Skanda Sashti Festival

Today the surasamhara festival is being celebrated at Tiruchendur. Thought of sharing the details about the Skanda Sashti Festival. Please read on to know more…

The Tiruchendur Temple is the celebrated seashore temple of Lord Subrahmanya. It is situated in the Tiruchendur taluk of the TiruneIveli District. The distance from Madras is about 443 miles. The temple is on the shore of the Gulf of Mannar. The surging cool tides of the sea wash the foot of the temple. There is no other shrine in Tamil Nadu with such a beautiful natural setting. The Gulf of Mannar is shallow and is safe for sea bath.

Before entering the temple pilgrims either wash their feet or take a bath in the sea. The bathing that contains nine teerthams according to the sthalapuranam. A bath in any of these teerthams is believed to confer miraculous benefits on a devotee. It is said that once, when Brahma lost one of his five heads due to the anger of Siva, he came to this teertha, took a holy dip in it and had his head restored. Similarly one Angasundari, a Pandyan princess born with the face of a horse, was blessed with a beautiful face after a bath at Vathararamba Teertham.

Nazhi Kinaru

About 200 yards south of this temple, at the seashore, there is a rare natural phenomenon inside a square. It is a well 14 sq. feet in area and with a flight of 34 steps. Inside this well, there is another small well, one square foot in extent and seven feet deep. The water in the smaller well is crystal clear and sweet to taste whereas that in the bigger well is highly sulphurous in smell and brackish. It is said that when Shanmukha’s troops returned to the shore after vanquishing Surapadman at Mahendragiri, they felt thirsty and wanted fresh water. To quench their thirst, Shanmukha planted his Vel on this spot and caused fresh water to gush out.

Skanda Sashti Festival

The advent of Shanmukha and the chastisement of the asura in his three manifestations of Surapatuman, Singha-mukhan and Târakan, which are but the three evils in man Anava, Mâyâ, and Kanma and the extermination of these evil forces is yearly celebrated by the Skanda Shasti festival in the month of Aippasi in October-November. The festival at Tiruchendur is of six days, commencing on the sixth day of the waning moon of the month, as in every celebration of it in the Tamil land.

The events leading to the vanquishment of Surapatuma are demonstrated on the seashore on the evening of the Sashti-day by actual representations of the several transformations of the asura and of his defeat every time. Senthil Nâyakar the processional deity officiates for Arumukha-Nainar in this festival, and receives worship at the Tiruvâvaduthurai Skanda Sashti Mantapa.

The annual Tirukkalyâna festival to Teyvayânai is celebrated the next day after the Soora Samhara in the Tirukkalyapa Mantapa of the Melagopuram. On such occasions, the people fast for all the six days and the Skanda Puranam is read and explained with solemnity, in temples and also at times in private houses. Such reading is deemed efficacious, apart from spiritual benefits, in warding off or alleviating disease and danger and bringing good fortune to the bhaktas of Muruga is general.

The Puranic Account

Muruga, the earliest and sublimest Tamilian concept of Godhead has been as long cherished and venerated in the Tamil land as its Sanskritised concept Subrahmanyam, which means “the all pervading spirit of the Universe, the essence from which all things are evolved, by which they are sustained and into which they are involved.” He, in gracious pity for humanity takes form sometimes as the youthful God of Wisdom—Swâminâtha; God also of war when wicked Asuras have to be destroyed: Kârttikeya; sometimes as the holy child Muruga, the type of perennial tender beauty, always and everywhere at the service of his devotees.

The puranic account runs thus: The Devas were hard pressed by the asuras Surapatuma and his brothers. Siva in Mount Kailâsa was appealed to by the Devas for deliverance. Six sparks of fire issued from the frontal eye of Siva and answered their prayers. These divine sparks of grace were received by Agni, the God of fire, and cast into Ganges from which they passed into the Himalayan lake Saravana. Here they were transformed into six babes. These were suckled by the six Krittikâ nymphs of the constellation Pleiades, and, became one by name Skanda; on being fondly clasped into one by Pârvati, the divine inseparable sakti of Siva. He came to be called Shadânana, Shanmukha, and Arumukha as being six faced, and on account of his youthfulness, beauty and godliness.

