Tag Archive for: Mahanidhi Swami

Effects of Nama-aparadha

Mahanidhi Madan Gopal Das

By offending sri-nama one loses his taste and attraction for sadhana-bhakti. In other words, a devotee will no longer derive any happiness from hearing and chanting, sadhu-sanga and serving Sri Guru. The world of Kṛṣṇa and His devotees becomes dry, tasteless and hackneyed. Apathy toward Kṛṣṇa is a diseased condition of the soul. As a sick man taking medical treatment quickly regains his taste for palatable foods, similarly, an offender who continually chants the holy name will nullify his transgressions and regain a taste for the holy name.

nāmāparādha-yuktānāṁ, nāmāny eva haranty agham
aviśrānti prayuktāni, tāny evārtha-karāṇi ca

By continuous chanting, an offender to the holy name will gradually become free from sins and offenses. He will rise to the platform of offenseless chanting and eventually attain the ultimate goal of life, kṛṣṇa prema. (Padma P. Svarga-khanḍa 48,49)

Although a devotee tries to give up offenses, he is actually helpless and cannot do so alone. One can only get free from nama-aparadha through bhakti, the power of Kṛṣṇa’s name, and by the mercy of Kṛṣṇa’s associates.

An excerpt from the book Art of Chanting.

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Radharani’s Manjaris: Tattva & Lilas 027 “Loving Bumblebees “

Mahanidhi Madan Gopal Das

This series of posts will present facts (tattva) regarding the identity, moods (gopi-bhava), intimacy and sevas of Srimati Radharani’s beautiful and talented handmaidens known as manjaris, kinkaris, or dasis.

Also, we will present many astonishing and wonderful lilas to highlight the manjaris most personal and confidential sevas to Srimati Radhika and Her dearest Priyatama Shyamasundara.

The information here is based on the commentaries of Advaitavamsa Acharya 108 Sri Ananda Gopala Goswami and 108 Sri Ananta Dasa Babaji Maharaja taken from “Vilapa Kusumanjali” and “Radha Rasa Sudhanidhi” translated by Sri Advaita Dasji.

Eagerness to See Radharani

Sri Raghunatha Das Goswamipada relishes the blissful eagerness on Radha’s lotus face in the kitchen while Radha intently watches Krishna eat. Sadhakas following Sri Raghunatha Das Goswamipada should also relish the sweetness of Radha’s face in their meditations.

In deep meditation one vividly experiences being near Radharani. One no longer thinks: “I am practicing smarana.” At this time, great anxiety for Radha’s darshan will arise in the heart when meditation ends. The more one relishes meditating on Radha-Krishna’s lilas, the more anxious one becomes for Their darshan.

The more one’s thirst and eagerness increase, the sooner one will attain perfection in manjari bhava bhajan. We should pray to Sri Rupa and Raghunatha for a drop of their eagerness!

Meeting of Loving Bumblebees

Swamini has placed all the tasty dishes in Mother Rohini’s hands. How wonderful are the movements of Kishori’s hands! Shyam is absorbed relishing Swamini’s inner feelings. How eager Krishna is to embrace Kishori!

Madhava’s eyes are like restless bumblebees thirsty to drink the nectar of Swamini’s lotus face. There is not much time for Radha-Krishna to glance at each other, but somehow, They find some consolation by blinking at each other with lowered faces.

In that moment, Radhe-Shyam drink all the honey from each other’s faces with Their bee-like eyes. The relish of the honey of Their lotus eyes mixes with the honey of Their lotus faces. When Their eyes meet Krishna prays to Swamini for a loving embrace. Kishori’s eyes promise to fulfil to Krishna’s request glance.

What a wonderful deluge of sweetness! Manjari bhava sadhaka’s always desire to unite Radha Madhava and serve Them intimately.

Radharani’s maidservants ki jai! Jai Jai Sri Radhe!

The full series of “Radharani’s manjaris tattva & lilas” can be found here.

 

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Chapter Three: Nama-aparadha

Mahanidhi Madan Gopal Das

Nama-aparadha is an utterance of the holy name that is made with enmity in the heart. It is the lowest form of chanting wherein one commits any of the ten offenses against the holy name. As long as one chants with offenses, it is absolutely impossible to attain love of God.

