My musings

Vara Mahalakshmi puja vidhi

Posted on July 19, 2011. Filed under: My musings |

VARA MAHÁLAKSHMI PŪJA

Īśhvara samvat shraavaNa shuddha shukravaar

(this pūja falls on the Friday earlier and nearest to fullmoon in the month of shraavan.)

1. AT THE REGULAR ALTAR

Óm sarvebhyo gurubhyo namah::

Óm sarvebhyo devebhyo namah::

Óm sarvebhyo bráhmanebhyo namah:

prárambha káryam nirvigna-mastu, shubham shobhanamastu, ishTa devatá kuladevatá suprasanná varadá bhavatu.

AT THE VARA MAHALKSHMI ALTAR

2 ÁCHAMANA:

Óm Keshaváya sváhá, Óm Náráyánáya sváhá, Óm Mádhaváya sváhá, Óm govindáya namah:, vishnave namah:, madhusuudanáya namah:, tivikramáya namah:, vámanáya namah:, sridharáya namah:, hrishikesháya namah:, padmanábháya namah:, damodaráya namah:, sankarshanáya namah:, vasudeváya namah:, pradyumnáya namah:, aniruddháya namah:, purushottamáya namah:, adhokshajáya namah:, nárasimháya namah:, achyutáya namah:, janárdanáya namah:, upendráya namah:, haraye namah:, śrī krishnáya namah:

Óm pranavasya parabhrahma rishih paramátmá devatá daivi gáyatri chandah, pránáyáme viniyogah. Óm bhuh, Óm bhuvah, Óm svahah, Óm máhah, Óm janah, Óm tapah, Óm satyam, Óm tatsavitur-varenyam bhargo-devasya dhiimahi, dhiyo-yonah prachodayát

(Repeat áchamana )

Óm apojyoti rasomritam, brahma bhur- bhuva-svarom

3 SAMKALPAH

Óm Srimán Maha-Ganá-dhipataye namah:, śrī Gurubhyo namah:, śrī Sarasvatyey namah:, śrī Vedáya namah:, śrī Veda-purusháya namah:, Ishta devatá-bhyo namah:, kula-devatá-bhyo namah:, stana-devatá-bhyo namah:, grama-devatá-bhyo namah:, vástu-devatá-bhyo namah:, sachii purandará-bhyám namah:, umá maheshvará-bhyám namah:, mátá pitrubhyám namah:, lakshmi- nárayanábhyám namah:, sarvebhyo devebhyo namo namah:, sarvebhyo-bráhmanebhyo namo namah:, yetad-karma-pradhána-devatábhyo namah:

avignamastu, sumukhasch ekdantascha, kapilo gajakarnakah, lambodarascha, vikato, vigna násho ganádhipah dhumra-ketur-ganádhyaksho, bála-chandro gajánanah dvádash-aitáni námáni,, yah patet shrunu-yád-api vidyá-rambhe viváhe-cha, praveshe nirgame tatá sangráme sankate-schaiva, vignas tasya na jáyate

shukl-ámbara-dharam devam, shashi-varnam chatur-bhujam prasanna-vadanam dhyáyet, sarva vignopa-shántaye

sarva-mangala mángalye, shive sarvá-arta sádhike sharanye tryambake devi, náráyani namostute

sarvadá sarva káryeshu, násti teshám amangalam yesham hridisto bhagaván, mangaláyatano harih

tadeva lagnam sudinam tadeva, tára-balam chandra-balam tadeva vidyá balam daiva-balam tadeva, lakshmi-pateh tenghri yugam smarámi

labhas-tesham jayastesham kutastesham parájayah yesham indivara shyamo hridayasto janárdanah

vináyakam, gurum bhánum, brahma-vishnu-maheshvarán sarasvatim pranamy-ád

au sarva karyarta siddhaye

srimad bhagavato mahápurushasya vishnorájnaya pravartamánasya, adya brahmano-dvitiya parárdhe vishnupade, śrī svetavaráha kalpe, vaivasvata manvantare (bhárata varshe, bharata kande, jambhudvipe dandakáranya deshe, godávaryá dkshine tiire, krishnavenyo uttare tiire, parashuráma kshetre, or samyukta america deshe, St Levis grame, or australia deshe, victoria grame , bahriinu deshe etc) sháliváhana shake vartamáne vyaváharike dhátu náma samvatsare dakshiN-áyane varshaa ritua, shraavaNa máse, shukla pakshe, shukra vásare, sarva graheshu yatá rashi stána stiteshu satsu, yevam guna-visheshena vishishtáyám shubha punya titau mama átmana shruti-smriti-puránokta phala-prápyartam, mama sa-kuTumbhasya kshema stairya áyur-árogya, chaturvidha purushárta sidyartam, angikrita śrī ráma navami vratá-anga-tvena sampádita sámagryá, śrī varamahalaxmyey priityartam, yatá shaktyá, yatá milita upachára dravyeyi, śrī suukta, puranokta mantr-eischa dhyána áhváhana-ádhi, shodashopachare śrī varamahalaxmyey pūjanam karishye.

idam phalam mayá-devi stápitam purata-stava, tena me safalá-váptir-bhavet janmani-janmani. (kiip fruits in front of the Goddess)

4 SHADANGA NYASA (touching various parts of the body)

1 Óm hrám angushtá-bhyám namah: – hridayáya namah: 2 Óm hriim. tarjaniibhyám namah: – shirase sváhá 3 Óm hruum madhyamá-bhyám namah: – shikhayey vaushat 4 Óm hraim anámiká-bhyám namah: – kavacháya hum 5 Óm hraun. kanishtaká-bhyám namah: – netra-trayáya vaushat 6 Óm hraH. kara-tala kara-prashtábhyám namah:. astráya ff-t

5 DIGBADHANA-

Óm mahámá-yeti digbandhah – disho badnámi (show mudra)

6 GANAPATI PŪJA

ádau nirvignatá-siddyartam mahá ganapati pūjanam karishye. ganánám tvá shaunako gratsamado ganapatir-jagati, ganapatya-áváhane viniyogah.(pour water)

Óm ganánám tvá ganapatim ávámahe, kavim kavinám-upama shravas-tamam jyeshta-rájam brahmanám brahmana-spata ánah shranvan-noti-bhih siida-sádanam bhuh ganapatim áváhayámi, bhuvah ganapatim áváhayámi, svah ganapatim áváhayámi. Óm bhur-bhuva-sváhá mahá-ganapataye namah:, dhyáyámi dhyánam samarpayámi. mahá ganapataye namah: áváhanam samarpayámi (sam).

ásanam sam, pádyam sam, arghyam sam, áchamanam sam, snánam sam, vastram sam, yajnopaviitam sam, chandanam sam, parimala dravyam sam, pushpáNi sam, dhuupam sam, diipam sam, nevedyam sam, támbuulam sam, phalam sam, dakshinám sam, ártikyam sam, Óm bhur-bhuva-svah mahá ganapataye namah: mantra-pushpam sam,

Óm bhur-bhuva-svah Maha ganapataye namah: pradakshiná namaskárán sam, Óm bhur-bhuva-svah maha ganapataye namah: chatram sam, chámaram sam, giitam sam, nrityam sam, vádyam sam, sarva rájo-pachá-rán sam.

atah prártaná – Óm vakratunda mahákáya, koti surya samaprabha, nirvignam kurume deva sarva káryeshu sarvadá. Óm bhur-bhuva-svah maha ganapataye namah: prartanám sam. anayá pūjayá vignaharta maha ganapati priyatám.

7 DIIPA STAPANA

atah devyey váma bhághe, diipa stápanam karishye. agni-nágni samidhyte kavir-grahapatir-yuvá, havyavát juvásyah (light the lamps)

8 BHUUMI PRáRTANA

mahidyau pratviichana imam yajnam mimikshatám, pipratánno bhariimabhih

9 DHANYA RASHI

Óm aushadhaya samvadante somena saharájna, yasmai krineti bráhmanastam rájan párayámasi (Touch the grains/rice/whiit)

10 KALASHA STAPANA

Óm á kalasheshu dhávati pavitre parishichyate, uktair-yajneshu vardhate (keep kalasha on top of rice pile)

Óm imam me gange yamune sarasvati shutudri-stomam sachata parishnya, asiknya marud-vradhe, vitasta-yárjireye shrunuhyá sushomaya (fill kalasha with water)

Óm gandha-dvárám dhura-darshám nitya pushpam karishinim, iishvarim sarva bhutánám támi hopa-hvaye-shriyam (sprinkle in/apply gandha to, kalasha) Óm yá phaliniiryá aphalá apushpá-yáscha pushpáni, brahaspati prasotástáno manchatvam hasah (put biitle nut in kalasha) Óm sahiratnáni dáshushu-suváti savitá bhagah, tambhágam chitra mimahe(put jewels/washed coin in kalasha) Óm hiranya-rupah hiranya sandrig-pánna pátsyedu hiranya varuNa, hiranya-yátari-payoner-nishadyá hiranyadá-dadattyan-namasmaiy (put gold/dakshina in kalasha)

Óm kándát-kándát-parohanti parushah parushya pari eváno dhurve pratanu sahasrena shatena-cha (put dhurva/karika ) Óm ashvattevo nishadanam parnivo vasatishkrita, go-bhája itkila sad yatsa navadha puurusham (put five leaves in kalasha) Óm yuvásu vásah pariviit ágatsa ushreyán bhavati jáyamánah, tam dhi-rása kavaya unnayanti svaddhyo svaddhyo manasá devayantah.(tie cloth for kalasha)

Óm puurnadarvi parápata supuurná punarápata, vasneva vikriNáva hra-isha-muurjam shatakrito(copper plate and ashtadala with kumkum) iti kalasham pratishtapayami (sakala pūjarte akshatáan samarpayámi – SPáS)

11 VARUNA PRARTANA ( On the second kalasha)

tatváyámi shunah-shepoh varuNa trishtup kalashe varuNáváhane viniyogah Óm tatváyámi brahmaná vandamánastadá sháste yajamáno havirbhih.

áhelamáno VaruNa ha bodhurusham samána áyuh pramoshih Óm bhur-bhuva-svah varuNáya namah: – chandanam samarpayámi(add to kalasha)

Óm bhur-bhuva-svah varuNáya namah: – akshatán samarpayámi(add to kalasha) Óm bhur-bhuva-svah varuNáya namah: – haridra-kumkumam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – dhuupam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – diipam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – neivedyam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – sakala rajopachárárte akshatan sam avate helo varuNa namo bharava yajnebhirimahe havirbhih kshayam namasmabhyama suraprachetá rájanne-námsi-shi-shradah kritáni varuNáya namah: – mantra pushpam samarpayami – pradakshiná namaskarán sam anayá pūjayá bhagaván śrī maha varuNa priyatám – SPáS

12 KALASHA PŪJANA (continue with second kalasha )

kalashasya mukhe vishnuh, kanTe rudrah samásritah muule tatra stito brahma, madhye mátraganáh smratah kukshátu ságaráh sarve, sapta dviipá vasundhará rigvedato yajurvedah samavedo-hyatarvanah angeischa saLatáh sarve, kalashántu samáshritáh atra gáyatri, sávitri shánti pushtiikari tatá áyántu deva pūjartam-abhishekárta siddhaye Óm sitá-site sarite yatra samgadhe tatr-áplutáso divam-utpatanti ye vai-tanvam visrajanti dhiráste janáso amritatvam bhajante

Kalashah Prártaná:

kalashah kirtim-áyushyam prajnám, medhám, shriyam, balam yogyatám pápahánim cha, punyam vraddhim cha sádhayet sarva tirtamayo yasmát, sarva devamayo yatah atah haripriyosi tvam, puurna-kumbham namostute.

kalasha-devatábhyo namah: – SPáS

mudrá: (Show mudras as you chant )

nir-viishi-karanártam tárksha mudrá, amrati karanártam dhenu mudra pavatri-karanártam shankha mudra – samrakshnártam chakra mudra vipula-máya karanártam meru mudra

13 SHANKHA PŪJAN (pour water from kalasha to shankha, add gandha, flower)

shankham chandrárka daivatam, madhye varuNa devatám prashTe prajápatim Vindyád, agre Gangá sarasvatim tvam purá ságarotpanna, vishnuná vidhratah kare namitah sarva devai-scha, pánchajanyam namostu-the pánchajanyáya vidmahe, pávamánáya dhimahi, tanno shankhah prachodayát shankha devatábhyo namah: – SPáS

14 GANTARCHANA (á drop of water from shankha, apply gandha, flower)

ágamá-rtantu devánám, gamaná-rtántu rakshasám kuru gantáravam tatra, devatá-vváhana lánchanam jnánato-ajnánatovápi, kansya gantán navádayet rákshasánám pisáchanám, taddeshe vasatir bhavet tasmát sarva prayatnena gantánádam prakárayet ganta devatabhyo namah: – SPáS (Ring the Ganta)

15 ATMA-SHUDDHI (Sprinkle water from shankha on tings/on devotiis)

apavitro pavitro vá, sarva avastángatopi vá yah smaret varamahalaxmyey, sah bhahyám-bhyantarah suchih

17 SHAT-PATRA PŪJA ( put tulasi leaves or akshatás in empty vessels)

váyuvye arghyam, neirutye pádyam, ishánye áchamaniyam, ágneye madhuparkam

purve snaniyam, paschime punaráchamanam

18 PANCHAMRITA PŪJA ( put tulasi leaves or akshatás in vessels)

kshire laxmyey namah: – (keep milk in the centre) dadhini varamahalaxmyey namah: – (curd facing east ) grite rájiivamukhyey namah: – (Ghii to the south) madhuni ramáyey namah: ( Honey to west ) sharkaráyám vishNupatnyey namah: ( Sugar to north)

19 DWARA-PALAKA PŪJA

puurva-dváre dvárashriyey namah: dhátre namah:, vidhátre namah: dakshina-dváre dvárashriyey namah: chanDáya namah:, prachandáya namah: paschima-dváre dvárashriyey namah: jayáya namah:, vijayáya namah:, uttara-dváre dvárashriyey namah: Gangáyey namah:, yamunáyey namah:

Sri Varalaxmyey namah: . dvára-pálaka pūjam samarpayámi

20 PIITA PŪJA

piitasya adhobháge, ádhára shaktyey namah:, ádikuurmáya namah: anantáya namah:, varáháya namah:, svarNavedikáyey namah: ratnamantapáya namah:, simhásanáya namah: tanmadhye varamahalaxmyey namah: , piita pūjam samarpayámi

21 DIKPALAKA PŪJA (Start from east of kalasha or diety)

indráya namah:, agnaye namah:, yamáya namah:, neyrutaye namah:, varuNáya namah:, váyave namah:, kuberáya namah:, iishánáya namah:, iti dik pálaka pūjam samarpayámi

21a NAVA DORA STHAPANAM (12knotted one new red thread to be placed on the alter, and do puja for the same)

kshemam navam mahádevya kumkumaaktam sudorakam dvadasha grantisamyuktam upakalpa prpujayeta

22 PRANA PRATISHTA (hold flowers/akshata in hand)

dhyá-yet satyam guná-tiitam, guna-traya saman-vitam lokanátam trilokesham, kaustubhá haranam harim niilavarnam piitavásam, śrī vatsa pada bhushitam gokulánandam Brahmádhyey-rapi puujitam

Óm asya śrī prána pratishtá mahá mantrasya, brahma, vishNu, maheshvará rishayah, rig-yaju-sámátarvaNi chchandámsi, pará prána shakti devatá, ám biijam, hriim shaktih, kraum kiilakam, asyám muurtau prána pratishtapane viniyogah.

kara-nyásah: – ám angushtábhyám namah:, hriim tarjanii-bhyám namah:, kraum madhyamá-bhyám namah:, ám anámiká-bhyám namah:, hriim kanishtaká-bhyám namah:, kraum karatala-kara-prashta-bhyám namah:

anga-nyásah:- ám hridayáya namah:, hriim shirase sváhá, kraum shikháyey vaushat, ám kavacháya hum, hriim netra-triyáya-vaushat, kraum astráya phat, bhur-bhuva-svahr-Óm

ám, hriim, kraum, – kraum, hriim, ám, ya, ra, la, va, sha, sha, sa, ha, Óm aham – sah, so-ham, so-ham, aham-sah

asyám muurte, práná tishtantuh, asyám muurte, jiivá tishtantu asyám muurte sarvendriyáni, manastvat, chak-suh, shrota, jihva, gráhna, vákváni, páda-páyopastani, prána, apána, vyána, udána, samána, atrágatya sukham stiram tishtantu sváhá.

asunite punahr-asmásu chakshuh, punah-pránamihino dhehi-bhogam, jopa-kshema suuryam-uchcharanta manumate, mraláyána, svasti pránám pratishTápayámi

(offer the flowers)

23 DHYANA

Óm hraam, hriim, hraim, kliim, chamundayey vichhe ( repeat 9times)

padmaasane padmakare, sarvalokaika pujite narayane priye devi supritaa bhava sarvada śrī varamahalaxmyey namah:, dhyánam samarpayámi

(you can add more related shlokas)

24 AVAHANA (hold flowers in hand)

sarva mangaLa mangalye vishNuvakshasthithaalaye ahvaahayaami devi tvaam, supriitaa bhava sarvadaa

śrī varamahalaxmyey namah:, ávváhanam samarpayámi (offer flowers to Lord)

ávwáhito bhava, stápito bhava, sannihito bhava, sanniruddho bhava, avakuntito bhava, supriito bhava,, suprasanno bhava, sumukho bhava, varado bhava, prasiida prasiida (show mudras to Goddess)

25 ASANAM

Suuryayuta nibhaH spuurte spurdratna vibhuushitam mandaasanam idam devi sthiiyuutaam surapujite Óm śrī varamahalaxmyey namah:, ásanam samarpayámi (offer flowers/akshatás)

26 PADYAM (offer water)

suvaasitajalam ramyam sarva thiirtha samudbhavam grahaaNa devi tvam sarva deva namaskR^.ite Óm śrī varamahalaxmyey namah:, pádoyo pádyam samarpayámi

27 ARGHYAM (offer water)

shuddodakam paatrastham ganda pushpadi mishritam arghya daasyaamite devi, grahaaNa surapuujite Óm śrī varamahalaxmyey namah:, arghyam samarpayámi

kám so-smitám, hiranya-prákárá- márdrám, jvallantiim triptám tarpayantim padme-stitám padmavarNán-támi hopa-hvaye shriyam

28 ACHAMANIIYAM (offer water, or akshatá/ leave/flower )

suvarNa kalashaanvitam chandanaagaru samyutam grahaaNaachamanam devii mayaadattam shubhaprade

Óm śrī varamahalaxmyey namah:, áchamaniiyam samarpayámi

chandrám prabhásám yashasá jviintiim shriyam loka deva juushtá-mudarám tám padma-nemiim shranamaHam prapadye, alakshmiir-me-nashyatám tvám vranomi.

29 SNANAM

Óm śrī varamahalaxmyey namah:, malápakarsha snánam samarpayámi

áditya-varuNa tapasodhi-játo vanaspati-stava vrakshodha-bilvah tasya phaláni tapasánudantu máya-antará-yáscha bahyá-lakshmiih

29 a) Pachámrita Snanam:

29 a.1 Paya snánam (milk bath )

Óm ápyáya sva sva-sa-metute vishvatah soma-vrashnam, bhavá-vájasya sanghade

surabhe-stu samu-tpannam, devánám-api durlabham payo dadhámi devii tvaam, snána-artam prati-grihyatám

Óm śrī varamahalaxmyey namah:, payah snánam samarpayámi.

payah snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a. 2 Dadhi snánám (curd bath )

Óm dadhi-krávno akári-sham jishno-rashvasya-vájinah, surabhino mukhá-karat prana áyunshitárishat

chandra-mandala samkásham, sarva-deva-priyam hi yat, dhadhi dadámi devii tvaam, snána-artam prati-grihyatám

Óm śrī varamahalaxmyey namah:, dadhi snánam samarpayámi.

dadhi snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a. 3 Ghrata snánam (Ghii bath )

Óm gratam mimikshey ghrata-masya yonir-grate shrito ghratamasya-dháma anushta-dhamávaha mádayasva sváhá-kratam vrashabha vakshi-havyam

ájyam suránám áháram-ájyam yajney-pratishti-tam ájyam pavitram paramam snána-artám pratigrahya-tá

Óm śrī varamahalaxmyey namah:, grata snánam samarpayámi.

grata snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a 4 Madhu snánam (Honey bath)

Óm madhu-váta R^itáyate madhu-ksharanti sindhavah, mádhvinah santoshvadhiih

madhunakta mutoshaso madhu-matvá-artivam rajah, madhu-dyau rastunah pita,

madhumánno vanaspatir-madhumám astu suuryah, mádhviirgávo bhavantunah

sarvaushadhi samut-pannam piyusha sadrasham madhu, snánartante mayá-dattam grrahána parameshvari

Óm śrī varamahalaxmyey namah:, madhu snánam samarpayámi.

madhu snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a) 5 Sharkará snánam (Sugar bath )

Óm svádhuh pavasya divyáya svádhu-darindráya suhaviitu námne svadur-mitráya varuNáya brihaspataye madhumá adábhyah

ikshu-dandát samutpanna, rasya-snigdha-tará shubhá sharkareyam mayá-dattá, snánártam pratigrihyatám

Óm śrī varamahalaxmyey namah:, sharkara snánam samarpayámi.

sharkara snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 b). gandhodaka snána (Sandlewood water bath )

Óm gandha-dvárám durádarshá, nitya pushpám kariishiniim ishvariim sarva bhuutanám, támi hopa hvaye-shriyam

hari chandana sambhuutam, Hari priitescha gauravát surabhi priaya gothamii, gandha snánáya grihyatám

Óm śrī varamahalaxmyey namah:, gandodaka snánam samarpayámi.

sharkara snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 c) abhyanga snánam (Perfumed Oil bath)

Óm kanikra-dajva-nusham, prabhru-váNa. iyatir-váchamariteva návam sumangalascha shakune bhavási- mátvá káchid-abhi-bhavishvyá vidata

abhyangá-artam sundari devi, tailam pushpádi sambhavam sugandha dravya sammishram sangra-háNa jagan-maate

Óm śrī varamahalaxmyey namah:, abhyanga snánam samarpayámi.

29 d) angvodhartana (To clean the body)

ango-dhvartana-kam deva, kastuuryade vimishritam lepana-artam grihánedam, haridra kumkumair-yutam

Óm śrī varamahalaxmyey namah:, ango-dvarta-nam samarpayámi.

29 e) ushnodaka snánam (Hot water bath )

náná tiirtá-dá-hrtam cha, toya-mushnam mayá-kratam snánár-tam cha prayaschámi, sviikurushva dayá-karii

Óm śrī varamahalaxmyey namah:, ushnodaka snánam samarpayámi.

29 f) shuddhodaka snánam (Pure water bath ) (sprinkle water all around)

Óm ápo-hishta maya bhuvah, Tána uurje dadátana, Maheranáya chaksase, yovah shiva-tamorasah tasya-bhájayate hanah, ushatiiriva mátarah, tasmá aranga-mámavo, yasya kshayáya jinvadha, apo jana yatá-chanah

Óm śrī varamahalaxmyey namah:, shuddhodaka snánam samarpayámi.

(after sprinkling water around, throw one tulsi leaf to the north)

30 MAHA ABHISHEKAH: ( Sound the bell, pour water from kalasha)

30 b) śrī suukta:

1 Óm hiranya-varnám hariniim, suvarna rajata-srajám

chandrám hiranmayiim lakshmiim játavedo ma-mávaha

2 tám ma ávaha játavedo, lakshmi manapagáminim,

yasyám hiranyam vindeyam, gámashvam purushánaham

3 ashva-puurnám rata-madhyám hasti-náda prabhodiniim,

shriyam deviim-upahvvaye shriir-mádevi jushatám

4 kám so-smitám hiranya prakárá-mardrám jvalantiim triptám tarpayantiim, padmestitám padmavarnám támi-hopa-hvaye shriyam

5 chandrám prabhásám yashasá jvalantiim shriyam loke deva juushtá- mudarám

tám padma-nemiim shranamaHam prapadye, alakshmiir-may-nashyatám tvám vranomi.

6 áditya-varuNa tapasodhi-játo, vanaspati-stava vrakshodha-bilvah

tasya phaláni tapasánuvantu máy-ántará-yáscha báhyá-lakshmiih

7 upaitu mám deva sakhah kiirtischa maniná sah

pradur-bhuuto sura-stresh-min, kiirtim vraddhim dadátu mey

8 kshut-pipásá malá jyeshtam-alakshmiim náshayámya-ham

abhuutiim-asamriddhim cha, sarvám nirnuda mey grahát

9 gandha-dváram durádarshám nitya pushpám karishiniim

iishavriim sarvabhuutanám támi hopa hvaya shriyam

10 manasa kámama kuutim váchah satya-mashiimahi

pashuunám ruupamannasya, mayi shriih shrayanta yashah

11 kardamena prajabhuuta mayi sambhava kardama

sriyam vásaya-mey kuley mátaram padma-máliniim

12 ápah srajantu snig-dhani chikliita vasame grahe

nicha deviim mátaram shriyam vásaya mey kule

13 árdhrám pushkariNiim pushtim suvarnám hema maliniim suuryám hiranmayiim lakshmiim jatavedo ma ávaha

14 árdhram yah kariNiim yashtim pingaLám padma maliniim

chandrám hiranmayim lakshmim játavedo ma ávaha

15 tam ma ávaha játa-vedo lakshmii manapa-gáminiim

yasyam hiranyam prabhuutim gavo dásyoshán vindeyam purushánaham

16 ya lakshmii sindhu sambhavá bhuti-dhenuh puruuvasuh

padma-vishva vasurdevi sadáno-jyushatám graham

17 padmánane padma-uruh padmákshi padma sambhave

tam me bhajasva padmákshii eva saukhyam labhamy-aham

18 ashvadáyi godáyii dhanadayii dadátu mey

dhanam mey dadatam devii, divi deviim aniishiinám.

Óm śrī varamahalaxmyey namah:, śrī suukta snánam samarpayámi.

31 PRATISHTAPANA

Óm namo varamahalaxmyey (Repeat 12 times)

Óm tadustu mitra varuNa tadagne sam-yorashma-bhya-midame stushastam, ashiimahi gádhamuta pratishTám namo dive brahate sádanáya Óm grahá-vai pratishtá-suuktam tat pratishti-ta tamayá váchá sham stavyam tasmádya0dyapi-duura eva pashuun labhate graha-vai náná-jiga-mishati graháhi pashuunám pratishTá, pratishTá

Óm śrī varamahalaxmyey namah:. supratisTa-mastu.

32 VASTRA (offer two pieces of cloth)

upaitu mám deva sakhah kiirtischa maniná sah pradur-bhuuto sura-stresh-min, kiirtim vraddhim dadátu mey

tapta kánchana samkásham piitámbaram idam harii samgraháNa jaganmáte varamahalaxmyey namostute

Óm śrī varamahalaxmyey namah:, vastra-yugmam samarpayámi

34 YAJNOPAVIITA

kshut-pipásá malá jyeshtam-alakshmiim náshayámya-ham abhuutiim-asamriddhim cha, sarvám nirnuda mey grahát

Óm śrī varamahalaxmyey namah:, yajnopaviitam samarpayámi

35 GANDHA

gandha-dváram durádarshám nitya pushpám karishiniim iishavriim sarvabhuutanám támi hopa hvaya shriyam

kumkumágaru kastuuri karpuuram chandanam tatá tubhyam dásyámi varalxmi, sviikaru tripura sundari

Óm śrī varamahalaxmyey namah:, gandham samarpayámi

36 HASTABHUUSHANA

Óm śrī varamahalaxmyey namah:, hasta-bhuushanam samarpayámi

37 NANA PARIMALA DRAVYA

Óm ahireiva bhoghyeyh paryeti báhum, jáyá hetim paribhádamánah hastagno vishvá-vayunáni vidván-pumáspra-mánsam paripátu vishvatah..