As the Warlord of the Gods, as became his divine commission, he was known as Kârttikeya. He then proceeded from Kailâsa to the South on his mission of subduing the Asuras, and freeing the Devas from their cruel bondage. At Tiruchendur, He and his hosts encamped. Kârttikeya desired a shrine of Siva for his worship. Mayan the celestial architect constructed the shrine for Siva at this sea-front.

Kârttikeya, as the son of the supreme Siva Mahadeva, then led his hosts and proceeded with the war against the asuras. For five days Surapatuma's sons, brothers, and their mighty hosts gave battle on land, under the sea, and in the air and most of them perished. On the sixth day, Surapatuma alone survived. The Lord's last bid to show the asura His grace was His Visvarûpa darshan. The asura realised Whom he was fighting but his pride prevailed. He would not give in and be subdued. He still gave battle from region to region.

Kârttikeya now took Indra as his charger in the form of a peacock; and his lance, the Vel sought the foe out in his hiding in the ocean. Surapatuma rose at last out of his island fortress 'Vîra-mahendram,' as a frightful and enchanted mango tree and attacked him. The lance pierced the tree and broke it in twain. The broken pieces instantly transformed themselves into a mighty peacock and a chanticleer (rooster). The former attacked Indra who was serving as the Lord's bearer. The asura had spurned his last chance for submission!

Shanmukha's grace however prevailed. As an act of forgiveness, he took the peacock as his permanent charger (relieving Indra) and the chanticleer on his banner. The story goes that the two (cêvalum mayilum) live in His presence ever after. Shanmukha's mission was now fulfilled, and the Devas were freed. He turned again to Tiruchendur, halted and worshipped Siva at the shrine Mayan had built for Him.

“The events leading to the vanquishment of Surapatuma, with the moral significance of the expiation of sin are yearly celebrated by festivals and feasts in Tamil land in the month of Aippasi (October-November) ending on Skanda Shashti the sixth day of the waxing moon. On such occasions, the Kanda Purânam is read and expounded with solemnity; also at times in private houses such readings are deemed efficacious, apart from spiritual benefits, in warding off or alleviating disease and danger and bringing good fortune.”

Reference

http://www.tiruchendur.org/

Radha Ashtami

Radha Ashtami is being celebrated tomorrow (27th August 2009). Radhashtami is a Hindu festival celebrated as the birthday of Srimati Radha, the principal devotee and divine consort of Lord Krishna. Radha Astami is celebrated on Ashtami thithi (eighth day) in Shukla Paksh during the month of Bhadrapad (August – September). Radha Ashtami falls 15 days after Sri Krishna Jayanati.

History of Radha Ashtami Festival

According to Vaishnava tradition, Radha Rani was born in village Barsana (or Rawal) situated 8 km from Vrindavan. Raja Vrishabhano, the king of cowherds, and Rani Kirati (or Kalavati) are the parents of Radha. Legend has it that Raja Vrsabhanu and Kalavati were the partial incarnations of Lord Narayana and Goddess Lakshmi. Radha Rani’s worship is of much importance in Vrindavan (or Brindavan) situated about 15 km from Mathura where Lord Krishna took birth and lived for over 5000 years ago. Vrindavan houses hundreds of temples dedicated to Radha and Krishna. Radha devi is also known by other names as Radharani (Radha Rani), Radhika, Srimati, Gandharvi, Krishnamayi, Vrndavaneshvari, Vrajrani, and Gokula Taruni. Radha Rani is one of the main incarnations of Goddess Lakshmi.

Radha Ashtami Rituals & Celebrations

On Radhastami day, Sri Radha Krishna deities are beautifully decorated with flowers and devotees worship Radha along with Lord Krishna. It must be noted that this is the only day devotees may receive the auspicious darshan of Radha’s lotus feet. All other days Radha Rani’s feet remain covered.Radha Ashtami festival is popular in North Indian states and is celebrated mainly by Vaishnava sect. Devotees fast on this day, recite Radha Stuthi, and sing Hindu devotional songs of Lord Krishna and Radha. In some places, a feast is also severed which includes the famous Radha Red Plum Chutney (a spicy and delicious chutney).

More about Sri Radha…

The divine counterpart of Sri Krishna is known as Sri Radha. Together, according to the ancient Vaishnava tradition, this dual-gendered divinity is God-male and female dimensions of the Absolute Truth. Sri Radha is the complete energy, and Sri Krishna is the complete energetic source. They are non-different from each other, just as musk and its scent are forever merged, or as fire and heat are inseparable.