“Offenses against the holy name (nama-aparadha) are the most frightening of all kinds of sins and offenses. All other kinds of sins and offenses go away naturally and automatically as one utters harinama, but nama-aparadha does not go away so easily.” (Jaiva Dharma ch. 24)

The lives of Vijaya Kumara and Vrajanatha depicted in Jaiva Dharma show that continuous chanting of Hare Kṛṣṇa japa frees one from material desires, and quickly elevates one to the perfectional stage of kṛṣṇa-prema, pure love of God. If these signs of spiritual advancement are not manifesting, one can conclude that he is a nama-aparadhi. Such an offender must understand that the holy name is the only shelter for one who offends the holy name. Filled with repentance and remorse, one must beg the holy name to forgive him and accept him in His service once again.

“In the book Nāma-kaumudī, it is recommended that if one is an offender at the lotus feet of a Vaiṣṇava, he should submit to that Vaiṣṇava and be excused. Similarly, if one is an offender in chanting the holy name, he should submit to the holy name and thus be freed from his offenses.” (SB 7.5.23-24 p.)

Srila Bhaktisiddhanta Sarasvati Thakura eloquently explains the need to “welcome Kṛṣṇa properly” in the next quotation:

“Kṛṣṇa is sat-cit-ananda and that sat-cit-ananda will manifest in us as soon as we welcome the transcendental word. If we are sincere, He would come into our vision, and we would easily discover Him. We live in Kali-yuga, an atmosphere surcharged with erroneous impressions.

“So we cannot expect in the beginning to chant the Name properly without difficulty. We never welcome Kṛṣṇa properly by uttering His Name. In course of our chanting, hundreds of irrelevant things intervene due to our uncontrolled desires. We are full of many mundane impressions, so we must guard ourselves against committing the ten offenses while chanting the holy name of Hari.” (Prabhupada Sarasvati Thakura)

Definition of Nama-aparadha

The word aparadha is composed of two parts: apa–which means against, without, to take away, or give up; and radha–which means success, prosperity, to please, flow of affection. Literally the term nama-aparadha means to displease the holy name. In other words, Sri Kṛṣṇa, who is non-different from His holy name, becomes displeased and unhappy with our offensive behavior toward His nama-rupa. Nama-aparadha is an offense committed against the holy name, which acts against one’s spiritual success by taking the flow of one’s affection away from the Supreme Lord.

Some acaryas say the word “aparadha” means against or without Radha. Nama-aparadha, therefore, is the lowest type of chanting where Kṛṣṇa (nama) is without (apa) Radha (radha). Offenses to Kṛṣṇa’s holy name are also offenses against Radha, who represents the topmost expression of loving affection for Kṛṣṇa. Bhakti or devotion cannot exist without the presence of Srimati Radhika.

If a minor obstacle stands in the way, the name chanted becomes a semblance of the name (namabhasa), which awards benefits after some time. If a major obstacle stands in the way, the name chanted becomes nama-aparadha, which can only be overcome by constant chanting. Committing any one of the ten offenses can constitute a major obstacle to chanting the holy name and should be carefully avoided.

An excerpt from the book Art of Chanting

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Verses in Praise of the Holy Name

Mahanidhi Madan Gopal Das

When the sastras describe the glories of the holy name there is no exaggeration because they are not referring to the material sound, but to the spiritual sound that appears through the material sound by a qualified person at the time of chanting. Sastras are not referring to the material sound composed of the various letters and syllables. Simply reciting the external syllables of the holy name: ha re kṛṣ ṇa ha re rā ma is not the actual holy name.

Reading, meditating on, and memorizing a few of the following verses will increase one’s appreciation and attachment for chanting Kṛṣṇa’s holy name.

An excerpt from the book Art of Chanting

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Glories of the Holy Name: Gives Everlasting Wealth

Mahanidhi Madan Gopal Das

aparādha-śūnya ho’ye loho kṛṣṇa-nāma, kṛṣṇa mātā, kṛṣṇa pitā, kṛṣṇa dhana-prāna

Being careful to remain free of offenses, just take the holy name of Kṛṣṇa. Kṛṣṇa is your mother, Kṛṣṇa is your father, and Kṛṣṇa is the treasure of your life. (Gitavali, “Sri Nagar Kirtana”)

viceyāni vicāryāṇi, vicintyāni punaḥ punaḥ
kṛpaṇasya dhanānīva, tvan-nāmāni bhavantu naḥ

O Lord, just as a miser continually collects, counts and remembers his money, in the same way let us continually collect, count, and remember Your holy names. (Padyavali v. 30)

An excerpt from the book Art of Chanting

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Chapter Two: Glories of the Holy Name

One will strengthen his faith and determination to chant japa by repeatedly hearing the wonderful glories of the holy name, and by studying different slokas in praise of nama-bhajana. Such practices are endorsed by the previous acaryas such as Srila Bhaktisiddhanta Sarasvati Thakura who said, “Chant the nama-mahima (glories of the holy name). Practice that daily. I also do that. Harinama is our life.”