Óm śrī varamahalaxmyey namah:, náná parimala dravyam samarpayámi

38 AKSHATA

manasah kámama kuulem váchah satya-mashiimahi pashuunám ruupamannasya, mayi shriih shrayanta yashah

shveta tundala samyuktán, kumkumena virájitán akshatán grahyatám devi náráyani namostute

śrī varamahalaxmyey namah:, akshatán samarpayámi

39 PUSHPA

mályadiini sugandhiini, mályatádiini vaiprabho mayá hritáni pūjartam, pushpani pratigrahyatám

Óm śrī varamahalaxmyey namah:, pushpáni samarpayámi

tulasii kunda-mandára, jájii punnaga champakaiH kadamba karaviireischa kusume shatapatrakeiH

jalámbujairbilvapatreischamapkei varalamiim shubhaam Pūjayishyámyaham bhaktyá sangraháNa janárdani

tulasii kunda mandára párijámbujairyutám vanamálám pradásyámi graháNa jagadiishvari

Óm śrī varamahalaxmyey namah:, patra pushpáNi,vanamálámcha samarpayámi

40 NANA ALANKARA

kati-suuutanguli-yecha kundale mukutam tata vanamálám kaustubham cha grahána sulochani

śrī varamahalaxmyey namah:, náná alankárán samarpayámi

41 ATAH ANGAPŪJAH

Óm śrī varamahalaxmyey namah: pádau pūjayámi

Óm rajiivalochanáyey namah: gulfau pūjayámi

Óm rámáyey namah: jánunii pūjayámi

Óm várapradaayey namah: janghey pūjayámi

Óm vishvaruupáyey namah: uuruun pūjayámi

Óm kambukanTinyey namah: guhyam pūjayámi

Óm vishvamuurtayey namah: jaghanam pūjayámi

Óm vishnu vallabhaayey namah: katim pūjayámi

Óm paramátmikaayey namah: udaram pūjayámi

Óm sriiyey namah: hridayam pūjayámi

Óm Lokajananyey namah: pasrshvau pūjayámi

Óm trivikramáyey namah: prashta-deham pūjayámi

Óm kamala hastaayey namah: skandau pūjayámi

Óm shR^iutistutaayey namah: báhum pūjayámi

Óm indiraayey namah: hastán pūjayámi

Óm ádi shaktyey namah: kantam pūjayámi

Óm padmaayey namah: vadanam pūjayámi

Óm dayá ságaryey namah: násikam pūjayámi

Óm sarvadaayinyey namah: shrotre pūjayámi

Óm mangaLa devataayey namah: netráni pūjayámi

Óm dhanurdharáyey namah: bhravau pūjayámi

Óm máyáyey namah: bhruumadhyam pūjayámi

Óm shubhapradáyey namah: lalátam pūjayámi

Óm gnána gamyáyey namah: shirah pūjayámi

Óm śrī varamahalaxmyey namah:, sarvángáni pūjayámi

42 ATAH PUSHPA PŪJAH

Óm ramáya namah: karaviira pushpam samarpayámi

Óm indiráyey namah: jájii pushpam samarpayámi

Óm sháshvatáyey namah: champaka pushpam samarpayámi

Óm rájiivalochanáyey namah: vakuLa pushpam samarpayámi

Óm sriimatyey namah: shatapatra pushpam samarpayámi

Óm rájeshvaryey namah: kalhára pushpam samarpayámi

Óm munigaNa sevitáyey

namah: sevantiká pushpam samarpayámi

Óm kamalavaasinyey namah: malliká pushpam samarpayámi

Óm pushtai namah: iruvantiká pushpam samarpayámi

Óm vishvavandyáyey namah: girikarniká pushpam samarpayámi

Óm janárdanáyey namah: átasii pushpam samarpayámi

Óm aparájitáyey namah: párijáta pushpam samarpayámi

Óm bhargavyey namah: punnága pushpam samarpayámi

Óm vágvilasinyey namah: kunda pushpam samarpayámi

Óm satya váche namah: málati pushpam samarpayámi

Óm satya vikramáyey namah: ketakii pushpam samarpayámi

Óm satya vritáyey namah: mandára pushpam samarpayámi

Óm vritadharáyey namah: pátalii pushpam samarpayámi

Óm kshiir ságar kannikayey

namah: ashoka pushpam samarpayámi

Óm paapadhvamsinyey namah: puuga pushpam samarpayámi

Óm prasanna vadanáyey

namah: dádimá pushpam samarpayámi

Óm haripriyáyey namah: deva-dáru pushpam samarpayámi

Óm táTakántakáyey namah: sugandha-rája pushpam samarpayámi

Óm vedántasáráyey namah: kamala pushpam samarpayámi

śrī varamahalaxmyey namah:, pushpapūjam samarpayámi

43 ATA PATRA PŪJAH
Óm mahálaxmyey namah: tulasi patram samarpayámi

Óm ádishaktyey namah: jájii patram samarpayámi

Óm paráshaktyey namah: champaká patram samarpayámi

Óm svadáyey namah: bilva patram samarpayámi

Óm sváháyey namah: dhurváyugmam samarpayámi

Óm munigaNasevitáyey namah: sevantiká patram samarpayámi

Óm jagadkárine namah: maruga patram samarpayámi

Óm mahámátáyey namah: davana patram samarpayámi

Óm mahábhujáyey namah: karaviira patram samarpayámi

Óm sauvmyáyey namah: vishnu-kranti patram samarpayámi

Óm brahmaNyáyey namah: máchi patram samarpayámi

Óm munisamstutáya namah: malliká patram samarpayámi

Óm maháyoginyey namah: iruvantika patram samarpayámi

Óm padmahastáyey namah: apámarga patram samarpayámi

Óm aprájitáyey namah: párijáta patram samarpayámi

Óm punyacharitráyey namah: dádima patram samarpayámi

Óm dayáságaráyey namah: badarii patram samarpayámi

Óm smitavaktráyey namah: devadáru patram samarpayámi

Óm mitabháshinyey namah: shamii patram samarpayámi

Óm puurvabháshinyey namah: ámra patram samarpayámi

Óm haripriyáyey namah: shamii patram samarpayámi

Óm shrutistutáyey namah: vata patram samarpayámi

Óm jitaváráshayey namah: kamala patram samarpayámi

Óm indushiitaláyey namah: venu patram samarpayámi

Óm varamahalaxmyey namah: patrapūjam samarpayámi

48 ASHTOTTARA PŪJA (Chant dhyána shloka )

Laxmiim kshiira samudra rájatanayám srii ranga dhámeshvariim dasii bhuuta samsta deva vanita lokaika diipankurám srimanmanda katáksha vibhava brahmendra gangádharám tvám trailokya kutuniniim sarasijám vande mukunda priyám

(add namah: at the end of each name)

prkR^.ityey

ikR^.ityey

idyáyey

sarvabhuutahita vR^.itáyey

shraddháyey

vibuutyey surabhyey

paramátmikáyey

padmáyey

váche

padmanilayáyey

suchaye

sváháyey

svadháyey

sudháyey

dhanyáyey

hiraNmayyey

laxmyey

nityapushtáyey

vibháryey

ádityey

dityey

diipáyey

vasudháyey

vasudháriNyey

kamaláyey

kántáyey

kámákshyey

krodhasambhaváyey

anugR^.ihapradáyey

buddhaye

anagháyey

harivallabháyey

ashokáyey

amR^.itáyey

diipyáyey

lokashokavináshinyey

dharmanilayáyey

karuNáyey lokamátre

padmapriyáyey

padmahastáyey

padmákshmyey

padmasundaryey

padmodbhaváyey

padmamukhyey

padmanaabhapriyáyey

ramáyey

padmamuuladharáyey

doryey

padminyey padmagandhinyey

punyagandháyey

suprasannáyey prasádábhimukhyey

prabháyey

chandravadanáyey chandráyey

chandrasahodaryey

chaturbhujáyey

chandraruupáyey

indiráyey

indushiitaláyey

áhládajananyey

pushhtyey

shiváyey

shivakaryey

satyey

vimaláyey

vishvajananyey

tushhtyey

dáridranáshinyey

priitipushkariNyey

shantáyey

shuklámbharadharáyey

shriiyey

bháskaryey

bilvanilayáyey

varároháyey

yashasvinyey

vasundharáyey hariNyáyey

hemamálinyey

dhanadhányakartryey

siddhaye

sthreNasovmyáyey

shubhapradáyey

nR^.ipaveshmagatáyey

nandáyey

varalaxmyey

vasupradáyey

shubháyey

hiraNyaprákáráyey samudratanayáyey

jayáyey

mangaLáyey

devyey

vishNuvakshasThaláyey

sThitáyey vishNupatnyey

prasannakshmyey

náráyaNasamáshritáyey dáridradhvamsinyey

devyey

sarvopadravaniváriNyey

vanadurgáyey

mahákályey

trikálajnánasampannáyey

bhuvaneshvaryey

udarángyey

srii mahálaxmidevatáyey

iti ashto-ttara pūjam samrpayámi

49 DHUUPAM

vanaspati rasodbhuuto gandháDyo gandha uttamaH, dhuupam-dásyámi deveshi varalaxmii gR^.iháNatam

Óm śrī varamahalaxmyey namah:, dhuupam ághrá-payámi

50 DIIPAM

sájyam trivarti samyuktam vahniná yojitum mayá grahána mangalam diipam, treilokya timirápahe

Óm śrī varamahalaxmyey namah:, diipam darsha-yámi

51 NEIVEDYAM

(dip finger in water and write a square and ‘śrī’ mark inside the square. Place neivedya on ‘śrī’. ; remove lid and sprinkle water around the vessel; place in each fuud item one washed leaf/flower/akshata

Óm varamahalaxmyey vid-mahe, vishNupatniicha dhiimahi, tanno laxmii prachodayát

Óm namo varamahalaxmyey (show mudras) ;

nir-viishi-karanártam Tárksha mudrá, ámrati karanártam dhenu mudra pavatri-karanártam Shankha mudra – samrakshnártam Chakra mudra vipula-máya karanártam meru mudra

touch neveidya and chant 9 times ‘Óm’

Óm satyam-tvartena parishinchámi (sprinkle water around the neveidya)

bhoh! devii bhojanártam ágaschádi vijnápya (request Goddess to come for dinner)

sauvarne stáli-vairye mani-gana-kachite, gogratám supakvám bhakshyám bhojyámsha lehyánapi, sakalamaham joshyamnna niidháya, náná shákei ruupetam samadhu dhadhi gritam kshiira pániya yuktam támbuulam chápi, śrī laxmiim pratidivasa-maham manase chintayámi

adya tishTati yat-kinchit kalpitas-cháparam-grahe pakvannam cha paniiyam, yatopaskara samyutam yatákálam manushyarte, mokshya-mánam shariiribhih tat-sarvam ráma-pūjastu, prayatám me janárdhani sudhárasam,suviphulam, áposhanam-idam

tava grahána kalashániitam, yateshtam-upa bhujjya-tám

Óm varamahalaxmyey namah:

amrito-pastaranam-asi sváhá (drop water from shankhá)

Óm prán-átmane laxmyey sváhá

Óm ápán-átmane ramáyey sváhá

Óm vyán-átmane bháratyey sváhá

Óm udán-átmane haripriyáyey sváhá

Óm samán-átmane bhuvaneshvaryey sváhá

Óm namo varamahalaxmyey

nevedyam grahyatám devi, bhakti mey achalám kuruh iipsitam me varam dehi, iha-tra cha parám gatim

śrī varamahalaxmyey namas-tubhyam mahá neivedyam uttamam sangrahána sura-shreshtin bhakti mukti pradáyakam

árdhrám pushkariNiim pushtim suvarnám hema maliniim suuryám hiranmayiim lakshmiim jatavedo ma ávaha

Óm varamahalaxmyey namah: neivedyam samarpayámi

(cover face with cloth, and chant Gayatri mantra five times or repeat 12 times Óm namo varamahalaxmyey)

sarvatra amritopi-dhánya-masi sváhá

Óm varamahalaxmyey namah:, uttará-poshanam samarpayámi (Let flow water from shankha)

52 MAHA PHALAM (put tulsi/akshatá on a big fruit)

idam phalam mayá-deva stápitam purata-stava, tena may safalá-váptir-bhavet janmani-janmani.

Óm śrī varamahalaxmyey namah: mahá-phalam samarpayámi

53 PHALASHTAKA (put tulsi/akshatá on fruits)

kuushmánda mátulingam cha karkatii dádimii phalam rambhá phalam jambiiram badaram tatá

Óm śrī varamahalaxmyey namah:, phaláshtakam samarpayámi

54 KARODVARTANA

karodvartanakam deva-mayá dattam hi bhakti-tah charu chandra prabhám divyam grahána jagadiishvári

Óm śrī varamahalaxmyey namah:, karo-dvarta-nárte chandanam samarpayámi

55 TAMBUULAM

puugiphalam sa-támbuulam, nágavalli-dalair-yutam támbuulam grahyatám ráma yela-lavanga-samyuktam

Óm śrī varamahalaxmyey namah:, puugi-phala támbuulam samarpayámi

56 DAKSHINA

hiranya garbha gharbhasta hemabiija vibhávasoh ananta punya phalada atah shántim, prayaschame

śrī varamahalaxmyey namah:, suvarna pushpa dakshinám samarpayámi

Varamahalaxmi Vrita Katha:

ÓM SHRI VARALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

Suta Puranika addresses Shaunaka and other rishis thus: “Let me tell you a story about a Vrita which gives all the benefits and pleasure of this world to women. This Vrita was once narrated by Lord Parameshwara to Parvathi”.

One day Parvati Devi approaches Lord Parameshwara who is seated in a golden throne studded with jewel. She prostrates and asks him thus: “Lord, is there any way by which women in Bhuloka can attain wealth, property, progeny and be happy. Please tell me by worshipping whom, by what Vrita and also if that Vrita was performed by anybody in the past”. Parameshwar replies: “Manohari, yes there is a Varalaxmi Vrita which should be performed by women in Shravana Masa on the Friday before the full moon day of shukla paksha”. He further narrates the details of Shri Varalaxmi Vrita.

In Kundina city of Magadha Desha , there lived a pativrita saadvi by name Charumati. Everyday she woke up early in the morning, worshipped her husband with devotion, served her in-laws with respect and she remained pleasant in her manners all thru the day. One night in her dream, Charumati saw Goddess Laxmi who said “I’m Varalaxmi Devi and I’ve appeared before you as I’m extremely pleased with you. If you worship me on the Friday before Shravana Shukla Poornima, I’ll grant all your wishes”. In her dream itself, Charumati praised Varalaxmi Devi thru various stotras and says, “O Jagajjanani, only with your blessings people can become scholars, affluent and contented. It is my ‘ poorva janma sukrita’ to have you appear in my dream’. Pleased by Charumati’s humility, Laxmi showered boons on her and disappeared.

Charumati immediately woke up and explained her dream to her husband, in-laws and companions and all of them encouraged her to perform the pooja as told by the Goddess. áll of them eagerly waited for the day. On that Friday, they woke up early morning, took bath and wore silk sarees and then cleaned the whole house with ‘gomaya’, decorated the altar, placed the kalasham on the newly harvested rice, invited Goddess Varalaxmi and performed the pooja with all shraddha and bhakti. They tied the holy thread with 9 knots around their right wrist, offered various food items to the Goddess and did ‘pradakshina namaskaras’. By the time they did 3 pradakshina namaskaras, by Laxmi’s blessings, they were decked with jewels like anklets, bangles and such other ornaments studded with nine precious stones. Their houses turned gold and they possessed horses, elephants and charriots. Charumati and her companions honoured brahmins with ‘dakshina tambula’, received their blessings and ate the prasadam with reverence. Ever since, Charumati and other ladies performed this Vrita regularly and lived happily.

Lord Parameshwar concludes saying, ‘Parvati, this supreme Vrita can be performed by anybody (without the barrier of the varnas) and the performer will get all his wishes fulfilled. One who reads this story and one who listens to this story will attain success and benevolence with the blessings of Shri Varamahalaxmi”.

ÓM SHRI VáRALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

Óm Shri krishnarpanamastu

57 MAHA NIRAJANA

shriiyey játah shriya aniriyáya shriyam vayo jaritrabhyo dadáti shriyam vasáná amritatwa máyan bhavanti satyá samidhá mitadrau shriya yevainam tacshriá mádadháti santata mrichá vashat-krityam santatmei sandhiiyate prajayá pashubhir-ya yevam veda

śrī varamahalaxmyey namah:, mahá-nirájanam diipam samarpayámi

58 KARPURA DIIPA

archata prárchata, priyame dáso archata archantu putraká, vata puranna drishna-varchata

karpuurakam mahárájni, rambhod-bhuutam cha diipakam mangalártam mahiipále, samgrahána jagatpalini

śrī varamahalaxmyey namah:, karpuura diipam samarpayámi

59 PRADAKSHINA

árdhrám yah kariNiim yashtim pingaLám padma maliniim chandrám hiranmayim lakshmim játavedo ma ávaha

yáni káni cha pápáni janmántara kritáni cha táni táni vinashyanti, pradakshine padey padey anyathá sharanam násti, tvamev sharnam mama tasmát kárunya bhávena raksha rakhsa karuNákarii

śrī varamahalaxmyey namah:, pradakshinán samarpayámi

60 NAMASKARA

tám ma ávaha játa-vedo lakshmii manapa-gáminiim yasyám hiranyám prabhuutim gavo dásyoshán vindeyam purushánaham

namah: sarva hitártáya jagadára hetave

shráshtángoyam pranámaste prayatnena maya kritah urusá shirasá drishtvá, manasá vachasá tatá padbhyám karábhyám jánubhyám, pranámoshtánga muchyate

shátyenápi namaskárán, kurvatah jagadiishvari shata janmárchitam pápam, tat kshanadeva nashyati

śrī varamahalaxmyey namah:, namaskárán samarpayámi

61 RAJOPACHARA

grahána prameshvari, saratne chchatra chámare darpanam vyajinam chaiva, rája-bhogáya yatnatah śrī varamahalaxmyey namah:, chatram samarpayámi śrī varamahalaxmyey namah:, chámaram samarpayámi śrī varamahalaxmyey namah:, giitam samarpayámi śrī varamahalaxmyey namah:, nrityam samarpayámi śrī varamahalaxmyey namah:, vádyam samarpayámi śrī varamahalaxmyey namah:, samasta rajopachárarte akshatán samarpayámii

62 MANTRA PUSHPA

yah shushih prayato-bhuutva juhuyádájya, manvaham suuktam pancha dasharcham chá shri kámah satatam japet vidyá bhuddhi dhana-eishvarya, putra pautrádi sampadah pushpánjali pradánena, dehime iipsitam varam

Óm svasti, srámrájyam, bhojyam, svárájyam, vairájyam, párameshtám rájyam mahárájya-mádhipatya-mayam samanta paryáyisyát sárva bhaumah sárvayushah, antáda, parardhat, prativyey samudra paryantaya ekaráliti tadapyesha shlokobhi-giito maruutah, praiveshtáro marutasyá vasan grahe ávikshitásya káma-prer-vishvedeva sabhásada iti

śrī varamahalaxmyey namah:, mantrapushpam samarpayámi

63 SHANKHA BRAMANA (make trii rounds of shankha with water, like árati and pour down; chant Óm 9 times, and show mudras)

imám ápa-shivatama, imam sarvasya bheshhaje imám ráshtrasya vardhini, imám rashtra bhrato-mata

64 TIRTA PRASHANA

akála mrityu haranam, sarva vydhi-upashamanam śrī laxmii pádodakam shubham

65 UPAYANA DANAM ( suhásini pūja)

(wash feet, wipe, offer gandha, kumkum, flowers, sapád, fruits and gifts and make

obeisances)

Ishta- kámyárta prayukta, samyag-ácharita, śrī varamahálaxmi, sámpuurna phala- vapyartim, śrī varamahalaxmyey svaruupáya suvasinye váyana dánam karishey

śrī varamahalaxmyey svaruupáya suvasinye áváhana puurvaka ásan gandha akshata dhuup diipádi sakalárádhanei-svarchitam.

náráyani pratigrahnnátu, Náráyani vai dadáti cha naráyani tarako-bhyám, Náráyanáyi namo namah:

baláya shriyey yasha-senna-dyáya, śrī varamahalaxmyey namah:, váyanadánam pratigrahnnatu (pratigrahnná viláti prativachanam)

66 VISARJANA PŪJA
árádhitánám devim punah pūjasm karishey śrī varamahalaxmyey devatábhyo namah:

Pūjante chatram samarpayámi, chámaram samarpayámi, nrityam samarpayámi, giitam samarpayámi, vádyam samarpayámi, ándolik–arohanam samarpayámi, ashvárohaman samarpayámi, gajárohanam samarpayámi.

śrī varamahalaxmyey devatábhyo namah:, samasta rájopachára, devopachára, shaktyupachára, bhaktyupachára, pūjam samarpayámi

67 ATMA SAMARPANA

yasya smrityá cha námnoktya, tapah, pūja, kriyádishu nuunam sampuurnatám yáti sadyo vandey tam-achyutám

mantrahiinam, kriyáhiinam, bhaktihiinam Janárdhani yat-puujitam mayá-devi paripuurnam tadastu mey

anena mayá-kratena, srirVaramahálaxmi devata supriita suprasanna varadá bhavatu. madhye mantra, tantra svara, varNa nyunátirikta,lopa,dosha,práyaschittártam rám náma mahá-mantra japam karishey

Óm ramáyey namah:, laxmyey namah:, Varamahalaxmyey namah: Óm ramáyey namah:, laxmyey namah:, Varamahalaxmyey namah: Óm ramáyey namah:, laxmyey namah:, Varamahalaxmyey namah:

káyena vácha manasendriyervá, bhuddhyátmaná vá prakriteh svabhávát karomi yad yad sakalam parasmei náráyanii iti samarpayámi

namasmaromi, śrī varamahalaxmyey svami devata prassadam shirasa grahnámi

68 KSHAMAPANA
aparádha sahasráni kriyante aharnisham mayá táni sarváni me deva kshamasva purushottama

yántu deva gaNa sarve pūjam ádáya partiviim ishta kámyarta sidyartam punar-ágamanáya-cha (shake the kalasha)
VARA MAHÁLAKSHMI PŪJA

Īśhvara samvat shraavaNa shuddha shukravaar

(this pūja falls on the Friday earlier and nearest to fullmoon in the month of shraavan.)

1. AT THE REGULAR ALTAR

Óm sarvebhyo gurubhyo namah::

Óm sarvebhyo devebhyo namah::

Óm sarvebhyo bráhmanebhyo namah:

prárambha káryam nirvigna-mastu, shubham shobhanamastu, ishTa devatá kuladevatá suprasanná varadá bhavatu.

AT THE VARA MAHALKSHMI ALTAR

2 ÁCHAMANA:

Óm Keshaváya sváhá, Óm Náráyánáya sváhá, Óm Mádhaváya sváhá, Óm govindáya namah:, vishnave namah:, madhusuudanáya namah:, tivikramáya namah:, vámanáya namah:, sridharáya namah:, hrishikesháya namah:, padmanábháya namah:, damodaráya namah:, sankarshanáya namah:, vasudeváya namah:, pradyumnáya namah:, aniruddháya namah:, purushottamáya namah:, adhokshajáya namah:, nárasimháya namah:, achyutáya namah:, janárdanáya namah:, upendráya namah:, haraye namah:, śrī krishnáya namah:

Óm pranavasya parabhrahma rishih paramátmá devatá daivi gáyatri chandah, pránáyáme viniyogah. Óm bhuh, Óm bhuvah, Óm svahah, Óm máhah, Óm janah, Óm tapah, Óm satyam, Óm tatsavitur-varenyam bhargo-devasya dhiimahi, dhiyo-yonah prachodayát

(Repeat áchamana )

Óm apojyoti rasomritam, brahma bhur- bhuva-svarom

3 SAMKALPAH

Óm Srimán Maha-Ganá-dhipataye namah:, śrī Gurubhyo namah:, śrī Sarasvatyey namah:, śrī Vedáya namah:, śrī Veda-purusháya namah:, Ishta devatá-bhyo namah:, kula-devatá-bhyo namah:, stana-devatá-bhyo namah:, grama-devatá-bhyo namah:, vástu-devatá-bhyo namah:, sachii purandará-bhyám namah:, umá maheshvará-bhyám namah:, mátá pitrubhyám namah:, lakshmi- nárayanábhyám namah:, sarvebhyo devebhyo namo namah:, sarvebhyo-bráhmanebhyo namo namah:, yetad-karma-pradhána-devatábhyo namah:

avignamastu, sumukhasch ekdantascha, kapilo gajakarnakah, lambodarascha, vikato, vigna násho ganádhipah dhumra-ketur-ganádhyaksho, bála-chandro gajánanah dvádash-aitáni námáni,, yah patet shrunu-yád-api vidyá-rambhe viváhe-cha, praveshe nirgame tatá sangráme sankate-schaiva, vignas tasya na jáyate

shukl-ámbara-dharam devam, shashi-varnam chatur-bhujam prasanna-vadanam dhyáyet, sarva vignopa-shántaye

sarva-mangala mángalye, shive sarvá-arta sádhike sharanye tryambake devi, náráyani namostute

sarvadá sarva káryeshu, násti teshám amangalam yesham hridisto bhagaván, mangaláyatano harih

tadeva lagnam sudinam tadeva, tára-balam chandra-balam tadeva vidyá balam daiva-balam tadeva, lakshmi-pateh tenghri yugam smarámi

labhas-tesham jayastesham kutastesham parájayah yesham indivara shyamo hridayasto janárdanah

vináyakam, gurum bhánum, brahma-vishnu-maheshvarán sarasvatim pranamy-ád

au sarva karyarta siddhaye

srimad bhagavato mahápurushasya vishnorájnaya pravartamánasya, adya brahmano-dvitiya parárdhe vishnupade, śrī svetavaráha kalpe, vaivasvata manvantare (bhárata varshe, bharata kande, jambhudvipe dandakáranya deshe, godávaryá dkshine tiire, krishnavenyo uttare tiire, parashuráma kshetre, or samyukta america deshe, St Levis grame, or australia deshe, victoria grame , bahriinu deshe etc) sháliváhana shake vartamáne vyaváharike dhátu náma samvatsare dakshiN-áyane varshaa ritua, shraavaNa máse, shukla pakshe, shukra vásare, sarva graheshu yatá rashi stána stiteshu satsu, yevam guna-visheshena vishishtáyám shubha punya titau mama átmana shruti-smriti-puránokta phala-prápyartam, mama sa-kuTumbhasya kshema stairya áyur-árogya, chaturvidha purushárta sidyartam, angikrita śrī ráma navami vratá-anga-tvena sampádita sámagryá, śrī varamahalaxmyey priityartam, yatá shaktyá, yatá milita upachára dravyeyi, śrī suukta, puranokta mantr-eischa dhyána áhváhana-ádhi, shodashopachare śrī varamahalaxmyey pūjanam karishye.

idam phalam mayá-devi stápitam purata-stava, tena me safalá-váptir-bhavet janmani-janmani. (kiip fruits in front of the Goddess)

4 SHADANGA NYASA (touching various parts of the body)

1 Óm hrám angushtá-bhyám namah: – hridayáya namah: 2 Óm hriim. tarjaniibhyám namah: – shirase sváhá 3 Óm hruum madhyamá-bhyám namah: – shikhayey vaushat 4 Óm hraim anámiká-bhyám namah: – kavacháya hum 5 Óm hraun. kanishtaká-bhyám namah: – netra-trayáya vaushat 6 Óm hraH. kara-tala kara-prashtábhyám namah:. astráya ff-t

5 DIGBADHANA-

Óm mahámá-yeti digbandhah – disho badnámi (show mudra)

6 GANAPATI PŪJA

ádau nirvignatá-siddyartam mahá ganapati pūjanam karishye. ganánám tvá shaunako gratsamado ganapatir-jagati, ganapatya-áváhane viniyogah.(pour water)

Óm ganánám tvá ganapatim ávámahe, kavim kavinám-upama shravas-tamam jyeshta-rájam brahmanám brahmana-spata ánah shranvan-noti-bhih siida-sádanam bhuh ganapatim áváhayámi, bhuvah ganapatim áváhayámi, svah ganapatim áváhayámi. Óm bhur-bhuva-sváhá mahá-ganapataye namah:, dhyáyámi dhyánam samarpayámi. mahá ganapataye namah: áváhanam samarpayámi (sam).

ásanam sam, pádyam sam, arghyam sam, áchamanam sam, snánam sam, vastram sam, yajnopaviitam sam, chandanam sam, parimala dravyam sam, pushpáNi sam, dhuupam sam, diipam sam, nevedyam sam, támbuulam sam, phalam sam, dakshinám sam, ártikyam sam, Óm bhur-bhuva-svah mahá ganapataye namah: mantra-pushpam sam,

Óm bhur-bhuva-svah Maha ganapataye namah: pradakshiná namaskárán sam, Óm bhur-bhuva-svah maha ganapataye namah: chatram sam, chámaram sam, giitam sam, nrityam sam, vádyam sam, sarva rájo-pachá-rán sam.

atah prártaná – Óm vakratunda mahákáya, koti surya samaprabha, nirvignam kurume deva sarva káryeshu sarvadá. Óm bhur-bhuva-svah maha ganapataye namah: prartanám sam. anayá pūjayá vignaharta maha ganapati priyatám.

7 DIIPA STAPANA

atah devyey váma bhághe, diipa stápanam karishye. agni-nágni samidhyte kavir-grahapatir-yuvá, havyavát juvásyah (light the lamps)

8 BHUUMI PRáRTANA

mahidyau pratviichana imam yajnam mimikshatám, pipratánno bhariimabhih

9 DHANYA RASHI

Óm aushadhaya samvadante somena saharájna, yasmai krineti bráhmanastam rájan párayámasi (Touch the grains/rice/whiit)

10 KALASHA STAPANA

Óm á kalasheshu dhávati pavitre parishichyate, uktair-yajneshu vardhate (keep kalasha on top of rice pile)

Óm imam me gange yamune sarasvati shutudri-stomam sachata parishnya, asiknya marud-vradhe, vitasta-yárjireye shrunuhyá sushomaya (fill kalasha with water)

Óm gandha-dvárám dhura-darshám nitya pushpam karishinim, iishvarim sarva bhutánám támi hopa-hvaye-shriyam (sprinkle in/apply gandha to, kalasha) Óm yá phaliniiryá aphalá apushpá-yáscha pushpáni, brahaspati prasotástáno manchatvam hasah (put biitle nut in kalasha) Óm sahiratnáni dáshushu-suváti savitá bhagah, tambhágam chitra mimahe(put jewels/washed coin in kalasha) Óm hiranya-rupah hiranya sandrig-pánna pátsyedu hiranya varuNa, hiranya-yátari-payoner-nishadyá hiranyadá-dadattyan-namasmaiy (put gold/dakshina in kalasha)

Óm kándát-kándát-parohanti parushah parushya pari eváno dhurve pratanu sahasrena shatena-cha (put dhurva/karika ) Óm ashvattevo nishadanam parnivo vasatishkrita, go-bhája itkila sad yatsa navadha puurusham (put five leaves in kalasha) Óm yuvásu vásah pariviit ágatsa ushreyán bhavati jáyamánah, tam dhi-rása kavaya unnayanti svaddhyo svaddhyo manasá devayantah.(tie cloth for kalasha)

Óm puurnadarvi parápata supuurná punarápata, vasneva vikriNáva hra-isha-muurjam shatakrito(copper plate and ashtadala with kumkum) iti kalasham pratishtapayami (sakala pūjarte akshatáan samarpayámi – SPáS)

11 VARUNA PRARTANA ( On the second kalasha)

tatváyámi shunah-shepoh varuNa trishtup kalashe varuNáváhane viniyogah Óm tatváyámi brahmaná vandamánastadá sháste yajamáno havirbhih.

