Kṛṣṇa SadhanaThere is an important text in Sanskrit called “Yamala Tantra”. It seems to have been popular in Bengal early. The Yāmala Tantra is oriented towards worship of Bhairava and Bhairavi cult, but it seems to answer some very intricate points about Hindu culture.
There are number of chapters in it as “Kṛṣṇa Sādhana”. Worship of Kṛṣṇa. This is a bit difficult text as it gives Yantras, seed chants, Mantras Yogas etc in mystic language. but the meaning is clear.
This seems to give me a clue to Kṛṣṇāism. First of all it speaks of Kṛṣṇa and his worship form a different angle, namely purely Yoga. So it is Kṛṣṇa Sādhana. Kṛṣṇa is considered the primordial Sakti and with this Sakti are two allied Saktis Rākini and Rādha. Rādha and Rākini are sometimes spoken of as one. Kṛṣṇa worship is personal and not external. The Power of Kṛṣṇa is in every human being in the form of Kuṇdalini yoga. The svādhiṣṭāna cakra is his abode where he should be invoked. There are elaborate process of this invocation which is akin to external pratimā āvāhāna etc.,
The text says once Kṛṣṇa sādhana is undertaken, the man should not do external worship and everything is only mantra. That means Kṛṣṇa worship is metaphysical pure and simple. The mantra is “om kṛṣṇāya paramātmane namaḥ”. Here the concept is Kṛṣṇa is Paramātmā. this is the essential appraoch. Rādha and Rākini are his accomplices, again it metaphysical. There is Rākini sahasranāma also that is the Power of Kṛṣṇa. Those who follow this Yoga reach Daiva bhāva. He becomes Kṛṣṇa conscious. and it is that level all metaphysical sports are visualized. among the many bhavas of Kṛṣṇa is also “Balarāma bhāva” that is Kṛṣṇa and Balrāma are one. There is no question of discarding Balarāma but integrating Balarāma with Kṛṣṇa. It is the case with all Avatars. So one reaches Jñāna.
One who is immersed in Kṛṣṇa conscious becomes Kṛṣṇa Caitanya. So the Bengali Krsishna Caitanya movement, by Jayadeva movement etc., are all rooted in this early tradition. The term Kṛṣṇa Caitanya occurs in this text that has been adopted later by historic Kṛṣṇa Caitanya 16th cent. So that Kṛṣṇa is Paramātamā is seen in this work clearly. If one does not understand this yogic nature of Kṛṣṇa worship he will misunderstand all about Kṛṣṇa. I think in this level of visualization Brahma, Viṣṇu, and Śiva etc., all merge. So Bhairava worship is considered Kṛṣṇa worship and It is known that Bhairava means “supreme Knowledge”. There is no need to be apologetic about anything in Hinduism.
There is one interesting thing that this book says. It says it is your own vital breadth (prāṇa) that creates articulating voice from your mūlādhāra. The voice is articulated from subtle to gross form, in stges in your body. The voice becomes words and meanings through which you understand and live in this world. The same words in another place or linquistic zone gives a different meaning. So the names you give is only your environent and your own. All gods and the material you identify remain so long as your prāna is active; when it departs or let us say dies all these gods and other things you know disappear, so far as you are concerned. They are alive so long as you are alive and not beyond. So the bliss thou are seeking must be directed towards experiencing when you are alive. It may be a fleeting bliss still it is worth while when we are alive. One need not be dreaming of what will hapen after sahasrara bhedana etc., that will lead to sluggishness and postponement. But even little effort to realize that bliss by realizing that “my Prāṇa” Vital breadth is Kṛṣṇa and everything is Kṛṣṇa. That approach seams to me the yogic approach, mentioned in this book. This seems to be a convincing book not talking rubbish about miraculous powers etc. Let me follow the book more. Seems to give in simple words what is Yoga and also what do they mean by union etc., It does not deal with sexual or physical pleasures but a pleasure passes through your nerves in an exalted thinking.
