Akshaya.

https://www.instagram.com/reel/DJD_TVYTcRW/?igsh=MXM4OGhjbGViNGN1aA==

 As the Rig Veda says:

> “शृण्वन्तु विश्वे अमृतस्य पुत्राः”

"Listen, O children of immortality!"

– reminding us that we are born not for perishable pleasures, but for divine realization.

Akshaya Tritiya: The Eternal Day of Auspicious Beginnings

Among the many sacred days that adorn the Hindu calendar, Akshaya Tritiya holds a special and exalted place. Celebrated on the third day (Tritiya) of the bright half (Shukla Paksha) of the month of Vaishakha, this day is believed to be one on which divine blessings are bestowed in abundance. The word Akshaya means imperishable, eternal, or never-diminishing—and it is this attribute that gives the day its spiritual weight. Any good deed, act of charity, or auspicious beginning undertaken on this day is said to bring unending spiritual and material prosperity.

A Day Blessed by the Divine

A popular Lakshmi-Kubera mantra chanted on this day is:

> “ॐ श्रीं ह्रीं क्लीं श्री सिद्ध लक्ष्म्यै नमः”

(Om Shreem Hreem Kleem Shri Siddha Lakshmyai Namah)

“Salutations to the perfect Goddess Lakshmi who grants auspiciousness and prosperity.”

Several great events in Hindu mythology are associated with Akshaya Tritiya. According to the Puranas, this is the day when:

Lord Parashurama, the sixth avatar of Lord Vishnu, was born to Renuka and Sage Jamadagni.

The river Ganga descended to Earth from the heavens, sanctifying the land and offering liberation to all who bathe in her.

Sudama, the childhood friend of Krishna, visited the Lord in Dwaraka with a humble gift of beaten rice (aval) and returned to find his life transformed—his poverty replaced by untold riches, all by the grace of Krishna.

“अत्र दत्तं हि यत् किंचित्

तदक्षयफलप्रदम्।”

"Whatever is given in charity on this day yields imperishable fruits."

(Skanda Purana)

The great Sage Vyasa began composing the Mahabharata on this very day, with Lord Ganesha as his scribe.

During the Mahabharata, it is said that Draupadi’s Akshaya Patra, a divine vessel gifted by the Sun God, continued to yield food in infinite supply each day until Draupadi herself finished eating.

These stories are not mere legends but windows into the deeper spiritual truth of the day: what is offered with a pure heart on Akshaya Tritiya becomes inexhaustible, be it knowledge, wealth, devotion, or blessings.

The Spiritual Essence

Akshaya Tritiya is not just a day to begin new ventures—it is a day to reflect on the imperishable nature of the soul. In the Bhagavad Gita, Lord Krishna declares:

"Na jayate mriyate va kadachin…" — The soul is never born, nor does it ever die.

Akshaya Tritiya, then, is a reminder of our own eternal nature and the importance of investing in the everlasting wealth of Dharma, knowledge, and devotion.

Devotees fast, offer prayers, and make charitable donations of food, clothing, and money. Giving on this day is believed to generate infinite punya (merit). Many choose to buy gold or property, believing that these investments will grow manifold, but the highest form of wealth to be acquired on this day is spiritual merit.

Celebrations Across India

In Odisha, Akshaya Tritiya marks the ceremonial beginning of chandan yatra and the chariot construction for the annual Jagannath Rath Yatra.

In Maharashtra and Gujarat, families begin new businesses, sign contracts, or invest in long-term ventures.

In South India, people perform special pujas to Goddess Lakshmi and Lord Vishnu, and many undertake acts of service and charity.

In Rajasthan and other parts of North India, it is considered a highly auspicious day for marriages.

In today’s fast-paced world, Akshaya Tritiya offers a pause—a day to reflect, to purify intentions, and to reset life’s direction in the light of eternal values. While buying gold has become a popular custom, the deeper wealth that the day offers lies in seva (service), sadhana (spiritual practice), and satkarma (righteous actions).