áhelamáno VaruNa ha bodhurusham samána áyuh pramoshih Óm bhur-bhuva-svah varuNáya namah: – chandanam samarpayámi(add to kalasha)

Óm bhur-bhuva-svah varuNáya namah: – akshatán samarpayámi(add to kalasha) Óm bhur-bhuva-svah varuNáya namah: – haridra-kumkumam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – dhuupam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – diipam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – neivedyam samarpayámi Óm bhur-bhuva-svah varuNáya namah: – sakala rajopachárárte akshatan sam avate helo varuNa namo bharava yajnebhirimahe havirbhih kshayam namasmabhyama suraprachetá rájanne-námsi-shi-shradah kritáni varuNáya namah: – mantra pushpam samarpayami – pradakshiná namaskarán sam anayá pūjayá bhagaván śrī maha varuNa priyatám – SPáS

12 KALASHA PŪJANA (continue with second kalasha )

kalashasya mukhe vishnuh, kanTe rudrah samásritah muule tatra stito brahma, madhye mátraganáh smratah kukshátu ságaráh sarve, sapta dviipá vasundhará rigvedato yajurvedah samavedo-hyatarvanah angeischa saLatáh sarve, kalashántu samáshritáh atra gáyatri, sávitri shánti pushtiikari tatá áyántu deva pūjartam-abhishekárta siddhaye Óm sitá-site sarite yatra samgadhe tatr-áplutáso divam-utpatanti ye vai-tanvam visrajanti dhiráste janáso amritatvam bhajante

Kalashah Prártaná:

kalashah kirtim-áyushyam prajnám, medhám, shriyam, balam yogyatám pápahánim cha, punyam vraddhim cha sádhayet sarva tirtamayo yasmát, sarva devamayo yatah atah haripriyosi tvam, puurna-kumbham namostute.

kalasha-devatábhyo namah: – SPáS

mudrá: (Show mudras as you chant )

nir-viishi-karanártam tárksha mudrá, amrati karanártam dhenu mudra pavatri-karanártam shankha mudra – samrakshnártam chakra mudra vipula-máya karanártam meru mudra

13 SHANKHA PŪJAN (pour water from kalasha to shankha, add gandha, flower)

shankham chandrárka daivatam, madhye varuNa devatám prashTe prajápatim Vindyád, agre Gangá sarasvatim tvam purá ságarotpanna, vishnuná vidhratah kare namitah sarva devai-scha, pánchajanyam namostu-the pánchajanyáya vidmahe, pávamánáya dhimahi, tanno shankhah prachodayát shankha devatábhyo namah: – SPáS

14 GANTARCHANA (á drop of water from shankha, apply gandha, flower)

ágamá-rtantu devánám, gamaná-rtántu rakshasám kuru gantáravam tatra, devatá-vváhana lánchanam jnánato-ajnánatovápi, kansya gantán navádayet rákshasánám pisáchanám, taddeshe vasatir bhavet tasmát sarva prayatnena gantánádam prakárayet ganta devatabhyo namah: – SPáS (Ring the Ganta)

15 ATMA-SHUDDHI (Sprinkle water from shankha on tings/on devotiis)

apavitro pavitro vá, sarva avastángatopi vá yah smaret varamahalaxmyey, sah bhahyám-bhyantarah suchih

17 SHAT-PATRA PŪJA ( put tulasi leaves or akshatás in empty vessels)

váyuvye arghyam, neirutye pádyam, ishánye áchamaniyam, ágneye madhuparkam

purve snaniyam, paschime punaráchamanam

18 PANCHAMRITA PŪJA ( put tulasi leaves or akshatás in vessels)

kshire laxmyey namah: – (keep milk in the centre) dadhini varamahalaxmyey namah: – (curd facing east ) grite rájiivamukhyey namah: – (Ghii to the south) madhuni ramáyey namah: ( Honey to west ) sharkaráyám vishNupatnyey namah: ( Sugar to north)

19 DWARA-PALAKA PŪJA

puurva-dváre dvárashriyey namah: dhátre namah:, vidhátre namah: dakshina-dváre dvárashriyey namah: chanDáya namah:, prachandáya namah: paschima-dváre dvárashriyey namah: jayáya namah:, vijayáya namah:, uttara-dváre dvárashriyey namah: Gangáyey namah:, yamunáyey namah:

Sri Varalaxmyey namah: . dvára-pálaka pūjam samarpayámi

20 PIITA PŪJA

piitasya adhobháge, ádhára shaktyey namah:, ádikuurmáya namah: anantáya namah:, varáháya namah:, svarNavedikáyey namah: ratnamantapáya namah:, simhásanáya namah: tanmadhye varamahalaxmyey namah: , piita pūjam samarpayámi

21 DIKPALAKA PŪJA (Start from east of kalasha or diety)

indráya namah:, agnaye namah:, yamáya namah:, neyrutaye namah:, varuNáya namah:, váyave namah:, kuberáya namah:, iishánáya namah:, iti dik pálaka pūjam samarpayámi

21a NAVA DORA STHAPANAM (12knotted one new red thread to be placed on the alter, and do puja for the same)

kshemam navam mahádevya kumkumaaktam sudorakam dvadasha grantisamyuktam upakalpa prpujayeta

22 PRANA PRATISHTA (hold flowers/akshata in hand)

dhyá-yet satyam guná-tiitam, guna-traya saman-vitam lokanátam trilokesham, kaustubhá haranam harim niilavarnam piitavásam, śrī vatsa pada bhushitam gokulánandam Brahmádhyey-rapi puujitam

Óm asya śrī prána pratishtá mahá mantrasya, brahma, vishNu, maheshvará rishayah, rig-yaju-sámátarvaNi chchandámsi, pará prána shakti devatá, ám biijam, hriim shaktih, kraum kiilakam, asyám muurtau prána pratishtapane viniyogah.

kara-nyásah: – ám angushtábhyám namah:, hriim tarjanii-bhyám namah:, kraum madhyamá-bhyám namah:, ám anámiká-bhyám namah:, hriim kanishtaká-bhyám namah:, kraum karatala-kara-prashta-bhyám namah:

anga-nyásah:- ám hridayáya namah:, hriim shirase sváhá, kraum shikháyey vaushat, ám kavacháya hum, hriim netra-triyáya-vaushat, kraum astráya phat, bhur-bhuva-svahr-Óm

ám, hriim, kraum, – kraum, hriim, ám, ya, ra, la, va, sha, sha, sa, ha, Óm aham – sah, so-ham, so-ham, aham-sah

asyám muurte, práná tishtantuh, asyám muurte, jiivá tishtantu asyám muurte sarvendriyáni, manastvat, chak-suh, shrota, jihva, gráhna, vákváni, páda-páyopastani, prána, apána, vyána, udána, samána, atrágatya sukham stiram tishtantu sváhá.

asunite punahr-asmásu chakshuh, punah-pránamihino dhehi-bhogam, jopa-kshema suuryam-uchcharanta manumate, mraláyána, svasti pránám pratishTápayámi

(offer the flowers)

23 DHYANA

Óm hraam, hriim, hraim, kliim, chamundayey vichhe ( repeat 9times)

padmaasane padmakare, sarvalokaika pujite narayane priye devi supritaa bhava sarvada śrī varamahalaxmyey namah:, dhyánam samarpayámi

(you can add more related shlokas)

24 AVAHANA (hold flowers in hand)

sarva mangaLa mangalye vishNuvakshasthithaalaye ahvaahayaami devi tvaam, supriitaa bhava sarvadaa

śrī varamahalaxmyey namah:, ávváhanam samarpayámi (offer flowers to Lord)

ávwáhito bhava, stápito bhava, sannihito bhava, sanniruddho bhava, avakuntito bhava, supriito bhava,, suprasanno bhava, sumukho bhava, varado bhava, prasiida prasiida (show mudras to Goddess)

25 ASANAM

Suuryayuta nibhaH spuurte spurdratna vibhuushitam mandaasanam idam devi sthiiyuutaam surapujite Óm śrī varamahalaxmyey namah:, ásanam samarpayámi (offer flowers/akshatás)

26 PADYAM (offer water)

suvaasitajalam ramyam sarva thiirtha samudbhavam grahaaNa devi tvam sarva deva namaskR^.ite Óm śrī varamahalaxmyey namah:, pádoyo pádyam samarpayámi

27 ARGHYAM (offer water)

shuddodakam paatrastham ganda pushpadi mishritam arghya daasyaamite devi, grahaaNa surapuujite Óm śrī varamahalaxmyey namah:, arghyam samarpayámi

kám so-smitám, hiranya-prákárá- márdrám, jvallantiim triptám tarpayantim padme-stitám padmavarNán-támi hopa-hvaye shriyam

28 ACHAMANIIYAM (offer water, or akshatá/ leave/flower )

suvarNa kalashaanvitam chandanaagaru samyutam grahaaNaachamanam devii mayaadattam shubhaprade

Óm śrī varamahalaxmyey namah:, áchamaniiyam samarpayámi

chandrám prabhásám yashasá jviintiim shriyam loka deva juushtá-mudarám tám padma-nemiim shranamaHam prapadye, alakshmiir-me-nashyatám tvám vranomi.

29 SNANAM

Óm śrī varamahalaxmyey namah:, malápakarsha snánam samarpayámi

áditya-varuNa tapasodhi-játo vanaspati-stava vrakshodha-bilvah tasya phaláni tapasánudantu máya-antará-yáscha bahyá-lakshmiih

29 a) Pachámrita Snanam:

29 a.1 Paya snánam (milk bath )

Óm ápyáya sva sva-sa-metute vishvatah soma-vrashnam, bhavá-vájasya sanghade

surabhe-stu samu-tpannam, devánám-api durlabham payo dadhámi devii tvaam, snána-artam prati-grihyatám

Óm śrī varamahalaxmyey namah:, payah snánam samarpayámi.

payah snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a. 2 Dadhi snánám (curd bath )

Óm dadhi-krávno akári-sham jishno-rashvasya-vájinah, surabhino mukhá-karat prana áyunshitárishat

chandra-mandala samkásham, sarva-deva-priyam hi yat, dhadhi dadámi devii tvaam, snána-artam prati-grihyatám

Óm śrī varamahalaxmyey namah:, dadhi snánam samarpayámi.

dadhi snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a. 3 Ghrata snánam (Ghii bath )

Óm gratam mimikshey ghrata-masya yonir-grate shrito ghratamasya-dháma anushta-dhamávaha mádayasva sváhá-kratam vrashabha vakshi-havyam

ájyam suránám áháram-ájyam yajney-pratishti-tam ájyam pavitram paramam snána-artám pratigrahya-tá

Óm śrī varamahalaxmyey namah:, grata snánam samarpayámi.

grata snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a 4 Madhu snánam (Honey bath)

Óm madhu-váta R^itáyate madhu-ksharanti sindhavah, mádhvinah santoshvadhiih

madhunakta mutoshaso madhu-matvá-artivam rajah, madhu-dyau rastunah pita,

madhumánno vanaspatir-madhumám astu suuryah, mádhviirgávo bhavantunah

sarvaushadhi samut-pannam piyusha sadrasham madhu, snánartante mayá-dattam grrahána parameshvari

Óm śrī varamahalaxmyey namah:, madhu snánam samarpayámi.

madhu snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 a) 5 Sharkará snánam (Sugar bath )

Óm svádhuh pavasya divyáya svádhu-darindráya suhaviitu námne svadur-mitráya varuNáya brihaspataye madhumá adábhyah

ikshu-dandát samutpanna, rasya-snigdha-tará shubhá sharkareyam mayá-dattá, snánártam pratigrihyatám

Óm śrī varamahalaxmyey namah:, sharkara snánam samarpayámi.

sharkara snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 b). gandhodaka snána (Sandlewood water bath )

Óm gandha-dvárám durádarshá, nitya pushpám kariishiniim ishvariim sarva bhuutanám, támi hopa hvaye-shriyam

hari chandana sambhuutam, Hari priitescha gauravát surabhi priaya gothamii, gandha snánáya grihyatám

Óm śrī varamahalaxmyey namah:, gandodaka snánam samarpayámi.

sharkara snáná-nantara shuddhodaka snánam samarpayani. SPáS

29 c) abhyanga snánam (Perfumed Oil bath)

Óm kanikra-dajva-nusham, prabhru-váNa. iyatir-váchamariteva návam sumangalascha shakune bhavási- mátvá káchid-abhi-bhavishvyá vidata

abhyangá-artam sundari devi, tailam pushpádi sambhavam sugandha dravya sammishram sangra-háNa jagan-maate

Óm śrī varamahalaxmyey namah:, abhyanga snánam samarpayámi.

29 d) angvodhartana (To clean the body)

ango-dhvartana-kam deva, kastuuryade vimishritam lepana-artam grihánedam, haridra kumkumair-yutam

Óm śrī varamahalaxmyey namah:, ango-dvarta-nam samarpayámi.

29 e) ushnodaka snánam (Hot water bath )

náná tiirtá-dá-hrtam cha, toya-mushnam mayá-kratam snánár-tam cha prayaschámi, sviikurushva dayá-karii

Óm śrī varamahalaxmyey namah:, ushnodaka snánam samarpayámi.

29 f) shuddhodaka snánam (Pure water bath ) (sprinkle water all around)

Óm ápo-hishta maya bhuvah, Tána uurje dadátana, Maheranáya chaksase, yovah shiva-tamorasah tasya-bhájayate hanah, ushatiiriva mátarah, tasmá aranga-mámavo, yasya kshayáya jinvadha, apo jana yatá-chanah

Óm śrī varamahalaxmyey namah:, shuddhodaka snánam samarpayámi.

(after sprinkling water around, throw one tulsi leaf to the north)

30 MAHA ABHISHEKAH: ( Sound the bell, pour water from kalasha)

30 b) śrī suukta:

1 Óm hiranya-varnám hariniim, suvarna rajata-srajám

chandrám hiranmayiim lakshmiim játavedo ma-mávaha

2 tám ma ávaha játavedo, lakshmi manapagáminim,

yasyám hiranyam vindeyam, gámashvam purushánaham

3 ashva-puurnám rata-madhyám hasti-náda prabhodiniim,

shriyam deviim-upahvvaye shriir-mádevi jushatám

4 kám so-smitám hiranya prakárá-mardrám jvalantiim triptám tarpayantiim, padmestitám padmavarnám támi-hopa-hvaye shriyam

5 chandrám prabhásám yashasá jvalantiim shriyam loke deva juushtá- mudarám

tám padma-nemiim shranamaHam prapadye, alakshmiir-may-nashyatám tvám vranomi.

6 áditya-varuNa tapasodhi-játo, vanaspati-stava vrakshodha-bilvah

tasya phaláni tapasánuvantu máy-ántará-yáscha báhyá-lakshmiih

7 upaitu mám deva sakhah kiirtischa maniná sah

pradur-bhuuto sura-stresh-min, kiirtim vraddhim dadátu mey

8 kshut-pipásá malá jyeshtam-alakshmiim náshayámya-ham

abhuutiim-asamriddhim cha, sarvám nirnuda mey grahát

9 gandha-dváram durádarshám nitya pushpám karishiniim

iishavriim sarvabhuutanám támi hopa hvaya shriyam

10 manasa kámama kuutim váchah satya-mashiimahi

pashuunám ruupamannasya, mayi shriih shrayanta yashah

11 kardamena prajabhuuta mayi sambhava kardama

sriyam vásaya-mey kuley mátaram padma-máliniim

12 ápah srajantu snig-dhani chikliita vasame grahe

nicha deviim mátaram shriyam vásaya mey kule

13 árdhrám pushkariNiim pushtim suvarnám hema maliniim suuryám hiranmayiim lakshmiim jatavedo ma ávaha

14 árdhram yah kariNiim yashtim pingaLám padma maliniim

chandrám hiranmayim lakshmim játavedo ma ávaha

15 tam ma ávaha játa-vedo lakshmii manapa-gáminiim

yasyam hiranyam prabhuutim gavo dásyoshán vindeyam purushánaham

16 ya lakshmii sindhu sambhavá bhuti-dhenuh puruuvasuh

padma-vishva vasurdevi sadáno-jyushatám graham

17 padmánane padma-uruh padmákshi padma sambhave

tam me bhajasva padmákshii eva saukhyam labhamy-aham

18 ashvadáyi godáyii dhanadayii dadátu mey

dhanam mey dadatam devii, divi deviim aniishiinám.

Óm śrī varamahalaxmyey namah:, śrī suukta snánam samarpayámi.

31 PRATISHTAPANA

Óm namo varamahalaxmyey (Repeat 12 times)

Óm tadustu mitra varuNa tadagne sam-yorashma-bhya-midame stushastam, ashiimahi gádhamuta pratishTám namo dive brahate sádanáya Óm grahá-vai pratishtá-suuktam tat pratishti-ta tamayá váchá sham stavyam tasmádya0dyapi-duura eva pashuun labhate graha-vai náná-jiga-mishati graháhi pashuunám pratishTá, pratishTá

Óm śrī varamahalaxmyey namah:. supratisTa-mastu.

32 VASTRA (offer two pieces of cloth)

upaitu mám deva sakhah kiirtischa maniná sah pradur-bhuuto sura-stresh-min, kiirtim vraddhim dadátu mey

tapta kánchana samkásham piitámbaram idam harii samgraháNa jaganmáte varamahalaxmyey namostute

Óm śrī varamahalaxmyey namah:, vastra-yugmam samarpayámi

34 YAJNOPAVIITA

kshut-pipásá malá jyeshtam-alakshmiim náshayámya-ham abhuutiim-asamriddhim cha, sarvám nirnuda mey grahát

Óm śrī varamahalaxmyey namah:, yajnopaviitam samarpayámi

35 GANDHA

gandha-dváram durádarshám nitya pushpám karishiniim iishavriim sarvabhuutanám támi hopa hvaya shriyam

kumkumágaru kastuuri karpuuram chandanam tatá tubhyam dásyámi varalxmi, sviikaru tripura sundari

Óm śrī varamahalaxmyey namah:, gandham samarpayámi

36 HASTABHUUSHANA

Óm śrī varamahalaxmyey namah:, hasta-bhuushanam samarpayámi

37 NANA PARIMALA DRAVYA

Óm ahireiva bhoghyeyh paryeti báhum, jáyá hetim paribhádamánah hastagno vishvá-vayunáni vidván-pumáspra-mánsam paripátu vishvatah..

Óm śrī varamahalaxmyey namah:, náná parimala dravyam samarpayámi

38 AKSHATA

manasah kámama kuulem váchah satya-mashiimahi pashuunám ruupamannasya, mayi shriih shrayanta yashah

shveta tundala samyuktán, kumkumena virájitán akshatán grahyatám devi náráyani namostute

śrī varamahalaxmyey namah:, akshatán samarpayámi

39 PUSHPA

mályadiini sugandhiini, mályatádiini vaiprabho mayá hritáni pūjartam, pushpani pratigrahyatám

Óm śrī varamahalaxmyey namah:, pushpáni samarpayámi

tulasii kunda-mandára, jájii punnaga champakaiH kadamba karaviireischa kusume shatapatrakeiH

jalámbujairbilvapatreischamapkei varalamiim shubhaam Pūjayishyámyaham bhaktyá sangraháNa janárdani

tulasii kunda mandára párijámbujairyutám vanamálám pradásyámi graháNa jagadiishvari

Óm śrī varamahalaxmyey namah:, patra pushpáNi,vanamálámcha samarpayámi

40 NANA ALANKARA

kati-suuutanguli-yecha kundale mukutam tata vanamálám kaustubham cha grahána sulochani

śrī varamahalaxmyey namah:, náná alankárán samarpayámi

41 ATAH ANGAPŪJAH

Óm śrī varamahalaxmyey namah: pádau pūjayámi

Óm rajiivalochanáyey namah: gulfau pūjayámi

Óm rámáyey namah: jánunii pūjayámi

Óm várapradaayey namah: janghey pūjayámi

Óm vishvaruupáyey namah: uuruun pūjayámi

Óm kambukanTinyey namah: guhyam pūjayámi

Óm vishvamuurtayey namah: jaghanam pūjayámi

Óm vishnu vallabhaayey namah: katim pūjayámi

Óm paramátmikaayey namah: udaram pūjayámi

Óm sriiyey namah: hridayam pūjayámi

Óm Lokajananyey namah: pasrshvau pūjayámi

Óm trivikramáyey namah: prashta-deham pūjayámi

Óm kamala hastaayey namah: skandau pūjayámi

Óm shR^iutistutaayey namah: báhum pūjayámi

Óm indiraayey namah: hastán pūjayámi

Óm ádi shaktyey namah: kantam pūjayámi

Óm padmaayey namah: vadanam pūjayámi

Óm dayá ságaryey namah: násikam pūjayámi

Óm sarvadaayinyey namah: shrotre pūjayámi

Óm mangaLa devataayey namah: netráni pūjayámi

Óm dhanurdharáyey namah: bhravau pūjayámi

Óm máyáyey namah: bhruumadhyam pūjayámi

Óm shubhapradáyey namah: lalátam pūjayámi

Óm gnána gamyáyey namah: shirah pūjayámi

Óm śrī varamahalaxmyey namah:, sarvángáni pūjayámi

42 ATAH PUSHPA PŪJAH

Óm ramáya namah: karaviira pushpam samarpayámi

Óm indiráyey namah: jájii pushpam samarpayámi

Óm sháshvatáyey namah: champaka pushpam samarpayámi

Óm rájiivalochanáyey namah: vakuLa pushpam samarpayámi

Óm sriimatyey namah: shatapatra pushpam samarpayámi

Óm rájeshvaryey namah: kalhára pushpam samarpayámi

Óm munigaNa sevitáyey

namah: sevantiká pushpam samarpayámi

Óm kamalavaasinyey namah: malliká pushpam samarpayámi

Óm pushtai namah: iruvantiká pushpam samarpayámi

Óm vishvavandyáyey namah: girikarniká pushpam samarpayámi

Óm janárdanáyey namah: átasii pushpam samarpayámi

Óm aparájitáyey namah: párijáta pushpam samarpayámi

Óm bhargavyey namah: punnága pushpam samarpayámi

Óm vágvilasinyey namah: kunda pushpam samarpayámi

Óm satya váche namah: málati pushpam samarpayámi

Óm satya vikramáyey namah: ketakii pushpam samarpayámi

Óm satya vritáyey namah: mandára pushpam samarpayámi

Óm vritadharáyey namah: pátalii pushpam samarpayámi

Óm kshiir ságar kannikayey

namah: ashoka pushpam samarpayámi

Óm paapadhvamsinyey namah: puuga pushpam samarpayámi

Óm prasanna vadanáyey

namah: dádimá pushpam samarpayámi

Óm haripriyáyey namah: deva-dáru pushpam samarpayámi

Óm táTakántakáyey namah: sugandha-rája pushpam samarpayámi

Óm vedántasáráyey namah: kamala pushpam samarpayámi

śrī varamahalaxmyey namah:, pushpapūjam samarpayámi

43 ATA PATRA PŪJAH
Óm mahálaxmyey namah: tulasi patram samarpayámi

Óm ádishaktyey namah: jájii patram samarpayámi

Óm paráshaktyey namah: champaká patram samarpayámi

Óm svadáyey namah: bilva patram samarpayámi

Óm sváháyey namah: dhurváyugmam samarpayámi

Óm munigaNasevitáyey namah: sevantiká patram samarpayámi

Óm jagadkárine namah: maruga patram samarpayámi

Óm mahámátáyey namah: davana patram samarpayámi

Óm mahábhujáyey namah: karaviira patram samarpayámi

Óm sauvmyáyey namah: vishnu-kranti patram samarpayámi

Óm brahmaNyáyey namah: máchi patram samarpayámi

Óm munisamstutáya namah: malliká patram samarpayámi

Óm maháyoginyey namah: iruvantika patram samarpayámi

Óm padmahastáyey namah: apámarga patram samarpayámi

Óm aprájitáyey namah: párijáta patram samarpayámi

Óm punyacharitráyey namah: dádima patram samarpayámi

Óm dayáságaráyey namah: badarii patram samarpayámi

Óm smitavaktráyey namah: devadáru patram samarpayámi

Óm mitabháshinyey namah: shamii patram samarpayámi

Óm puurvabháshinyey namah: ámra patram samarpayámi

Óm haripriyáyey namah: shamii patram samarpayámi

Óm shrutistutáyey namah: vata patram samarpayámi

Óm jitaváráshayey namah: kamala patram samarpayámi

Óm indushiitaláyey namah: venu patram samarpayámi

Óm varamahalaxmyey namah: patrapūjam samarpayámi

48 ASHTOTTARA PŪJA (Chant dhyána shloka )

Laxmiim kshiira samudra rájatanayám srii ranga dhámeshvariim dasii bhuuta samsta deva vanita lokaika diipankurám srimanmanda katáksha vibhava brahmendra gangádharám tvám trailokya kutuniniim sarasijám vande mukunda priyám

(add namah: at the end of each name)

prkR^.ityey

ikR^.ityey

idyáyey

sarvabhuutahita vR^.itáyey

shraddháyey

vibuutyey surabhyey

paramátmikáyey

padmáyey

váche

padmanilayáyey

suchaye

sváháyey

svadháyey

sudháyey

dhanyáyey

hiraNmayyey

laxmyey

nityapushtáyey

vibháryey

ádityey

dityey

diipáyey

vasudháyey

vasudháriNyey

kamaláyey

kántáyey

kámákshyey

krodhasambhaváyey

anugR^.ihapradáyey

buddhaye

anagháyey

harivallabháyey

ashokáyey

amR^.itáyey

diipyáyey

lokashokavináshinyey

dharmanilayáyey

karuNáyey lokamátre

padmapriyáyey

padmahastáyey

padmákshmyey

padmasundaryey

padmodbhaváyey

padmamukhyey

padmanaabhapriyáyey

ramáyey

padmamuuladharáyey

doryey

padminyey padmagandhinyey

punyagandháyey

suprasannáyey prasádábhimukhyey

prabháyey

chandravadanáyey chandráyey

chandrasahodaryey

chaturbhujáyey

chandraruupáyey

indiráyey

indushiitaláyey

áhládajananyey

pushhtyey

shiváyey

shivakaryey

satyey

vimaláyey

vishvajananyey

tushhtyey

dáridranáshinyey

priitipushkariNyey

shantáyey

shuklámbharadharáyey

shriiyey

bháskaryey

bilvanilayáyey

varároháyey

yashasvinyey

vasundharáyey hariNyáyey

hemamálinyey

dhanadhányakartryey

siddhaye

sthreNasovmyáyey

shubhapradáyey

nR^.ipaveshmagatáyey

nandáyey

varalaxmyey

vasupradáyey

shubháyey

hiraNyaprákáráyey samudratanayáyey

jayáyey

mangaLáyey

devyey

vishNuvakshasThaláyey

sThitáyey vishNupatnyey

prasannakshmyey

náráyaNasamáshritáyey dáridradhvamsinyey

devyey

sarvopadravaniváriNyey

vanadurgáyey

mahákályey

trikálajnánasampannáyey

bhuvaneshvaryey

udarángyey

srii mahálaxmidevatáyey

iti ashto-ttara pūjam samrpayámi

49 DHUUPAM

vanaspati rasodbhuuto gandháDyo gandha uttamaH, dhuupam-dásyámi deveshi varalaxmii gR^.iháNatam

Óm śrī varamahalaxmyey namah:, dhuupam ághrá-payámi

50 DIIPAM

sájyam trivarti samyuktam vahniná yojitum mayá grahána mangalam diipam, treilokya timirápahe

Óm śrī varamahalaxmyey namah:, diipam darsha-yámi

51 NEIVEDYAM

(dip finger in water and write a square and ‘śrī’ mark inside the square. Place neivedya on ‘śrī’. ; remove lid and sprinkle water around the vessel; place in each fuud item one washed leaf/flower/akshata

Óm varamahalaxmyey vid-mahe, vishNupatniicha dhiimahi, tanno laxmii prachodayát

Óm namo varamahalaxmyey (show mudras) ;

nir-viishi-karanártam Tárksha mudrá, ámrati karanártam dhenu mudra pavatri-karanártam Shankha mudra – samrakshnártam Chakra mudra vipula-máya karanártam meru mudra

touch neveidya and chant 9 times ‘Óm’

Óm satyam-tvartena parishinchámi (sprinkle water around the neveidya)

bhoh! devii bhojanártam ágaschádi vijnápya (request Goddess to come for dinner)

sauvarne stáli-vairye mani-gana-kachite, gogratám supakvám bhakshyám bhojyámsha lehyánapi, sakalamaham joshyamnna niidháya, náná shákei ruupetam samadhu dhadhi gritam kshiira pániya yuktam támbuulam chápi, śrī laxmiim pratidivasa-maham manase chintayámi

adya tishTati yat-kinchit kalpitas-cháparam-grahe pakvannam cha paniiyam, yatopaskara samyutam yatákálam manushyarte, mokshya-mánam shariiribhih tat-sarvam ráma-pūjastu, prayatám me janárdhani sudhárasam,suviphulam, áposhanam-idam

tava grahána kalashániitam, yateshtam-upa bhujjya-tám

Óm varamahalaxmyey namah:

amrito-pastaranam-asi sváhá (drop water from shankhá)

Óm prán-átmane laxmyey sváhá

Óm ápán-átmane ramáyey sváhá

Óm vyán-átmane bháratyey sváhá

Óm udán-átmane haripriyáyey sváhá

Óm samán-átmane bhuvaneshvaryey sváhá

Óm namo varamahalaxmyey

nevedyam grahyatám devi, bhakti mey achalám kuruh iipsitam me varam dehi, iha-tra cha parám gatim

śrī varamahalaxmyey namas-tubhyam mahá neivedyam uttamam sangrahána sura-shreshtin bhakti mukti pradáyakam

árdhrám pushkariNiim pushtim suvarnám hema maliniim suuryám hiranmayiim lakshmiim jatavedo ma ávaha

Óm varamahalaxmyey namah: neivedyam samarpayámi

(cover face with cloth, and chant Gayatri mantra five times or repeat 12 times Óm namo varamahalaxmyey)

sarvatra amritopi-dhánya-masi sváhá

Óm varamahalaxmyey namah:, uttará-poshanam samarpayámi (Let flow water from shankha)

52 MAHA PHALAM (put tulsi/akshatá on a big fruit)

idam phalam mayá-deva stápitam purata-stava, tena may safalá-váptir-bhavet janmani-janmani.

Óm śrī varamahalaxmyey namah: mahá-phalam samarpayámi

53 PHALASHTAKA (put tulsi/akshatá on fruits)

kuushmánda mátulingam cha karkatii dádimii phalam rambhá phalam jambiiram badaram tatá

Óm śrī varamahalaxmyey namah:, phaláshtakam samarpayámi

54 KARODVARTANA

karodvartanakam deva-mayá dattam hi bhakti-tah charu chandra prabhám divyam grahána jagadiishvári

Óm śrī varamahalaxmyey namah:, karo-dvarta-nárte chandanam samarpayámi

55 TAMBUULAM

puugiphalam sa-támbuulam, nágavalli-dalair-yutam támbuulam grahyatám ráma yela-lavanga-samyuktam

Óm śrī varamahalaxmyey namah:, puugi-phala támbuulam samarpayámi

56 DAKSHINA

hiranya garbha gharbhasta hemabiija vibhávasoh ananta punya phalada atah shántim, prayaschame

śrī varamahalaxmyey namah:, suvarna pushpa dakshinám samarpayámi

Varamahalaxmi Vrita Katha:

ÓM SHRI VARALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

Suta Puranika addresses Shaunaka and other rishis thus: “Let me tell you a story about a Vrita which gives all the benefits and pleasure of this world to women. This Vrita was once narrated by Lord Parameshwara to Parvathi”.

One day Parvati Devi approaches Lord Parameshwara who is seated in a golden throne studded with jewel. She prostrates and asks him thus: “Lord, is there any way by which women in Bhuloka can attain wealth, property, progeny and be happy. Please tell me by worshipping whom, by what Vrita and also if that Vrita was performed by anybody in the past”. Parameshwar replies: “Manohari, yes there is a Varalaxmi Vrita which should be performed by women in Shravana Masa on the Friday before the full moon day of shukla paksha”. He further narrates the details of Shri Varalaxmi Vrita.

In Kundina city of Magadha Desha , there lived a pativrita saadvi by name Charumati. Everyday she woke up early in the morning, worshipped her husband with devotion, served her in-laws with respect and she remained pleasant in her manners all thru the day. One night in her dream, Charumati saw Goddess Laxmi who said “I’m Varalaxmi Devi and I’ve appeared before you as I’m extremely pleased with you. If you worship me on the Friday before Shravana Shukla Poornima, I’ll grant all your wishes”. In her dream itself, Charumati praised Varalaxmi Devi thru various stotras and says, “O Jagajjanani, only with your blessings people can become scholars, affluent and contented. It is my ‘ poorva janma sukrita’ to have you appear in my dream’. Pleased by Charumati’s humility, Laxmi showered boons on her and disappeared.

Charumati immediately woke up and explained her dream to her husband, in-laws and companions and all of them encouraged her to perform the pooja as told by the Goddess. áll of them eagerly waited for the day. On that Friday, they woke up early morning, took bath and wore silk sarees and then cleaned the whole house with ‘gomaya’, decorated the altar, placed the kalasham on the newly harvested rice, invited Goddess Varalaxmi and performed the pooja with all shraddha and bhakti. They tied the holy thread with 9 knots around their right wrist, offered various food items to the Goddess and did ‘pradakshina namaskaras’. By the time they did 3 pradakshina namaskaras, by Laxmi’s blessings, they were decked with jewels like anklets, bangles and such other ornaments studded with nine precious stones. Their houses turned gold and they possessed horses, elephants and charriots. Charumati and her companions honoured brahmins with ‘dakshina tambula’, received their blessings and ate the prasadam with reverence. Ever since, Charumati and other ladies performed this Vrita regularly and lived happily.

Lord Parameshwar concludes saying, ‘Parvati, this supreme Vrita can be performed by anybody (without the barrier of the varnas) and the performer will get all his wishes fulfilled. One who reads this story and one who listens to this story will attain success and benevolence with the blessings of Shri Varamahalaxmi”.