Whether chanted correctly or incorrectly, knowingly or unknowingly, carefully or carelessly, the all-powerful name of Kṛṣṇa will always give results. The unlimited glories of the holy name cannot be understood with logic, reason or intellect. Only by faith, devotion, and constant chanting can one realize the greatness of sri-nama. In this dark age of Kali, kṛṣṇa-nama is the easiest, quickest, safest and surest way to attain spiritual perfection in love of God. In the matter of self-realization, nama-japa is the “king of all sadhanas.”

Chanting Kṛṣṇa’s sweet names purifies the heart; sanctifies and steadies the mind; destroys the six enemies [lust, anger, greed, envy, illusion, madness]; stops birth and death; dissolves sins; scorches samskaras; annihilates attachment; induces detachment; uproots desires; empowers one; makes one fearless; removes illusion; bestows supreme peace; delivers prema; reveals the Lord and His dhama; shows one’s svarupa; showers bhakti-rasa; and engages one in his nitya-seva for the pleasure of Radha-Syama.

Nama Reveals the Spiritual Body

Srila Bhaktivinoda Thakura clearly explains that the experience of one’s internal spiritual form (siddha deha or svarupa), which is necessary for practicing raganuga-bhakti, is revealed by the grace of Kṛṣṇa’s holy name. Generally one realizes his spiritual form at the stage of bhava-bhakti. At this stage of perfection, which precedes prema-bhakti, Sri Kṛṣṇa’s suddha-sattva or svarupa sakti

(personal spiritual potency) is transmitted into the heart of the sadhaka from the heart of one of Kṛṣṇa’s eternal associates. This in turn reveals the specific attributes of one’s eternal spiritual form. By purely chanting the holy name, therefore, one can realize his spiritual body.

An excerpt from the book Art of Chanting.

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Three Names – Gauna, Mukhya and Madhurya

Mahanidhi Madan Gopal Das

Harināma-cintāmaṇi explains two categories of holy names: mukhya nāma (primary) and gauṇa nāma (secondary). “The holy names of the Lord that describe His transcendental pastimes are defined as principal names. Chanting these names reveals Kṛṣṇa’s pastimes, gives Kṛṣṇa-prema, and eternal residence in Vṛndāvana. Primary or principal names include Govinda, Gopāla, Rāma, Śrī Nandanandana, Rādhā-nātha, Hari, Yaśomatī Prāṇādhana, Madana-Mohana, Śyāmasundara, Mādhava, Gopīnātha, Vrajagopāla.” (Harinama-Cintamani)

“Primary names are fully transcendental, identical with the svarūpa of the Lord, and remain eternally in the spiritual world. The Lord’s names descend to the material world to destroy the influence of māyā. Secondary names, however, have been introduced from the creation of the material universe. Names such as Śrīsti-karta (creator of the universe), Jagat-pati (controller of the universe) and Paramātmā describe God from the perspective of the conditioned souls and how He relates to them.” (Nama-bhajana)

“Secondary names describe the Lord’s functions and affiliation with His material energy (e.g. Brahman, Paramātmā, Īśvara, Jagannātha, or as the Christians say, creator, maintainer and annihilator.) Such names of the Lord are invoked by karmis and jñānis, not bhaktas. Chanting secondary names of the Lord gives piety, material elevation and salvation. However, kṛṣṇa-prema, the most perfect result of chanting the holy name of the Lord, is attained only by purely chanting Kṛṣṇa’s principal names. This is because the secondary names, although also impregnated with the Lord’s pastime potencies, have it in partial degrees only.” (Harinama-Cintamani)

Why doesn’t chanting of secondary names give prema? Secondary names are distant, incomplete and somewhat impersonal. Hence, they are devoid of the personal expression of Kṛṣṇa’s mercy and love. There is no expression of prema in gauṇa nāma because they have no līlā or pastimes within them.