Radha and Krishna are one, yet They have assumed two separate forms to enjoy loving pastimes. Numerous theological texts explain how this is so, but most thorough are the writings of Krishnadasa Kaviraja Gosvami and Rupa Gosvami, great masters in the Vaishnava tradition whose books have been translated and commented upon by His Divine Grace A. C. Bhaktivedanta Swami Prabhupada. To understand Sri Radha, then, English readers would do well to turn to Srila Prabhupada’s books.

Sri Radha in Literature

Historically, the ancient Puranas reveal much about Sri Radha’s manifest pastimes, even if the Srimad-Bhagavatam (10.30.28), the cream of all such Puranic literature, mentions Her name only once-with the indirect anayaradhitah, indicating that She is “the one who worships Krishna best.” Both the Padma Purana and the Brahma-vaivarta Purana, on the other hand, elaborate on Her pastimes of love with Krishna and reveal how the divine couple is the source of all that is. The Brahma-vaivarta Purana, in fact, reveals an esoteric creation story in which Radha co-creates the material world with Krishna.

Sri Radha’s dominance in Vaishnava theology did not come to light until the twelfth century, when the saintly poet Jayadeva Gosvami wrote his famous Sanskrit work Gita Govinda. Krishna’s spiritual love then became a celebrated theme throughout India, colorfully conveyed in festivals and the arts, with the personality of Radha sometimes eclipsing even Krishna.

It is important to point out that Jayadeva understood the spiritual nature of Radha and Krishna’s love. He knew that people could easily misconstrue it as mundane, comparing his work to erotic love poetry (as many still do). Anticipating this misconception, he commenced his Gita Govinda with a section called Dasha-avatara, in which he clearly outlines Krishna’s divine nature, listing and glorifying His transcendental descents as incarnations (avatara). With this as a preface, it becomes obvious that the loving affairs to follow-the affairs of this same divine Krishna, who incarnates as so many avataras-are not ordinary. Indeed, they represent the zenith of spiritual love.

This love was expressed more fully after Jayadeva’s time. In the fifteenth century, two Bengali poets, Chandidasa and Vidyapati, wrote beautiful Bengali verse about the divine couple. In the sixteenth century, Sri Chaitanya Mahaprabhu-the combined form of Radha and Krishna, in the guise of Their devotee-relished this poetry, along with Jayadeva’s breakthrough Sanskrit work. He also enjoyed hearing the story of Radha and Krishna as expressed in the ancient work of Bilvamangala Thakura, Sri Krishna-karnamrita, and in a contemporary poem, Ramananda Raya’s Jagannatha-vallabha-natakam.

Sri Chaitanya’s followers were quick to add their own realizations and insights based squarely on the earlier literature. Two outstanding examples are the Radha-rasa-sudha-nidhi-stotram, composed by Prabhodananda Sarasvati, and Radha-Krishna-ganoddesha-dipika, by Rupa Gosvami, the latter of which is easily the most detailed exposition of Sri Radha’s divine personality ever published.

Her Divine Pastimes

How does Radha’s story unfold in the world of three dimensions? Though there are many versions of this story, the most gripping is found in the Padma Purana (Patala-khanda, Chapter 71): Early one morning, in the country atmosphere of Vraja (ninety miles south of present-day Delhi) some fifty centuries ago, Vrishabhanu Maharaja was taking his morning bath in the holy Yamuna River. Just then, a beautiful baby girl floated by, lying on a radiant and fully blossomed lotus. With intense glee, he embraced the divine infant and carried Her off to his queen, Kirtida Devi.

When Kirtida saw her husband with this magnificent child, she ran over and showered little Radha with unrelenting affection. But the king and queen quickly noticed that the baby’s eyes did not open. This naturally broke their hearts, and they prayed that God might bless Her with the power of sight.

Soon, Nanda Maharaja’s wife, Yashoda Devi, arrived from Gokula, holding young Sri Krishna in her arms. Vrishabhanu and Kirtida, now the parents of Sri Radha, greeted her with due honor, but Yashoda could not take her eyes off the newborn baby girl resting in Kirtida Devi’s arms.
Yashoda drew closer with baby Krishna, and as soon as Krishna came face to face with the baby girl, She opened Her eyes for the first time. Appropriately, Her first sight was the moonlike face of Her beloved Sri Krishna, and She paused as She gazed upon His lovely form. Krishna too was overwhelmed with love as He saw before Him His eternal consort, in the guise of a baby.