ÓM SHRI VáRALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

ÓM SHRI VARALAXMYEY NAMAH:

Óm Shri krishnarpanamastu

57 MAHA NIRAJANA

shriiyey játah shriya aniriyáya shriyam vayo jaritrabhyo dadáti shriyam vasáná amritatwa máyan bhavanti satyá samidhá mitadrau shriya yevainam tacshriá mádadháti santata mrichá vashat-krityam santatmei sandhiiyate prajayá pashubhir-ya yevam veda

śrī varamahalaxmyey namah:, mahá-nirájanam diipam samarpayámi

58 KARPURA DIIPA

archata prárchata, priyame dáso archata archantu putraká, vata puranna drishna-varchata

karpuurakam mahárájni, rambhod-bhuutam cha diipakam mangalártam mahiipále, samgrahána jagatpalini

śrī varamahalaxmyey namah:, karpuura diipam samarpayámi

59 PRADAKSHINA

árdhrám yah kariNiim yashtim pingaLám padma maliniim chandrám hiranmayim lakshmim játavedo ma ávaha

yáni káni cha pápáni janmántara kritáni cha táni táni vinashyanti, pradakshine padey padey anyathá sharanam násti, tvamev sharnam mama tasmát kárunya bhávena raksha rakhsa karuNákarii

śrī varamahalaxmyey namah:, pradakshinán samarpayámi

60 NAMASKARA

tám ma ávaha játa-vedo lakshmii manapa-gáminiim yasyám hiranyám prabhuutim gavo dásyoshán vindeyam purushánaham

namah: sarva hitártáya jagadára hetave

shráshtángoyam pranámaste prayatnena maya kritah urusá shirasá drishtvá, manasá vachasá tatá padbhyám karábhyám jánubhyám, pranámoshtánga muchyate

shátyenápi namaskárán, kurvatah jagadiishvari shata janmárchitam pápam, tat kshanadeva nashyati

śrī varamahalaxmyey namah:, namaskárán samarpayámi

61 RAJOPACHARA

grahána prameshvari, saratne chchatra chámare darpanam vyajinam chaiva, rája-bhogáya yatnatah śrī varamahalaxmyey namah:, chatram samarpayámi śrī varamahalaxmyey namah:, chámaram samarpayámi śrī varamahalaxmyey namah:, giitam samarpayámi śrī varamahalaxmyey namah:, nrityam samarpayámi śrī varamahalaxmyey namah:, vádyam samarpayámi śrī varamahalaxmyey namah:, samasta rajopachárarte akshatán samarpayámii

62 MANTRA PUSHPA

yah shushih prayato-bhuutva juhuyádájya, manvaham suuktam pancha dasharcham chá shri kámah satatam japet vidyá bhuddhi dhana-eishvarya, putra pautrádi sampadah pushpánjali pradánena, dehime iipsitam varam

Óm svasti, srámrájyam, bhojyam, svárájyam, vairájyam, párameshtám rájyam mahárájya-mádhipatya-mayam samanta paryáyisyát sárva bhaumah sárvayushah, antáda, parardhat, prativyey samudra paryantaya ekaráliti tadapyesha shlokobhi-giito maruutah, praiveshtáro marutasyá vasan grahe ávikshitásya káma-prer-vishvedeva sabhásada iti

śrī varamahalaxmyey namah:, mantrapushpam samarpayámi

63 SHANKHA BRAMANA (make trii rounds of shankha with water, like árati and pour down; chant Óm 9 times, and show mudras)

imám ápa-shivatama, imam sarvasya bheshhaje imám ráshtrasya vardhini, imám rashtra bhrato-mata

64 TIRTA PRASHANA

akála mrityu haranam, sarva vydhi-upashamanam śrī laxmii pádodakam shubham

65 UPAYANA DANAM ( suhásini pūja)

(wash feet, wipe, offer gandha, kumkum, flowers, sapád, fruits and gifts and make

obeisances)

Ishta- kámyárta prayukta, samyag-ácharita, śrī varamahálaxmi, sámpuurna phala- vapyartim, śrī varamahalaxmyey svaruupáya suvasinye váyana dánam karishey

śrī varamahalaxmyey svaruupáya suvasinye áváhana puurvaka ásan gandha akshata dhuup diipádi sakalárádhanei-svarchitam.

náráyani pratigrahnnátu, Náráyani vai dadáti cha naráyani tarako-bhyám, Náráyanáyi namo namah:

baláya shriyey yasha-senna-dyáya, śrī varamahalaxmyey namah:, váyanadánam pratigrahnnatu (pratigrahnná viláti prativachanam)

66 VISARJANA PŪJA
árádhitánám devim punah pūjasm karishey śrī varamahalaxmyey devatábhyo namah:

Pūjante chatram samarpayámi, chámaram samarpayámi, nrityam samarpayámi, giitam samarpayámi, vádyam samarpayámi, ándolik–arohanam samarpayámi, ashvárohaman samarpayámi, gajárohanam samarpayámi.

śrī varamahalaxmyey devatábhyo namah:, samasta rájopachára, devopachára, shaktyupachára, bhaktyupachára, pūjam samarpayámi

67 ATMA SAMARPANA

yasya smrityá cha námnoktya, tapah, pūja, kriyádishu nuunam sampuurnatám yáti sadyo vandey tam-achyutám

mantrahiinam, kriyáhiinam, bhaktihiinam Janárdhani yat-puujitam mayá-devi paripuurnam tadastu mey

anena mayá-kratena, srirVaramahálaxmi devata supriita suprasanna varadá bhavatu. madhye mantra, tantra svara, varNa nyunátirikta,lopa,dosha,práyaschittártam rám náma mahá-mantra japam karishey

Óm ramáyey namah:, laxmyey namah:, Varamahalaxmyey namah: Óm ramáyey namah:, laxmyey namah:, Varamahalaxmyey namah: Óm ramáyey namah:, laxmyey namah:, Varamahalaxmyey namah:

káyena vácha manasendriyervá, bhuddhyátmaná vá prakriteh svabhávát karomi yad yad sakalam parasmei náráyanii iti samarpayámi

namasmaromi, śrī varamahalaxmyey svami devata prassadam shirasa grahnámi

68 KSHAMAPANA
aparádha sahasráni kriyante aharnisham mayá táni sarváni me deva kshamasva purushottama

yántu deva gaNa sarve pūjam ádáya partiviim ishta kámyarta sidyartam punar-ágamanáya-cha (shake the kalasha)

śrī varamahálaxmyárpaNamastu

śrī varamahálaxmyárpaNamastu

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How to do Satyanarayan Swami Vrat katha

Posted on November 12, 2010. Filed under: My musings | Tags: , , , , , |

Significance of the ‘SatyaNarayan Puja’

The Satya Narayan Vrata, (worship of Satya Narayan, the embodiment of the eternal,‘Truth’), is one of the most common pujas (ritualistic prayers) that are offered to the Lord in India. Enthusiastic devotees, from time immemorial, have performed it with greatly beneficial results. It has been observed that after the performance of this puja with faith and devotion, devotees benefit by getting their problems and difficulties resolved. Thus the sick regain health and those with other wordly problems find, that help suddenly comes in from unexpected quarters.

The reasons for the popularity of this particular puja are many. First of all, it is very simple and easy to perform, and secondly, it can be performed by anyone; young or old, man or woman, and even widows. It thus proves that as far as God is concerned, there are no barriers.  It is only the sincerity, faith and devotion of the bhakta (devotee) that counts. Again, it can be performed on any day and at any time, although certain days and times are considered more auspicious.

The word Satya means Truth. Narayan means that which is abiding in everybody and everything. Lord SatyaNarayan (a form of Lord Vishnu) recommends that in order to overcome difficulties and problems either caused by this life or previous births, one has to begin worshipping truth. Worshipping truth means being truthful to oneself. Then be truthful to others. Speak the Truth. The more truthful we become more we are worshipping the Narayan in others and ourselves.

The purpose of fasting is ‘to stay away from’ i.e. to stay away from not only food but also from negative thoughts and tendencies (untruth, envy, anger, greed) and to contemplate on God.

The purpose of inviting family and friends is to encourage harmony and unity. The Hindus believe that we should focus not only on our own happiness but also encourage others to be happy. Thus, in fact when you make others happy, in the long run you are making yourself happy. What you sow is what you reap.

Singing of all together creates harmony and positive vibrations, which help to overcome negative tendencies that cause conflicts and problems in our lives. Also, during singing it is hard for the mind to wander.

Shri Satya Naaraayan kathaa begins by Naarad Muni perturbed by the sufferings of people on earth due to their bad / evil actions. Bhagvaan Krishnaa in the Gitaa described the law of Karma to Arjun. Our good actions like helping others reward us with their fruits of various enjoyments on this earth. Equally the bad actions such as harming others will produce negatives fruits in the form of sufferings. Usually the sufferer is not aware of the bad actions, as the time scale of those bad actions is not perceivable at the time of suffering. Some actions bear fruit immediately e.g. a thief has committed a robbery, is caught by the police in doing so and is also jailed by the magistrates. Whilst other actions will produce fruits during a short time, this lifetime or another lifetime of the jeeva.

It is necessary to understand that such sufferings are also beneficial to the individual as they make one introspect, to reason out, why the sufferings have occurred. The goal is to lead the individual to the higher spiritual planes, to end in merging with the highest divinity (param atma). All living beings are programmed to achieve this goal. The whole cosmos with all its contents – animate or inanimate are part of the param atma and are set to merge in that atma. Good actions quicken the process whilst bad actions slow the process with sufferings – but which teach the individual the true goal of life.

The sufferings due to our bad actions can be quite prolonged. Bhagvaan Satya Naaraayan’s vrat / worship acts as a catalyst to overcome and end such prolonged suffering much quickly and augment peaceful divine life – showering the worshipper with his blessings

The Significance of the ‘Kalash’

The ‘Kalash’ is a pot with a narrow mouth, filled with cold water, which is always used in Indian Pujas (ritualistic prayers). It is customary to place the kalash on a bed of rice (to usher in prosperity and well being). Five mango or betel leaves are placed at the mouth of the kalash with a coconut on the top of it. This coconut is decorated with haldi (turmeric) and kumkum (vermillon powder) and bedecked with flowers and even gold ornaments. The kalash represents the Trimurthi(holy trinity). The mouth is Brahma the creator, the body or middle Shiva, the destroyer and the bottom, Lord Vishnu, the preserver and protector of universe. The water in the vessel represents divinity. The five leaves stand for the five life principles – Satya (truth), Dharma (righteousness), Shanti (peace), Prema (love), Ahimsa (non-violence) –dipped in divinity, by the grace of the trimurthis. The coconut represents the fruition of the purpose, or the aim of life.

Our body is compared to the kalash. We should also be full of Love, with our life principles dipped in divinity for the fruition of the purpose of living. Thus, all festivals are consecrated, by performing pujas to the kalash as a reminder of the ultimate goal of life.

What Time to do the Puja – Avoid ‘Rahukala’

The Rahukala is considered an inauspicious time (1 ½ hours) that occurs daily. It is a period that is usually avoided – especially when performing an important task, undertaking a journey and so on.

It is important to ensure that you don’t start any important work/sign important documents etc. during the duration of the Rahukala. If you happen to have an important appointment for example, and it happens to fall during the rahukala, don’t worry. Just leave for the appointment before the time, with a small prayer for help and be sure that you will be ok. You may start any work either before or after the rahukala but preferably not during it. The same applies for doing pujas etc.

As the timings vary daily, a line that is often used to help us remember the timings is: 

“Mother Saw Father Wearing THe Turban on a Sunday.”

The rahukala starts with 7.30 a.m. on Monday morning and lasts each day for one and a half hours. The sequence is for one and a half hours daily, as suggested by the above line. Thus:

Monday –        7.30 – 9.00 a.m.

Saturday  –       9.00 – 10.30 a.m.

Friday –            10.30 a.m – 12 noon

Wednesday – 12 noon – 1.30 p.m.

Thursday –       1.30 p.m – 3.00 p.m.

Tuesday –         3. 00 p.m. – 4.30 p.m.

Sunday –          4.30 p.m – 6.00 p.m.
 
Things Required for the puja

1.      Prasad

   2. charnamrit
   3. fresh fruits (bananas is a must)
   4. dry fruits
   5. fresh flowers(loose)
   6. 5 paan leaves
   7. 1 lota(pot with narrow mouth) for kalash
   8. diya
   9. incense (agarbatti)
  10. coconut
  11. 1 cup akshat (raw rice mixed with haldi)
  12. 1 thali for aarti
  13. 1-2 steel plates, marked with Swastik using kumkum (for ganeshji and navgraha puja)
  14. kumkum
  15. haldi
  16. napkins
  17. mauli (red thread)..for tying around kalash
  18. aluminium foil
  19. Some money to be offered to the deity as dakshina during the puja (amount of  ¼ may be offered). The offering is made twice (to Lords Ganesha and Satya Narayan respectively) 
  20. Image of Lord SatyaNarayan or 2 coins of amount ¼ each.
  21. a piece of cloth cotton or silk) (optional)

Preparing the Puja Mantap

Place the table such that it faces West or South so that when the Puja is performed, the devotee faces either East or North, with the deity facing West or South respectively. *The latter is the reason why God is often referred to as the the dakshinamurthy – i.e. one who faces the South. Approximately 1 ½ – 2 hours before the puja, fill the silver kalash (3/4) with water and add a pinch of turmeric and kumkum to it. Arrange 5 betel leaves all around the mouth of the kalash. The stems should be dipped in the water in the kalash, with the leaves facing upwards. Place one coconut on top of the leaves with the tail side (with the 3 eyes) of the coconut on top. Spread some rice and place this kalash in the center of the rice. The 3 eyes of the coconut must face the devotee. In a plate, separately make some turmeric and kumkum by adding just a few drops of water. Make a swastik on the kalash using kumkum. Also, make a Swastik on a tray to symbolize the Navgraha. Place one oil lamp and incense burner on the mantap. Place the flowers and fruits brought for the puja in a tray/plate either on another table on the side of the mantap or spread a sheet on the floor and place the tray on it. Also place
1. The prepared prasad
2. Prepared charnamrit,
3. A plate of prepared food to be offered to Lord.
4. Pot filled with to be used for teerth, bathing of lord etc.
5. Akshat, haldi powder and kumkum
6. Incense sticks
7. The 2nd oil lamp for aarti and additional oil to add to the lamps as required, during the puja
8. Some money, as preferred, to be offered as dakshina during the puja
9. One clean napkin for wiping your hands as the puja progresses.
10. The prepared aarti tray and some camphor.
Prasad

(For 25 people) ¼ the qtty would be enough for abt 6-8 people
2 katori atta
½ katori soojhi
1 katori makhana (fried and ground) optional….available in Indian store
1 katori almonds (ground)
3 katori sugar
3-4 Tbsp ghee
In ghee, roast the soojhi and atta till pinkish in color and starts smelling (good). Add the makhana and almonds.Mix well. When the mixture cools, add sugar and mix well.

Charnamrit

1 cup milk
1 tsp well mixed, fresh, plain, yogurt
1-2 tsp sugar
1-2 tsp honey
A few drops of pure ghee (clarified butter)

Combine all of the above ingredients until well blended. Ideally, make the charnamrit approximately an hour before the puja. After the puja is over, the charnamrit is distributed first and then the prasad.

Distribution of Charnamrit and Prasad

After the narration of the above katha and performing bhajans, give flowers and akshat to all devotees present and perform the aarti. Each devotee must offer the flowers and akshat and prostrate before the deity and then accept the Charnamrit and Prasad with a feeling of devotion.

Conclusion the next day (Very Essential)

It is said that the Lord actually resides in the house of the devotee on the day of the puja. Hence if you are doing the Puja in the morning, then light a lamp and offer aarti and some small prasad (fruit or even plain sugar will do) in the evening too. Repeat the lighting of the lamp, aarti and prasad the next morning (anytime before noon, avoiding the rahukala timings). The puja is now complete in every way. The devotee must now just move the Kalash a little bit from its place (by gently pushing it forward or sideways with both hands). This signifies bidding the Lord good bye.

*This is a simple procedure of performing the SatyaNarayan Puja on your own. The puja can be further simplified if one is unable to buy certain items ,due to lack of time or other reasons. Most important is to perform the puja with sincerity,love and devotion.

SIMPLIFIED PUJA PROCEDURE

 
Shloka For Consecrating The Water (to be sprinkled on the puja items, devotees and surroundings for purifying the atmosphere)

Cover the kalash (or pot filled with water) to be used for teerth with your hand and say the below written shloka to consecrate the water. Now, dip a flower in this water and sprinkle it on the puja items, devotees and surroundings.

Kalashasya mukhe Vishnu, kante Rudra samashritaha

Mule tatra sthito Brahma, madhye Matrgana smrita

Kukshau tu sagaraha, sarve saptadwipa Vasundhara,

Rigvedaha, yajurvedaha, samavedoho, arthavarnaha,

Angaischa sarve kalashambu samashritaha,

Gangecha, Yamunechaiva, Godavari, Saraswati,

Narmada, Sindhu, Kaveri jalesmin sannidhim kuru

Kalshodaken devam atmanam puja dravyani cha samprokshya

May the lord Vishnu be present at the mouth, Shiva at the neck,

And Brahma remain at the base of this pot.

May the mother (Earth) be present in the center.

May the water from all the seas and the sand from all the seven islands,

The learning from all the 4 vedas, Rigveda, Yajurveda, Samaveda and Atharvaveda,

Blend into this water,

And the water from all the seven holy rivers,

Ganga, Yamuna, Godavari, Saraswati,
Narmada, Sindhu, and Kaveri blend into the water in this pot.
 
3 Om’s

Gayatri Mantra (3 times)

Om bhur bhuvah swah

Tat savitur varenyam

Bhargo devasya dheemahi

Dhiyo yo nah prachodayat

(O God, Thou art the giver of life, the remover of pain and sorrow, the bestower of happiness; O Creator of the Universe, may we receive thy supreme, sin-destroying light; may Thou guide our intellect in the right direction.”)

 
Ganeshji’s Prayer

Sri Vakratunda Mahakaaya

Koti-soorya samaprabha

Nirvighnam kuru me Deva

Shubh-karyeshu Sarvadaa

(O, Lord Ganesha of the curved trunk and massive body, the one whose splendor is equal to millions of Suns, please bless me to that I do not face any obstacles in my endeavors)

Offer akshat, pushpa and kumkum to lord Ganesha. Then bathe the Ganeshji image with Charnamrit and then washe it with clean water. (This water should be mixed into the original charnamrit and later distributed to all). Offer dakshina (money) as per your desire.

 
Guru Prayer

Guru brahmaa guru vishnuh

guru devo maheshvarah
guru saakshaat parabrahma
tasmai shree gurave namah

(I prostrate to that Shree Guru, who is himself Brahma, Vishnu, and God Maheshwara, and who is verily the Supreme Absolute itself.)

 
Mentally pay obeisance to your Guru

If you have a Guru, offer him akshat, kumkum , Pushp and dakshina.

Prayer to Navgraha (9 planets)

Om Namah Sooryaya Chandraya Mangalaya Budhaya Cha

Guru Shukra Shanibhyascha Raahave Ketave Namo Namaha

(My Salutations to Soorya (Sun), Chandra (Moon), Mangala (Mars) and Budha (Mercury). I also salute Guru (Jupiter), Shukra (Venus), Shani (Saturn) as well as Rahu and Ketu.)

Mentally invite the 9 planets to attend your puja and grant you grace. Pay obeisance to them and offer them akshat, pushpa and kumkum (in the tray where swastik is marked, symbolic of the Navgraha).

Prayer to Satyanarayanji

Offer pushpa and kumkum to Lord SatyaNarayan. Bathe the image of SatyaNarayan (or coins of 1 ¼ ) with Charnamrit and then wash it with clean water. (This water should be mixed into the original charnamrit and later distributed to all). Offer dakshina (money) as per your desire.

(Optional)  Offer a piece of new cloth, either silk or cotton to the deity. This should then be donated to someone present or to the poor.                                                 

 
ELABORATE SATYA SAI SATYA NARAYAN PUJA PROCEDURE
 
Commencing the puja

Begin the puja by first lighting the lamp (the main one not the smaller one’s which will be lit during the course of the puja). Now sitting cross-legged on the floor, with your palms resting on your knees (with the thumb and the middle finger joined and the palm facing upwards), eyes closed, reverentially chant the ‘Om’ 3 times, feeling the reverberations of the sound within yourself. This done, chant the following shlokas.

Shlokas For the Satya Sai Satya Narayan Puja

1. The Sai Gayatri Mantra

At all auspicious, religious and devotional functions it is customary to sing the ‘Gayatri Mantra’ first, asking the Goddess Gayatri (the Divine Mother) to illumine the intellect and dispel darkness. Similarly, the gayatri mantra can also be recited in praise of a particular chosen God or deity with the confidence that all forms of God ultimately represent the same Omnipresent Divinity. Thus the Sai Gayatri urges our beloved lord Satya Sai as follows:

// Om Sayeeshwaraaya Vidmahe

   Satya Devaya Dhimahi

  Thannosarvah Prachodayat //

That Lord of lords Sai, whom we know,

Let us meditate Satya Deva (who is the very embodiment of the eternal ‘Truth’)

The one who kindles our knowledge.

The Original Gayatri Mantra

You may also chant the original Gayatri Mantra, instead if preferred, as follows:

// Om bhur bhuvah suvah

Tat savitur varenyam

Bhargo devasya dhimahi

Dhiyoyona prachodayat//

2. It is then customary to invoke the blessings of Lord Ganesha, (the elephant headed God). Also known as vighneshwaraa (the remover of obstacles), He is asked to bless the occasion with His presence, remove all obstacles and help ensure that the function is completed successfully, with the prayer:

// Shree vakratunda mahaakaya, koti surya samaprabha

Nirvighnam kurme devo, shubha karyeshu sarvada. //

O Lord Ganesha, the one who has a curved trunk and a great body and whose effulgence/splendor matches (is equal to) a million suns,
May you bless us with you Grace and may all auspicious functions/good work be successfully completed without any obstacles.

3. The next shloka (Sanskrit verse) is addressed to the Guru, or preceptor, asking him to bless the occasion with the following prayer:

Gurur Brahmaa, gurur Vishnu, guru devo Maheshwaraha,

Gurur sakshat Para Brahma, tasmai shree guruve namaha.

The Guru is none other than an embodiment of Lord Brahma, Lord Vishnu and Lord Maheshwara (Shiva)*. He is the supreme Brahman (consciousness) Himself. To such a Guru, I offer my salutations.

*According to the Hindu scriptures, Brahma, Vishnu and Shiva make up the holy trinity as the Creator, Preserver and Destroyer of the universe respectively.

4. After the above two shlokas it is customary to honour Saraswati, the Goddess of learning with the following Prayer:

// Ya kundendu tushar har dhawala,

Ya shubra vastravrata,

Ya veena vardanditakara,

Ya shewata padmasana,

Yaa brahmachyut shankara prabhritibhir,

Devai sada vandita,

Sa maam paatu Saraswati, Bhagawati,

Nishesh jadya pahaa.//

She who is pure and white like the jasmine, the full moon and the garland like formation of dew drops,

She, who is dressed in a spotless white robe,

Who has the auspicious instrument, the Veena, in her hand,

Who is seated on a white lotus,

Who is revered by Brahma, Vishnu and Shiva,

The one who is always revered by all the Gods,

May that goddess Saraswati, or Bhagwati, the presiding deity of learning, remove our lethargy, laziness and ignorance and bless and protect us.

Shloka for consecrating the water (to be sprinkled on the puja items, devotees and surroundings for purifying the atmosphere)

// Kalashasya mukhe Vishnu, kante rudra samashritaha

Mule tatra sthito brahma, madhye Matrgana smrita

Kukshau tu sagaraha, sarve saptadwipa Vasunadhara,

rigvedaha, yajurvedaha,samavedoho, arthavarnaha,

Angaischa sarve kalashambu samashritaha,

Gangecha, Yamunechaiva, Godavari, Saraswati,

Narmada, Sindhu, Kaveri jalesmin sannidhim kuru

Kalshodaken devam atmanam puja dravyani cha samprokshya //

May the lord Vishnu be present at the mouth, Shiva at the neck,

And Brahma remain at the base of this pot.

May the mother (Earth) be present in the center.

May the water from all the seas and the sand from all the seven islands,

The learning from all the 4 vedas, Rigveda, Yajurveda, Samaveda and Atharvaveda,

Blend into this water,

And the water from all the seven holy rivers,

Ganga, Yamuna, Godavari,Saraswati,

Narmada, Sindhu and Kaveri blend into the water in this pot.

With the water, thus consecrated, we now purify the materials and surroundings before commencing the puja. By sprinkling it all around, using a flower from the pot.

Break a coconut and offer it to the Lord before commencing the Puja

Shloka before commencing the Puja

// Atha Sri Satya Sai Vrata saangataa sidhyartham

Nirvighnena parisamaaptyartham //

We now commence the puja for the Satya Sai Vratam

May the lord help us to complete it without any obstacles.

// Sri Maha Ganapati Pujaam karishye //

We begin with first worshipping lord Ganesha.

Shlokas in praise of Lord  Ganesha

An image (metal or silver) image of Lord Ganesha may be used for this puja. If not available, place a whole supari or a piece of whole Haldi (turmeric) on the rice in front of the kalash to represent Ganesha.

// Om shree Ganeshaya namaha

Dhyami, avahayami, navaratna simhasan samarpayami

Padyoha padyam samarpayami

Arghyam samarpayami, mukhe achamaniyam samarpayami

Pour a tsp of water from the left hand into the right palm and drink it. Do this 3 times.

Om Shree Ganeshaya namaha … snanam samarpayami  (Pour water over the image)

          “                            …snanataram shudha achamaniyam samparyami (drink water)

         “                              …snanataram vastrayugmam samarpayami (offer cotton)

Om Shree Ganeshaya namaha …shri gandham samarpayami (offer sandal paste)

        “                                       … yagnopavithyam samarpayami

      “                                        …alankarnaartham akshatam samarpayami (offer akshata)

     “                                           durvadi, nanavidh parimala patra pushpani samarpayami  (offer flowers and leaves)

Different names in praise of Lord ganesha

1.Om Sumukhaya namaha                          2.Om Ekdantaya namaha

3. Om Kapilaya namaha                               4. Om Gaja karnikaya namaha

5. Om Lambodaraya namaha                                   6. Om Vikataaya namaha

7. Om Vighnarajaaya namaha                     8. Om Ganadhiyaaya namaha

9. Om dhumraketave namaha                      10. Om ganadhyakshaaya namaha

11. Om phalchandraaya namaha.               12. Om Gajananaaya namaha

13. Om Vakratundaaya namaha                  14.Om Shurpakarnaaya namaha

15. Om skanda purvajaaya namaha

Everyone should take loose flowers and akshat.

Om Shree Maha Ganapataye namaha  …nanavidh parimala pushpakshatam samarpayami

Om Shree maha Ganapataye namaha …dhupam aghrapyami, deepam darshayami, dhupa deepanantaram achamaniyam samarpayami.(offer incense, show the lamp and drink water 3 times)

Now, offer a piece of jaggery or a fruit as naivedyam (prasad) to lord Ganesha and then say the following shloka:

Om shree mahaganapataye namaha ..Naivedyam samarpayami

Om Shree mahaganapataye namaha … dakshina tambulam samarpayami (offer dakshina, (money) as per your desire)

Om Shree mahaganapataye namaha …suvarna mantrapushpam samarpayami

(offer flowers)

Om mahaganapataye namaha …atma pradakshin namaskaran samarpayami (revolve around yourself once and prostrate before the deity)

Mam ishta kamyartha sidhirasthu Om Shree Mahaganapate prasadam shirsa grihayaamitaha

May my desires be fulfilled. I accept the blessing of Lord Ganesha.

Now the person who is doing the puja should take a flower from those offered to Lord Ganesha and respectfully place it on his/her head, accepting it as a prasad or blessing.

Satya Sai Puja

For this puja an image or photograph of Swami may be used or place two coins (value 1 ¼) in front of Swami’s image and use those for all the rituals of pouring water etc.

Atha Shree Satya Sai Devataa pujaam karishye. Sarvadevataatiswarup Shree Satya Sai aavaahanam karishye

Now we worship Lord Satya Sai, the embodiment of all the Gods. We invite His presence with the following shloka:

Agacha Bhagwan devathaane cha atra sthirobhava

Yavat pujaam karishye aham taavanvam sannidhau vasa

Come O Lord (Satya Sai) and grace us with your presence

When I pray to you, may you always remain close to me

// Shree sarvadevataaswaroop, sarvashaktiswaroop, sarvamantrasya swaroop Shree Satya Sai devataabhyo namaha. Aavahayami pushpaakshatan grahitva.//

We offer our salutations to Lord Satya Sai, the embodiment of all the forms of God, the embodiment of all shakti (divine power) and the receiver of all the mantras (prayers). We now worship Him with flowers and Akshata (grains of rice smeared with turmeric).  

Here everybody helps themselves to flowers and akshata and

// Dhyayet satyam, gunatitam,gunatraya, samanvitam, lokanatham, trilokesham, kaustubhaabharanam, harim, neelavarnam, pitavastram, trivatsapada bhushitam, govindam, gokulaanandam, brahmaatdhairapi pujitam.//

// Sarva devatatiswaroop Sri Satya Sai Parabrahmane namaha

Dhyanam samarpayami.//

All present offer the flowers and akshata to Bhagwan Sri Satya Sai.

// Nana varna samaayuktam patra pushpa sushobhitam

aasanam deva devesh mama gyanam vivardhaya//

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

navaratna khachit simhasanam samarpayami//

We offer the lord Satya Sai a throne laden with nine gems.

//  Satya Sai namastesthu narakaarna avatarak

padyam grihan devesha, mama gyanam vivirdhaya//

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Padyam samarpayami//

We wash the feet of Lord Satya Sai, the embodiment of all the Gods.

Here we wash Swami’s feet/padukas with the firm belief that He is present. This ritual completed, we then pray to him thus:

// Vyaktavyakta swaroopaya, hrishik pataye namaha

Maya Nivedito bhaktaya hama dhyoryam prati grihyataam//

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Arghyam samarpayami

Mandakini samam vari tapa papa haram shubham//

We offer our salutations and obeisance to lord Satya Sai the embodiment of all the Gods. The one who washes away our sins like Mandakini (another name for the holy river Ganges. A dip in the Holy Ganges, is said to wash away all your sins).

//Tadamidam kalpitam deva

samya gaachamyataam twayaa //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Aachamaniyam samarpayami //

We offer water to welcome the Lord Satya Sai, the embodiment of all the Gods.

Here we offer the water by taking it from the left hand into the right hand and drinking it 3 times as before.

// Snanam panchamrutairdeva, grihaan Purushotama

Anath nath, sarvajnya, geevaarna pranut priya //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Panchamrut snanam samarpayami

Shudhodaka snanam samarpayami //

We bathe the Supreme person panchaamruta (a drink made from 5 articles, milk, yogurt, honey, sugar and ghee) and then holy water (for purifying ourselves).

Here we bathe the Satya Narayana image (or coins of 1 ¼) with panchamruta and then wash it with clean water. This water should be mixed into the original panchamruta and later distributed to all present.

// Vedasukta samaayukte, yajna saam samanvite

Sarva varna prade deva, vaasaansi pratigrihyataam //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Vastra yugmam samarpayami //

We offer new clothes to the Lord Satya Sai.

Usually a piece of new cloth, either silk or cotton is offered to the deity at this stage. This should then be donated to someone present or to the poor.

// Brahma Vishnu Maheshaishcha nirmitam, Brahmasutrakam

Yajnopavitam, danen proyataam hridgateshvara //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

yajnopavitam samarpayami //

We offer our salutations to Sri Satya Sai, the one who purifies all yajnas (sacrificial rites)

// Shree gandham, chandanam divyam

Gandhaadyam sumanoharam vilepanam

Surshrestha chandanam pratigruhyatam //

// Sarva devataatiswaroop Sri Satya Sai devatabhyo namaha

Gandham samarpayami. Sri gandhaan dhaaryaami //

We offer the lord of lords, Sri Satya Sai sandalwood paste here.

// Haridrachoorna samyuktam kumkumam kaamdaayakam

Nana parimalam divyam grihaan gunabhushita //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Haridrachurna sanyuktam kumkumam samarpayami //

We offer the Lord Satya Sai kumkum (vermillon powder used in pujas) – we sprinkle a little kumkum on the image

// Akshataaha, tandulaaha, shubraaha kumkumena virajitaha

Maya niveditaa bhaktya grihan param prabho //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Alankarnaartham akshataan samarpayami //

We offer the Lord Satya Sai Akshata (rice grains)

// Mallikaadi sugandhini, maaltyadini vai prabho

Maya hritani pujaartham pushpani pratigruhyataam //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Nanavidh parimala pushpani samarpayami //

We offer the Lord of Lords, Sri Satya Sai, different kinds of fragrant flowers.