Akshaya Tritiya is more than a date on the calendar. It is a divine opportunity, an open door to limitless grace. Whether one plants a seed of generosity, begins a discipline of self-improvement, or simply sits in quiet prayer, the essence of the day lies in its ability to transform small beginnings into infinite blessings. Let us remember that what truly becomes akshaya is not what we accumulate, but what we offer—with love, with sincerity, and with faith.

“Na jāyate mriyate vā kadācin

Nāyaṁ bhūtvā bhavitā vā na bhūyaḥ

Ajo nityaḥ śāśvato ’yaṁ purāṇo

Na hanyate hanyamāne śarīre”

(Bhagavad Gita 2.20)

"The soul is never born nor dies. It is eternal, timeless, and indestructible."

This imperishable (Akshaya) nature of the soul reflects the very essence of this auspicious day.

Connect.

 Folk lore stories saying he went to various religious temples learnt the local language and composed songs in them .

Purandara Dasa and the Sacred Geography of Bhakti

Purandara Dasa, the saint-poet and Pitamaha of Carnatic music, was more than a composer—he was a spiritual traveler who carried the names of sacred places on his tongue and in his songs. Though he wrote almost exclusively in Kannada, his devotional vision was pan-Indian, reaching across the vast landscape of Bharat, weaving temples and pilgrimage sites into the tapestry of bhakti rasa.

His compositions, numbering in the thousands, are filled with references to holy places—some of which he may have visited, others perhaps experienced through scriptures, stories, or inner vision. Through these songs, Purandara Dasa not only worshipped the deities but also sanctified the very soil they were believed to inhabit.

Tirupati – The Hill of Mercy

Song: Tirupati Venkataramana barayya

Purandara Dasa invites Lord Venkatesha of Tirupati with the love of a devotee who has seen the deity in full glory. The Lord, he sings, is the compassionate one who saves even the lowliest of souls.

Pandharpur – The Heart of Simple Devotion

Song: Pandharinatha namma Vittala

Here, Dasa aligns himself with the Marathi Varkari saints. His Vittala is the same deity adored by Tukaram and Namdev. With this, he bridges Kannada and Marathi bhakti traditions in a single breath.

Srirangam – The Reclining Lord of the South

Song: Sriranga pura vihara

In this hymn, the reclining form of Lord Ranganatha is praised as the supreme shelter of the universe. The temple city of Srirangam becomes a metaphor for the inner sanctum of peace and surrender.

Udupi – The Beloved Child Krishna

Song: Krishna nee begane baaro

Though not named explicitly, this iconic composition echoes the essence of Udupi Krishna—playful, beautiful, and ever-ready to respond to a call of love. The song has crossed linguistic borders and found a place in Tamil and Hindi bhajan groups.

Kashi – City of Liberation

Song: Kashi Vishwanatha namma Vittala

Here, Dasa fuses the worship of Vishwanatha (Shiva of Kashi) with his own beloved Vittala, emphasizing the essential unity of divine forms. Kashi becomes not just a city but a state of freedom from bondage.

Dwaraka and Mathura – The Leela Bhoomis

In several compositions, Krishna’s divine play as a child and king shines through. Though Dasa does not always name Dwaraka or Mathura, the songs’ imagery—like Jagadoddharana and Tamboori meetidava—invoke the heartland of Krishna's story.

Ayodhya – The City of Dharma.

Song: Rama baramma baramma

A gentle invocation to Lord Rama, this song brings the spirit of Ayodhya into every home and gathering where it is sung. Rama is not just the prince of Ayodhya but the prince of every devotee’s heart.

While most of his songs remain in Kannada, they have been translated, adapted, and sung in Tamil, Telugu, Marathi, Hindi, and even English. His bhakti was never bound by language—it moved with the wind of love, settling in every heart that called upon the divine.

Through these songs, Purandara Dasa reminds us that temples are not merely structures—they are sacred states of mind. By invoking these holy sites, he brought their divinity into the living rooms and hearts of countless devotees, then and now.

Invention intention.

 She didn’t ask for permission — she made history. The story of Bertha Benz.

Invention intention go hand in hand. Kudos to such courage.