When one chants mukhya nāma like Govinda or Gopīnātha, and remembers Kṛṣṇa’s loving pastimes with the gopīs, prema will flow into his heart from the prema-sāgara (ocean of divine love) within these names. These names are directly Sri Kṛṣṇa Himself, and as such are endowed with all the potencies found within the Lord’s personal form. Make an experiment comparing mukhya nāma with gauṇa nāma:

If you chant “Paramātmā! Paramātmā! Paramātmā!” nothing will come but thirst and fatigue. But if you chant “Rādhe Rādhe Govinda, Govinda Rādhe! Rādhe Rādhe Govinda, Govinda Rādhe!” you will soon become intoxicated with ambrosial nectar, and completely forget your bodily identity. As Srila Prabhupada once said, “By chanting Hare Kṛṣṇa you will feel invigorated, fresh and enlivened.” Under the powerful influence of the prema-filled primary names of Kṛṣṇa, you may someday pass the entire night crying, laughing, singing, dancing or rolling on the ground like a madman.

Śrīla Prabhupāda confirms this point, “This chanting of Hare Kṛṣṇa. You chant whole day and night, and dance, you’ll never get tired. But take another name. Just after half an hour, finished. It is botheration.” (SPT 2/17/69)

“In the Padyāvalī, there is a statement by some devotees: ‘We shall not care for any outsiders. If they should deride us, we shall still not care for them. We shall simply enjoy the transcendental mellow of chanting Hare Kṛṣṇa, and thus we shall roll on the ground and dance ecstatically. In this way we shall eternally enjoy transcendental bliss.’ ” (Nectar of Devotion)

Five hundred years ago, one spy reported to the Muslim Governor, “All these devotees of Lord Caitanya become like madmen. They simply dance and chant the holy name of Kṛṣṇa. Sometimes they even cry and roll on the ground.” (Cc. Madhya 16.166)

Besides mukhya and gauna-nama, there is another form of nama known as madhurya-nama, which Srila Bhaktivinoda Thakura describes in the following passage:

“The maha-mantra contains the topmost sweet names of the Lord. Provocation for all the rasas mixed with intimate attachment is found in the Hare Kṛṣṇa maha-mantra. There is no mention of the Lord’s prowess (aisvarya) or giving liberation (mukti). This mantra reveals only that a soul has an individual attraction for the Supersoul by the thread of love. These names (Hare, Kṛṣṇa, Rama) are the mantra for those on the path of madhurya-rasa. Constantly chanting and meditating on these names is the best form of worshiping the Supreme Lord.” (Kṛṣṇa-samhita).

An excerpt from the book Art of Chanting.

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Radha Sakhis 64 Arts

Mahanidhi Madan Gopal Das

The Srimad Bhagavatam says that after 64 days and nights of lessons from Their Guru Sri Sandipani Muni,  Bhagavan Sri Krishna and Baladeva fully mastered the 64 arts, tau sanjagrhatuh ahah ratraih catuh shashtya kalah. (Srimad Bhagavatam 10. 45.35-36)

Jayadeva Goswami and the six Goswamis often glorify Srimati Radharani with the name Kalavati, which means that Sri Radha is fully skilled in all the 64 traditional arts. All the Vraja-gopis learn all the arts and sciences from Vrindavaneshvari Sri Radha.

In Radha Krishna Ganoddesha Dipika, Sri Rupa Gosvami describes the special talents of Srimati Radharani’s ashta-sakhis.

Lalita-sakhi:
Lalita is expert in bringing Radha-Madhava together and inciting Their conjugal battles. To support Radha’s cause she sometimes offends Sri Madhava. In Krishna conflicts, she leads the charge, and when needed Lalita discharges the most outrageous and haughty retorts. She holds Radha-Madhava’s flower umbrella, adorns Them with flowers, decorates Their resting bower, and oversees all the sakhis and manjaris of Vraja.

Visakha:
A very clever messenger, Visakha is the master of joking, laughter and merriment. Being expert in amorous diplomacy, Visakha often counsels Radha and Krishna. Visakha can conciliate an angry lover, bribe him and quarrel with him as needed to facilitate Radha Govinda’s joyful play.

