Mahanidhi
Madan Gopal Das
The
eleven points below reveal different aspects of the common daily practice of
Thakuraji puja, or the worship of the Deity whom each devotee loves and serves.
I collected the article from the “Acarya Folio” and am presenting it here for
your benefit. Although the author was not mentioned, I sincerely thank that
great soul for this wonderful illumination. May the light of these words
brighten your minds, and may the light of your love forever be offered to your
beloved Thakuraji.
Jai Jai
Sri Radhe!
I. Arati Ritual and the Five
Elements
The Sanskrit word arati literally means
"before night." Ratri (night) when prefaced with the letter a
indicates dusk. The waving of the lamp before the Deity thus implies the
dispelling of the night of our material sojourn with the light of devotion
through which God is revealed.
In
addition to the lamp, the traditional arati includes other items, which along
with the lamp correspond with the eightfold material elemental constituents. In
the Bhagavad-gita, Sri Krsna mentions these elements thus:
bhumir
apo 'nalo vayuh kham mano buddhir eva ca
ahankara
itiyam me bhinna prakrtir astadha
"Earth,
water, fire, air, ether, mind, intelligence, and material ego, these eight
elements constitute my separated material energy." These material
elements, five gross and three subtle, cover our soul. Corresponding with the
gross material elements are the senses and sense organs: earth-smelling (nose);
water-tasting (tongue); fire-seeing (eyes); air-touching (skin); and
ether-hearing (ears). These five senses make up our physical dimension, while
mind, intelligence, and material ego make up our psychic dimension. Under all
of this we reside, like a diamond in the rough. Although our consciousness is
covered by a mountain of material misconception causing us to identify
ourselves with our body and mind, its potential to shine remains undiminished.
Rituals such as arati are intended to remove the mountain of our misconception,
as well as shed light on our positive potential in a life of transcendental
love.
II. Arati Means Offering Your Self
During the arati, first and foremost the
devotee offers himself. In so doing, he removes ahankara, the material ego. He
identifies no longer as the material body and mind. He identifies not with his
personality derived from material association and experiences, rather with the
notion that he is a servitor of the Deity. Thus in preparation for performing
the arati, the devotee will often perform bhuta-suddhi, a ritual in which one
adopts the ego of a servant. He may think of himself as such in a general sense
or, in more advanced stages, in terms of his particular awakened siddha rupa,
the perfected spiritual body in which he will participate eternally in Krsna's
lila. A typical mantra chanted during the bhuta-suddhi in the Gaudiya Vaisnava
lineage is one that Sri Chaitanya himself chanted.
nähaà
vipro na ca nara-patir näpi vaiçyo na çüdro
nähaà
varëé na ca gåha-patir no vana-stho yatir vä
kintu
prodyan nikhila-paramänanda-pürëämåtäbdher
gopé-bhartuù
pada-kamalayor däsa-däsänudäsaù
“I am not
a brähmaëa, I am not a kñatriya, I am not a vaiçya or a çüdra. Nor am I a
brahmacäré, a householder, a vänapratha or a sannyäsé. I identify Myself only
as the servant of the servant of the servant of the lotus feet of Lord Çré
Kåñëa, the maintainer of the gopés. He is like an ocean of nectar, and He is
the cause of universal transcendental bliss. He is always existing with
brilliance. “ (Padyavali 74)
In this
mantra, Sri Chaitanya dismisses identification with the structure of
varnasrama, the Vedic socioreligious system in which souls are classified in
accordance with their physio/psychological karmic makeup. Reaching beyond
religion, Sri Chaitanya identifies himself as a maidservant of Krsna, the
eternal husband of the gopis. If one can perform the arati with this ego, one
needs not a lamp and oil, for such a perfected sadhaka's eyes darting in
sidelong glances serve as the lamp, and the prema of their hearts the oil.
III. Offering Articles Represent
What?
In the traditional arati ceremony, the
flower represents the earth (solidity), for all fragrance is found therein. The
water and the accompanying handkerchief correspond with the water element
(liquidity). The lamp represents the fire element (heat), the peacock fan the
air (movement), and the yak tail camara fan the ether (space). The incense
represents the purified state of mind, and one's intelligence is offered in the
discrimination required with regard to timing and order. The priest offers
these items with the right hand, while ringing a bell with his left hand.