Prāṇa is KṛṣṇaThe one interesting point that the book “Rudra Yāmala Tantra”, says is ones own “vital breadth” called “prāṇa” creates articulating voice from ones “mulādhāra”, the power generating bodily seat of all human beings . The human voice arises in stages from power that is articulated from subtle to gross form in ones body. When the voice manifests outwardly it becomes words to which meanings are attached through convention which we understand and live through them in this world. The same words in another place or linquistic zone would give different meanings. So the name or meaning one gives to a word is only man’s own creation and his environment. All gods and the material we identify remain so long as ones “prāṇa” vital breadth is active; when it departs or let us say dies all these gods and other things we know, disappear so far as that individual is concerned. They are alive so long as one is alive and not beyond. It is also known that when one passes away all his knowledge, experience, relationships etc ceases and are not operative any more. According to Hindu thought it is the samskāras, subtle spiritual merits and the demerits that contribute to his future birth.
So the bliss that one is seeking must be directed towards experiencing it when he is alive and not an imaginary other worldly bliss. The bliss one experience while alive may be a fleeting bliss, but it is still worth while when one is alive. One should not be dreaming of what will happen after the so called “sahasrāra bhedanā” i.e., penetrating beyond the thousand fold petals in the body to reach what is called universal consciousness, that will lead to sluggishness and postponement. (It is believed that when one passes away, his vital breadth escapes through the sahasrāra centre of the head - that is all knowledge disappears). But even a little effort to experience that bliss is obtained by realizing that my “prāṇa” vital breadth is Kṛṣṇa and everything is Kṛṣṇa. That approach seams to be the yogic approach, mentioned in this book. Kṛṣṇa can be called by any name.
The yogic Power Kṛṣṇa is in every human being in the form of “Kuṇḍalinī Śakti”. The “svā dhiṣṭhāana cakra” in man, mentioned in yogic texts is Kṛṣṇa’s abode where he should be invoked. There are eleaborate process prescribed for this invocation which is akin to external “pratimā āvāhana” i.e., invoking god in external idol. The text says once “Kṛṣṇa sādhana” is undertaken, the adherent should not perform external image worship and everything is only through mantra that is mental creation. That means Kṛṣṇa worship is metaphysical pure and simple. The basic mantra is “om kṛṣṇāya paramātmane namaḥ”. The concept here is “Kṛṣṇa is Paramātmā” the supreme soul. Rādhā and Rākinī are the names given to two auxilary powers of this vital power that activate ones life and are poetically called beautiful women, Kṛṣṇa’s accomplices. Again it is metaphysical and not actual.
There is “Rākini sahasranāma” thousand names of Rākini (the power) as stotra detailed in this text. Also these are the multiple forms of power (of Kṛṣṇa.) that manifest in worldly transactions and those who follow this Yoga reach “Divine consciousness” called “Daiva bhāva” out of three bhāvas mentioned in Tantra Śāstras as “Vīra-bhāva, Yoga-bhāva and Daiva bhāvas”. The adherent becomes Kṛṣṇa conscious in all his works. and it is at that level all sports of Kṛṣṇa are metaphysically visualized.
Among many bhāvas of mental identities about Kṛṣṇa one is called “Balarāma bhāva”, that is Kṛṣṇa and Balrāma are considered one. There is no discarding Balarāma worship in this process but integrating Balarāma with Kṛṣṇa. So one reaches knowledge jñāna. One who is immersed in Kṛṣṇa conciousness becomes “Kṛṣṇa Caitanya”. This is the essence of Kṛṣṇa yoga mentioned in this Tantric book of “Rudra Yāmala tantra”. So the Bengali “Jayadeva movement” and the “Kṛṣṇa Caitanya movement” are all rooted in this early tradition. The term “Kṛṣṇa chaitanya” occuring in this text has been adopted later by historic Kṛṣṇa Caitanya of 16th cent. So Kṛṣṇa is held Paramātmā in this work clearly. If one does not understand this yogic nature of Kṛṣṇa worship, he will misunderstand all about Kṛṣṇa. So the text says that in this level of visualization the Trinity, Brahmā, Viṣhṇu, and Śiva merge into one. So Bhairava worship is considered Kṛṣṇa worship and it is known that Bhairava means “Supreme Knowledge”. So the text calls Kṛṣṇa as “Kṛṣṇa- Śambhu”.
There are thousands of thoughts and actions arising from them in human beings. When the thinking power is clean pure and enthusiastic it gives rise to good thoughts and actions which are likened to beautiful young girls – gopis. They are part of the thinking power and spoken of as in union with the main Thinking power “Kṛṣṇa”. So Kṛṣṇa is said to sport with thousands of young girls. It is “Kṛṣṇa līlā” or “Rāsa līlā” i.e., sport of essence.