Citra-sakhi:
Citra can detect hidden intentions in a love letter. She is a master cook who knows tastes just by glancing. She strikes water pots to make amazing music. Citra devi knows astronomy, astrology, raising domestic animals, gardening, collecting herbs and making tasty tangy nectar drinks.

Indulekha-sakhi:
She knows palmistry, snake charming, stringing necklaces, gemology and weaving cloth. Indulekha carries messages between the divine lovers and she knows Their secrets. She tastefully presents perfect ornaments and garments to Radha-Madhava.

Campakalata:
She is expert in persuasion, thwarting Radha’s rivals and at collecting forest fruits, roots and flowers. She is an artistic potter and a famous sweet maker. She protects all the trees, creepers and bushes of Vrndavana.

Rangadevi:
When Radha meets Krishna, Rangadevi provides unlimited gestures, words and jokes. She is a diplomat, a logician, and she knows a mantra to attract Krishna. For Lila Yugala’s pleasure, Ranga produces and offers perfumes, cosmetics, aromatic incense, coal for heating and wields fans for cooling. She is also an adept “animal trainer” in the sense that she can control the wild lions and deer in the forests of Vraja.

Tungavidya-sakhi:
She knows the eighteen branches of Vedic knowledge, politics, and rasa-sastras; teaches music, singing; plays the vina with great expertise, and choreographs all the dances and music at the rasa dance. She is an expert meeting arranger, and drinking water collector.

Sudevi-sakhi:
Sudevi is Radha’s hairdresser, masseuse, and make up artist. Sudevi cares for the birds and bees, and trains the parrots and roosters to sing and fight. She knows the arts of horticulture, starting fires, reading omens, forming leaf spittoons, playing music on bells and decorating couches. Sometimes Sudevi adopts a disguise to spy on Radha’s rivals.

Radha’s sakhis each know a variety of talents and skills which they display to nourish Sri Krishna’s relish of madhurya rasa. Sri Radha personally arranges for every newcomer manjari i.e. sadhana siddha manjari to learn all the traditional arts and sciences from Her trusted and talented sakhis. Thus Radha makes the nava dasi manjari qualified to serve Her and Her beloved Shyama.

In Sri Sankalpa Prakasha Stotram, Sri Raghunatha Dasa Goswami describes how a sadhana siddha manjari or kinkari maidservant of Srimati Radhika approaches different sakhis beginning with Sri Radha Herself to learn the various fine arts. From Sri Radha, the enthusiastic, excited and humble new manjari will learn how to write poems, plays, riddles and master the vina.

Visakha-sakhi teaches the newcomer manjari the arts of telling clever fragrant jokes, and singing sweet songs to entertain Radha-Madhava, especially during the Rasa dance. From the “sweet hands” of Campakalata sakhi, the nava-dasi, new manjari, learns the science of flavorful cooking to please the Playful Pair with a nectar conquering midday feast at Radha-kunda!

Citra sakhi happily teaches the new dasi the art of body painting to serve Yugala Kishora, especially after their exuberant amorous encounters in the bower cottages. Tungavidya sakhi will train the new manjari in 18 different arts and sciences including the rasa, niti, natya, and sangita shastras.

Indulekha will patiently instruct the new maidservant, nava dasi, to string beautiful necklaces of pearls, jewels, flowers and gunja beads to decorate Sri Sri Radha and Krishna at Radha-kunda during Their blissful midday pastimes, madhyahna-lila.

From Rangadevi the new manjari will learn to dance so perfectly that she will spin and swirl in step with Sriji and Shyama during the Rasa dance while simultaneously putting betel-leaves in Their mouths! From Sudevi, nava dasi manjari will learn the art of throwing dice so nicely that just by eye signals she will help Radhika defeat Krishna in playing dice.

The following description of the 64 arts comes from a purport of Brahma-samhita (v.37): While reading and reflecting upon these amazing skills, one should think that Sri Radha is the self-manifest origin of all these talents in their complete original form. Srimati Radharani has bestowed these arts upon Her dearest sakhis.

When one becomes spiritually perfect he/she will enter the prakata-lila, manifest pastimes, of Radha Govinda Yugala in Bhauma Vrindavana. Then as a sadhana siddha in manjari svarupa as Sri Radha’s loyal dasi or kinkari one will learn all these arts from various sakhis. May all the devotees dive deep into the unlimited ocean of Radha-Madhava’s sweet madhurya lilas which are full variety, excitement, fulfillment and never-ending loving bliss.

