalaashaya ve~NkaTesha janmaa 
ramaNiiyaa raNaa pu~Ngava prasaadaat.h. 
anasuuyubhir.h aadareNa bhaavyaa 
paramaartha stutir.h anvaham.h prapannaiH..10 


कवितार्किक सिंहाय कल्याणगुणशालिने । 
श्रीमते वेङ्कटेशाय वेदान्तगुरवे नमः 


kavitaarkika siMhaaya kalyaaNaguNashaaline . 
shriimate veN^kaTeshaaya vedaantagurave namaH 

Death travel - Part 01 - "The Lord does not allow the jeevan of a prapanna to exit the body through any of these 100 nAdI's"


This is the article from http://sreevaishnavasampradayam.blogspot.ru/2008/05/ascend-to-srivakuntam-and-bhagawad.html

This is the synopsis of the 4th Part of Vaishnava-Vedanta (as we all remember, the questions of death are discussed in the 4th Part of Vedanta).

The following passage from the Article is the classic one, so one (I mean every Vaishnava-Bhakta, of course, not ordinary mortals) should always remember, that all his karma will be distributed among relatives and etc.:

 "Those punyas and pApA's get switched over to others during his time of death i.e., the punyas and Papas of a Prapanna who is dying is transferred to his friends and enemies respectively. This is because of their behaviour towards him". 

 As for Yamadutas, they never go for Vaishnavas, see the corresponding Chapters in "Shree Vishnu-Purana" and "Shree Varaha-Purana", in which Shree Shreemad Yamaraja tells to his servants that he never touches Vaishnavas (this Rahasya will also be discussed in the Article in brief).

 The Article is really brilliant, because it tells the Vedanta ideas in simple and plain language.  

http://sreevaishnavasampradayam.blogspot.ru/2008/05/ascend-to-srivakuntam-and-bhagawad.html
An Article based on works of "Rahasyartha Vivaranam" by Shri RamadEsikachAriyar Swami and "Life and works of Srimad Nigamanta Maha Desikan" by Prof. A. Srinivasaraghavan.

An ideal Prapanna, spends his/her days by fully enjoying the Lord. The ultimate objective of a Prapanna at the end of this life is to reach the highest destination => Paramapadam. To reach Srivaikundam, Swami Desika has given us nine steps in form of Paramapada sOpAnam.
ParamapadasOpanam is a short rahasya which gives in a nut shell all that a pious Srivaishnava should know and do for his emancipation.
Let us skip the initial part, and concentrate on Ascend to SrivakunTam and Bhagawad Anubhavam experienced by the Mukta Jeevan which is the topic of this post.

A chetana performs Bhakthi or Prapatti as a prAyaschittam to the past karmas. These karmas are the reason for all samsAra bandams. When he performs this prAyaschittam, there are a lot of positive changes that take place in him.

He now wants to restrain from doing such karmas which results in punya and pApA. He realises that his mind, words and body has to be devoted only for Lord's kainkaryam. 

He controls his mind from getting distracted. 

He gets himself associated with bAgavatas and delinks himself from people who are not devoted.

He desires to have paripoorna anubhavam of the Lord like the nityasoories but is not successful. This failure makes him feel that he is being immersed in ThiruppArkadal without being able to drink milk because his mouth is tied!! 

His heart melts on seeing his own plight. Each nAzhigai at night moves like a kalpa. He does not sleep either in the morning or at night. He acknowledges that but for the Lord it would not be possible for him to escape this samsAram. 
With this state of mind he prays to the Lord to destroy his agjnana and sarira. 
The words spoken by him during Prapatti confirms the start of his journey to Srivaikundam. All the Karmas and attachments which were hindrances till now are destroyed and he gets Moksha!!

The end of his stay in this world comes closer. The Yoga sastras speak of the identifications that can be seen at the end of a persons life time. Seeing these identifications and realising that the day to reach Srivaikundam is getting reduced, the person feels extremely happy.