After this we read the Satya Sai Ashtotara. You may also do paduka puja while reading the ashtotara

On completion of the ashtotara, the puja is concluded with the following shlokas

// Atha Sri Satya Sai Astotara puja sampoornam. //

// Vanaspati samudrabhuto gandhaadyo gandhavatmaha

Aargheyam sarvadevatanam dhupoyam pratigrihyatam //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Dhupam aaghraapyami //

We offer the Lord Satya Sai incense.

// Saadyam trivarti sanyuktam vanhinaa yojitam maya

Deepam grihan devesha, trailokya timiraapaha //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Deepam darshayami //

We Offer the Lord Satya Sai the deepa (lamp) with 3 wicks – and pray to Him to remove the darkness (of ignorance) of all the 3 lokas

// Dhupa deepa anantaram achamaniyam samarpayami

Avasaraartham kalpokta prasad naivedyam samarpayami //

Drink water 3 times and then offer the prasad made from semolina or wheat here. Circle the prasad 3 times taking a little water in your right hand. Then recite the following shlokas:

// Om Bhur Bhuvaha suvaha

Tat savitur varenyam

Bhargodevasya dheemahi

Dheeyoyona prachodayat //

// Brahmaarpanam Brahmahavi Brahmagnau Brahmanahutam

Brahmaiva tena gantavyam brahmakarma samadhinaha

Aham vaishvanaro bhutva, praninaam deham ashrithaha    

Pranapaana samayuktaha, pachaami annam chaturvidham. //

(The above shloka should be recited daily before meals so as to purify the food)

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Kalpokta prasad naivedyam samarpayami //

We offer the Lord Satya Sai, naivedyam (holy food or prasad)

// Om pranaaya swaaha, om apaanaaya swaaha, om vyaanaaya swaaha

om udaanaya swaaha, Om samaanaya swaaha, Om brahmane swaaha //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Madhye madhye paaniyam samarpayami //

Amrutaamidhanamasi uttara aaposhanam samarpayami

Hastau prakshalayami padau prakshalayami

// Shudha achamaniyam samarpayami //

Wash your hands by pouring a little water from the left hand on to the right hand 3 times into a plate or vessel. And then drink water 3 times as before.

// Pugiphala sama yuktam naagavalli dalairyutam

Karpur churna samyuktam taambulam pratigrihyataam //

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Sadakshina taambulam samarpayami //

I/We offer the Lord Satya Sai Dakshina (money as per the devotees wish. The minimum amount traditionally offered is two coins of 1 ¼ )

// Anyathaa sharanam naasthi, twameva sharanam mama

Tasmaat kaarunya bhavena raksha saayeeshwar prabho //

O Lord you are my only refuge. oh Saayeeshwara (Lord of Lords),O compassionate one, protect me

My favourite shloka adresses the Lord thus:

// Twameva mata, cha pita twameva,

Twameva bandhuscha sakha twameva,

Twameva Vidya, dravinam twameva,

Twameva sarvam mam deva deva.//

O Lord, you are my mother and my father,

You are my brother and friend,

You are Knowledge itself and Wealth too,

You (my Lord) are everything to me.

Concluding  shloka:

// Sarva devatatiswaroop Sri Satya Sai devatabhyo namaha

Atma pradakshina namaskaram samarpayami //

Here the devotee revolves around himself either once or thrice and then reverentially prostrates before the Lord as a symbol of total surrender.

After the above puja, the 5 chapters of the Satya Sai Satya Narayan Katha are narrated, followed by breaking of another coconut at the end of the 5th chapter, offering it to the Lord as above and then performing the aarti.

Distribution of panchamrutam, plain teertha and then Prasad respectively is a must, immediately after the aarti and before the crowd disperses. Devotees must accept the above in their right palms with the left palm placed below the right one.

Shri Satyanarayan Vrat Katha

 
Pahla Adhyaya

Ek Samay Nem Sharanya Tirth mein Saunik Adi Athaasi Hazaar Rishyo ne Shri Sutji se poocha –“Hey Prabhu, Is Kalyug mein Vaid–Vidya rahit manushyo ko prabhu bhakti kis prakar milaygi tatha unka udhar kaisey hoga? Isliye hey muni shreshta, koi aisa tap kahiye jis se thodey samay mein punya prapt ho tatha mano vanchit fal miley.”

Sarvashastra ghyata Shri Sutji boley, “Hey Vaishnavo mein pujya – aap sab ne sarva praniyo ke hit ki baat poochi hai. Ab mein us shreshta vrat ko aap logo mein kahoonga, jis vrat ko Narad ji ne LakshmiNarayan se poocha tha aur Shri LakshmiPati ne Muni Shreshta Narad se kaha tha –so dhyan se suniye.

Ek samay, Yogiraj Narad ji doosro ke hit ki ichcha se, anek lokon mein ghoomtey huey mrityulok mein aa pahunchey. Vahan bahut yoniyon mein janmey huey praya sabhi manushyon ko apne karmo ke dwara anek dukho se peedit dhek kar kis yatna ke karney se nischay hi inkey dukho ka nash ho sakega, aisa man mein sochkar Vishnulok ko gaye. Vahan shwet varna aur char bhujaon wale devon ke eersh Narayan ko (jinkey haaton mein shanka, chakra, gada aur padma they, tatha vanmala pahney huey they) dekhkar stuti karney lagey. “Hey Bhagwan, aap atyant shakti se samparn hai. Man tatha vani bhi aapko nahi pa sakti, aapka aadi, madhya aur ant nahin hai, nirgun swaroop shrishti ke aadi bhoot va bhakto ke dukho ko nasht karney wale hai. Aapko mera namaskar hai.”

Naradji se is prakaar stuti sunkar Vishnu Bhagwan boley ki “Hey Munishreshta – Aapke man mein kya hai? Aapka yahan kis kaam ke liye aagman hua hai? Nisankoj kaho.” Tab Naradmuni boley, “Mrityu lok mein sab manushya jo anek yoniyo mein paida huey hai, apne apne karmo ke dwara anek prakaar ke dukho se dukhi ho rahey hai. Hey Nath muj par daya rakhtey hai to batlaeay ki un manushyo ke sab dukh thodey se hi prayatna se kaisey door ho saktey hai?” Shri Vishnu Bhagwanji boley ki “Hey Narad, Manushyo ki bhalai ke liye tumne yeh bahut achchi baat poochi. Jis kaam ke karney se manushya moh se choot jaata hai, vah mein kehta hoo suno. Bahut punya ka deney wala, swarg tatha manushya lok dono mein durlab ek vrat hai. Aaj mein premvash hokar tumse kehta hoo. Shri Satyanarayanji ka vrat achchi tarah vidhan purvak karke manushya turant hi yahan sukh bhogkar marne par moksh ko prapt hota hai.”

Shri Vishnu Bhagwan ke vachan sunkar Narad ji ne poocha ki us vrat ka kya fal hai, kya vidhan hai, aur kisne yeh vrat kiya hai aur kis din yeh vrat karna chahiye, kripa karke vistaar se bataiye. Shri Vishnu Bhagwan boley, “Dukh shok aadi ko door karne wala, dhan dhanya ko badane wala, saubhagya tatha santaan ko dene wala, sab sthano par vijaye karne wala, Shri Satyanarayan Swami hai. Bhakti aur shradha ke saat kisi bhi din, manushya Shri Satyanarayan ki sham ke samay, Brahmano aur bandhuo ke saath dharmaparayan hokar puja karey, bhakti bhav se savaya prasad de. Gehu ke abhaav mein saathi ka churan, shakar tatha gud le aur sabh bhakshan yogya padarath jama karke savaye arpan kar devey tatha bandhuo sahit bhojan karavey. Bhakti ke saath swayam bhojan karey. Nritya aadi ka aachran kar Shri Satyanarayan Bhagwan ka smaran kar samast samai vyateet karey. Is tarah ka vrat karney par manushyo ki ichcha nischay hi poori hoti hai. Vishesh kar kal kaal mein bhoomi par yahi moksh ka saral upaya hai.

 
Doosra Adhyaya

Sutji boley “Hey Rishyo! Jisne pehle samay mein is vrat ko kiya hai uska itihaas kehta hoo, dhyan se suno.” Sunder Kashipuri nagari mein ek ati nirdhan Brahman rehta tha. Vah bookh aur pyaas se bechain hua nitya hi prithvi par ghumta tha. Brahmano ko prem karne wale Bhagwan ne Brahman ko dukhi dekhkar, boodey Brahman ka roop dhar uske paas jaakar aadar ke saath poocha, “Hey Vipra! Tu nitya dukhi hua prithvi par kyo ghumta hai? Hey shreshta Brahman! Yeh sab mujse kaho, mein sunana chahata hoo.” Brahman bola “Mein nirdhan Brahman hoo, biksha ke liye prithvi par firta hoo. Hey Bhagwan, yadi aap iska upaya jaante ho to kripa karke batao.” Vridh Brahman bola ki Satyanarayan Bhagwan manovanchit fal ko dene wala hai. Isliye hey Brahman tu unka pujan kar, jiske karne se manushya sab dukho se mukt hota hai. Brahman ko vrat ka vidhan batakar budey Brahman ka roop dharan karne wale Satyanarayan Bhagwan antardhyan ho gaye. Jis vrat ko vridh Brahman ne batlaya hai, mein usko karoonga. Yeh nischay karne par usey raat mein neend bhi nahi aayi. Vah saverey utha. Shri Satyanarayan ke vrat ke nischay kar biksha ke liye chala. Us din usko biksha mein bahut sa dhan mila jis se bandhu-baandhavo ke saath usne Shri Satyanarayan ka vrat kiya. Iske karne se vah brahman dukho se chutkar anek prakaar ki sampatiyo se yukt hua. Us samay se vah Brahman har maas vrat karne laga. Is tarah Satyanarayan Bhagwan ke is vrat ko jo karega vah sab papo se chutkar mauksh ko prapt hoga. Aagey jo prithvi par Satyanarayan vrat karega, vah manushya sab dukho se chut jayega. Is tarah Naradji ne Shri Narayan ka kaha hua yeh vrat tumse kaha. Hey Vipro! Mein ab aur kya kahu? Rishi boley “Hey Munishwaro! Sansar mein is Brahman se sunkar kis kis ne is vrat ko kiya, hum vah sab sunana chahatey hain. Iske liye humarey man mein shradha hai. Sutji boley “Hey Muniyo! Jis Jisne us vrat ko kiya hai vah sab suno. Ek samay vah Brahman, dhan aur aishwarya ke anusaar bandhu-baandhavo ke saath vrat karne ko tayar hua. Usi samay ek lakdi bechney wala ek buda aaya aur bahar lakadiyo ko rakhkar Brahman ke makan mein gaya. Pyaas se dukhi lakadharey ne Brahman ko vrat kartey dekhkar namaskar karkey poochney laga ki aap yeh kya kar rahey hai aur iskey karney se kya fal milta hai? Kripa karkey mujse kahiye. Brahman ne kaha, “Sab manokamnao ko poora karne wala, yeh Satyanarayan ka vrat hai. Iski hi kripa se mere yahan dhan-dhanya aadi ki vridhi hui hai.” Brahman se is vrat ke barey mein jaankar lakadhara bahut prasan hua. Charnamrit lekar aur prasad khaney ke baad, apne ghar ko gaya.

Lakadharey ne man mein is prakaar ka sankalp kiya ki aaj gram mein lakdi bechney se jo dhan mujhe milega usi se Shri Satyanarayan Bhagwan ka uttam mein vrat karoonga. Yeh man mein vichar kar, budha lakadhara lakadiya sar par rakhkar Sundernagar mein gaya. Us roz vahan par usey un lakadiyo ka daam pehle dino se chauguna mila. Tab budha lakadhara daam lekar aur ati prasan hokar pakkey kele ki fali, shakar, ghee aur dahi, gehu ka chun ityadi Satyanarayan Bhagwan ki vrat ki kul samagriyo ko lekar apne ghar gaya. Phir usne apne sab bhaiyo ko bulakar vidhi ke saath Bhagwan ji ka pujan aur vrat kiya. Us vrat ke prabhav se budha lakadhara dhan, putra, aadi se yukt hua aur sansar ke samast sukh bhogkar vaikunth ko chala gaya.

 
Teesra Adhyaya

Sutji bole, “Hey shresta muniyo! Ab aagey ki katha kehta hoo- suno. Pehle samay mein Ulkamukh naam ka ek budhimaan raja tha. Vah satyavakta aur jeetendra tha. Pratidin dev sthano mein jaata tatha garibo ko dhan dekar unkey kasht door karta tha. Uski patni kamal ke samaan mukh wali aur sati sadhvi thi. Badrashila nadi ke tath par un dono ne Satyanarayan Bhagwan ka vrat kiya. Usi samay mein vahan ek sadhu vaishya aaya. uske paas vyapaar ke liye bahut sa dhan tha. Nav ko kinarey par thehra kar raja ke paas gaya aur raja ko vrat kartey huey dekh kar vinay ke saath poochney laga–Hey rajan! Bhaktiyukt chit se aap kya kar rahey hai? Meri bhi sunaney ki ichcha hai. Yeh aap mujhe bataea.

Raja bola “Hey Sadhu! Apne baandhavo ke saath putradi ke prapti ke liye Mahashaktivaan Satyanarayan Bhagwan ka vrat va pujan kiya ja raha hai.

Raja ke vachan sunkar Sadhu aadar ke saath bola, “Hey rajan! Mujko iska sabh vidhan kahiye, mein bhi aapke katha anusar is vrat ko karoonga. Meri bhi koi santaan nahi hai aur is se nischay hi hogi. Raja se sabh vidhan sunkar, vyapaar se nivrit hokar, aanand ke saath ghar gaya. Sadhu ne apni stri se santaan dene wale us vrat ka samachar sunaya aur kaha ki jab meri santaan hogi tab mein is vrat ko karoonga. Sadhu ne aise vachan apni stri Lilawanti ko kahey. Kuch samay baad, Lilawanti garbawati hui tatha dasve mahiney mein uske ek sunder kanya ka janam hua jiska naam Kalawanti rakha gaya. Tab Lilawanti ne meethe shabdo mein apne pati se kaha ki aapne jo sankalp kiya hua tha ki Bhagwan ka vrat karoonga, ab aap usey kariye. Sadhu bole, Hey priya! Iske vivah par karoonga. Apni patni ko aashvaasan dekar voh nagar ko gaya. Kalawanti pitragrah mein vridhi ko prapt ho gayi. Sadhu ne jab nagar mein sakhiyo ke saath apni putri ko dekha to turant hi doot ko bulakar kaha ki putri ke vastey koi suyogya var dekh kar laao. Sadhu ki aagya paakar doot Kanchan Nagar pahuncha aur vahan par badi khoj kar aur dekhbhaal kar ladki ke vaastey suyogya vanik putra ko le aaya. Us suyogya ladke ko dekh kar, Sadhu ne apne bhai-bandhuo sahit prasan-chit apni putri ka vivah uske saath kar diya. Kintu, durbhagya se vivah ke samay bhi us vrat ko karna bhool gaya. Tab Shri Bhagwan krodhit ho gaye aur usey shrap diya ki voh daarun dukh prapt hoga.

Apne kaam mein kushal sadhu baniya apne jaamata sahit samudra ke samip Ratanpur nagar pahuncha. Aur vahan dono sasur jamai, Chandraketu Raja ke nagar mein pahunche aur vyapaar karney lagey. Ek roz, Bhagwan Satyanarayan ki maya se prerit koi chor raja ka dhan churakar sheegra ja raha tha kintu peechey se raja ke dooton ko aatey dekh kar, chor ne ghabrakar bhaagtey-bhaagtey dhan ko vahin chup-chap rakh diya jahan vah dono sasur jamai thehrey huey they. Dooton ne us sadhu vaishya ke paas raja ke dhan ko rakha dekh kar dono ko baandhkar le gaye aur prasanta se daudtey huey raja ke samip jaakey boley, “Yeh do chor hum pakad kar laye hai, dekh kar agya de.” Raja ki agya se unko kathin kaaravaas mein daal diya aur unka dhan raja ne cheen liya. Usi shrap dwara uski patni bhi ghar par bahut dukhi hui aur ghar par jo dhan rakha tha chor churakar le gaye. Sharirik va mansik peeda mein bookh va pyaas se ati dukhit ho ann ki chinta mein, Kalawanti ek Brahman ke ghar gaye. Vahan usne Satyanarayan vrat hotey dekha. Vahan usne katha suni aur prasad grahan kar raat ko ghar aayi. Mata ne Kalawanti se kaha, “Hey putri! Din mein kahan rahi va tere man mein kya hai?” Kalawanti boli, “Hey mata! maine ek Brahman ke ghar Satyanarayan ka vrat dekha.” Kanya ka vachan sunkar, Lilawanti Satyanarayan Bhagwan ke pujan ki tayari karney lagi. Lilawanti ne parivar aur bandhuo sahit Bhagwan ka pujan kiya aur yeh var maanga ki mere pati aur daamaad sheegra hi aa jaavey aur prathna ki ki hum sab ka apraadh shama karo. Satyanarayan Bhagwan is vrat se santusht ho gaye aur Raja Chandraketu ko swapna mein dekhayee diye aur kaha ki “Hey rajan! Dono bandhi vaishyon ko prat hi chod do aur unka sab dhan jo tumne grahan kiya hai de do nahi to tera dhan, rajya, putradi sab nasht kar doonga.” Raja ko aisa vachan sunakar Bhagwan antardhyan ho gaya. Prat-Kaal Raja Chandraketu ne sabha mein apna swapna sunaya aur dono vanik putro ko kaid se mukt kar sabha mein bulaya. Dono ne aatey hi Raja ko namaskar kiya. Raja meethey vachno se boley, “Hey Mahanubhavo! Bhagyavash aisa katheen dukh prapt hua hai, ab koi bhay nahi hai.” Aisa kahkar Raja ne unko naye-naye vastrabushan pehnaye tatha unka jitna dhan liya tha us se duna dhan dilvakar vida kiya. Dono vaishya apne ghar ko chal diye.

 
Chautha Adhyaya

Sutji boley, “Vaishya ne mangalachar karke yatra aarambh ki aur apne nagar ko chala. Unkey thodi door pahunchney par dandi veshdhari Satyanarayanji ne un se poocha, “Hey sadhu! teri naav mein kya hai? Abhimani vaanik hasta hua bola, “Hey dandi, aap kyon poochtey ho? Kya dhan lene ki ichcha hai? Meri naav mein to bel tatha pattey adi bharey hai. Vaishya ka kathor vachan sunkar, Bhagwan ne kaha ki tumhara vachan satya ho. Aisa kahkar dandi vaha se chaley gaye aur kuch door jaakar samudra ke kinarey baith gaye. Dandi ke jaaney par vaishya ne nitya kriya karne ke baad naav ko oonchi uthi dekh achamba kiya tatha naav mein bel patradi dekh murchit ho gir pada. Phir murcha khulney par bahut shok karne laga. Tab uska daamaad bola ki aap shok na karey, yeh dandi ka shrap hai. Aapko sharan mein chalna chahiye tabhi hamari manokamna poori hogi. Damad ke vachan sunkar vah dandi ke paas pahuncha. Bhakti bhav se namaskar kar bola, “Maine jo aap se asatya vachan kahey they us ko shama karo, aisa kahkar vah mahan shokatur ho roney lagey. Dandi Bhagwan boley, “Hey vanik putra! Meri aagya se tumhe baar-baar dukh prapt hua hai. Tu meri puja se vimukh hua hai.” Sadhu bola, “Hey Bhagwan! Aapki maya se mohit gyani aapke roop ko nahi jaantey, tab mein agyani kaise jaan loo? Aap prasan hoiay, mein saamarth ke anusaar aapki puja karoonga. Meri raksha karo aur pehle ke samaan, nauka mein dhan bhar do.” Un dono ke bhaktiyukt vachan sunkar Bhagwan prasan ho gaye. Uski ichanusar var dekar antardhyan ho gaye. Tab unho ne naav par aakar dekha ki naav dhan se paripurn hai. Phir vah Bhagwan Satyanarayan ka pujan kar saathiyo sahit apne nagar ko chala. jab vah apne nagar ke nikat pahuncha tab doot ko ghar bheja. Doot ne sadhu ke ghar jakar, uske stri ko namaskar karke kaha ki sadhu apne daamaad sahit is nagar ke samip aa gaye hai. Aisa vachan sunkar Lilawanti ne bade harsh ke saath Bhagwan Satyanarayan ka pujan kar putri se kaha mein apne pati ke darshano ko jaati hoo, tu karya purna karke sheegra aana. Mata ke vachan sunkar Kalawanti prasad chhodkar pati ke paas gaye. Prasad ki avagya ke karan Bhagwan Satyanarayan ne rusht hokar uske pati ko naav sahit pani mein duba diya. Kalawanti apne pati ko na dekhkar roti hui zameen par gir gayi. Is tarah naav ko dooba hua tatha kanya ko rota dekh sadhu dukhit ho bola, “Hey Prabhu! Mujse ya mere parivar se jo bhool hui usey shama karo. Uske deen vachan sunkar Bhagwan Satyanarayan prasan ho gaye aur aakashvani hui. “Hey Sadhu! Teri kanya mere prasad ko chhodkar aayi hai, isliye iska pati adrishya hua hai. Yadi woh ghar jaakar prasad khaakar lautey to isey pati avashya milega. Aakashwani se aisa sunkar, Kalawanti ne ghar pahunchkar prasad khaaya. Phir us ne aakar pati ke darshan kiye, tab vaishya parivar ke sab log prasan huey. Phir sadhu ne baandhavo sahit Bhagwan Satyanarayan ka vidhi poorvak pujan kiya. Us din se har purnima va sankrant ko Bhagwan Satyanarayan ka pujan karne laga. Phir is lok ka sukh bhogkar swarg ko chala gaya.

 
Paanchva Adhyaya

Sutji boley, “Hey Rishyo! Mein aur bhi katha kehta hoo, suno. Praja palan mein leen, Tungadhwaj naam ka raja tha. Usne bhi Bhagwan ka prasad tyag kar bahut dookh paaya. Ek samay, vanmein ja karke pashuo ko maarkar bud ke ped ke neechey aaya. Us ne bhaktibhav se gwalo ko baandhavo sahit Bhagwan Satyanarayan ka pujan karte dekha. Raja dekhkar bhi, abhimaan vash na vahan gaya, na namaskar kiya. Jab gwalo ne Bhagwan ka us ke saamne prasad rakha, to vah prasad ko tyag kar apni sunder nagri ko chala gaya. Vahan us ne apna sab kuch nasht paaya. To vah samaj gaya ki yeh sabh kuch prasad ke niradhar ke vajai se hua hai. Tab vah, vishwas kar gwalo ke samip gaya aur vidhi poorvak pujan kar prasad khaaya. Bhagwan Satyanarayan ki kripa se sab jaisa tha vaisa hi ho gaya. Tatha sukh bhogkar marne par swarg lok mein gaya. Jo manushya is param durlab vrat ko karega, Bhagwan ki kripa se usey dhan dhanya ki prapti hogi. Nirdhan dhani hota hai. Bandhi bandhan se mukt hokar nirbhay ho jaata hai. Santaanheeno ko santaan prapt hoti hai. Sab manorath purna hokar ant mein vaikunth dham ko jaata hai. Jinhonay, pehle is vrat ko kiya hai, uske doosrey janam ki katha kehta hoo. Vridh Shatanand Brahman ne Sudama ka janam lekar mauksh paaya. Ulkamukh naam ka raja Dashrath hokar vaikunth ko prapt hua. Sadhu naam ke vaishya ne Mordhwaj bankar apne putra ko aare se cheerkar moksh prapt kiya. Maharaj Tungadhwaj ne swayam-bhu hokar Bhagwan ke bhaktyukt karm kar moksh ko prapt kiya.

It Shri Satyanarayan Vrat Kathayaam Panchmodhyaya Samapt.

Offering food/prasad to Lord

Brahmaarpanam Brahma Havir

Brahmagnau Braahmanaa Hutam

Brahmaiva Tena Gantavyam

Brahma Karma Samadhina

Aham Vaishvanaro Bhutva

Praninam Deham Ashritaha

Prana Pana Samayuktah

Pachamyannam Chaturvidham

(Dear Lord, You are the provider of this food, taster of this food and you’re food.
I take this food as a gift from you and I offer what I consume at your divine lotus feet. )

Aartis

 
SATYA NARAYANJI KI AARTI

Jai Lakshmi Ramana,

Swami Jai Lashmi Ramana,

Satyanarayan Swami,

Jan Paatak Harana,

Jai Lakshmi Ramana

Ratan JaRat Singhasan,

Adhbut Chabee Rajey

Narad Kahat Niranjan,

Ghanta dhwani bhajey

Jai Lakshmi Ramana………….

Prakat Bhaye Kali Kaaran,

Dwij Ko Daras Diyo

Buddho Brahman Bankey,

Kanchan Mahal Kiyo

Jai Lakshmi Ramana………….

Durbal Bheel Karaal,

Jin Par Kripa Kari

Chandra Choor ik Raja,

Jinaki Vipatti Hari

Jai Lakshmi Ramana………….

Vashye Manorath Payo,

Shradha taj Deeni

So Fal Bhogyo Prabhuji,

Fir astuti Keeni

Jai Lakshmi Ramana………….

Bhaav Bhakti Ke Kaaran,

Chhin Chhin Roop Dharyo

Shradha Dhaaran Keeni,

Tin Ko Kaaj Saryo

Jai Lakshmi Ramana………….

Gwaal Baal Sang Raja,

Ban Mein Bhakti Karee

Man Vaanchit Fal Dino,

Deen Dayal Haree

Jai Lakshmi Ramana………….

Charhat Prasad Sawaayo,

Kadali Fal Mewa

Doop Dheep Tulsi Se,

Rajee Satya Deva

Jai Lakshmi Ramana………….

Shri Satya Narayan Ji Ki Aarti

jo koi nar gaavey

Kahat Shivanand Swami

Man VaanChit Fal Paavey

Jai Lakshmi Ramana………….

 
OM JAI JAGDISH HARE

Om jai Jagdish hare
Swami jai Jagdish hare
Bhakt jano ke sankat
Das jano ke sankat
Kshan men door kare
Om jai Jagdish hare

Jo dhyave phal pave
Dukh bin se man ka
Swami dukh bin se man ka
Sukh sampati ghar ave
Sukh sampati ghar ave
Kasht mite tan ka
Om jai Jagdish hare

Maat pita tum mere
Sharan padun main kiski
Swami sharan padun main kiski
Tum bin aur na dooja
Prabhu bin aur na dooja
Aas karun main jiski
Om jai Jagdish hare

Tum puran Parmatma
Tum Antaryami
Swami tum Antaryami
Paar Brahma Parmeshwar
Paar Brahma Parmeshwar
Tum sabke swami
Om jai Jagdish hare

Tum karuna ke sagar
Tum paalan karta
Swami tum palan karta
Main murakh khalkhami
Main sevak tum swami
Kripa karo Bharta
Om jai Jagdish hare

Tum ho ek agochar
Sab ke praanpati
Swami sab ke praanpati
Kis vidh milun Gosain
Kis vidh milun Dyalu
Tum ko main kumti
Om jai Jagdish hare

Deen bandhu dukh harta
Thakur tum mere
Swami Thakur tum mere
Apne haath uthao
Apni sharani lagao
Dwar pada hoon tere
Om jai Jagdish hare

Vishay vikar mitao
Paap haro Deva
Swami paap haro Deva
Shradha bhakti badao
Shradha prem badao
Santan ki seva
Om jai Jagdish hare

Tan man dhan sab hain tera

Swami sab kuch hain tera

Tera tujhko arpan

kya laage mera

Om jai Jagdish hare

Shyam sundarji ki aarti

jo koi nit gaavey

Kahat Shivanand Swami

Man vaanchit phal paavey

Om jai Jagdish hare

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How to perform Lakshmi pooja at home?

Posted on October 15, 2009. Filed under: My musings | Tags: , , , , , , |

Articles for Laxmi Puja

  • Icon of Laxmi or Supari on White rice representing 9 forms of Laxmi
  • A gold or silver coin to represent Laxmi for her bath
  • Handkerchiefs or pieces of cloth for wiping the coin representing Laxmi after it has been bathed
  • Low stool(s) with square or rectangular tops (chouki or patta), 1 big one, or 2 small ones
  • Ledger and account books, books where balance sheets are kept, cash box or safe or drawer where valuables are kept, coin purse made of cloth
  • Pen
  • Ink pot, filled with black ink
  • Coins – gold, silver or currency
  • Three platters (thali)
  • Incense (dhupa) preferably incense sticks
  • Diyas- 2 big, 8 small. You can have 5, 11, 21, 51, or 101 lamps. These are the numbers in which they are traditionally used.
  • Cotton for wicks or ready made wicks
  • Matchbox
  • Sesame oil
  • Clarified butter prepared at home (or desi ghee)
  • Milk (dugdha)
  • Curds (dadhi)
  • Honey (madhu)
  • Water (at least clean and pure), if not from the Ganga or a place of pilgrimage
  • Panchamrta – Milk, curds, honey, ghee and pure water, together make up panchamrta or the five amrtas
  • Madhuparka – Milk, curds, honey and ghee mixed together, also make madhuparka
  • A container for madhuparka – if not made of precious metal, at least a decorative one
  • Turmeric and lime powdered and mixed (roli). This is an extremely important ingredient
  • Sandalwood powder, red and white, made into paste candana
  • Untwisted red thread (mouli or kalava)
  • Unbroken grains of rice (aksata or cavala)-an extremely important ingredient, at least half a kilogram.
  • Metal or earthenware water pot (kalasa).
  • White cloth – 2 meters – to be spread for the yajamana to sit on
  • Red cloth – 2 meter – to wrap around the copra or spread on the chouki to represent the nine planets
  • Tissues or paper towel
  • Camphor
  • Dried coconut (meva)
  • Flowers and petals (of rose and marigold)
  • Garlands (of rose and marigold)
  • Fruit according to the season (rtufala), for example, bananas, apples, grapes, pomegranates, custard apples
  • Dry fruit
  • Parched rice (khila)
  • Cloves (lavanga or long) 15 or 20.
  • Gardamoms (elaici)
  • Saffron (kesara, dried stamens of the plant Messua ferria) – one small packet or sachet
  • Vermillion (sindura)
  • Nutmeg – 16
CLEANING YOURSELF
You must take a bath, and wear new, or at least clean, clothes, before starting to arrange for the actualceremony. The yajamana, should sit facing the east if the icon faces the west (purvabhimukham upaviseva). If the icon faces the east, you should sit facing the west (pascimabhimukham upaviseva).

Kalasa (pot)
This is a pot in the shape of an expanded vase (a lotacan be used in place of Kalash). Place water inside the Kalash. Place thebunch of 5 or 5 Mango Leaves inside the neck and place a saucer of rice ontop of the Kalash. (This Saucer represents the MOON). Place One big diya,filled with ghee, on the plate of rice resting on top of the Kalash (this represents THE SUN). Together they represent MAHA LAXMI. It is customary to setthe pot on some grains of unbroken rice. This pot represents Varuna, the God ofthe Ocean. AND LAXMI as Mother Earth.

Place the other big diya on your right hands side -this one is for arti the wicks should be of the rolled up type. Another diya should be kept on the side next to Ganesh. This can be a small one, with apulled up wick. This is for the purpose of performing arati later on. It should be placed on a small platter or tari on some rice.

Place a lower platform before the one on which the icons and the big diyas are placed. The red cloth should be spread on thislower platform. Now fill the other 8 (diyas) with ghee and wicks and place them around the Kalash in a Half circle with the circle towards you. Each diya is placed on a rice platform.