There are many more ideas that are found in this text. The question whether these ideas travelled to South and are reflected anywhere in the works of Āḻvārs?. It is known saint Nammālvār is considered a Yogi, “Kṛṣṇa yogi”? . A close study of this book will convince one that the poems of Saint Nammālvār reflect identical views.
CHAPTER-32Worship of Indra in Ancient Tamilnadu
Indra was one of the most popular deities worshipped by the Ancient Tamil people, as God of Cultivated lands including cities and agricultural villages. A great Tamil grammatical work of the Ancient Tamils is Tolkāppiyam written by Tolkāppiyar assignable probably to the beginning of the current era. In addition to it there is a remarkable dramatic poem, Nāṭaka kāppiyam, named Cilappatikāram that gives a detailed description of the worship of Indra and a great festival held in his honour by the citizens of Pumpuhar, the capital of the Chola country. Another companion work, Maṇimēkalai poem also gives the festival of Indra but this is almost a repetition of what is given in Cilappatikāram. The date of these two texts is not precisely known but they seem to be following closely the Saṅgam works and may belong to the 3rd cent.
The city of Pumpuhar was situated on the banks of the perennial river Kaveri, at the confluence of the river with the Bay of Bengal. The city was well known to ancient Geographers as the “Kaberis Emporium” in the beginning of the current era and therefore was of considerable interest to people of Tamilnad. We have seen that the Ancient Tamil grammar holds Indra as the presiding deity of agricultural land. The region around enriched by Kaveri is called the virtual golden bowl of paddy fields and is the land per excellence of the agriculturist. Such lands were called Marutam technically in poetic parlance.
The Cilappatikaram tells us that it was customary to propitiate Indra in a festival in the month of Chittirai when the star Chittira was in conjunction with the full moon. This festival called Indra viḻā was held with great pomp and show with the prayer that the ruling king should prosper and the people of the country should reap plenty of grains and comforts. One whole chapter of the text is devoted to this festival. The then ruler was named Karikāla a well known Chola king of the Saṅgam age. It was organized when the king was returning after leading a victorious expedition to the north.
The city was in two parts, one on the coast called Maruvūr-pākkam and the other in the midst of the fields called Paṭṭinap-pākkam where the Royal palace was located. In the Paṭṭina-pākkam resided ministers, soldiers, Brahmins and high cultivators while in the Maruvūr-pākkam lived artisans, dancers, servant class, foreigners and fishermen and others. In between Paṭṭinap-pākkam and Maruvūr-pākkam was a daily market where all commodities were sold. In the market street was an altar piṭitkai? dedicated to a Bhūta a monstrous spirit, which is said to have been sent by Indra to protect the king and the people. Indra sent this Bhūta when a mythical Chola king, Mucukunda helped Indra in his war against the Aśuras and in return when the Chola was in need of help, the Bhūta used to remove all impediments to the ruling king. It was a bali piṭikai?, sacrificial altar to the Bhūta. People used to offer worship and bali sacrifice on this altar.
On the beginning day of the festival the servant women of the royal palace, went in large numbers and offered cooked grains like Avarai, Tuvarai and other grains as pongal and also meat mixed with blood beside liquor. They sprinkled flowers, showed incense and danced with a howling noise tuṇaṅkai kūttu, (a form of dance in which the women with bent hands beat their sides with the elbows rhythmically, the kuravai dance in which a number of women joined their hands and with rhythmic steps danced around singing, and finally they danced the aṇaṅgu dance in which they got possessed by gods and danced. When they departed came ferocious looking soldiers and men from Maruvur-pākkam with deafening noise and beat of roaring drums, wielding swords, spears, shields made of leather with untrimmed hairs. They wore frightening look with reddened eyes and jerking their bodies violently. They performed a cruel sacrifice shouting “Ye Bhūta! here we are sacrificing our heads and lives. Let our king be victorious and prosperous” and so shouting severed their own heads with swords and placed them on the altars. It is called the head offering. This used to be an awesome sacrifice and scene which they considered as heroic offering of self sacrifice for the sake of the king and country.