There are certain rules (based on the time, place etc of death) mentioned in the sastras based on which a persons state after death is analysed.

That is:

1. A person who dies in UttarAyaNa, in sukla paksha, in the morning, in a good stala, in good saguna, will reach a good state (gadhi)

2. a person who dies in dakshiNAyana, krishna paksha, at night, in a bad place, in a bad omen will have a bad gadhi.
However, these restrictions are not there for a Prapanna. Swami Desika re-emphasises this in the 38th Sloka of Saranagathy Deepika " savyAnyanyOrayanayOrnishi vAsarE vA ..."
To a Prapanna irrespective of the place or moment for bodily existence to come to an end, it is auspicious. Without any hindrances and without rebirth the Lord grants Moksha. The Lord does Sankalpa during the time of Prapatti itself to destroy the Punya/ pApA's done before Prapatti, and to prevent the punya/ pApA's done unknowingly after Prapatti from sticking on to him. 

Those punyas and pApA's get switched over to others during his time of death i.e., the punyas and Papas of a Prapanna who is dying is transferred to his friends and enemies respectively. This is because of their behaviour towards him.

At the time of death, there is a restriction that one has to remember the Lord by his own efforts => only then there is palan. A prapanna does not have any necessity to take efforts to remember Lord at that state. 

During the time of death he lies unconscious like a wood or a stone. The Lord makes him think of the Lord alone. His desire to reach Srivaikundam does not reduce.

At this stage the Lord stands as a cause for the Jiva to be released from the sarIram. Yama dootas do not come to take him.

The Lord combines the karmEndriyAs, GjnanEndriyAs and the manas. This is combined with the prAna vAyu. This prAna vAyu is mixed with the Jiva. This combination, in this sarIram mixes with a small portion of pancha boodhas. All this combine with the antaryAmi residing in the hrudayakamalam. 
The antaryAmi (Lord) relieves one of the tiredness during release from the body.
So, our Lord does all these upakAras to us starting from taking the 10 IndriyAs .. to releasing the Jiva.. to making us relax from the tiredness.. To Prapannas, punyAtmas, Papi's and to everybody it is the same. These will happen irrespective of whether a Jiva goes to Moksha,Svarga or naraka.

In the body there are 101 nAdI's that branch from the heart. If the Jiva is released from any of the 100 nAdI's, it goes to Svarga, Naraka etc. The Lord does not allow the jeevan of a prapanna to exit the body through any of these 100 nAdI's. 

The 101st nAdi, the brahma nAdi the edge of this is the door step for Moksha. The Lord shows this in a way that jeevan of prapanna understands.

The Lord makes it (IndriyAs, prAnavAyu combined with sookshmA sarIras JivA) enter that nAdi. Later, from the hrudayakamala the Lord takes the Jiva further. The Lord resides in this stoola sarIram and so it is called as brahmapuram. In this stoola sarIra Brahmarantran is important.

The Final departure of the soul from the body is only by the grace of God through the Brahma nAdi and the Brahmarandhra in the skull.

The Lord also makes him get hold of the sooriya kiranas as a hold for the hand and then to go to Srivaikuntam makes him take the archirAdimArgam!

ArcirAdhi Parva, the seventh step to the transedental World is the next phase.

For a person who has performed Prapatti, punyAs are like golden hand-cuff's and pApA's are like iron hand-cuff's. He wants to get rid of both. At the time of death the Lord clears him of all this. The antaryAmi releases and carries him from the prison of stoola sarIram.

The Devas had accepted a lot of offerings in the form of yAgas and other karmas that have been performed by this Jiva earlier. They all are now happy to see his greatness. They are afraid to cause apachAram to him. They even offer him their salutations.

In the 85th Sloka of Achyuta Satakam "kadA amAnavAntA: angimukhA...", the longing of the released soul to leave this dark world of samsAra and ascend to Srivaikundam is expressed.