In 1888, without informing her husband and without any official approval, Bertha Benz took his invention — the Benz Patent-Motorwagen — and set off on a daring 100+ km journey from Mannheim to her hometown of Pforzheim. With her two sons by her side, she made a trip that would forever change the course of automotive history.

But this wasn’t just a joyride. Her goal was clear: to prove that the automobile wasn’t just a novelty — it had real, commercial potential. Something her husband, Karl Benz, hadn’t been able to demonstrate yet.

Along the way, Bertha faced countless technical issues — and solved them with incredible resourcefulness:

🔧 She unclogged a fuel valve using a hat pin.

🛠 She used her garter as insulation for a part of the engine.

⛽ She bought fuel at a pharmacy — making it the world’s first gas station.

💡 She stopped at a blacksmith’s to fix a chain and improve the brakes.

Her bold journey didn’t just prove the car worked — it captured the public’s imagination, drew investors, and helped launch what would become Mercedes-Benz.

In 2008, the German government honored her achievement by creating the Bertha Benz Memorial Route — a scenic trail that follows her historic path.

Bertha Benz wasn’t just a passenger in history. She was the driver of change.

Her vision, courage, and ingenuity show us that sometimes, it takes more than an inventor to change the world — it takes someone who believes in the invention enough to take it for a spin.

Worship transforms.

When You Turn Your Worries into Worship, God Will Turn Your Battles into Blessings

Life is filled with challenges that often leave us overwhelmed with worry. Health crises, financial troubles, broken relationships, uncertain futures — all weigh heavily on our minds and hearts. In these moments, it is easy to be consumed by anxiety, fear, and despair. But there is a deeper, transformative truth that has echoed through the lives of saints and spiritual seekers across centuries: When you turn your worries into worship, God will turn your battles into blessings.

Worry is a natural human response to uncertainty. It stems from our deep-seated desire to control outcomes and ensure our own security. However, worry also reveals the limits of human strength. No matter how much we strategize, there are forces beyond our control. Worship, on the other hand, is an act of surrender. It is the conscious choice to lift our gaze from our problems to the presence and power of God. When we worship, we acknowledge that we are not alone in our struggles — that a higher, loving power is working behind the scenes.

The transition from worry to worship is not about ignoring problems or pretending that pain does not exist. It is about shifting the center of our focus. Instead of being consumed by fear, we anchor ourselves in faith. Worship aligns our hearts with divine wisdom. It reminds us that we are part of a larger story in which God's goodness ultimately prevails.

When we choose worship over worry, our perspective changes. The battle we once feared begins to look different. Instead of seeing an insurmountable obstacle, we begin to see an opportunity for God's grace to be revealed. Our prayers become less about demanding specific outcomes and more about seeking God's will and trusting His timing.

Worship brings peace that surpasses understanding. It doesn't necessarily change the situation immediately, but it changes us. It gives us strength to endure, clarity to act wisely, and hope to keep moving forward. It allows us to find joy even amid suffering because we trust that every trial holds the seed of a greater blessing.

The Scriptures are rich with examples of God transforming battles into blessings when His people turned to Him in worship.  When we respond to life's battles with worship rather than worry, we invite divine intervention. What seems like defeat is transformed into victory. What appears as loss becomes the seed of a greater gain. God uses our battles to build our faith, to deepen our character, and to prepare us for greater good.

Every human heart will encounter worry, but we are not powerless against it. We are invited to a higher path — the path of worship. As we turn our worries into prayers of praise, our hearts are lifted into the presence of the One who holds all things together. Our battles, no matter how fierce, become the ground for new blessings. In God's hands, no struggle is wasted, and no tear is forgotten.pp

Trust Him. Worship Him. And watch your battles turn into blessings beyond your imagining.

Nimai.

The Story of Nimai Pandit and Lakshmi Devi

In the sacred town of Navadvipa, there was born an extraordinary boy — Nimai, later known as Chaitanya Mahaprabhu. Even as a child, he was brilliant, mischievous, and divinely charming. His fame as a scholar grew so much that he was lovingly called Nimai Pandit.