PERFORM SODASAMATRKA PUJANAM FIRST
(THE WORSHIP OF THE SIXTEEN MOTHERS)

The 16 mothers are represented on the platform by 16 small heaps of rice and a NUTMEG on top. Bowing to the 16 mothers,take rice, flowers and fragrance (atar) in your hands and say:

GOURI PADMA SACIMEDHA SAVITRI VIJAYA JAYA DEVASENA SVADHA
SVAHA MATARO LOKAMATARAH HRSTIH PUSTISTATHATUSTI ATMANAH-
KULADEVATAH GANESE NADHI KAPUJ YAH URDD HOU PUJYASCA SODA SAH

Gouri, Padma, Saci, Medha, Savitri, Vijaya, Jaya,Devasena, Svadha, Svaha, Mataro,
Lokamatrah, Hrstih, Pustistatha, Tusti, Atmakuladevataare the sixteen venerable mothers.

Take a handful of rice, and pouring it through yourfingers on the red cloth. This is the representation for various deities as explained below: Sprinkle the flowers, rice and fragrance (atar).

MAHALAXMI PUJANAM (THE WORSHIP OF MAHALAKSMI)
It is only now that Laxmi herself gets worshipped.Start on this confidently and happily.

DHYANAM (MEDITATION)

SRI MAHA-LAXMI STOTRAM
Aum Namaste-astu mahaa-maaye sree peethe sur-poojite,Shankha chakra gaddaa-haste, Mahaa Lakshmi namo-astute.

O Great Mother, abode of fortune, Who artworshipped by the Devas, I salute Thee; O Mahaa Laxmi, wielder of conch,disc and mace, obeisance to Thee.

Aum Namaste garu-daaroode, kolaa-sura bhayankari;Sarva paapa hare devi, Mahaa Lakshmi namo-astute.

My salutations to Thee, Who ridest the Garuda andart a terror to the demon Kola; O Mahaa Laxmi remover of all miseries, myobeisance to Thee.

Aum Sarvagye sarva varde, sarva dustha bhayankari;Sarva duhkha hare devi, Mahaa Laxmi namo-astute.

Salutations to Thee, Who knowest all, The Giver of all boons, a terror to all the wicked, remover of all sorrow, my obscene to Thee.

Aum siddhi buddhi prade devi. bhukti-muktipradaayini; Mantra moorte sadaa devi, Mahaa Laxmi namo astute.

O Goddess of Wealth, giver of intelligence andsuccess and of worldly enjoyment and liberation, Thou hast always the mystic symbols as Thy forms, O Mahaa Laxmi, obeisance to Thee.

Aum Aadhyanta rahite devi, aadhya-shakte maheshvari;Yogaje yoga-sambhoote, Mahaa Lakshmi namo-astute.

O Mother Maheshvari, without a beginning or anend; O Primeval Energy, born of Yoga; O Mahaa Laxmi, obeisance to Thee.

Aum Stoola suksham mahaa rovdre, mahaa shaktemahodaye; Mahaa paapa hare devi, Mahaa Laxmi namo-astute.

O Mahaa Laxmi, who art both gross and subtle,most terrible, great power, great prosperity and great remover of allsins, obeisance to Thee.

Aum Padmaa sanas-thite devi, pare brahma svaroopini;Para meshi jagan-maatar, Mahaa Laxmi namo-astute.

O Devi, seated on the lotus, who art The SupremeBrahman, The Great Lord and Mother of the Universe, O Mahaa Lakshmi, obeisanceto Thee.

Aum Svetaambar dhare devi, naanaa lankaar bhooshite;Jagat stithte jagan maatar, Mahaa Laxmi namo-astute.

O Devi, robed in white garments, and decked invarious kinds of ornaments, Thou art The Mother of the Universe and its support;O Mahaa Laxmi, obeisance to Thee.

Aum Mahaa Laksham-yashtak stotram, yahahpathed-bhakti maan narah; Sarva siddhim vaapnoti, Mahaa Lakshmee prasaad taha.

Whoever with devotion recite this hymn to SriMahaa Laxmi, composed in eight stanzas, attains all success through the Grace ofMahaa Laxmi Devi.

Take flowers or unbroken grains of rice in yourhands. Meditate upon the goddess, saying:

YA SA PADMA SANASTHA VIPULA KATI TATI PADMA PATRAYAT AKSI
GAM BHIRA VARTANA BHISTANA BHARANA MITA SUBHRA VASTROTTARIYA
YA LAKSMIR DIVYA RUPA IRMANI GANA KHA CITAIH SNA PITAHEMA KUMBH AIH
SA NITYAM PADMA HASTA MAMA VASATU GRHE SARVA MANGALYAYUKTA SWAHA

Laksmi who is seated on a lotus, has eyes as wideas lotus petals, massive hips, deep navel, and heave breasts, wears white upperand lower garments, wears jewelry, is bathed from a golden pitcher, carries alotus in her hand, and is associated with every auspicious sign, let her residein my house.

Drop the flowers and the rice at the feet of thegoddess.

AVAHANAM (INVOCATION)
Now you have to invoke Laxmi. Avahanam is the act of invoking her. Join your hands with palms upwards, only the little fingers touching ( with open palms). Make the usual gesture of welcoming guests in, andinvite Laxmi to the household, office or factory where she is going to be worshipped and say:

OM SARVA LOKASYA JANANIM SULA HASTAM TRILO CANAMSARVADE VAMA YIMI SAM
DEVI MAVA HAYA MY AHAM DEVIM AVAHA YAMI SWAHA

I invoke the mother of the three worlds, the three eyed one with the spear in her hand, in whom all the gods reside. I invoke the goddess.

Now Kalash Puja:

KALASH (VARUNA) PUJA IS THE RE-CREATION OF THE EARTHBY YOURSELF AS BRAMHA
Fill the kalasha with water. Offer sandalwood powder,flowers and tulasi to decorate it. Place a coconut on top of the vessel and putyour palms over the top of it while chanting the following mantras:

THE KALASH REPRESENTS THE RE-CREATION OF THE NEWEARTH OR NEW KALAPURSHA BECAUSE YOU ARE NOT HAPPY WITH THE OLD EARTH OR OLDLIFESTYLE ON EARTH

KALASHASYA MUKHAE VISHNUHU KANTAE RUDRAHASAMAASHRITAHA
MULAE TATRA STHITHO BRAHMA MADHYAE MAATRAGANAHASMRITAHA

We worship the kalasha (vessel above which the coconut is placed) invoking Mahavishnu at the mouth of the vessel. We invokeLord Rudra (an aspect of Shiva) at the neck of the kalasha and Brahma at thebase of the vessel. We invoke the Universal Mother Goddess and Her retinue in midst of the kalasha. Thus the male and female trinities are invoked. Salutations!

AUM AAJIGHRI KALASHAM MAHYAATVAA-VINSHATVINDAVAH
PUNROOJEE-NIVARTASYA SAANAH; SAHASRAMDHUKSHVORU-DHAARAA
PAYASVATEE PUNARMAA VISHATAA-DRIYAH.

AUM ATRA GANESH VARUNA GAURYA AADI KALSHAA DHISHTITDEVATAASARVE
IHAAGACHCHANTU IHA TISHTANTU SUPREETAA VARDAA BHAVANTU.ITI KALASH
PRATISHTAA SRI KALASH STHAAPYA SRI KALASH DEVATAA SRIVARUNA DEVATAAYE
BHYO NAMAH.

AVAHANA – Invocation -Place the following ingredients on a pan leaf and insert into the Kalash
BY THIS YOU ARE PLACING THE MINERALS AND RESOURCESINSIDE THE NEW EARTH

Chandan (brown Sandalwood powder)
Panch Amritam (a mixture of 5 ingredients)
Sindoor (Red Sandalwood powder)
Pushpam.(White Flowers)
Hardee (Yellow Tumeric powder)
Neemam (Neem Leaf)
Gingelly (White Sesame Seeds)
Tusi
Akshat (White Uncooked Rice)
Yagno Pavitam (Holy Thread)
Dhan (Unshelled Rice)
Dhuba Grass(Specal Grass)
Lawang (Cloves)
Naivediam (Mixture of Sugar, Milk Cream & Honey)
Elaich (Unshelled Cardimon)
Coins (silver)
Supari (Betel Nuts)
Vastram (Cotton Wool)
Ritu-Ohal (Grapes or Raisons)

AUM YAH PHALY-NEERYAA APHALAA APUSHPAA YAASHCHA PUSHPINI NOH;
BRIHASPATI PRASOO TAAS TAA NO MUNCHAN TVA GVANG HASAH.

Tie the thread on the Kalash – kaacha soot or Holythread is to be tied around the neck of the Kalash

AUM YUVAA SUVAASAAHA PARIBEET-AAGAATSAUSREYAAN-BHAVATI
JAAYAMAANAH; TAN DHEERAASAHA KAVAYA UNAYANTI SVAADHYOMANASAA
DEVAYANTIH.

Placing the vegetation on Earth – 5 mango leaves aretied together (or 1 bunch of 5 mango leaves are placed
in the Kalash, with the stems falling inside the Kalash

KALASH PRARTHANA AUM KALASHSYA MUKHEVISHNU KANTHERUDRAH
SAMAASRITAH; MOOLE TATRASTHITO BRAHMAA MADYEMAATRIGANAH
SMRITAAHA.

THE WORSHIP OF VARUNA
With flowers in your hands, pray that your Earth has berenewed

Now it is the turn of Varuna, the god of the Ocean.Varuna is represented by the water you have taken in the kalasa or pot. SoVarunapujana is also known as kalasapujana. Take some water in your hand andsay:

KALASE VARUNAYA NAMAH SWAHA

Invoking all the places of pilgrimage in thispot, I worship it and bow to it.

NOW THE NINE FORMS OF LAXMI ARE WORSHIPED – THE 8DIYAS AND THE ONE
IN THE MIDDLE KNOWN AS MAHALAXMI.

Do the following while chanting the mantra:

Bring the deity alive – by pouring with a spoon,Panch Amritam (mixture of 5 ingredients)
Aum Panch-aaamriten pas-chaach chuddod-ken Shri LammiMata samarpa-yaami swaha

Offering a Seat to the deity……………AumIdam aasaanam Shri Lammi Mata samarpa-yaami swaha

Touching the feet of the deity………..AumPaada-yoha paadyam Shri Lammi Mata samarpa-yaami swaha

Giving deity water to drink……………AumHastayor-arghyam Shri Lammi Mata samarpa-yaami swaha

Purifying area around deity with water…..AumMukhe aachman-eeyam Shri Lammi Mata samarpa-yaami swaha

Energizing the deity with fluid………..AumSnaanaar-tham jalam Shri Lammi Mata samarpa-yaami swaha

Now place all items on a Pan Leaf and offer to each,saying the mantra along:

Vastram (Cotton Wool)……………. AumVastram Shri Lammi Mata samarpa-yaami swaha

Kacha Soot (Holy Thread)…………AumYajno-paveetam Shri Lammi Mata samarpa-yaami swaha

Attar (Perfume)………………………..AumGandham Shri Lammi Mata samarpa-yaami swaha

Chandan (Brown Sandalwood)…..AumChandanam prati grihayatam Shri Lammi Mata samarpa-yaami swaha

Sindoor (Red Sandalwood)…………AumSindooram Shri Lammi Mata samarpa-yaami swaha

Hardee (Yellow Tumeric)…………..Aumhaldeeyam Shri Lammi Mata samarpa-yaami swaha

Gingelly (White Sesame Seeds)…Aumgingelly Shri Lammi Mata samarapa-yaami swaha

Akshat (White Uncooked Rice)….Aumakshataya Shri Lammi Mata samarapa-yaami swaha

Dhan (Unshelled Rice)……………..Aumdhanam Shri Lammi Mata samarapa-yaami swaha

Kapoor (Camphor)…………………..Aumkapoor Shri Lammi Mata samarpa-yaami swaha

Lawang (Cloves)……………………..Aumlavang Shri Lammi Mata samarpa-yaami swaha

Elaichi (Unshelled Cardimon)……Aumelaichi Shri Lammi Mata samarpa-yaami swaha

Supari (Betel Nuts)………………….Aumtaam-boolam Shri Lammi Mata samarpa-yaami swaha

Ritu-Ohal (Grapes or Raisons)….Aumritu-phalam Shri Lammi Mata samarpa-yaami swaha

Pushpam (White Flower)……………Aumpushpam Maalam Shri Lammi Mata samarpa-yaami swaha

Neemam (Neem Leaf)………………Aumneemam Shri Lammi Mata samarpa-yaami swaha

Tusi ………………………………………..Aumtulsee-dalam niveda-yaami Shri Lammi Mata samarpa-yaami swaha

Dhuba Grass (Specal Grass)……..Aumdhubam Shri Lammi Mata samarpa-yaami swaha

Naivediam (Mixture of Sugar, Milk Cream &Honey)..Aum Naivedyam Shri Lammi Mata samarpa-yaamiswaha

Coins (silver)………………………..Aumdakshinaam Shri Lammi Mata samarpa-yaami swaha

With an incense arti the deity..Aumdhoopamaa-ghraa-payaami Shri Lammi Mata samarpa-yaami swaha

With a diya arti the deity……..Aumdeepam darsha-yaami Shri Lammi Mata samarpa-yaami swaha

Circle the deity with the arti of light…….Aumkarpoor-aaraarti-kayam Shri Lammi Mata samarpa-yaami swaha
…………………………………………………………Aumpra-dakshinaam Shri Lammi Mata samarpa-yaami swaha

“Samarpa-yaami” means not for me but for you God

* Recite Mahalaxmi Bhajan & Aarti after performing this.

Laxmi Aarti

Laxmi Chalisa

JAI JAI SHRII LAKSHMII
KIIJAI KRIPAA APARA
DIIJAI DHANA JANA JAANI NIJA
LIIJAI SHARANA MANJHAARA

Glory, glory, all gloryto you, O Lakshmi! May you be infinitely merciful to me and give me men andmoney, and considering me as your own devotee, be my refuge.

JAYATI JAYATIJAGANIDIVATII
BHAAGYAVATII DHANAVANTII
JAI JAI JALAJA VILAASINII
GHATA GHATA MAHAN VICHARANTII

Victory, all victory to you,O owner of the world’s treasure; you are blessed with good luck and immensefortune. Glory, glory to you, O Goddess who luxuriates in the water-borne lotus(where you abide) and who wanders from heart to heart!

JAI JAI SHRII KAMALE HARIPRIYE
JALANIDHI TANAYE AMBA
VINAVATA SUNDARADAASA
IKA MAAN TERAAHIN AVALAMBA

Glory, glory to you, OMother Lakshmi, beloved consort of Vishnu and daughter of Jalanidhi (Ocean).With prayerful humility does Sundardasa tell you that you are, O Mother, hisonly support.

SABA SUKHA BHARANIILAKSHMII AMBAA
DIINANA PARA KAHAN KARATI VILAMBAA
TUU TRIHUVANA TAMA NAASANII HAARII
HO JAGA JANANII VISHNU KII PYAARII

O mother Lakshmi, you fulfilvery want (grant all happiness); what makes you delay being merciful to thehelpless? O primordial origin (and source) of the world, beloved consort ofVishnu, you are the dispeller of the gloom covering the three spheres!

BHEDA TUMHAARAA NAA KOUPAAVATA
KSHANA MAHAN SUKHA SAMPATI UPAJAAVATA
PAAVATA SHESHAADIKA NAHIN ANTAA
MAHIMAA ANUPAMA AGAMA ANANTAA

To none has your mysterybeen comprehensible (by none can the depth of your truth be fathomed); (endowedwith miraculous powers that you are) you sow the seeds of prosperity and harvestit all in a moment. As you are infinite, the Serpent King and others fail todiscover your secret, so matchless, mysterious and endless is your glory.

MUKUTA BICHA SHISHUCHANDRA VIRAAJATA
TIISARA NAYANA BHAALA BICHA SAAJATA
JHUUMATA JHUUMAKA MANINA LADANA KII
SOHATA CHOLII HARITA VARANA KII


The new moon liesresplendent amid the crown upon your head while your third eye adorns the middleof your forehead. Strings of gems are swaying glitteringly around your neck likependants (attached to your earrings) while your green blouse looks splendid onyour body.

PUSHPARAAJA HIMA HAARAVIRAAJATA
LAKHI CHAVI SAHASA VADANA MANA LAAJATA
PHAHARATA ARUNA RANGA KII SAARII
MARKATA MANI SHUCHI JADITA KIINAARII

The garland of lotuses onyour bosom looks splendid, and shames the thousand-faced Serpent-king when helooks at its beauty. You are clad in a russet sari the border of which isstudded with pure emerald and which flutters in the wind.

KATI KINKINII GUCCHITATIRMANIYAAN
PADA KAMALANA JHANAKATA PAIJANIYAAN
SHOBHAA AMITA TEJA KII KHAANII
LASITA SHASTRA ASTAADASHA PAANII


You wear a winning bunch oftriple bells studded with gems on your girdle and ankle-bells, which jingle onyour lotus-feet. Infinitely winsome, you are verily a source of inextinguishablerefulgence and a goddess endowed with eighteen arms all beautifully equippedwith weapons and other objects.

GADAA PADMA TRISHUULAKRIPAANANA
SHANKHA CHAKRA RAAJITA DHANUBAANANA
VAJRA KUNDIKAA PAASHU KUTHAARII
ATI SHUCHI AKSHAMAALA KARA DHAARII


The most outstanding of themare a club, a lotus, a three-pronged trident, a sword, a conch, a disc, a bowand arrows. In addition to these you also hold a thunderbolt, a vessel made ofwood or earth (used for keeping water by ascetics and religious students), anoose or trap (used as weapon), an axe and a sacred string of Rudraksha seeds.

SUDHAA KALASHARASA HASTAVIRAAJATA
GHANTAA VIJAYA GHANAAGHANA BAAJATA
MAAN UTPATI KATHAA SUKHADAAYII
VEDA PURAANA SADAA YASHA GAAYII


A vessel containing anectarine juice (or the very essence of nectar) adorns one of your hands, whilethe gong, proclaiming your victory over the demons, is producing a deep ringingsound. O Mother, the story of your origin is delightful, so say the Vedas andthe Puranas, who always join in singing your glory.

EKA SAMAYA ASA VIDHIBHAYE BAAMAA
MACHIGE DEVAASURA SANGRAAMAA
SURA ASURANA MAHAN ATI BHAYAKAARII
MACHYO YUDDHA TIHUN LOKA MAJHAARI


Once upon a time when Brahmawas displeased with the demons, a war broke out between them and the gods. Itwas so dreadful a battle that all the three spheres turned into a vastbattlefield.

TABA MAHISHAASURA NIJABHUJABALA SE
SURAHIN PARAAJITA KIINHYO CHALA SE
BANI AAPUHIN DEVANA KAHAN RAAJAA
INDRAASANA PARA JAAYA VIRAAJAA


It was then the redoubtabledemon Mahisha displaying his own indomitable might, vanquished the gods with thehelp of a ruse and crowning himself king of the celestials, sat glorious onIndra’s throne.

LAKHI SHIVA VISHNU KUPITACHITA BHAYAUU
ATI RISABAADHI BRUKUTI CHIDA GAYAUU
MAHAALAKSHMI TUU HII STHALA SE
PRAGATI TEJA PUNJA KE BALA SE


Observing this (victory ofthe demon), Vishnu and Shiva lost their temper and with their fury growingintense, raised their eyebrows (at the demon’s behaviour). O great goddessLakshmi, you sprang from the rich soil all by your own great mass energies andradiance congealed into your own body.

LAKHI SURA MUNI PRASANNAMANA BHAYAUU
NIJA-NIJA SHAKTI MAATU KAHAN DAYAUU
MUKHA MEIN BASE TEJA BANI SHANKARA
VISNU OJA BANI BASE BHUJAN PARA


When the gods and asceticssaw you, they were filled with joy; each of them gave you a weapon (endowed youwith his own power). In your face dwells Shankara as your radiance and on yourarms lies Vishnu as your lustre and vigour.

CHARANA BRAHMAA ANGULIMAHIN BHAANU
BASYO KIRANA BANI DRAGANA KRISHAANU
DIYE PRAJAAPATI DASHANA LALAAMAA
DHARE KUBERA LAKSHMII NAAMAA


Brahma became your feet andthe Sun your fingers; Agni, the god of fire, became the light of your eyes;Prajapati gave you the rows of beautiful teeth and Kubera your name Lakshmi.

SABAI SHAKTI DEVANA SOPAAII
MAAN BHAIIN TEJA PUNJA ADHIKAARII
ATAAHAASA KARI GARAJYO JABAHIN
KANPI UTHYO DASAHU DISHI TABAHIN


You derived all your mightfrom the gods and thus, O Mother, did you become the embodied strength of thegods. When you burst into guffaws and roared like thunder-clouds, all the tenquarters shook ad trembled with fear.

UCHALYO UDADHI CHALITABHAYE DHARANII
MACHYO YUDDHA TASA JAAYA NA VARANII
SAKYO NA SAHI MAHIBHAARA APAARAA
THAKYO SHESHA KIINHA PHUNKAARAA


The ocean leapt and theearth moved and a fierce battle raged which cannot be described. The infinitelyheavy burden of the earth was more violently with utter weariness.

DAGAMAGA DOLATA BHAYEGIRI KAISE
RAAMA VIMUKHA NARA NAHIN TIRA JAISE
MAHISHAASURA JABA RACHI BAHU MAAYAA
MAHAA THAITA BHAA PARA PAARA NA PAAYAA


Mountains trembled as do theminds of men averse to Rama (If one’s mind rambles, it is on account of hisaversion to Rama) When the demon Mahisha exercised his delusive powers invarious ways with no effect (on the gods or on the course of the battle), heconsequently got wearied (and abandoned his attempt to subdue the gods or tocomprehend the mystery of their invulnerability).

TABA MAAN KESHA PAKADIVADHA KIINHYO
DEVANA GAGANA DUNDUBHI DIINHYO
DHANI HO DHANYA LASKHMI MAATAA
SHESHA MAHESHA AADI GUNA GAATAA

Then, O Mother, you caughthold of his hair and slew him, which caused the celestial deities to beat theirkettledrums in joy. Blessed, all blessed are you, O Mother Shri, whose praise issung by the Serpent-King, the great Lord Shiva and many others.

TAVA SAMAANA KO ASA JAGAJANANII
ATI DARIDRAANI SUKHA SAMPATI BHARANII
SATYA SANEHA MAATU KAHAN LAAGATA
HVAI DUKHA DUURA SAKALA BHAYA HAAGATA


O originator of the cosmos(the very source of all life), is there anyone who can match you I generosity?You bless even the most wretched and impecunious with happiness and prosperity.If one is truly devoted to you, O Mother, he is rid of all his fears andafflictions.

SADAA LAKSHMII SATYA KIICHERII
KARAHIN VAASA SATYAHIN URA HERII
KARATA SATYA JO MAAN GUNA GAANAA
BHARATA SU BHAVANA ATUUTA KHAJAANAA


You, O Lakshmi are ever Iservice of Truth and dwell in the hearts of the truthful (of those who are trulydevoted to you). O Mother, if one sings your glories with all sincerity, youfill his home with inexhaustible treasures.

DARASATA MAAN CHAVIPARASATA CHARANANA
BARASATA MUDRAA CHANANANA CHANANANA
HARASATA MANA TANA TARASATA PUNI PUNI
DEHINDARASA MAAN TERAHIN SUNI SUNI


Riches pour down on one whoobserves the beauty of your countenance and touches your feet. He is filled withrapturous delight, and yet yearns again and again for a sight of you. O Mother,hearing my repeated cries do show yourself to me.

SUNDARADAASA SUMIRIDURAVAASAA
GAHYAUU MAATU CHARANANA KII AASAA
ASA DHANA KOSHA MAATU SE PAAYO
JO NA GHATYO NITA ATI SUKHA CHAAYO


With the sage Durvasa in hismind, Sundardasa holds on to the feet of mother Lakshmi, his only hope. She hasrewarded him with a treasure which, instead of diminishing, contributes to deepfelicity everyday.

DOHAA
MAHAALAKSHMII CHARITA YAHA
CHAALIISAA CHITA LAAYA
PAATHA KARAI NITA NEMA SON
RHINIIHUN DHANII HO JAAYA


He who hymns this praise ofthe great goddess Lakshmi with attention and observes purity and rules ofreligious conduct, attains prosperity though he may be deep in debt.

NITA NAVA SUKHA SAMPATIBADHAI,
KAHAI SHASTRA SATA GRANTHA
ANTA SHANTI AANANDAMAYA,
LAHAI MUKTI KAA PANTHA


Increasingly prosperous andhappy does he become, proclaim the Shastras and the Scriptures. O Mother, theembodiment of bliss, you reward him ultimately with great felicity and peace andenable him to attain the path of liberation.

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Shubh Deepawali

Posted on October 15, 2009. Filed under: My musings | Tags: , , , , , , , |

shubh deepawali

One festival that every Hindu will look forward to is Deepavali or Divali as it is also known. It is the time to shop for new clothes, to clean and spruce up the home as it is a joyous celebration stretched over five days. Homes sparkle with diyas and lights, the air is laden with fireworks’ smoke and the kitchens abuzz with activity for loads of sweets and savouries are to be dished up. The final touch is provided by the irreplaceable feelings of love and camaraderie shared among friends, neighbours, relatives and family.

Deepavali is very well described in Sanskrit: deep meaning lights and avali, meaning a row. As rows of diyas light up the home, it symbolises the victory of righteousness and lifting of spiritual darkness. Thus it is called festival of lights. Divali is celebrated twenty days after Dushera, on amavasya (new moon), the fifteenth day of the dark fortnight of the month of Ashvin. The festival corresponds with the English months of October/November. The five days of Divali have their own identities and significance. They are known as Dhantrayodashi (Dhanteras), Narakchaturdashi (Kali Chaudas), Divali (Laxmi Pujan), Bali Pratipada (Govardhan Pooja) and Bhaubij (Bhaiya Dooj).

Dhanteras:

The festivities start with Dhanteras or Dhanatrayodashi, which comes on the thirteenth day of the dark fortnight of Ashvin. The merchant community is at its busiest for this day is considered auspicious for business. On this day, people mostly buy an idol of Ganesh or Laxmi to be worshipped on Divali day. For those whose pocket allows the expense, it is an opportunity to purchase gold, silver or jewellery while others will buy at least a utensil on this day. The belief is that purchase of some metal object on this day is an auspicious token.

In northern parts of India, earthen pots of descending sizes are bought on this day. Filled with puffed rice, puffed corn, roasted chickpea and batasha (sugar candy), these pots await the main Divali day. Then these pots are arranged one on top of the other and placed around the main chauki (centre table).

Dhanteras is celebrated as Yamadeepan in some parts of the country. As legend has it, on this day Yama, the God of Death, spared the life of the teenaged son of King Hima. According to the horoscope of the boy, it was predicted that he would die due to snakebite on the fourth day of his marriage. Knowing this, his young wife decided that he would not sleep at all that fateful night. So she lit hundreds of little lamps at the entrance of their room. She placed all her ornaments and lots of gold and silver coins in a big heap at the entrance. She then kept up a non-stop story telling and singing session in order to keep her young husband awake. As Yama, in the guise of a serpent, sought entry to the room, the brilliance of the gold and silver coins blinded him and he could not enter the royal chamber. He spent the rest of the night sitting at the doorstep listening to the melodious songs. Come morning he slithered away quietly, his mission unaccomplished. Thus the young wife saved her husband from the clutches of death. Yama then vowed that all those who will observe the five-day festival of lights from Dhantrayodashi to Bhaubij will not die an untimely death. Since then lamps are kept burning throughout the night as a mark of respect to Yama, the God of Death.

Narak Chaturdashi

The second day of the festival, is the fourteenth day of the dark fortnight of the month of Ashvin, and is called Narak-Chaturdashi or Kali Chaudas and also known as Chhoti Divali. People get up early and have a tailabhyangam (oil-bath). The lady of the house massages her children and her husband with aromatic oils. And after their hot water bath, an aromatic paste of herbs in scented oils (uptan) is applied. After dressing up in new clothes, the celebrations begin with the bursting of fireworks and distribution of sweets that have been first offered to God. The courtyards are decorated with rangoli (drawing of traditional motifs with colorful powders) and the mood is feisty what with feast of different sweet and savoury snacks prepared for the festival.

This day is dedicated to the victory of Lord Krishna over the wicked demon king Narakasur. He had fought against neighbouring kings and imprisoned 16,000 women, daughters of the Gods and saints. He had also defeated Lord Indra and taken away the magnificient kundale (earrings) from the ears of Aditi, mother of the Gods. He had also taken possession of the abode of the Gods at Manyaparva, among the eternal mountains. Narakasur thought he was invincible for he turned his capital into a fortress. When Lord Krishna learnt about Narakasur’s deeds, he decided to destroy the wicked person. On hearing this Satyabhama, Lord Krishna’s wife, took this task upon herself and with his help killed the demon in the early hours of the fourteenth day of the dark half of Ashvin. The women imprisoned by the demon were liberated. As a symbol of the victory Lord Krishna smeared his own forehead with the demon’s blood. On his return, the womenfolk massaged his body with scented oils and gave him a good bath to wash away the filth. Since then the custom of taking a bath before sunrise on this day has become a traditional practice.

In South India this victory is celebrated in a very peculiar way. Before sunrise people break a bitter fruit that represents the head of the demon king that was smashed by Lord Krishna and apply a mixture of kumkum (a red powder applied on foreheads generally by women) and oil on their foreheads. They then have an oil bath using sandalwood paste.

Laxmi Pujan

The third day of the festival is the new moon night or amavasya of the month of Ashvin, known as Laxmipujan, or the main Divali, dedicated to Goddess Laxmi. On this day Goddess Laxmi emerged from the ocean of milk called the ksheer sagar. She brought with her wealth and prosperity for mankind. This emergence of Goddess Laxmi is celebrated with great pomp and grandeur. Many people believe that the Goddess of wealth and good fortune visits the homes of devotees on this day after sunset. Many people perform the puja at the stroke of midnight! Therefore lots of diyas (clay lamps) are lit to overcome the darkness of the moonless night. Houses are decorated with flowers. These days decorating the house with coloured electric lamps has become very popular. The whole idea is to illuminate the entire house. Goddess Laxmi is then worshipped with reverence. Women of the household place their gold ornaments before the Goddess with prayers for prosperity through the coming year. The main entrance door of the houses is symbolically kept open so that when Goddess Laxmi does visit, she can come straight in. Shopkeepers and merchants worship their new account books for the ensuing year. In Gujarat this is called chopdipujan. A wide variety of sweets are distributed. In some communities there is a practice of exchanging thalis filled with sweets and savoury snacks with friends and neighbours. Jubilant children and adults burst firecrackers alike. These days many sophisticated fireworks are available which light up the sky. Besides bursting firecrackers individually, community fireworks are also in vogue where the entire community gathers on a big open ground and some professionals do the fireworks display in a grand manner.

Lord Ganesha, the elephant-headed god, the symbol of auspiciousness and wisdom, is also worshipped in most Hindu homes on this day.

According to another version this festival commemorates Lord Rama’s return to his kingdom Ayodhya on the completion of his 14-year exile after killing the demon king Ravan along with most of his demons. Lord Rama had fought this battle along with his brother Lakshman helped by the vanar sena (army of monkeys) ably headed by their king Sugriva and Hanuman who became Lord Rama’s most ardent and eternal devotee. This battle was fought to free Lord Rama’s wife Sita who had been abducted by Ravan. To celebrate their return, the people of Ayodhya lit up their houses and burst crackers. Thousands of years have passed since, yet the glory of the revered Ram rajya (rule of Lord Rama) is remembered to this day with twinkling oil lamps or diyas lighting up every home and firework displays throughout the country.