In this way, the scriptures relate how the eternal divine couple go about “meeting” each other as They appear, time and again, in the material world. As They “grow in years,” They play with loving friends, swim in the Yamuna, graze their cows, and relish each other’s loving embrace. Sacred texts and the realizations of the sages elaborate on the details, establishing narratives that serve as virtual magnets, attracting all who hear them back to the spiritual realm.

The Circle Dance of Love

Of all such narratives, the rasa-lila, the circular dance of love described in the Srimad-Bhagavatam, is in many ways the most important. The divine dance takes place one moonlit autumn night when the cowherd maidens (gopis) of Vrindavana, upon hearing the sound of Krishna’s flute, sneak away from their families to be with Him. The rasa-lila is considered one of the highest and most esoteric of Krishna’s revealed pastimes, and it should never be confused with mundane pastimes of prurient interest. Accordingly, Vaishnava commentators make one thing perfectly clear: romantic love between human beings is a diminished, compromised reflection of the soul’s original, ecstatic love for Krishna, God, in the spiritual world. Studying the rasa-lila under a bona fide spiritual master allows one to realize this as a tangible truth. It also allows one to develop love for God, just as the gopis do in their dance of love.

Radha’s Mercy

In short, the theology of Sri Radha is deep. The scriptures describe that one must go through many lives of pious acts, religious rituals, and yogic perfection before attaining the mercy of Sri Radha. And when one does, Krishna is not far off. In fact, it is through Sri Radha’s mercy that Krishna becomes attainable.

Radha is Krishna’s mercy incarnation, and through Her one can attain the culmination of the spiritual pursuit. Srila Prabhupada sums this up as follows: “Radharani, You are so dear to Krishna. So we offer our respectful obeisances unto You.” Radharani is hari-priya: “very dear to Krishna.” Through the mercy of Radharani we can easily approach Krishna. If Radharani recommends, “This devotee is very nice,” then Krishna immediately accepts me, however great a fool I may be. Because I am recommended by Radharani, Krishna accepts me. Therefore in Vrindavana you’ll find all the devotees chanting Radharani’s name more than Krishna’s. Wherever you’ll go, you’ll find the devotees greeting one another, “Jaya Radhe!” You’ll find this still in Vrindavana. The devotees are glorifying Radharani.

If you go by the speculative process to understand Krishna, it will take many, many lives. But if you take to devotional service and just try to please Radharani, Krishna will be gotten very easily. Radharani can deliver Krishna. She is so great a devotee, the emblem of maha-bhagavata. Even Krishna cannot understand the quality of Radharani’s devotion. Although Krishna says vedaham samatitani-“I know everything”-He fails to understand Radharani. She is so great.
It is in pursuit of these truths that Radha and Krishna descend as Sri Chaitanya Mahaprabhu, for in that form They taste the highest mercy and bestow it on others. The chief manifestation of that mercy is the holy name in the form of the maha-mantra: Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare/ Hare Rama, Hare Rama, Rama Rama, Hare Hare.

In this mantra both Radha and Krishna are fully manifest. A prayer to Sri Radha (Hare is the vocative form of Hara, another name for Radharani), it beseeches Krishna to be engaged in devotional service, the highest form of yoga. Radha is the medium through which such service is enacted, for She is the embodiment of devotion, the essence of love for Krishna.

Varalakshmi Pooja/Vratam

Varalakshmi Vratam is an important pooja performed by many women in the states of Andhra Pradesh and Karnataka and some parts of Tamil Nadu. The glory of performing the Varalakshmi Vratam narrated directly by Lord Shiva Himself, is elaborately discussed in the Skanda Puranam. This is a festival to propitiate Shri Varalakshmi (Mahalakshmi ) - the consort of Lord Vishnu, who is the abode of all mangalam (auspiciousness) , prosperity and wealth. The Varalakshmi Vratam is to be performed on the shraavana shukla shukra vaaram , that is, the Friday immediately following the full moon day (Purnima) in the auspicious month of Shravanam (corresponding to August - September). This Vratam is undertaken by the women for good progeny, good health, and wishing long life for their husbands.