The Sixty-four Arts

(1) gīta—art of singing, composing songs, and articulating different melodies, notes, accents and meters.

(2) vādya—art of playing on the four types of musical instruments (wind, strings, percussion, metallic cymbals).

(3) nṛtya—art of dancing and moving the limbs in various symbolic expressions. It includes dancing with different rhythms, songs and melodies.

(4) nāṭya—art of writing theatrical dramas.

(5) ālekhya—art of drawing, calligraphy and painting pictures. It includes all forms from simple village arts up to the highest perfectional stage of masterful painting.

(6) viśeṣakacchedya—art of painting the face and body with various dots and designs of colored unguents and cosmetics.

(7) taṇḍula-kusuma-balī-vikāra—art of preparing auspicious offerings for worship with rice and flowers. It includes making paintings on the floor or ground with liquid paste of rice flour.

(8) puṣpāstaraṇa—art of making comfortable resting places by spreading flowers on the ground.

(9) daśana-vasanāṅga-rāga—art of coloring teeth, clothing and bodily limbs with cosmetics like saffron.

(10) maṇi-bhūmikā-karma—art of inlaying floors, courtyards and pathways with colorful mosaics of precious jewels.

(11) śayyā-racana—art of preparing different types of beds, complete with carpets, cushions, pillows, cloth coverings and decorations like tassels.

(12) udaka-vādya—art of making music in water. The cupped palms splash downward to produce the thumping sound of kettledrums, or the hand splashes sideways back and forth to simulate cymbals. Sometimes this art is said to be playing different pots filled with varying levels of water to produce melodious tunes.

(13) udaka-ghāta—art of splashing with water, and storing water in cisterns and reservoirs.

(14) citra-yoga—art of trimming, decorating and hanging pictures.

(15) mālya-grathana-vikalpa—art of stringing necklaces and weaving flower garlands for various uses.

(16) śekharāpīḍa-yojana—art of setting a crown upon the head, including turbans, and top-knots of flowers.

(17) nepathya-yoga—art of putting on costumes in the dressing room for theatrical performances. Includes scenic stage arrangements.

(18) karṇapātra-bhaṅga—art of decorating earlobe with flower or leaf-ornaments, and painting ornamental figures.

(19)sugandha-yukti—art of preparing and applying aromatics and perfumed cosmetics of various kinds. Includes sprinkling sandalwood pulp and water to produce a nice fragrance.

(20)bhūṣaṇa-yojana—art of beautifying the body and limbs with specialized types of ornaments and jewelry.

(21) indra-jāla—art of presenting stage music, illusions and jugglery.

(22)kauchumāra-yogā—art of appearing in various disguises.

(23) hasta-lāghava—art of sleight of hand.

(24) citra-śākāpūpa-bhakṣya-vikāra-kriyā—art of preparing varieties of salad, bread, cake and delicious food.

(25) pānaka-rasa-rāgāsava-yojana—art of preparing nectar drinks and tinging draughts with red color.

(26) sūcī-vāya-karma—art of needleworks, weaving, embroidery and tailoring.

(27) sūtra-krīḍā—art of manipulating puppets with strings.

(28) vīṇā-ḍamuraka-vādya—art of playing on lute and small x-shaped drum.

(29)prahelikā—art of making and solving riddles. (29-a) pratimālā—art of reciting verse for verse as a trial for memory or skill.

(30) durvacaka-yoga—art of skillfully uttering tongue-twisters that are difficult for others to repeat.

(31) pustaka-vācana—art of clearly and quickly reading and reciting books, including techniques of chanting and intoning.

(32)nāṭikākhyāyikā-darśana—art of enacting short plays and anecdotes.

(33) kāvya-samasyā-pūraṇa—art of completing verses after hearing only three lines. Includes solving crossword and various puzzles. This is usually played at the risk of losing a stake or paying a penalty.

(34) paṭṭikā-vetra-bāṇa-vikalpa—art of manufacturing armaments such as shield, staffs, bows and arrows.

(35) tarku-karma—art of making thread with a spinning wheel.

(36) takṣaṇa—art of wood-cutting and carpentry.

(37) vāstu-vidyā—art of architecture and engineering.

(38) raupya-ratna-parīkṣā—art of testing the authenticity of silver and jewels.