Besides the Bhūta's altar there were five common religious yards in the city which were inhabited by spirits that protected the people from evils deeds. One was a merchants' quarters where they stored their commodities marking each bundle with the name, number and the quantity of goods contained in the bundle. They remained well protected. Any theft or robbery was severely punished and publicly disgraced. The second was a sacred pond in which the people affected with leprosy, and other incurable diseases, deformities like hunch backs, took bath and were cured immediately. Those who anticipated imminent death by poisonous snake bites, possessed by evil spirits, consumed poison inadvertently were cured in the third maṉṟam. The fourth one had a high stone post representing a Bhūta (probably Kṣetrapāla) which caught any wrong doer like pseudo monks, or a debauch, or a women who had a shady and stealthy behaviour from her husband, any who went after another man's wife, rendered false evidence in courts and the like used to be caught with a noose, dragged and thrashed on the ground and ate him. There was the fifth one with and sculpted image who used to shed tears when the king committed any mistake, the ministers did wrong, the judges gave faulty verdicts and others. Special worship offered on the Indra festival to these five sacred squares in the city.
There were three temples in the city connected with Indra one was the Vajra the weapon of Indra, the second was the white elephant named Airavata, which was the mount of Indra and the third was a tree called Taruk-kōṭṭam in which Indra is said have stayed when he came to the City. Besides, there was another temple dedicated to Indra probably a carved image of him. The Festival drum which was to be sounded, was kept usually in the temple of Vajra. On the day of the festival it was placed on a decorated elephant and brought to the Temple of Airavata where the beginning of the Festival was announced declaring that from that day the festival had started and will last for so many days. The festival lasted for 28 days. This ritual is akin to modern temple festivals mentioned in āgamas practiced under the name bheri tāḍana. Then a flag drawn with a figure of Indra's elephant Airavata and other auspicious symbols called aṣṭa maṅgala like drum, Pūrṇa kalaśa, Pālika (sprouting vessel), a pair of fly whisks and lamps etc., and this flag was brought to the temple of Indra's tree (Taruk-kōṭṭam) was hoisted on a pole marking the start of the festival. This flag hoisting was marked by a great music and dance procession passing through the main Royal street, which was decorated with makara toraṇas, lamps, golden kalasas etc each house exhibiting such festive decorations. The royal princes, the merchants, the ministers, the representatives of the royal Assembly, soldiers, Brahmins, judges and higher cultivators and others on horses, elephants, and chariots accompanied by vocal musicians, Instrumental musicians, and dancers with drum beats.
Then fresh and fragrant waters were brought from the sacred Kaveri river that had witnessed 1008 such abhiṣekas performed on the heads of previous kings. This abhiṣeka was meant for the health and prosperity of the ruling king. This anointment is called the Indra viḻā.
Immediately following the flag hoisting and the abhiṣeka to Indra, special worships were conducted with homas accompanied by Vedic mantras expounded by Brahmins, in the temples of Mahadeva (Śiva), Ṣaṇmukha, Kṛṣṇa, Balarāma and also Indra. Besides these gods, there were offerings to Eight Vasus, Twelve Ādityas, Eleven Rudras, and the two Maruts who are called the Four classes of Gods (nal vahai dēvar) and other groups called Gandharvas, Siddhas, Cāranās, Nāgās, which are grouped as four class of devas and known as Eighteen groups Gaṇas. These eighteen groups were Vedic gods frequently mentioned in the Vedas. There were also in the city, Jain paḷḷis, Baudha paḷḷis and other sacred centres where the respective dharmas were expounded and Purāṇas studied. It clearly suggests the temples of Śiva and other deities mentioned followed Vedic mode of worship in the time of Cilappatikāram. Also please note the main gods so worshipped were all Vedic gods. Even to this day Vedic homas are performed in all the classical temples daily and on festival days. The flag hoisting is also done in exactly the same manner, these days which goes by the name dvajārohanam on the day of the start, though āgamas are cited as the authority now. The city witnessed great music and dance filling all the streets. The day of lowering the flag people thronged to the Sea coast and after a special worship to the God of the Sea, Varuṇa, bathed in the sea and had a day long celebration. This resembles what is now called Tīrthavāri in temple festivals.
We have seen that another but companion text, Maṇimēkalai also describes in detail the Indra viḻā almost verbatim as Cilappatikāram and shows the role of Vedic worship, in Ancient Tamil land.