IV. Role of Chanting Hare Kåñëa in
Arati?
In the Gaudiya tradition, true to its emphasis
on the efficacy of chanting the sacred names of God, the offering of all the
arati items is preceeded by uttering the name of the Deity one is worshipping.
Additionally, the Hari-bhakti-vilasa of Sanatana Goswami and Gopala Bhatta
Goswami states that the blowing of the sankha, or conchshell, before and after the
items are offered is essential.
V. Articles Represent Uncovering
the Self
Thus
during the arati, the devotee unravels himself from the entanglement of
material nature by offering the Deity all of the material elements that color
his consciousness. In the case of krama mukti (going step by step through all
levels of consciousness, as Gopa-kumara did in Sanatana Goswami's
Brhad-bhagavatamrta), the devotee will meet all of the deities presiding over
the material elements and realize that they are eternally worshipping the
supreme Deity. Those who perform arati can thus conceive that they are in
presence of all of these deities in their purest expression of devotion to
Krsna, an experience witnessed at the time of liberation.
VI. Private and Public Aspect of
Arati
Arati is
both an individual activity performed regularly by the temple pujari
and a public activity that devotees attend with great enthusiasm. During the
arati the sweet aroma of pungent incense pervades the room, lights are dimmed,
and gongs, bells, drums, and cymbals reverberate. Temples are traditionally illuminated by
natural lighting, such as ghee or oil lamps, adding much to the mystical
atmosphere that purifies all the participants.
VII. Arati Needs Three Types of
Purity
Three
types of purity are necessary for arati. The articles offered must be pure,
dravya-suddhi. The offering procedure must be pure, kriya-suddhi, which depends
on strictly following the instructions of revealed scripture and one's guru.
And finally, the consciousness of the offerer must be pure, bhava-suddhi. One's
consciousness is pure by having a service attitude and absorbing oneself in
meditation. As bhava-suddhi intensifies, one enters into the spiritual world of
Krsna lila, and the ritual becomes one's reality.
VIII. Puja According to Seasons
Many
temples, which understand their Deity seva to be nondifferent from the direct
service of Radha-Krsna, modify certain aspects of the worship according to
changes in season and climate. During the coldest winter months in Vrndavana,
the Deities are bathed with hot water and a burner of hot coals heats the Deity
rooms. Going for darsana, one sees that gloves, hats, foot-warmers, shawls, and
even earmuffs are offered to most Deities. In the peak of the hot season, from
Candana-yatra to Sarat Purnima, flowers and incense replace the (hot) ghee lamp
at the noon arati in the Radha-ramana temple in Vrndavana. Many festivals with
grand flower arrangements are held, sometimes with water fountains and fine
mists of aromatic scented water cooling the Deities. Other times, during the
last evening arati, musical accompaniment is played very softly just before the
Lord takes rest.
IX. Raganuga Bhakti Arati
While
arati is a ritual that purifies the heart, a ritual leading to higher reality,
it is also a reality unto itself. Such is the nature of bhakti, for devotion is
both means and end. As we have heard, even the gopis perform arati, thus there
is arati for the sadhaka and arati for the siddha. The Gaudiya Vaisnava lineage
advocates the raga-marga, the path of passionate love of Godhead. As the
sadhaka qualifies himself for raganuga sadhana, his orientation toward the
rituals of devotion changes. The path of raga requires that the sadhaka
regularly contemplate the eternal lilas of Radha-Krsna, and thus in the
beginning stages of raganuga bhakti, the sadhaka thinks of the arati ceremonies
throughout the day in relation to the eightfold daily pastimes of Radha-Krsna.
Indeed, it is from these pastimes that the arati ceremony derives.
X. Asta Kaliya Lila and Arati
The
eternal daily lila of Krsna is divided into eight sections that comprise the
twenty-four hours from sunrise to sunrise. It is in the sunset pastime that the
arati ceremony has its origins. At sunset Krsna returns from the forest with
his friends and calves. The sun sets with embarrassment, acknowledging Krsna as
the light of lights, who lights both day and night, defeating the splendor of
the sun. All the residents of Vrndavana have been waiting impatiently for him
throughout the day. Were it not for Krsna's friend Madhumangala and his
appetite, Krsna might not return home, so absorbed he is in his sportive play
with his friends. As he approaches the village, Nanda Baba, his father, sees
him from the rooftop of his house and signals to all of his dear son's arrival.