(39) dhātu-vāda—art of metallurgy and alchemy.

(40) maṇi-rāga jñāna—art of using dyes to alter the color of precious gemstones.

(41) ākara jñāna—art of mineralogy.

(42) vṛkṣāyur-veda-yoga—art of gardening and crossbreeding plants and trees for the purpose of obtaining Ayur Vedic medicines.

(43) meṣa-kukkuṭa-lāvaka-yuddha-vssidhi—art of training rams, cocks, and grouse to fight for sport.

(44) śuka-śārikā-prapālana (pralāpana)—art of teaching male and female parrots to speak and hold conversations with people.

(45) utsādana—art of skin care. Includes cleaning the skin with perfumed lotions, and using ointments for healing.

(46) keśa-mārjana-kauśala—art of expertly arranging the hair, including coloring and curling it in various ways.

(47) akṣara-muṣṭikā-kathana—art of speaking silently with sign language.

(48) mlecchita-kutarka-vikalpa—art of fabricating languages spoken in the indistinct ungrammatical manner of barbarians.

(49) deśa-bhāṣā-jñāna—art of knowing provincial dialects.

(50) puṣpa-śakaṭikā-nirmiti-jñāna—knowledge of building miniature carts with flowers.

(51) yantra-mātṛkā—science of drawing mystical diagrams for worship or for projecting powers.

(52) dhāraṇa-mātṛkā—art of preparing potent amulets worn for protection or other purposes.

(53) samvācya—art of conversation. Sometimes called saṁpātyam—art of splitting hard substances such as diamonds into smaller pieces

(54) mānasī kāvya-kriyā—art of composing poetry within the mind.

(55) kriyā-vikalpa—art of designing the performance of rites and ceremonial functions. Also the art of good management, that of accomplishing many things at once. Includes fortelling events by studying omens.

(56) chalitaka-yoga—art of playing tricks and practical jokes.

(57) abhidhāna-koṣa-cchando-jñāna—art of use dictionaries, word-usage, poetic meters, and lexicography.

(58) vastra-gopana—art of concealing the true nature of cloth, making it appear as made of a different or superior texture. For example, one may make coarse cotton appear as silk.

(59) dyūta-viśeṣa—art of knowing specific forms of gambling.

(60) ākarṣa-krīḍā—art of playing with magnet and magnetic phenomena. Includes hypnotism and the power of attracting others.

(61) bālaka-krīḍanaka—art of playing children’s games.

(62) vaināyikī vidyā—art of enforcing discipline by employing mystical charms. Includes understanding another’s psychic movements in order to influence their mind and induce them to act according to one’s own wishes.

(63) vaijayikī vidyā—art of gaining victory.

(64) vaitālikī vidyā—knowledge of artfully reciting the glories of great personalities. Includes knowing how to properly offer respects and compliments to others.

Sri Radha’s sixty-four arts ki jai! Sakhis Training Manjaris ki jai!

Jaya Jaya Sri Radhe!

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20 Ways To Love Krishna

Mahanidhi Madan Gopal Das

There are twenty amazing and intimate ways to express your devotion, dependence and attachment to your Priya Thakuraji i.e. beloved transcendental murti form of Bhagavan Sri Krishna. Of Sri Rupa Goswamipada’s sixty-four limbs of bhakti sadhana, ten forms of bhakti (#23-42) directly involve Sri Thakuraji and His worshipers—us!

Upon reading this description you will discover that our beautiful, sweet, charming and playful master, Sri Krishna, not only likes formal worship, but Syama also likes the wild frantic dancing of His bhaktas.

The term Sri -Thakuraji means one’s favorite and beloved murti or Deity (Devata) of Sri Krishna i.e. Bankebihari, Radha-Vallabha, Radha-Syama or Radha Ramana.

By citing Srimad -Bhagavatam and other Puranas, Sri Rupa Goswamipada reveals twenty different ways to please and personally interact with Radha and Krishna in their most beautiful, merciful, and accessible transcendental forms.

After listing each item, Sri -Rupa mentions the benefits attained by these loving exchanges with Bhagavan Sri Krishna. The benefits and their sources from Bhakti-rasamrta-sindhu are in brackets. By engaging in these ways with Sri -Thakuraji, you will: conquer maya, and become free from disease, sin and rebirth (1.2.125-6, 129); attain liberation to Vaikuntha (1.2.139); and fulfil all your desires (1.2.165).