At a young age, following the customs of the time, Nimai married Lakshmi Devi, the gentle and virtuous daughter of Vallabhacharya. Lakshmi Devi was a perfect match for him — devoted, graceful, and full of spiritual strength. Their home life was a picture of serenity. Lakshmi Devi served Nimai with deep affection and reverence, and Nimai loved her dearly, respecting her purity and devotion.

But Nimai’s mind was always restless — he was thirsty, not for worldly fame, but for the love of God. He would often be seen debating scholars and yet, inwardly, longing for the divine.

One day, while Nimai had traveled to East Bengal (present-day Bangladesh) to teach and collect donations for his family, a great sorrow struck Navadvipa. In his absence, Lakshmi Devi passed away. It is said that unable to bear separation from her Lord, and feeling that her earthly purpose was complete, she left her body.

When Nimai Pandit returned and heard the news, he was heartbroken. Though he was a master of knowledge and debate, he wept like an ordinary human being — showing that even the most exalted souls are not beyond the purest form of love and grief.

https://youtu.be/CVIYg1iOnN0?si=QzwWmVjQzGK3zT1E

Yet, Nimai also understood a higher truth — that Lakshmi Devi was none other than a divine soul, sent into his life to support him during his early worldly journey. Her departure symbolized that now, he must walk more firmly on the path toward his true mission: spreading divine love across the world.

Later, Nimai would marry Vishnupriya Devi, but the memory of Lakshmi Devi, her sweetness, and her devotion remained in the hearts of those who knew their story.

Logygen

 

Chetak.

 Chetak was the legendary horse of Maharana Pratap, a Rajput ruler who resisted the Mughal Empire. Chetak, along with other horses, was acquired from travelling sellers and became Pratap's trusted companion, particularly known for his loyalty and courage in the Battle of Haldighati. During the battle, Chetak was gravely injured, but he continued to carry Pratap safely to safety, demonstrating his unwavering loyalty. 

Chetak, along with Atak and Natak, were acquired from travelling sellers from the "Danti Charans" tribe in Gujarat, and were trained for battle and rugged terrain. 

Battle of Haldighati:

Chetak played a crucial role in the battle, carrying Pratap through the battlefield, dodging arrows, and navigating treacherous terrain. 

Loyalty and Courage:

Despite being injured by an elephant's tusk, Chetak continued to carry Pratap, eventually succumbing to his wounds after ensuring his master's safety. 

Chetak's sacrifice and loyalty have made him a symbol of courage and unwavering dedication, remembered through oral histories and his memorial, Chetak Smarak, built at the spot where he died, according to Wikipedia. 

Chetak's story is a testament to the strong bond between man and beast, and his bravery is celebrated as a symbol of resistance against tyranny. 

Habit.

कृपा की न होती जो, आदत तुम्हारी

तो सूनी ही रहती, अदालत तुम्हारी

गोपाल सहारा तेरा है ,

हे नंद लाल सहारा तेरा है ,

मेरा और सहारा कोई नहीं

गोपाल सहारा तेरा है ,

हे नंद लाल सहारा तेरा है ,,,,,,,,,

ओ दीनो के दिल में, जगह तुम न पाते

तो किस दिल में होती, हिफाजत तुम्हारी

कृपा की न होती जो,,,

ग़रीबों की दुनियाँ है, आबाद तुमसे ,

ग़रीबों से है, बादशाहत तुम्हारी ,

कृपा की न होती जो,,,,,,

न मुल्जिम ही होते, न तुम होते हाकिम,

न घर-घर में होती, इबादत तुम्हारी ,

कृपा की न होती जो,,,

तुम्हारी ही उल्फ़त के, द्रिग ‘बिन्दु’ हैं यह ,

तुम्हें सौंपते है, अमानत तुम्हारी ,

कृपा की न होती जो,,,,,,,,,

If you were not in the habit of being kind,

your court would have remained empty,

O you did not find a place in the hearts of both,

then in which heart would you have been protected,

there would have been no kindness…

The world of poor people is inhabited by you,

the kingship is because of the poor

, if it were not for your kindness… Neither

would there be any accused, nor would you be the ruler,

neither would you be prayed for in every house,

there would have been no kindness…

They are the eyes of your love,

we hand over your trust to you,

there would have been no kindness…

https://youtu.be/jvhoFmqROD8?si=abNZWg9cagf1eBu8

Sravanam

 https://youtu.be/xr_2dWTnJOQ?si=3ViCgRWg5hfBKafR

Sudhev Brahman perform Rukminis pooja. 