Decorated with the dust of the pasturing grounds raised by the hooves of his
calves, Krsna appears more beautiful than when he left that morning. Mother
Yasoda collects him in her arms, mildly admonishing him for his tardiness. She
praises Madhumangala for bringing him home, as mother Rohini brings a ghee lamp
to inspect Krsna's body for scratches incurred in his sportive forest play
(although in fact they may be due to his secret rendezvous with the gopis ).
The lamp dissipates the night and enhances the union of Krsna and his devotees,
dispelling the pangs of their separation. From this lila, just before night,
arati has its eternal beginning. The lamp of his devotees' love is thus held to
the Krsna sun and that love-lamp itself is thus further illumined.
XI. Asta-Kala Lila Arati
Application
During
the ritualistic day of the sadhaka, the day begins with mangal arati, one and a
half hours before sunrise. This time corresponds with nisanta lila, the end of
night and the waking of Radha and Krsna in the bowers of Vrindavana. While the
beginning sadhaka views the arati as the end of the long night of his material
slumber, and the dawning of his day of service to sri guru, the siddha
envisions his soul's participation in the lila, assisting those waking
Radha-Krsna and helping the divine couple to reach their homes before the
sunrise speaks of their secret love to all. As ordinary souls dread the end of
night and slumber on in ignorance, the sadhaka rises early to conquer the
ignorance of sleep. Yet the ultimate soul, Radha-Krsna, dreads the sunrise in the
lila of love, for it brings to a close the union of Radha and Krsna and gives
rise the pangs of their daytime separation, in which their secret paramour love
must remain hidden. Thus it is stated in Sri Gita:
ya nisa
sarva-bhutanam tasyam jagarti samyami
yasyam
jagrati bhutani sa nisa pasyato muneh
"What
is night for all beings is the time of awakening for the self-controlled, and
the time of awakening for all beings is night for the introspective sage."
(Bg. 2.69)
It is
said in the Vedas that proportionate to the removal of darkness, the light of
knowledge awakens in one's heart, and to that extent kama, the heart's longing,
is destroyed. Yet it appears that in Vrindavana this is just the opposite. When
the darkness of night comes to an end, the light of daybreak only increases the
desire of Radha and Krsna to be united again. The customs of Vraja are beyond
the reach of even the Vedas ! What is day for the sadhaka is night for those
not treading the spiritual path. Yet what is day for the sadhaka is at the same
time night for the siddha who lives in the lila of Radha-Krsna. The sadhaka
takes joy in rising early to the new day, while the siddha laments in
transcendental ecstasy over the separation of Radha-Krsna that the rising of
the sun mandates. This transcendental lamentation is most desireable, and
awakening to this ideal is mangal arati, the most auspicious arati of all.
Nisanta-lila:
Pastimes at the End of Night
The
brahma-muhurta, beginning an hour and a half before sunrise is the most
spiritually auspicious time of day. The first and foremost arati of the day,
mangala-arati, is performed during this time period, sometimes as early as 4
a.m. Any devotional activities performed during this time are greatly enhanced
in terms of their spiritual potency and acquired benefits. Thus attendees are
recipients of a heightened spiritual upliftment especially manifest during the
brahma-muhurta. It is the pujaris good fortune to awaken the Deities by the
melodious recitation of auspicious verses while gently massaging the Deities
lotus feet.
Visvanatha
Cakravarti Thakura has written in his Gurvastaka, a popular song revealing the
exalted position of the spiritual master, that one who meticulously sings this
song daily during the brahma-muhurta achieves spiritual perfection.
Mangala-arati corresponds with the awakening of Sri Sri Radha and Krsna in
their forest nikunja (grove) slightly before the rising of the sun. As their
loving pastimes close for the night they hurry to their respective homes.
Sadhakas meditate deeply at this auspicious time of day on this important
pastime and the strong feelings of separation of Radha and Krsna as they part
company. Sincere devotees who are eager to increase their devotional
dedication, faithfully attend mangala-arati without fail.