20 WAYS TO LOVE KRISHNA

1 Accept Sri Thakuraji’s -Nirmalya (1.2.125)

Eating, smelling, touching and wearing Krishna’s divine food, perfumes, flower malas and celestial clothing.

2 Dance Frantically Before Sri Thakuraji (agre- tandavam: (1.2.128)

3 Dandavats -To Sri Thakuraji (1.2.129)

4 Stand Up To Greet Sri Thakuraji (1.2.130)

5 Follow Sri -Thakuraji In Procession (1.2.131)

6 Visit Sri -Thakuraji’s Sacred Places (1.2.132)

(i.e. mandira, Vrndavana, Navadvipa etc.)

7 Parikrama (1.2.135)

(Sri -Thakuraji’s -murti or temple four times)

8 Worship Sri Thakuraji “Deity Worship” (1.2.137)

(bathing, dressing, feeding)

9 Paricarya -Seva to Sri -Thakuraji (1.2.140)

(wave camara, ring bell, blow conch)

10 Gita, Solo Singing Bhajans for Sri -Thakuraji (1.2.144)

11 Sankirtana, Singing Loudly (1.2.145)

(Krishna’s names, qualities, pastimes)

12 Japa, Silently Utter Diksa -Mantras (1.2.149)

(before Sri -Thakuraji)

13 Vijnapti, Submissive Prayers (1.2.151)

(express your worthlessness, and submit your inner feelings towards Sri -Thakuraji while ever yearning for His personal service)

14 Stava -Patha (1.2.157-9)

(before Sri -Thakuraji, recite Bhagavad-gita; prayers of acaryas and mahajanas; and your spontaneous outpourings and heart’s compositions)

15 Naivedyam -Svado, Relish Maha -Prasada (1.2.160)

(honoring Sri -Thakuraji’s tulasi, grains, fruits etc.)

16 Padya -Svado, Drink Sri -Thakuraji’s -Caranamrta (1.2.161)

17 Dhupa -Saurabhyam (1.2.162)

(smelling Sri -Thakuraji’s incense, flowers, malas, perfumes)

18 Sri -Murti -Sparsanam (1.2.165)

(touching Sri -Thakuraji if one is qualified)

19 Sri -Murti -Darsanam (1.2.166)

(looking at your Priya -Sri -Thakuraji, and being overwhelmed by feelings of love)

20 Aratrika -Darsanam (1.2.167)

(seeing Sri -Thakuraji’s -arati, festivals, and puja—bathing, dressing etc.)

Love your Thakuraji -ki jai! Jai Jai Sri Radhe!

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Be Forever With Your Guru

Mahanidhi Madan Gopal Das

Any sincere sadhaka can always be in association with one’s merciful Gurudeva, even if the Guru is far away or has entered Radha-Govinda’s nitya-vrndavana lila.

Simply by meditating on your divine master, you immediately establish a connection with him. In response to your thoughts and prayers, Sri Guru will send you his full blessings, guidance, power and love.

A sweet stream of spiritual energy will flow from Sri Guru to you, just as honey pours from one vessel to another. You will feel his mercy mellowing your mind, and taste the sweet bliss of his charming presence in your heart.

In the Yoga-sutras, Rishi Patanjali says you can control your vrittis (thought waves) by fixing your mind on one who has transcended human passions and attachments (vita-raga-visayam ca cittam).

So by thinking of your Guru or some liberated soul, or by looking at his picture, you will pacify your mind, purify your heart and empower your Harinama japa with increased concentration.

The Padma Purana (Uttara-khanda ch. 112 v. 9-29) says that the mind becomes pure by Sri Guru smarana: “Just by thinking of your Guru, you will obtain 1/100th portion of the priceless treasure of his Krishna bhakti.”

However, the ability to draw blessings from your beloved spiritual master depends on the degree of your faith, surrender and dedication to Sri Guru. When sincere sisyas meditate on Sri Guru, they will definitely feel the benign and blissful presence of Sri Guru in their hearts.

Once Srila Prabhupada said, “Even if I am in the spiritual world with Radha and Krishna, whenever you chant the Hare Krishna maha-mantra, you will immediately experience my presence right before you!”

Surrendered sisyas ki jai! Krpa-sakti murti Sri Guru ki jai! Jai Jai Sri Radhe!