A most surprising custom, which characterises the festival of Divali, is gambling, especially in North India. People indulge in it on a large scale and gamble through the night! It is believed that on this amavasya night Goddess Parvati played dice with her husband. Lord Shiva and she announced that whosoever gambled on Divali night would prosper throughout the coming year.

In Bengal, the people celebrate Kali Puja, which marks the worship of Goddess Kali, the consort of Shiva. The Bengalis perform Kali Puja on Divali, as it is believed that on this day Kali killed the wicked demon Raktabeeja. Lord Brahma had granted a boon to Raktabeeja that each drop of his blood that would fall on the earth would produce a thousand more demons like him. So the only way to ensure that no more wicked demons were produced, the Goddess held his head high over her mouth after beheading him and drank all his blood so that not a drop would fall on the earth. That is the reason the Goddess is always depicted with her bright red tongue dipped in blood hanging out. As Goddess Kali is associated with dark rites and devil worship, the rituals performed are austere and offered with great devotion.

The other significance of this new moon day are that Lord Krishna discarded his body and Lord Mahavir also attained nirvana on this auspicious day.

New Year of Vikram Samvaat

The fourth day of the festival is the first day of the month of Kartik and is called Bali Pratipada also known as padwa or varshapratipada in some parts of the country. It marks the coronation of King Vikramaditya and Vikaram-Samvat started from this day. This day bears special significance for the merchant community. They wear new clothes and visit friends and relatives bearing sweets and good wishes. Normally share markets are closed for holidays but a special session is held on the new year day called muhurat session as it is considered auspicious for share trading.

On this day Govardhan-puja is also performed in the North. As the story of Vishnu-Puran goes, the people of Gokul used to worship Lord Indra at the end of every monsoon season.

One particular year the young Lord Krishna stopped them from doing so and Lord Indra in anger sent a deluge to submerge Gokul. But Lord Krishna held up the Govardhan mountain as an umbrella and saved his Gokul. Govardhan is a small hillock in Braj, near Mathura. The people of Punjab, Haryana, Uttar Pradesh and Bihar build cowdung hillocks, decorate them with flowers and then worship them. On this day Annakoot, meaning mountain of food is also observed. In the temples of North India, the deities are bathed with milk, dressed up in shiny clothes and jewellery and worshipped. They are then offered a bhog of sweets ceremoniously raised in the form of a mountain which is then distributed amongst the devotees as prasad.

This day is also known as Bali Pratipada in memory of King Bali who was thrown into hell by batu vaman’s (a dwarf brahmin’s) third step. This king known for his righteousness had performed a yagna (worship of fire with various offerings) which frightened the Gods who thought he would become too powerful. So terrified were they of his success that they thought he might ask for a boon, which they might not be able to grant. Lord Vishnu was then sent to him in the guise of a batu vaman to control his success. When the king asked the batu vaman as to what he could offer him he asked for space for three paces. Though this request seemed strange to the others present in the court, the king granted it. The batu vaman, then took the entire mrityu lok (the entire world) with his first step, with the second he took swarga lok (heaven). But when he could find nothing to place his third step on he asked the bewildered Bali for the space. Finding nothing else, the good king then offered his head. The batu vaman to his surprise, not only placed his foot over the king’s head but thrust him into patal lok (nether world or hell). A satisfied batu vaman then made him the king of the lower regions and promised him that on the first day of the month of Kartik people would remember him. Prati-pada here translates as “below the opponent’s foot” (prati meaning opponent, and pada meaning foot).

Bhaidooj

On the fifth and the last day of the Divali festival Bhaiduj or Bhaubeej is celebrated to mark the love between brothers and sisters. Also called Yamadwititya, it is believed that Yama went to visit his sister Yami who welcomed him with an auspicious tilak (a red dot) on his forehead and after garlanding him fed him a sumptuous meal and sweets. As a token of love Yamraj gave her a special gift while Yami presented him with a gift made with her own hands. Yamraj then announced that anyone who receives tilak from his sister will prosper. So to this day sisters welcome their brothers with the traditional tilak and sweets and brothers in turn give them gifts.

The festival of Divali has more social than religious implications. It is an occasion when enmities are forgotten, old friendships renewed and new friendships formed. Many business houses give a gift to each of their employees. In addition, corporate gifting is becoming a very big business, as it is considered to be the right way to make, maintain and renew contacts. Families get together to feast and play. Many communities take this opportunity to hone their artistic and cultural expressions. Competitions, practically in every possible artistic field, are held, and cultural programmes are organised. Divali cannot be explained in nutshell. But if it all has to be to done, we could say…. It is a festival of lights that illuminates love in our hearts… It is a festival that touches the roots of our souls with sweetness….. And it is a festival that pays reverence to Lord Rama like no other festival does.

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Kali pooja

Posted on October 14, 2009. Filed under: My musings | Tags: , , |

Kali Puja means the worship of goddess kali linked with destruction as well as death. Kali means power of time or transition. Linking goddess kali with death and destruction does not necessarily mean that death occurs due to this goddess, but mainly due to time since kali is a god of time as well as change. Goddess kali also referred to as the goddess of ultimate reality appears dark. Kali Puja occurs in the Hindu religion and is done inside the temples.

Kali god represents shiva goddess andstands among the most dreaded gods in Tantric. Kali puja begun many centuries back in 200BCE-200CE and took root in Tantric. This goddess’s resembles a dark woman standing.   Kali Puja plays a significant role in Tantric and incorporates activities such as yoga. Yoga enhances the flow of energy in the body due to relaxation and produces a calming effect. Yoga integrates the inner spirit with the physical body creating a wonderful feeling. People practicing Kali Puja sit in a yoga position. This position allows easy communication between a person’s spirit and the god.

Figures associated with kali convey fear among believers and are only worshiped to cast out evil spirits and demons committed to durga goddess. Kali goddess therefore opposes durga goddess of beauty. Kali goddess has a spouse known as lord shiva. The union of this couple is the cause of the world’s destruction

These qualities subject Kali Puja believers to meditation and obedience. Kali goddess’ physical appearance contrasts with her characters.  The goddess makes gestures that dispel worry. Kali Puja followers believe that, the more kali is exposed, the more wrath and pain diminish. Worshipers hail praises to kali goddess as they watch her exposed young body with a gentle broad smile.

An infant Shiva calms violent kali. According to this myth, kali got overjoyed after defeating her enemies in a battlefield. She drunk the blood of the slain enemies and got drunk, to calm her down, an infant goddess Shiva came crying aloud. After calming kali down, restoration of the world’s stability occurred. Restoration of stability occurred after kali started breastfeeding Shiva. This myth shows the maternal characteristic of goddess kali. This trait is very common between the Hindu and unpopular in the west.

// kali thakur
Goddess kali ma frees the ego of Kali Puja worshipers and shows them compassion. Kali ma’s male equivalent referred to as kala has less powers. Many Hindus practicing Kali Puja do not understand goddess kali ma however, many theories suggest that kali ma is a goddess linked to death, suffering and destruction. Other Kali Puja worshipers believe kali ma is a goddess linked to death of ego and self-centeredness. Both goddesses shiva and kali ma make trips to cremation lands and restore peace to people meditating on these grounds. Kali ma visits these grounds to show believers that physical life is temporary where as spiritual life is eternal.

Of all the Devi goddesses, kali is most compassionate by provision of liberty to moksha offsprings. Kali destroys unreality and ego thus equalizing all people in the world. According to kali goddess, all people are equal before her own eyes. This is according to the beliefs of the Hindu.

ma kali

Mahakali Pujan

Beneficial for… Vashikaran, enemy. Courage.

Mahakali is a goddess with a long and complex history in Hinduism. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence, while more complex Tantric beliefs sometimes extend her role so far as to be the Ultimate Reality (Brahman) and Source of Being. Finally, the comparatively recent devotional movement largely conceives of Kali as a straightforwardly benevolent mother-goddess. Therefore, as with her association with the Deva (god) Shiva, Kali is associated with many Devis (goddesses) – Durga, Badrakali, Bhavani, Sati, Rudrani, Parvati, Chinnamasta, Chamunda, Kamakshi or kamakhya, Uma, Meenakshi, Himavanti, Kumari and Tara. These names, if repeated, are believed to give special power to the worshipper.

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as the male deities are. Although Parvati is often said to be the recipient and student of Shiva’s wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kali is praised as the highest reality or greatest of all deities. The Nirvnana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaslessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kali’s mantras to be the greatest and the Yogini-tantra , Kamakhya-tantra and the Niruttara-tantra all proclaim Kali vidyas (manifestations of Mahadevi, or “divinity itself”). They declare her to be an essence of her own form (svarupa) of the Mahadevi.

At the dissolution of things, it is Kala [Time] Who will devour all, and by reason of this He is called Mahakala [an epithet of Lord Shiva], and since Thou devourest Mahakala Himself, it is Thou who art the Supreme Primordial Kalika. Because Thou devourest Kala, Thou art Kali, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [primordial Kali. Resuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.

He, O Mahakali who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. 0 Kali, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Sakti [his female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.

The Karpuradi-stotra clearly indicates that Kali is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, Kali is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, who is said to be her spouse, Kali creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. Kali  is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the Sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

Tantric origins:

Goddess temples develop in India in many ways. In Hindu folk religion,

we have deities who incarnate within material objects, either

spontaneously (svayambhu) or by choice. However, sometimes they end

up imprisoned in these objects, and their liberation and worship by

human beings becomes the origin of a temple. Thus, it is the birth and

material incarnation of the goddess that lead to the sacred space. In

tantric Shaktism, we have sacred space based on death and desire. The

goddess’s sacred space may be associated with death in the past (as in

the story of Sati’s death), or in the present (the goddess dwells in the

burning ground or smasana). She may also be called down through the

desire of the tantrika. In devotional goddess worship or Shakta bhakti,

the goddess comes down in response to human love, to dwell in temples

as long as she is fed, or temporarily in the puja murtis made for

yearly festivals. In this paper, I shall examine these origins of sacred

space: birth, death and desire, and love. I shall observe examples from

fieldwork in West Bengal, in the areas of Calcutta, Bolpur, and Bakreshwar.

In folk Shaktism, the goddess has been in matter “from the beginning,”

as informants phrase it, or suddenly awoke there for reasons

unknown. She finds herself trapped, and may spend centuries calling

out to human beings for help. Most people cannot hear the voices of

deities, so she must stay until someone can come to rescue her, usually

as a response to a dream command (svapnadesa). The dream will

recur until the person goes out to find the goddess. If he or she ignores

the original dream, then the recurring dream will start to torment the

person and cause all sorts of disasters. It is only after the rock is recognized

as a goddess and given offerings that the dreams will stop.

When the person, usually accompanied by other villagers, goes out

to find the goddess, they take the stone or statue back to the village

and set up a shrine to her. When she has performed miracles, especially

healing particular diseases or answering vows or manats, then she is

accepted as a living goddess, and her temple starts to attract pilgrims.

At the most basic level, the goddess shrine may be a rock, statue, or

pot along a roadside or beneath a tree. When the power of the deity is

recognized, then a small shrine hut (than) is built. There is just enough

room inside for the rock or statue, some offerings, and perhaps a person

or two. As the deity becomes more popular, a permanent (pakka)

building with plaster or cement walls may be built, and the local sevait

will offer food and worship on a schedule.1 These folk Shakta temples

do not normally have brahmin priests—they have local people willing

to feed a starving goddess, who has for centuries only had wind to eat.

Sometimes the goddess is hurt, as when laundrymen have been banging

out the dirty clothes on the rock in which she dwells, or people

have been breaking oysters open on her rock, thus hurting her back.

She often begins with a small group of devotees, but with miracles, her

shrine may grow into a full-fledged temple or even temple complex,

and eventually official brahmin priests may work there. The place of

debasement becomes a place of honor, and the goddess is liberated from

hunger and loneliness, while the devotees get blessings in return.2

While the usual view of folk religion is that human beings depend

on deities for happiness (for such things as food, fertility, good weather)

here we see the goddess dependent on human beings for liberation. In

this case, her freedom does not come from being taken from her material

home. Instead, she demands worship and food, which strengthen her

and allow the conversion of her space from secular to sacred.

A special case is the Adivasi or tribal goddesses, where the tribal

group is forced to migrate due to industrialization or land development,

and they must leave their traditional land behind. In this case,

the goddess is a representation of the sacred land, and in forced exile

she becomes a refugee goddess, carried into a foreign land by her refugee

people. Many Hindu Bangladeshi informants in Calcutta told similar

stories, of when they carried their deities on their backs during the

war, unwilling to leave a family member behind. The goddess brings

the sacred space of the homeland with her into the land of exile.

In the Shakta tantric tradition, the goddess comes with death. The

origin may be mythic (as in the story of Sati) or current (where the

goddess dwells in the burning ground or smasana, in the ground, or in

the skull asanas upon which the tantrikas sit). While Kali is a goddess

of death, she also leads the soul to the next life or to heaven to rest

in her lap, so she is a goddess much concerned with the future as well

(some Shakta tantrikas understand her to be the goddess of the future

apocalypse). She may also come down due to desire by her devotees,

mediated by ritual action. She may be visualized in various places in

the body of either gender through the yogic practice of nyasa, or she

may come to dwell in the female tantrika through possession (avesa)

during meditation.

In West Bengal, the major focus of Shakta tantra is death, and

many informants interviewed either have performed the corpse ritual

(sava-sadhana, in which a corpse becomes the place of the goddess’s

incarnation) or plan to do it in the future. There are also piles of skulls

and seats made of skulls that attract the goddess’s sakti or power, and

people come to them to gain the goddess’s blessings (or siddhi labh kara,

to gain perfection in special types of meditation).3

There is also a third type of goddess worship—Shakta bhakti, or

devotion to the goddess. There is introspective bhakti, where the goddess

dwells within the individual human heart, and community bhakti,

where groups of people participate in her worship in a shared space.

Shakta bhakti is probably the major urban approach to the goddess,

and may be found in Kali’s annual festival of Kali Puja and also in her

temples. Kali Puja night is a time for magic shows and theater, for fireworks

and celebrations, but also for animal sacrifice to the goddess and

contemplation of her importance in this world and in the universe. For

most devotees, she is not merely Shiva’s wife, but rather the origin of

the universe, and her night reminds devotees of the fragility of their

lives and their dependence upon a goddess who is alternately ruthless

and compassionate. Many informants emphasized how careful one

must be in worshipping Kali, for an error in worship could bring down

her wrath.

During the festival in Calcutta, Kali’s images are varied in the different

street-corner shrines that are set up to celebrate Kali Puja. Some

shrines are the size of small walk-in camping tents, made of rattan or

bamboo, with Kalis like voluptuous dolls or withered old women, with

white ornaments made of solapith and bright crepe-paper streamers.

Large shrines may have beautiful Kalis standing on pale Shivas dressed

in silk or gold lame or imitation tiger skins. In 1983, when Kali and

Shiva were used to represent different cultural values, I vividly remember

one set of statues, with a tribal-style Kali with dark skin wearing

animal skins and a fierce expression. She was stepping on a blond crewcut

Shiva dressed in a three-piece grey Western business suit, holding

a briefcase. Next to him was a jackal, who stood beneath the severed

head that Kali was holding, drinking its dripping blood. However, there

were some Kalis at the 1993 Kali Puja with dark skin, large noses, and

kinky hair, politically-correct Kalis looking like the Adivasis or tribals

of West Bengal rather than Aryan invaders or Western imperialists.4 In

many situations, the image of the goddess is a reflection of the image of

the self, or the personal ideal. Some Kalis were bright blue, voluptuous,

and smiling happily, looking mature for a sixteen-year-old, while Kali

with white skin showed her spiritual or sattvic nature. In the larger

and more well-funded community pandals were giant statues, fifteen

feet high or more, with piles of offerings all around. Sacred space was

mobile, as was the goddess herself—her space was where she was worshipped

and loved.

There are also more stable temples, where Kali is believed to dwell

with mankind in response to their love, and to the priest’s ritual devotion.

These are often sanctified with the Hindu equivalent of relics

buried beneath the temple in the form of jewels or gold or other valuable

objects.

These understandings of sacred space—folk, tantric, and bhakti

often appear together. I shall give two examples from fieldwork, one

on a small scale and one on a larger one. Each reflects all three types of

Shakta sacred space. I shall also note two types of understanding of the

goddess shown at her temples: as a joint Mahavidya goddess, and as an

individual goddess who may alternate between wrathful and peaceful

forms.

I met the female Shakta tantrika Gauri Ma in the town of Bakreshwar

in West Bengal. It is a temple town dedicated to the god Shiva,

with 108 Shiva lingas in stone shrines heavily overgrown with large

tree roots. It is also a sakti-pitha, a place where there is a body part of

the goddess. This town is the traditional locale of the goddess Sati’s

forehead.

At the old burning ground in Bakreshwar is an ashram of male

and female renunciants of the Sankaracarya lineage. It is called the

Bholagiri Abhayananda Ashram, named for the tantrika Shri Shri Pagal

Maharaj (King of Madmen) Abhayananda Giri. Gauri Ma was head of

the temple, a strongly-built woman in her fifties, with a rudraksa mala

necklace and a shaved head. She had an intense gaze, and did a sadhana

:  77

practice with me that incorporated kundalini yoga and pranayama as a

precursor to telling me stories about her ashram (she also told some

stories that I was not permitted to publish). She told me the story of

the temple’s origin as we sat next to a lakhmunda asana, a great pile of

human skulls (there are said to be one hundred thousand there). The

skulls are buried at the base of a great asvattha tree, which appeared

to be cemented over, and the area was covered with alpana, paintings

done in white rice paste. Some of the exposed skulls are painted red

and look out at any visitors who come to worship and meditate. She

told of Aghor Baba’s call by the goddess Kali in her mahavidya or great

wisdom form as Tara:

This meditation seat (asana) was built by the tantric practitioner

Aghor Baba, who was born in Orissa in the nineteenth century, and

went to Tibet to study and meditate. He achieved several forms of

empowerment (siddhi) there, and then he went to Tarapith. When he

went there, the tantrika Vamaksepa was living there. In a dream, Tara

told Vamaksepa to remove him, that Aghor Baba should not stay at

Tarapith and did not belong there.

Now, people in the aghor stage of tantric practice [in which they

do not distinguish between pure and impure] often disturb people

around them. Shiva Mahakala spoke of the tantras through five

mouths, and he is called Mahakala when he sits in the burning ground

and decides the fate of souls. When a person dies, or enters the state

of death while living, he is called Aghor Mahakala. The person in this

state eats unused things and the flesh of dead people, and he drinks

but does not become drunk. Even when the corpse is burning and

the skull bursts, he will drink that liquid. He does many things which

make people uncomfortable.

Tara instructed Vamaksepa to remove him, and Aghor Baba left

unhappily and involuntarily. He then went to a temple at Howrah (near

Calcutta), and sat down to meditate. He had a vision in which he was

told to go to the town of Gorakhpur.

At Gorakhpur, he met a renunciant named Gorakhnath Mahayogi.

Aghor Baba told him what had happened and of his anger at the goddess

Tara. Gorakhnath went into meditation and called Tara Ma to

find out why Aghor Baba had been expelled from Tarapith. Tara Ma

answered his summons and came in the form of a tribal woman. She

was quite angry, as it was a long way from Tarapith to Gorakhpur,

and a long way to travel, even for a goddess. She said that she had him

removed because he could not attain any greater power at Tarapith—

he had to go elsewhere to develop spiritually. She suggested that he

go to Bakreshwar, which was a center of Shiva worship (an aghorpitha),

and a place more appropriate for his meditation. In the distant

past, Shiva grew angry at Gauri, and he threatened her by chopping

himself into five pieces. One of those five pieces came to rest at the

Bakreshwar burning ground (smasana).5 Here Aghor Baba could gain

the power and abilities that he desired.

Aghor Baba came to Bakreshwar to do tantric practice. However,

the burning ground was already occupied—a kapalika (practitioner

who carried skulls) had come to the place years ago, and was living

under a tree with his three female ritual partners (sadhikas). The

kapalika told Aghor Baba to leave, which he did not wish to do, as he

had been commanded by Tara Ma to go there. They fought there, and

Aghor Baba killed the kapalika and his three partners. However, he

did not allow their souls to gain liberation, for he intended to gain

knowledge of the place from the four souls. Their burned bodies gave

the first four skulls of his collection. He continued to collect skulls

from the bodies burned at the burning ground and from the bodies of

people killed by tigers and wild animals. He would enliven the skulls,

and draw the souls down to the bones, and by tantric means ask the

souls about meditation and use their power for his practice. However,

he still could not attain his final goal.

At the last stage of his practice, a Shakta tantric holy woman

(bhairavi) named Maheshvari Devi from East Bengal came to Bakreshwar.

She helped him a great deal and finally brought him to liberation.

With her help he attained siddhi, and he spent his remaining

years in Bakreshwar. His pile of skulls is still here, at the base of the

great asvattha tree.6

Aghor Baba’s samadhi site at the ashram (where his body rests, for

renunciants are buried rather than burned) is a five-foot ziggurat of

bright red, and it is understood to be a place of power. Bakreshwar is

often called a power place, sacred to both Shaktas and Shaivas. The

main temple at the ashram is a temple to Kali, with the outside painted

yellow and the inner room painted blue. There is a statue (murti) of a

sweet, mischievous goddess, wearing a red and white silk sari and a

garland of red hibiscus flowers, who stands before a red aura painted

on the wall. She is called in hymns Satyanandamayi Kali and is surrounded

by numerous pictures of deities and saints, including a tantric

Ganesha with four arms. The priest in saffron waves a black fan and

performs the offering of lights (arati) with young female assistants.

Sannyasis chant a hymn to Shiva by Sankaracarya before her statue.

She is not jealous of this worship, but rather is pleased at the praise

of her husband. There are complex white designs (alpana) before the

entrance to the Kali temple, often with a dog sleeping in the middle

of the designs (as Gauri Ma says, “These are not ordinary dogs”). Kali

is friendly and helpful, and blesses the practitioners of various Hindu

traditions who come to meditate at the burning ground. Gauri Ma discussed

the nature of tantra generally:

Life stories tell about a person’s worldly history, but tantric practice

(sadhana) reveals a person’s internal history. When a person has initiation,

he or she is given the power to see inside. True initiation is

given through the eyes and into the heart, but false initiation goes

only through the ears (with the mantra)—it is a business. When you

do tantra-sadhana, your right side becomes like fire and your left side

like water, and your spine looks like a row of Christmas lights, shining

in different colors. Inside of your mind you can see an inner television

screen, and you can watch your inner life (prana) on it. Indeed,

the term tantra is derived from the words body (tanu) and your (tor):

it is the practice that you do with your own body.

Tantra is a kind of worship that requires the body. Some people

worship Shiva to gain Shakti, and some worship Shakti to gain the

blessings of the Mother. Shakti is wonderful in meditation, she does

everything; Shiva barely helps, that’s why people call him a corpse.

People say that tantrikas do evil things, but real tantric practitioners

do not. They do meditation on the five forbidden things

(pancamakara), which have many secret meanings. For instance, mada

is not wine, but rather special breathing (pranayama), and it makes

you full of power. Mamsa (meat) means silence, the control of speech,

while matsya (fish) represents the uncoiling kundalini energy, which

looks like a fish when it is active (jagrata). Maithuna is the raising

of kundalini up and down the spine, which unites the right and left

sides of the person, the male and female halves. It is not intercourse,

for no female partner (bhairavi) is used. Mudra means spontaneous

trance, when the universal spirit (paramatma) and the individual self

(jivatma) are related. The various finger to hand relationships, which

most people think of when they hear about mudras, actually represent

these deeper relationships. For instance, the thumb represents

the universal spirit and the first finger represents the individual self,

and the mudra where they touch represents their union. The third

finger is Shakti, the fourth finger is Shiva, and the fifth finger is

Dakini or Yogini. The mudras occur spontaneously when people are

in trance.7

Gauri Ma’s story of the ashram’s origin combines many aspects of

folk Shaktism (including the power of the goddess in material objects

and communication with spirits), Shakta tantra (supernatural power

over death and gaining power from the dead), and both Shaiva and

Shakta devotion (obedience and love towards Shiva and Shakti).

This site is also based on the story of Sati. There are many variants

of the story of Sati, who in Bengal was most frequently understood by

informants as an incarnation of Kali and who had committed suicide

and was dismembered by the gods as her husband Shiva danced a mad

dance of grief and destruction. Each place that one of her body parts

fell become a place sacred to her.

Most goddess temples include all of these aspects, and perhaps the

most famous set of goddess temples is known as the sakti-pithas or satipithas.

There are many temples and shrines dedicated to Kali that arise

from the story of the sakti-pithas. These are centers of power that extend

over India and represent the goddess’s identity in a variety of locales.

These sacred sites of the goddess are based on a myth—the destruction

of the sacrifice of Daksha Prajapati by the god Shiva, also called Rudra.

The story is found in many sources, the earliest probably being the

Mahabharata (XII, 282–283), though it is also found in several major

puranas (including the Matsya, Padma, Kurma, and Brahmanda puranas).

The most well-known variant is in Kalidasa’s Kumarasambhava

(I.21), in

which Sati was the wife of the god Shiva and the daughter of Daksha.

When Daksha organized a great sacrifice to which neither Shiva nor

Sati was invited, Sati decided to attend anyway, and was insulted there

by Daksha. Sati’s death came about because of this insult, for Kalidasa

says that she threw herself into the fire and perished. When Shiva found

out about this, he angrily came with his attendants and destroyed the

sacrifice. Three of the Shakta puranas—the Kalika, Mahabhagavata, and

Devibhagavata puranas—also have versions of this story.

In the Kalika Purana version, Daksha did not invite his daughter

Sati and her husband Shiva to his sacrifice. When Sati learned of this,

she generated yogic power that burned her body with yogic fire. Shiva

took her corpse on his shoulders and began to dance madly. To shake

Shiva out of his frenzy, the gods Brahma, Vishnu, and Sanaiscara (Sani,

god of misfortune) entered the corpse and cut it into six pieces, which

fell to earth and formed the six sakti-pithas. The area where Shiva had

danced, “the eastern part of the earth,” came to be called “the sacrificial

land.”

In the Mahabhagavata Purana, Daksha decided to have a sacrifice

but would not invite Shiva. Narada suggested that they attend the sacrifice

anyway, and Sati agreed, but Shiva refused. At this Sati became

furious, took on a wrathful expression, and generated ten forms of

herself, the ten mahavidya goddesses. Sati predicted that these forms

would be worshipped in the future by Shaktas in tantric rituals. Shiva

was very frightened by her terrible forms and praised her, telling her

he would obey her. Sati later split into two forms, one of which committed

suicide (which was a shadow or chaya form), while the other

existed secretly. Sati was thus able to survive her own suicide. Shiva

was angry at Sati’s apparent death and generated out the form of the

warlike Virabhadra, who went to destroy Daksha’s sacrifice.

Brahma and Vishnu told Shiva that the real Sati was alive and invisible

and that it was the Chaya Sati who had apparently died in the fire.

All three gods praised Sati, who then appeared before them in the form

of Kali. She told Shiva to create the pithas by carrying Chaya Sati’s body

on his shoulders and letting her limbs fall in different places. Then

Shiva chose to live in the fifty-one pithas in the form of rocks (lingas).9

In the Devibhagavata Purana story, Daksha ignored a gift from his

daughter Sati, thus insulting her, and she became angry and burned

herself to ashes in a yogic fire generated by her rage. Shiva roamed

the world with Sati’s corpse on his shoulders, and Vishnu severed her

limbs with his arrows. These limbs fell to earth in 108 pieces, creating

the 108 sakti-pithas.

As we can see, there are a variety of origin stories for these sacred

sites and their temples. There are also several different lists of pithas

in various puranic and tantric texts, and the numbers range from 4 to

108. Many tantric sites claim to have some piece of Sati as justification

for their existence, and there are long arguments by priests and

disciples as to why their site is not listed in any of the traditional lists

of sati-pithas. Most recently, the temple site of Tarapith has made this

claim, and many Shaktas accept it as a sati-pitha, or at least a siddhapitha

(a place where people have gained perfection or siddhi).

However, such justification as a sati-pitha is not necessary—sites

can begin just on the basis of dream commands from the goddess. The

most famous dream command story in Calcutta is probably that of Annada

Thakur, whose picture hangs throughout the marketplaces and

shrines. Thakur was an ecstatic who lived in Calcutta around the turn

of the twentieth century. He had dreams and visions of the goddess

Kali and would often fall into trances. He was commanded by her in a

dream to rescue her statue, which had long lay hidden in the muddy

waters at Eden Gardens. He found the statue between the two trees she

had specified and had it brought back for worship. It was a statue of

the goddess Kali in her tantric form as Adya Shakti Kali, or Kali of primordial

power, naked and with matted hair and a sword. This form of

Kali is often described as the origin of the ten tantric mahavidya forms

of the goddess.

While the Adya Shakti Kali was initially satisfied with household

worship of her statue, after a few days she decided that she was

dissatisfied with worship at only one place—she wanted much broader

worship, and she also wanted devotional rather than ritual worship.

So she ordered Thakur to immerse her in the Ganges and have people

worship her photograph instead. This was new technology at the time,

and an early case of what came to be known as “photo-bhakti”—taking

the darsan of a goddess from a photograph. But she could indeed get

wider worship, for pictures could be spread throughout villages and

marketplaces and home altars, as well as just temples. While the

goddess required devotion, she also threatened people who would not

worship her properly, punishing families with illness and misfortune

for their neglect of her picture. She continued to come to Thakur in

dreams and visions, giving him mantras to chant and hymns to write

down. The mantras would also induce states of trance.

However, many years later, Annada Thakur had another dream

command. This one was from the late sadhu Ramakrishna Paramahamsa,

a famous Shakta saint of West Bengal. He told Thakur to build a

temple to Adya Shakti in Kalisthan (or the Land of Kali, as he called

Bengal because of its Shakta devotionalism). He gave detailed instructions

on how it was to be composed and run. The new temple was to

include Vaishnava iconography, as well as a statue of Ramakrishna,

and another statue of Adya Shakti standing upon the chest of Shiva.

This started out as a small temple, which grew into the temple complex

known today as Adyapitha (or Adyapeath), the third member of the

tourism “Holy Trinity” (as their advertising phrases it) along the Ganges,

of Belur Math, Dakshineshwar, and Adyapitha. It is considered a

modern addition to the shifting number of sakti-pithas in West Bengal,

and it is included in the stops of the tourist buses that come out of Cal:

cutta to visit the pithas. It has adopted imagery from other traditions;

for instance, their Mother Teresa hall can feed two thousand people

each day, and the poor eat for free. The walls list thousands of donors,

and there are offices, orphanages, a library, kitchens, meeting halls,

and housing for the elderly and for renunciant monks and nuns. It has

been very successful at fundraising and attracting political support.11

In the case of Annada Thakur and Adyapitha, we see the various

forms of sacred space merged together. Initially, there was sacred

space by dream command and a neglected and demanding goddess.

Then she came as a tantric Mahavidya goddess, giving mantras and

trance states with visions. However, she also requires devotion and develops

a form of bhakti that had no name at the time, shifting sacred

space from building and statue to photograph. For Thakur, Adya Shakti

Kali was the most important form of the goddess Kali, as primordial

power. However, we may also see Kali in joint or alternating forms. To

gain insight into how the goddess is understood, we can look at one

example where the images of the goddess are united in a Mahavidya

mandala and another where we have an individual image that alternates

between peaceful and wrathful aspects.

At Matrimandir Asrama, in Kalimpong in the mountainous region

of northern West Bengal, there is an astrology temple dedicated to the

goddess’s Mahavidya or Great Wisdom forms. This temple was founded

by the Shakta tantric renunciant Jnanananda and has images of the

tantric Mahavidya goddesses, which are here associated with astrology.