Prata-lila:
Morning Pastimes
After
returning home and being awakened by Mother Yasoda, Krsna bathes and milks the
cows, sometimes meeting Radha for pastimes at the Yamuna River.
Here they may enjoy an early morning light meal, like sweets (Bala bhoga ).
Srimati Radhika leaves for Nandagram to cook for Krsna in Mother Yasoda's
kitchen. Similarly, after mangala-arati, sadhakas bathe the Deities, dress Them
and feed Them various nicely prepared sweets and other preparations. Deity seva
includes many opportunities for service of the highest order. Cooking many
varieties of tasty foodstuffs to offer the Deities is a most important service,
for this is reserved for Krsna's best servitors, Srimati Radharani, Mother
Yasoda and their most qualified associates. Cleaning is another very important
service--for cleanliness is next to Godliness. In the advanced stage of
devotional service, one continuously remembers these eternal daily pastimes of
the Lord and His associates, while engaging in their various Deity sevas.
Purvahna-lila:
Forenoon Pastimes
Returning
home once again, Krsna bathes and dresses for the forest, simply and elegantly
with many flowers and other natural things such as peacock feathers, valuable
jewels and gunja-bead malas. He wears a vaijayanti garland composed of at least
five different colored flowers, which is always long enough to touch his knees
or feet. Krsna decorates other parts of his body such as his head, neck and
chest extensively with flower garlands. He then appears for his morning meal
cooked by Sri Radha, after which he goes to the forest of Vrndavana
with his cows and cowherd boy friends. Srimati Radharani also goes to the
forest on the pretense of performing surya-puja, worship of the sun, but in
actuality Her sole purpose is to meet Krsna at Radha-kunda. Sadhaka's meditate
on these pastimes as they dress the Deities of Radha and Krsna in a mood of
preparation for a day of forest sporting and perform the morning dhupa arati.
Enthusiastic devotees eagerly await the darsana of the Deities in Their nicely
dressed state with multicolored silken dresses adorned with beautiful jewelry
and aromatic garlands of flowers.
Madhyahna-lila:
Midday Pastimes
The noon
raja-bhoga offering of a full meal to the Deities is their main offering of the
day and corresponds to Krsna's lunch-often a forest feast send by Mother
Yasoda. This happens amidst many wonderful and enchanting amorous pastimes with
Sri Radha and her charming associate gopis in the many wonderful groves of
Radha-kunda. At the time of the offering of these foodstuffs to the Deities,
devotees traditionally sing the Bhaja Bhakata-vatsala, Bhoga-arati song of
Bhaktivinoda Thakura for the pleasure of the Deities--a heartfelt expression of
Krsna's enjoyment of the innumerable tasty preparations offered.
Aparahna-lila:
Afternoon Pastimes:
Awakening
from a midday rest (Utthapana ), Krsna joins the Surya puja disguised as a
pujari and then returns home to bathe and dress for the evening. Similarly the
Deities are awakened from Their afternoon rest, offered a light snack and
arati.
Sayam-lila:
Dusk Pastimes
The
Sandhya-arati takes place at twilight, the sandhi or joining of day and night,
just after the evening offering of foodstuffs. It is the time when Krsna takes
his evening meal and after milking the cows takes rest. This is perhaps the
most festive arati of the day with many enthusiastic visitors in attendance.
This arati is also called the Gaura-arati by Gaudiya Vaisnavas, for they absorb
themselves in thoughts of the arati of Sri Chaitanya Mahaprabhu singing the
Kiba Jaya jaya gauracander song, vividly describing this arati.
Pradosa-lila:
Evening Pastimes
The last
darsana of the evening is called aulai darsana, arising from the Hindi word
meaning to call or holler "last darsana." Krsna will no longer be
available publicly--retiring to his inner chambers for the night, only to leave
for his nightly rendevous with Sri Radha and close associates.
Nakta-Lila:
Midnight Pastimes
Lord
Krsna's most confidential pastimes take place at night in the bowers of
Vrndavana. Here He engages in many wonderful lilas with His beloved gopis such
as rasa-lila, water sports, amorous pastimes and sleeping. Devotees, realizing
the inherent sweetness of this service, are happy to dress the Deities in
nightclothes and after offering a light refreshment and short arati, invite the
Deities to take rest. A perfect way to end the day.