The Lord's retinue graded from Agni Devata to amAnava Devata lead the Mukta from this world to Srivaikundam in stages, through the respective territories of each one of them. People who lead the soul are called "AdhivAhikas".

In this list the first is Agni. He is also referred to as "Archis". Because Archis (agni) is the first among them, this path is referred to as ArchirAdi mArgam - the path of agni etc. This agni welcomes the mukta and offers various kinds of respects like poorna kumbam, offering light, singing, offering showers of flowers and takes him till the end of his region.

Swami has also mentioned this in sharanagathy Deepika in Sloka 39 "archirAdinam vishadapaksha vudakprayANam..".The same is conveyed in the AdikAra sangraha (28) of Srimad Rahasya thraya sAram - "nadai pera angi pagalOli nAl uttarAyaNam aandu ..."

After agni, the god of time, the god of suklapaksha, the god of uttarAyana and the god of rain welcome him and offer their respects.

vAyu, the wind God welcomes him next. After accepting vAyu's offerings he gets near the sun. After receiving the hospitality of Sun God he reaches the moon.

Then the God of Lightning leads him further. The Upanishads state that amAnava (the God of Lightning) hands over the chetana to the Brahmam.

Then varuna, Indra and PrajApathi join amAnava. Varuna, Indra and PrajApathi accompany only till their boundaries. But amAnava alone escorts the released soul completely.

This way, by Lord's mercy he nears the Viraja river. The Sruti's state that he crosses this divine river by his mind. "Mind" here should be understood as "Sankalpam". For a Mukta his mere Sankalpam is sufficient to create and enjoy what ever he wishes!

To summarise, the order is as follows - 

(1) Agni Devata

(2) the god of time

(3) the god of suklapaksha (bright fortnight)

(4) the god of uttarAyana

(5) the god of rain(6) Vaayu (wind God)

(7) the Sun and

(8) the moon. 

(9) The god of Lightning 

(10) VaruNa 

(11) Indra 

(12) Chaturmukha Brahma 

will guide the Jeevan with all respects and honour in Archiradri Margam upto their capacity.
Each of them welcome the released soul when it enters their respective territories and escorts him till their boundary. Finally, amAnava (god of lightning) escorts the soul to the Lord who welcomes the soul warmly and in person.
The Sruti's emphasise that a person who reaches Moksha through the archirAdi mArgam can take forms according to their wish and will always be with the Lord. It is also mentioned that they will not be subject to re-birth and will not suffer happiness/ sorrow due to karmas.

Divya DEsa Prapti Parva, the next parva in phala Kanda is the eighth step to the transedental World.

For time immemorial the Jiva had involved himself into activities unacceptable to his svaroopam as a result of which he had to hang around in the samsAra. That life is an endless trouble! Having got rid of his troubles, this Jiva takes up the extraordinary archirAdhi mArgam and goes to paramapadam. He immerses himself in the clear, sweet smelling cool water of the Viraja river which is full of nectar.
His Sookshma sarIram which came along gets destroyed. Amaanava, with his pure hand, now touches this mukta. This touch relieves the mukta of his old samsAra feelings. 

This Jiva is now in the paramapadam, the same place asthat of the Lord!!! He gets a form like the Lord => without any link to Prakritti.

It is impossible for a person without the required qualifications (vivEkam, mental urge, vairAgyam,) to reach Srivaikundam. 

Only a paramaikAntin who does not worship anybody other than our Lord and who does not seek anything other thanBagavad/ bAgavatha kainkaryam can get Moksha. 

Nitya soories always keep seeing paramapadam (their gjnana never contracts).

Srivaikundam is not affected by time => there is no concept of nAzhigai, day, month etc. Srivaikundam is million times brighter than Sun or Agni. This divine lOka is always bright, it has no limitations what so ever. 

It is impossible to comprehend the Sweetness of Srivaikundam. Even great yogis cannot think, speak or measure its greatness. Every thing in Srivaikundam is Suddha sattvam. 

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