The goddesses are believed to control the planets, and they have

set planetary associations. The temple priest explained the correspondences

between the Mahavidya goddesses and the planets and stars

followed by this temple:

Tara – Sun

Kamala – Moon

Bagala – Mangala (Mars)

Tripura – Budha (Mercury)

Matangi – Brihaspati (Jupiter)

Bhuvaneshvari – Sukra (Venus)

Dakshinakali – Sani (Saturn)

Chinnamasta – Rahu

Dhumavati – Ketu

Durga – Shakti (as universal power)

At the front of the temple, the smiling black Kali statue in the center

area was full of heavy silver jewelry: she wore necklaces, bracelets,

an ornate silver crown with red jewels, and a belt of large, shiny silver

hands. She carried a silver sword with a large eye on it, and there was

a silver lamp over her head. Behind her was a sky-blue halo made of

wood with the images of the Mahavidya goddesses painted on it around

the edge. The Mahavidyas are understood to be Kali’s ten major forms

or emanations.

According to the priest, Shiva is the joint husband of all of these

Mahavidya wives. The goddess takes on different shapes for different

functions. If a person has problems with Budha, there is no energy for

work; with Mangala, he loses his business and has political problems;

with Sukra, he has too much desire. Bagala helps with legal problems,

both civil and criminal.

When people come to the temple with problems, the priest looks at

their palms to find out which planet is the cause of the trouble. He also

finds this out by the date of birth, with which he consults the almanac

(panjika) and does calculations. Once he has decided upon the planet

that is causing problems, the person can then worship and give offerings

to the goddess who controls that planet and thus take care of the

problem. The priest finds out which planet is causing the trouble by

means of palmistry or horoscope, and then that goddess is consulted.

Astrology has come to be a specialization of tantrikas, and here astrological

insight is associated with the tantric knowledge gained through

worship of the Mahavidyas. While many wandering tantrikas make

their living doing astrological predictions and selling astrological gems

informally, here we have a temple dedicated to the practice.

When I asked about his own experience of the goddess, the priest

said:

I am myself a devotee of the goddess, and my form of the goddess

was chosen by my guru. Kali appears in my dreams, looking like her

statue, and she gives me suggestions and instructs me. One may do

Vedic puja (ritual worship) or tantric puja—here we do tantric puja.

During tantric puja I am the son of the Mother, and I cling to her. We

do not sacrifice many goats to her, for the goat is only the symbol of

lust (kama), which must be sacrificed to have spiritual love (prema).

Kali is like a fire under a kettle, but you cannot put her out. People

are like matches—if you go too close to her, you too will catch fire.

But she is also a person, and she has a personality. This is shown by

the fact that she gives boons and she listens to devotees when they

call. But she is invisible, and people have to sense her presence without

seeing her.

Kali is a good goddess. Ma cannot be dangerous to her children,

for she loves them, and she only punishes wrong actions, according

to karma. She can change karma, but only to the good. She only

destroys attachments (ripus), not her devotees.12

Tantric worship uses different mantras than Vedic worship and

seeks a more personal relationship with the goddess. According to

the priest, the major goal of Kali worship is the destruction of worldly

attachments, which is a boon given by the goddess. She destroys the

bonds that bind the devotees and brings liberation to those who seek

it. As most people seek only favors, she gives gifts and suggestions to

devotees through dreams and visions. She gives mostly moral instructions

in dreams. Of the temple’s founder he states:

Usually, the role of guru is handed down from father to son, but sages

and sannyasis learn from other gurus. The founder of this temple,

Jnanananda, was a wandering sadhu who spent much time in Bengal

and Assam. He did tantric ritual meditation at burning grounds,

with pancamunda asanas and many skulls. We do not do tantric ritual

meditation (sadhana) here, only tantric puja. But we remember

Jnanananda, and hope that one day we may be like him.

In this case, the goal of the goddess’s multiple forms is a sort of

specialization of labor. Kali’s rupas have control over the powers of

the various planets, and each form benefits the devotee in a different

aspect of life. However, the Mahavidya goddesses may not be inclined

to influence the planetary energies without prayers and assurances

by the devotees.

This tantric temple in the mountains was founded by a sadhu who

had done meditation in the area and called down the goddess in her

Mahavidya forms. There are many stories of sadhus who have seen the

goddess in all of these forms (the most famous is probably Sarvananda,

whose vision occurred on a new-moon night while he practiced the

sava-sadhana or corpse ritual). However, specifically tantric temples are

a minority among the temples of West Bengal. Most temples combine

tantric imagery with folk and bhakti traditions.

In the village Badabelun in Burdwan, Kali is worshipped in a small

temple in her form as Bada Kalima (Elder Mother Kali or Big Mother

Kali; the term implies power as well as age and size). While the age and

size show folk influence, the revealed style of worship was tantric. When

the patriarch of the Bhattacharya family, Bhriguram Vidyavagisa, was

on his deathbed, he called his sons together. He told them how Kali had

appeared to him and told him to move from Ketugram to Badabelun

early in his life, as well as how she had recently appeared to him in

his dreams, telling him to prepare to die. She wanted her worship to

continue, and he needed to inform his sons how to worship her. He

told them of how to perform her worship in a long poem (emphasizing

tantric rites rather than the Vedic homa fire or the puranic arati or

worship with lights):

On the new moon of Kartik, sit [in meditation] through the night

Worship the Mother with devotion, after building her image.

It should be fourteen cubits tall

Worship the image according to tantric rites.

Put earth on her body on the full moon of Asvin

Make her tongue from a winnowing tray.

Offer her three bags of rice, and sweets

Then be seated and keep a steady mind.

Offer her a banana, and the blood of goat and buffalo in a skull

But do not perform homa-fire or arati to the Mother.

Light torches at the time of worship

And offer red hibiscus flowers at the Mother’s feet.

Then give her sweets, rice and lentils, and meat offerings.

Continue to worship her until dawn.

Do not immerse her pitcher (in which she was installed)

But keep in inside the house, and daily offer it loving worship

On the third day after Kali Puja.13

He also told his sons about his experiences. After he had moved

to Badabelun due to the goddess’s dream command, he collected a set

of five skulls and buried them at the local cremation ground and sat

there in tantric-style meditation. He built a statue of Kali himself, and

he would worship her at the burning ground, with vultures and jackals

roaming about. He would call her “great bliss” (mahananda), and spend

long hours before the statue. One day he went off for a bath, and when

he returned he found that the image on the altar was not the one he

had built. He had made a peaceful goddess, but when he returned he

saw a terrifying figure. She had become very old and was standing on a

corpse with a terrible face, full of blood and horrifying to see.

He was frightened to see the image and was about to run away.

However, the goddess spoke to him reassuringly, saying, “My name

is Elder Mother. This image will be worshipped for ages. Anyone who

worships me with devotion will never have to worry about the next

world.” She told him to marry, for someone had to serve her after he

died, and she suggested a bride for him. She told him that on the next

new moon the daughter of a brahmin would die of a snake bite, and

her relatives would bring her to the burning ground. He should take a

handful of ash from the funeral pyre and put it into her mouth, and it

would bring her back to life. He should then marry this reborn woman

and start a family.

He agreed to do this, and on the next new moon he saw the funeral

party. The girl’s father wept like a madman, and he went over to

Bhriguram and begged him to bring his daughter back to life. Bhriguram

followed the goddess’s advice and put the ash into the girl’s mouth. She

sat up and said, “Goddess,” and stretched as if she had just awakened

from sleep. Bhriguram then told her father of the goddess’s command,

and he agreed with the proposal for marriage. This was the beginning of

Bhriguram’s family and the reason for the necessity of maintaining the

goddess’s worship.14 Tantric worship emphasizes the goddess’s power

over life, death, and liberation—in this story she is clearly a conqueror

of death. Her continued worship at her temple reminds people of her

ability to take life and to give it. In this case, we did not have a joint

image of the goddess like the Mahavidyas, but rather a single image

that could transform itself from peaceful to wrathful.

In the examples of Bakreshwar and Adyapitha, we have some major

understandings of Shakta sacred space. The folk goddess is incarnated

in matter, and her liberation is the ritual sanctifying of the matter

that imprisons her. She gains not freedom but power and respect.

The tantric goddess controls birth and death, sanctifying the places

of death of her own past incarnations and the burning grounds of her

followers. Death gains new value. Tantric ritual brings the passions of

both goddess and devotee under control and uses them for creation

and destruction. Bhakti has a mobile goddess who dwells in puja murtis,

in temples, and in the hearts of her devotees in response to their love.

Temples may also be large or small, dedicated to multiple forms of the

goddess or to one form. There are folk, bhakti, and tantric interpretations:

all of these are ways that sacred space is understood in Bengali

Shaktism.

References:

1. See Tushar Niyogi, Aspects of Folk Cults in South Bengal (Calcutta: Anthropological

Survey of India, 1987),

2. See June , Offering Flowers, Feeding Skulls: Popular Goddess Worship in

West Bengal (New York: Oxford University Press, 2004),

3. See June , The Madness of the Saints: Ecstatic Religion in Bengal (Chicago:

University of Chicago Press, 1989),

4. India has problems with affirmative action and prejudice, as does the West.

In the case of the Kali with non-Aryan features, the statue shows respect for

the Adivasi or tribal people who wish representation and concern for their cultures.

5. According to Gauri Ma, the five major aghor-pithas are at Ujjain, Bakreshwar,

Varanasi, Gorakhpur, and Kathmandu. The story may be a variant on the story

of Sati and the origin of the sakta-pithas.

6. Gauri Ma, interview with the author in Bakreshwar, 1994.

7. Ibid.

8. Kalika Purana, chaps. 17 and 18, cited in Usha Dev, The Concept of Sakti in the

Puranas (Delhi: Nag Publishers, 1987),

9. Mahabhagavata Purana, chaps. 7–11, cited in Dev, Concept of Sakti.

10. Devibhagavata Purana, VII, chap. 30, cited in Dev, Concept of Sakti, .

11. Fieldwork and interviews with practitioners, Adyapitha (Adyapeath),

1994.

12. Kalimpong (a Shakta priest), interview with the author, 1994.

13. Pranavesa Cakravarti, Ei Banglai (Calcutta: Dev Sahitya Kutir, 1992),

14. Ibid.,

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How to perform Ganesh Chaturthi puja at home?

Posted on August 18, 2009. Filed under: My musings | Tags: , , , , , , |

ganesh puja

Ganesha Chaturthi (IAST: Gaṇeśa Caturthī, devanagari: गणेश चतुर्थी) or Ganesha Festival is a day on which Lord Ganesha, the son of Shiva and Parvati, is believed to bestow his presence on earth for all his devotees. It is also known as Vinayaka Chaturthi or Vinayaka Chavithi in Sanskrit, Kannada, Tamil and Telugu, Chavath ( चवथ ) in Konkani and Chathaa (चथा) in Nepali Bhasa.

It is celebrated as it is the birthday of Lord Ganesha. The festival is observed in the Hindu calendar month of Bhaadrapada, starting on the shukla chaturthi (fourth day of the waxing moon period). Typically, the day usually falls between 20 August and 15 September. The festival lasts for 10 days, ending on Anant Chaturdashi . This festival is observed in the lunar month of bhadrapada shukla paksha chathurthi madhyahana vyapini purvaviddha. If Chaturthi prevails on both days, the first day should be observed. Even if chaturthi prevails for complete duration of madhyahana on the second day, but if it prevails on previous day’s madhyahana period even for one ghatika (24 minutes) the previous day should be observed.

Lord Ganesh Pooja :-

Place the idol of Lord Ganesh on the altar after taking bath in the morning. Sit comfortably, fold your hand in namaste, close your eyes and chant Om slowly three times.

Ganesh Mantra –

vakratunda mahaakaaya soorya koti samaprabha
nirvighnam kuru mein deva sarva kaaryashu sarvadaa

Chant the following mantra, while placing the mukut on the idol

Asmin Bimbe Chitrapate
Maha-Ganapataye Namah
Vastrartha Mukutam
Samarpayami

* Sound the bell for 5 seconds.

Next step is to invoke Ganesha into the image. This is known as pran-prathishta. The Pran Prathista mantra in Sanskrit to be invoked is found in the Rig Veda and is part of Ganesh Suktha.

The Invocation mantra in Devnagiri are as follows:-
गणानां तवा गणपतिं हवामहे कविं कवीनामुपमश्रवस्तमम |
जयेष्ठराजं बरह्मणां बरह्मणस पत आ नः षर्ण्वन्नूतिभिः सीद सादनम ||

नि षु सीद गणपते गणेषु तवामाहुर्विप्रतमंकवीनाम |
न रते तवत करियते किं चनारे महामर्कंमघवञ्चित्रमर्च ||

Now Ganesh’s soul is invoked in the idol and you can start performing the customary puja rituals/bhajans.

Saraswati Mantra –

saraswati namastubhyam varade kaama roopinee
poojaarambham karishyaami siddhir bhavatu mein sadaa

English meaning:

Goddess Saraswati, my salutations to you. I am starting the puja, please bless me with knowledge.

*Make a resolve to perform the pooja.

Make a resolve Mantra –

mama upaatta samasta durita kshaya dwaaraa parameshwara preeti
artham mahaa ganapati poojaam karishye

Prepare the pooja thali with the following items:

  • Coconut
  • 21 blades of Dhruva grass
  • 21 Modak (Modak is the favourite food of Lord Ganesh)
  • Pack Of Agarbattis (Incence Sticks)
  • Betel Leaf & Supari (Betel nut)
  • Janahav (Cotton String worn by Hindus)
  • Cotton packet (Used for making cotton wicks)
  • Abir (Black powder used for applying tilak)
  • Gulal (Red powder used for applying tilak)
  • Stick of Sandalwood (Used in making sandalwood paste)
  • Packet Of Camphor
  • Pouch Of Dhoop (Natural extract from trees)

*Pray Guru

Guru Mantra –

English wording:
gurur brahma guruvishnuh gurudevo maheshwara
gurussakshaat parabrahma tasmai shri gurave namah

English meaning:
The teacher is the embodiment of the trinity – Lord Brahma, Lord Vishnu and Lord Shiva. To that Guru, who is none other than God himself, I salute.

Prepare the Nandadeep (lamp) by pouring oil in it and making a cotton wick.

*Meditate upon Lord Ganesh

English wording:
shuklaambara sharam vishnum shashi varnam chaturbhujam
prasanna vadanam dhyaayet sarvavighnopa shaantaye

English meaning:

I meditate upon Lord Ganesh, who is wearing bright colored clothes, and has four arms, pleasant faced Lord Ganesha removes all obstacles.

Make arrangements for garland to be placed around Lord Ganesha’s neck.

*Invite the Lord to accept your worship.

asmin bimbe chitrapate
maha-ganapataye namah
karpura nirajanam
darsayami
nirajananantaram
acamaniyam samarpayami

English meaning:

I offer camphor aarti to Lord Ganesh in this beautiful form. After the camphor aarti, pure water is offered to Him.

*Welcome the Lord with flowers and water

I welcome the Lord with these flowers and kalash of water.

Fill the kalash (copper pot) with water and arrange flowers.

*Offer milk, curd, ghee, honey and sugar. At the end offer water from the kalash. Pour the mixture of all these five items into the Charanamrit set. Offer everything with Charanamrit Set. Dip flowers in the kalash and offer to the Lord.

*Worship the Lord with a bit of kumkum (sindoor), haldi (turmeric powder), abir (black powder) and a paste made out of sandalwood bar.

*Offer the benevolent Lord the traditional Dhoop Aarti with Brass Dhoop Lamp and circle the Lord Ganesha Idol three to five times in the clock wise direction

* – Perform The Lord Ganesha Aarti – Jai Ganesh Deva/Jai Dev Jai dev(famous marathi arti)  with the traditional Niranjan Lamp. All the five oil cotton wicks of the Niranjan should be lighted as this a part of the customary ritual of the traditional Ganesh Pooja

While i was in Maharashtra, this was the famous marathi lyrics of jai dev jai dev arti that would linger in the temples of Pune :

Jai Dev Jai Dev Arti

Jaidev Jaidev Jai Mangal Murti ll
Darshan Maatre Man: Kaamna Phurti ll

Sukhkarta Dukhharta Varta Vighnachi ll
Nurvi Purvi Prem Krupa Jayachi ll
Sarvangi Sundar Uti Shendurachi ll
Kanti Jhalke Mal Mukataphalaanchi..ll
Jaidev Jaidev Jai Mangal Murti ll
Darshan Maatre Man: Kaamna Phurti ll
Ratnakhachit Phara Tujh Gaurikumra ll
Chandanaachi Uti Kumkumkeshara ll
Hirejadit Mukut Shobhato Bara ll
Runjhunati Nupure(2) Charani Ghagriya ll
Jaidev Jaidev Jai Mangal Murti ll
Darshan Maatre Man: Kaamna Phurti ll
Lambodar Pitaambar Phanivarvandana ll
Saral Sond Vakratunda Trinayana ll
Das Ramacha Vat Pahe Sadana ll
Sankati Pavave Nirvani Rakshave ll
Survarvandana ll
Jaidev Jaidev Jai Mangal Murti ll
Darshan Maatre Man: Kaamna Phurti ll

For those who have difficulty in saying the marathi words, here is Jai Ganesh Deva, the popular arati of Lord Ganesha :

Jai Ganesh jai Ganesh jai Ganesh deva
Mata jaki  parvati pita mahadeva

Ek dant dayavant
Char bhuja dhari
Mathe pher sindur sohe
Muse ki sawari

Jai Ganesh jai Ganesh jai Ganesh deva …

Pan chadhe phul chadhe
Aur chadhe meva
Ladduan ka bhog lage
Sant kare seva

Jai Ganesh jai Ganesh jai Ganesh deva …

Andhan ko ankh
det Kodhin ko kaya
Banjan ko putra det
Nirdhan ko maya

Jai Ganesh jai Ganesh jai Ganesh deva …

Vighne harane mangala karane
Puhan puhan prakash
Nama le Ganesh ka
Siddha ojata kaja

Jai Ganesh jai Ganesh jai Ganesh deva …

After doing the arati,

* Stand up straight. Fold your hands and do namaste. Turn clock wise three times. Do namaskar to the benevolent Lord Ganesha.

Take prasad and distribute it to everyone present. Take blessings from Lord Ganesha for a happy and prosperous life.

After reciting the following Shanti Mantra, cleanup your pooja place
sarve santu sukhinah
sarve santu niramayah
sarve bhadrani pashyantu
maa kashchid dukhabhag bhavet

//OM Ganeshaya Namah//

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Racism encore in OZ land

Posted on July 10, 2009. Filed under: My musings | Tags: , , , , , , |

Shravan Kumar was stabbed with a screwdriver by a group of teens and is still battling for life in a Melbourne hospital. Upkar Singh was allegedly murdered and his dead body was found on railway the tracks. Rajesh Kumar has been attacked with a petrol bomb and suffered severe burns. Baljinder singh and Sourabh Sharma were bashed too.

Over last fortnight, increased incidencts of Indian students being victim of racial assaults in Australia being reported in news and media. After “Banglored” a new word is added in our lexicon suggesting the movement as Curry Bashing.

For the uninitiated, the term-curry bashing means hunting down the Indians and beating them.
With over 20 such assaults reported, Question is who is next or how many more and how long?

Is it purely racist lobbying or mere an opportunistic robbery attack? Is it a cultural outcome of global recession or a sheer incident of degrading human values? Is it another blow on faith on our government or a fad that will pass soon? Is it that jingoism has found a new target or a new buyer in media?

Or is there more than what meet the eyes?

In recent years, Australia has become a preferred destination for Indian students seeking to study abroad. Especially after the 9/11 fiasco that lead to tightening of guidelines in USA. Nearly 97000 Indian students are studying in Australia which is a good percentage of Asian population in Australia.

Plight is that most such assaults go unreported, out of fear. Fear of further brutalities, fear of loosing opportunities and fear of fear per se. Indian students do not fight back like African, Chinese or Korean students. Some Indians claim that they are treated as the cash cows with the high entry fee they pay and slaughtered when required. [Well, I may not fully agree with that though]

If it is for recession than it must not be ignored that India is the 4th biggest export market for Australia and talk of free trade treaty is on. But only if that’s the sole underlying reason.

Xenophobia could be a strong contender though. This could also be contributed to the herd mentality of people who forms their own ghetto and do no assimilate. But have you ever pondered why they don’t?

What will be the outcome of this fiasco? Will Indian parents stop sending their children abroad for the fear of racist attacks? But then where would they find a place free from discrimination on this earth?

On our own national turf, home hoodlums periodically target a ‘chosen’ race to keep the electoral votes rolling. Then why is there so much of hullabaloo on Australia bashings? Or why blame UK for that matter? Racism is one big religion in our home turf. India a home to more than 100 languages, where after every 5 kms a new culture could be found, cannot help struggling good deal of racism and various other discriminations. From the skin texture to caste to language to gender to even physical disability, discrimination stands tall with its ugly head up.

But we can’t start disliking a country as a whole if such disgusting events happen there. Can we? The greatest woe of India is that it is so entangled in home discrimination that it has turned blind eye to the world discrimination. Guess what would the combined effort of Sri Ram Sena, Bajrang dal or the anti Hindu brigade have done for the country in its response against the discrimination minted to ‘their’ countrymen abroad.

There is no denial that despite our proven expertise, India is still treated as the “third world country”. Why? Because may be we are too busy to make India unsafe for Indians.

May be to combat such misanthrope some of the Mumbai dreams migrated to Australian skies. We thought that instead of having a forgetful and unrewarding death in Mumbai, its better to migrate to ‘Down under’ but we forgot “as we sow or let sow, so shall we reap”.

It takes a racist to catch a racist. It is like wearing black on white skin to make it look more beautiful especially on social events. But the same color black in social terms is far from beautiful and becomes inferior and undesirable.

Discrimination has splendored ugly personalities. From Apartheid to Marathi Manus Brigade to deriding reference of calling North east populace as “chinky”, people from UP-Bihar as “Bhaiyyas”, Africans as “Niggers”, treating Dalits still as untouchables, handicaps as social taboo, the list is endless. And why just India; around the world discrimination has gifted many dirty offenses to mankind and co-existence.

Open your eyes and you may find Pauline Hanson and Thackeray within. After Germany and Italy, Australia is soon going on the way of Hitler and Mussolini. Interestingly, a little colorless birdie chirped that Mr. Kevin Rudd is learning Cantonese language.

Brain drain is a bigger issue, bigger than being one of the most common topics for academic debates, elocution and works. Deep in my heart I believe that brain drain has important links to solve such acts of aggression. Can we create opportunities in our own geographies rather than running behind the ones created elsewhere? Why do I need to go to IIT only to be the world class engineer? Why can’t the similar quality be awarded to me at my local engineering college or new opportunities created?

It is high time for government of India as well as big industrialist like Mukesh Ambani, Ratan Tata, Rahul Bajaj, Anil Ambani or IT czar like Narayan Murthy, Azim Premji to open world class higher education institutions in India. This will surely help Indians who opt for studying in foreign countries irrespective of high cost involved, who may opt for getting admission in these to be opened institutions.

Whatever the reasons are racism as an outcome is highly derided. Whether in India, Australia, UK or any other place under the sun, it bears no right to discriminate people on basis of cast, color or race. Let’s not stoop that low. Let’s not, please!

At the end of the day, as somebody suggested, human race is a curry by another name. Call it Coconut curry, Macher jhol, Rogan josh or Rista. All of them are bashed, beaten & cooked to serve hungry machinations. And mankind seems to say “loving it”.

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Goodbye Mikey

Posted on July 10, 2009. Filed under: My musings | Tags: , , , , |

It is still hard to believe but true; Michael Jackson is no more alive. Mortality consumed the legendary singer and the cardiac arrest was an unfortunate excuse.

The fact has not sunk in yet. He left a “can not be filled” void. Controversies aside, this is to the person, who made us smile and scream in a voice louder than we could. [When I was composing it I was singing it to the tune of- “I remember the time I had my first smoke”, an anti smoking campaign song, sung by Gary lawyer if you remember]

1. I “remember the time”,
When a “rockin’ robin” from Indiana
With a child’s heart”, “shoo-be-doo-be-doo-da-day” my way
With that “Smile”, a “2000 watts” smile
That was the beginning of “A brand new day”.

“You are not alone”, he “screamed” in “melody”
He said-“Pretty young thing”, “my girl”, my beautiful girl
You’ve got a friend” in me
Give in to me” “just a little bit of you
Come together” and let us “fly away
Keep faith” for “we wanna be starting something

When things go “bad”, “you have got a friend
So “call on me” and “I’ll be there”.
You can cry on my shoulder” or “be a lion
For whatever it is, “don’t let it get you down
“Don’t stop till you get enough”
“Give one more chance”, “get on the floor”, and dance

It was a “break of a dawn” and I was “up again”.
For “someone in dark” never felt so “happy” again
I can’t help it” and spread the “wings of my love
Here I am” and “I want to rock with you

Black or white”, “Music and me” were never the same
On the line”; “off the wall”, “He is the wizard”, I must say

Mind is the magic”; “working day & night
From “Ben” to “Billy” and the “Ghosts” “In the closet” to
Bad” and “dangerous” made a “History
So “Invincible”, such a “Thriller

Dear Michael”, “I just can’t stop loving you
Euphoria” is “The way you make me feel
You really got a hold on me”; “We’ve a good thing going

2.Tell me I am not dreaming” for “There is a blood on dance floor
The “Man in the mirror”, the “stranger from Moscow
The Dancing machine”, “All things you are
Love is here”; “Why” have you “Gone too soon”

Don’t walk away”, “I need you
Heaven can wait”, “Cinderella stay a while
Let sing a new “Earth song”; let us write “The greatest show on earth
Once again, “Heal the world” and “touch the one you love

3.This time around” when you have gone
Ain’t no sunshine”, ain’t no “Morning glow
Little Susie” “cry” and “Maria” is “Speechless
Lonely teardrops” and “there is blood on dance floor

Farewell my summer love” though I can “never say goodbye
But “You can’t win”, what the destiny decides

It’s too late to change the time”, too late to “beat it
For time is a “smooth criminal
For it is “human nature” which slowly forgets the dead
For “they really don’t care about us” even when we are alive
songs will come; new names will emerge
Tabloid Junkie” will find new “Carousel
And new “butterflies”…

However, I still “cry”, for it is so difficult to say goodbye.

“Give one more chance”, “Burn this disco out”
“Get on the floor”, and dance

“Don’t stop till you get enough”
“Give one more chance”, “get on the floor”, and dance

PS: All text under ” are the name of various song/track of MJ

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Can Google Chrome OS break the monopoly of Microsoft Windows OS?

Posted on July 9, 2009. Filed under: My musings | Tags: , , , |


We need to see more of the Linux-based Google Chrome OS before we can  believe it will eventually prove disruptive to Microsoft Windows. While Google’s marketing push for the platform is half-hearted, the product has the potential to give a significant boost to the nascent cloud computing market as Google

seeks to extend its Web search and Web services across the Internet.Google July 7 formally unveiled its entry into the computer operating system software market with the Google Chrome Operating System, a lightweight OS that will run on top of a Linux kernel to power Web applications.

The move, announced casually by Google the evening of July 7 in a blog post by Sundar Pichai, vice president of product management, and Linus Upson, engineering director, is Google’s most direct assault to date on Microsoft Windows, which has ruled the desktop operating system software market for several years.

While Microsoft has locked up the traditional market for desktop platforms thanks to deals with Dell, Hewlett-Packard and myriad other PC makers, Chrome OS is initially geared for netbooks, a nascent but fast-growing computer niche in which Windows and Linux distributions joust for supremacy.

Netbooks are small laptops designed to let consumers surf the Internet and use Web services, including search, social networking, Webmail, multimedia and a number of other applications.

Google offers these Web services and more. Google, which in September 2008 released a Chrome Web browser for speedy Web surfing, sees Chrome OS as a platform for its Web services, including Google search, the Gmail e-mail application, the Google Docs collaboration applications and Google Maps.

The platform joins Google search, Chrome and Google’s open-source mobile operating system Android as Google’s latest effort to enable consumers and workers to access the Internet via desktops, netbooks, mobile phones and set-top boxes. Google wants to distinguish Android from Chrome OS, as Pichai and Upson noted in their post:

Android was designed from the beginning to work across a variety of devices from phones to set-top boxes to netbooks. Google Chrome OS is being created for people who spend most of their time on the web, and is being designed to power computers ranging from small netbooks to full-size desktop systems. While there are areas where Google Chrome OS and Android overlap, we believe choice will drive innovation for the benefit of everyone, including Google.

Whereas Windows boosts the price of every computer it comes installed on, Chrome OS is open source, so it shouldn’t drive up the cost of the machines it powers, potentially providing a more attractive alternative to Windows-based computers.

If Web search was the lingua franca of the Web, Chrome OS will be the mobile home for users’ machines, supporting Web applications with more ease and comfort than Windows, but also more speed and efficiency.

Today, news of Chrome OS continues to capture attention at TechMeme, as bloggers and journalists weigh in with gusto and proclamations that the platform could be a Windows killer. High-tech analysts free from jaundiced eyes have taken a more sober view of a product designed to challenge Microsoft Windows’ 95 percent desktop operating system market share with an untested platform that won’t appear in netbooks until late 2010.

Somewhere down the lane it is essential to break the monopoly of Microsoft in the OS department as ironically it would take a strong intiative on the part of someone to break the monopoly of Google as a strong search browser.

I  expect no revenue impact on Google until at least 2011.

I expect the economics for the Chrome OS may be similar to those of Android: GOOG offers the operating system to the OEMs for free, with various versions placing some requirements on the OEM, depending on whether the OEM wants to install key Google applications such as Google Search boxes, Gmail, Google Calendar, etc,” Schachter wrote.

I expect Google Chrome OS to be tightly integrated with Google’s search and Web services and that it may lure to more small and midsize businesses to move toward an enterprise software solution in “the cloud” and away from Microsoft Windows.

From my point of view, this is nothing more than a shot that Google is firing at Microsoft. This is one bullet of many that they will fire. They have a long ways to go with what they announced.

However, Gillen allowed that the platform could help buoy Linux as an alternative to Windows if Google packages Chrome OS as a Linux distribution. It is unclear from Google’s paucity of details about the product whether that will be the case.

Chrome OS will not be a Windows killer. I presume that the biggest winner will be Apple, which will reap the rewards of a slugging match between Google and Microsoft in the netbook and mobile spaces.

The Chrome OS isn’t the final bullet in the war between Google and Microsoft, rather it’s merely a shot across the bow. Google’s targeting of netbooks will reduce Window’s market share of this high growth category, but the effect will only be slightly greater than the introduction of Linux-based netbooks. But what’s really hurting Google’s ambitions is its inability to build a brand ecosystem. And that’s where Apple is aided, with the rumor that they are to offer a netbook-like device using its iPhone OS in the near future—such a product will add further value to consumers who could potentially buy applications and use them on all their Apple devices. With the announcement of the Chrome OS, Google has missed the chance to weave a consistent story for consumers.

Google, announced Chrome OS midweek with little fanfare because it was losing control of the marketing message.

Computer makers such as Acer and phone makers such as Nokia have already discussed offering a netbook based on Android. But Android was designed for mobile devices so pundits quickly figured out that there was another, bigger OS at play. “Marketing is Google’s biggest weakness,”

Chrome OS signals a profound shift in the way users do computing at home and in the office: away from the tethered desktop OS and into the cloud. Drawing on another Apple comparison, Chrome OS could have as much impact as what Apple did with Mac OS X for the Unix space.

“Google has really thought through what it will take to be disruptive,” Please note that Chrome OS leverages the same code base as Android. While the offering might seem like a “poor man’s version of Linux, I think the experience will be much closer to [smartphones like] an [Apple] iPhone or a [T-Mobile] G1 than current Windows machines, connecting users directly to an applications store.”


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