Lakshmi is symbolic of eight forces - wealth (shree), earth (bhu), learning (sarasvati), love (preeti), fame (keerti), peace (shaanti), pleasure (tushti), and strength (pushti). Each of these forces is called a Lakshmi, and collectively they are known as "Ashta lakshmi". Worship of Varalakshmi is rendered equivalent to the pooja for ashtalakshmi. Since She is ever ready to grant boons to her true devotees, she is usually referred to as "Vara Lakshmi".

Legends

There are several varied legends associated with this festival. Goddess Parvathi once asked Lord Shiva to recommend her a vratam, which would be beneficial for the womenfolk on earth who seek prosperity. Then, Lord Shiva preached her about Varalakshmi Vratam (as mentioned in Skanda Puranam). To illustrate the sanctity of this vratam, Lord Shiva then narrated the story of one Charumati (of Kuntinapura in the Maratha desham). Charumati was a true pativrata (devoted to husband in all sincerity). Pleased with her true and undivided devotion to her husband, Goddess Lakshmi appeared in her dream and advised her to undertake the Varalakshmi Vratam on the auspicious day of shraavana shukla shukra vaaram. Charumati performed this pooja with utmost devotion, the same day, in the dream itself. The next day she narrated this dream to her husband, and with his full consent, to all other women folk in town. On the auspicious day, she did not fail to perform Varalakshmi vratam as prescribed to her by Goddess Parvathi. Then some miracles took place. As the womenfolk stepped out of the house, they saw all houses decked with riches and gold, and a golden chariot awaiting them outside Charumati's house. Everything seemed bountiful! Ever since, this Vratam has been regularly performed in households.

Another legend is that a person by name Chitranemi was once cursed (to become a leper) by Parvati for showing partiality toward Lord Shiva in a game, in which he was the judge. Chitranemi got shaapa vimochanam (relief from this curse) when he watched with great attention, the Varalakshmi Vratam performed by some pious ladies. Legend also says that this Vratam was later conveyed by sage Suka to Shaunaka and other sages.


The Worship

The rituals of worship during the Varalakshmi Vratam differ from region to region in south India, but they all have the same basic format. The performer begins the day with a holy purification bath, and wears clean clothes. The arena is decorated with kolam (rangoli). A geometrical design known as mandalam is then drawn on the clean surface of the floor (with the picture of a lotus upon it). A sacred pot (kalasham) is filled with pure water and rice (akshata), topped with a bunch fresh mango leaves, and a coconut (unbroken, with its kudimi on) smeared with turmeric powder is placed atop. Also, sandal paste and kumkumam are applied to the kalasham, and a cloth is tied around it before placing it on the mandalam. Some people further beautify the kalasham with a picture of Varalakshmi drawn on it and decorated with jewels. Then, Goddess Lakshmi is invoked. Fresh flowers and grains are used in the worship, indicating growth and prosperity.

After performing the initial worship of Lord Ganesha (seeking removal all obstacles), prayers are offered to the kalasham. A "toram" (which consists of nine threads and nine knots) is tied to the Goddess. Then they worship the thread (raksha). Now the main worship of Lakshmi begins, with a second worship of the sacred Thread. Finally, it is tied around the right hand of the performer. Prayers in the form of Lakshmi Ashtottara shatanaama and sahasranaama are then chanted. Another sumangali is then chosen, and she is offered auspicious articles as gifts and food. The function concludes with the singing of several hymns and songs in praise of Varalakshmi.

Songs on Varalakshmi

The following songs are in praise of Goddess Lakshmi which are rendered during this auspicious occasion. These songs are chosen from a variety of composers. Some of the songs (Pallavi, Ragam and Composer) are given below.

1. Varalakshmim Bhajare – Sauraastram – Muthuswami Dikshitar
2. Shri Varalakshmi Namastubhyam – Shree – Muthuswami Dikshitar
3. Mahalakshmi Karunaarasalahari - Madhavamanohari – Muthuswami Dikshitar
4. Varalakshmi Namostute – Gowri Manohari – Mysore Vasudevachariyar
5. Shri Mahalakshmim Bhajeham – Paraju – Mysore Vasudevachariyar
6. Varalakshmi neeye vantharulvaye – Salaga Bhairavi – Papanasam Sivan
7. Mahalakshmi Jagan Mata – Shankarabharanam – Papanasam Sivan
8. Bhagyada Lakshmi Baramma – Madhyamaavati/Shree – Purandaradasar
9. Paalise enna shri mahalakshmi – Shri - Purandaradasar