This is how stories are to be told.

Healers.

"In feathered flight and forest deep,

Nature teaches, and the wise ones keep."

"The winged ones, in silent lore,

Heal with herbs and Earth’s own store."

Through ant and leaf and river’s clay,

Birds find the ancient healing way."

"A bird knows where the healers grow,

In fields, in ants, where soft winds blow."

Birds often self-medicate — a behavior called "zoopharmacognosy" — using natural substances to protect themselves from parasites.

One common antiparasitic birds use is ants!

The behavior is called "anting".

Birds allow ants (especially those that produce formic acid) to crawl through their feathers or even crush the ants and rub them on their bodies.

The formic acid from ants helps kill or repel parasites like lice, mites, and fungi.

Besides anting, birds also use:

Aromatic plants (like wild herbs: mint, lavender, bay leaves) in their nests, which act as natural insect repellents.

Mud or clay ingestion by some species can bind and flush out intestinal parasites.

Smoke: Some birds even deliberately build nests near smoky areas (like burning wood) to keep parasites away.

So, the natural antiparasitic methods used by birds include formic acid from ants, essential oils from plants, and clay or mud ingestion.

1. Blue Jays and Crows – Anting

These birds pick up ants (especially formicine ants that produce formic acid) and rub them through their feathers.

The formic acid helps kill feather lice, mites, and bacteria.

2. European Starlings – Aromatic Plants in Nests

Starlings line their nests with herbs like wild carrot, yarrow, and mint.

The aromatic oils repel parasites and improve the health of their chicks.

3. Parrots (Macaws in Amazon Rainforest) – Clay Licking

Macaws and other parrots eat clay from riverbanks.

The clay binds to toxic compounds from seeds and also helps remove gut parasites.

4. House Sparrows and Finches – Smoke-seeking Behavior

Some small birds build their nests near smoky areas or use charred wood in their nests. Smoke deters parasites like mites and fleas.

5. Hoatzins (Amazonian bird) – Leaf-eating

Hoatzins eat large amounts of semi-toxic leaves that have natural antiparasitic and antibacterial properties. Helps keep their gut microbiome healthy and controls internal parasites.

Each bird seems to "know" exactly what it needs — an amazing natural wisdom!

Gems.

The Story of Indian Gems

India’s tryst with gems and precious stones is as ancient as her civilization. From the sparkling diamonds of Golconda to the lustrous pearls of the southern seas, the land of Bharat has long been celebrated as a treasury of dazzling riches. Gems in India have never been seen as mere ornaments; they have carried with them the weight of history, spirituality, trade, and royal grandeur.

A Land Blessed by Nature

India’s unique geology gifted her with a variety of precious stones. The Deccan Plateau, especially around Golconda, produced some of the finest diamonds the world has ever seen. Rivers like the Krishna and Godavari often yielded naturally polished stones, while the mines of Rajasthan and Orissa produced sapphires, garnets, and other colored gems. The coastlines, particularly near Tamil Nadu, were famous for harvesting pearls from the ocean’s bosom.

Ancient Sanskrit texts such as the Garuda Purana and Ratnapariksha detail the significance, classification, and mystical properties of various gems. Gems were believed to embody cosmic energies and were associated with planets, health, prosperity, and even the soul's evolution.

Gems in Royalty and Religion

For Indian kings and queens, gems symbolized power and divine right. Thrones were studded with rubies and emeralds; crowns glittered with diamonds. The famous Peacock Throne of the Mughal emperor Shah Jahan was a masterpiece of gem artistry, embedding hundreds of priceless stones.

Temples too became sanctuaries of gems. Idols were adorned with necklaces of uncut diamonds, nose rings of pearls, and crowns heavy with sapphires. These ornaments were not merely decorative — they were acts of devotion, seen as offerings to the divine.

Trade and the Global Fascination

As early as 3000 BCE, Indian gems were traded across Mesopotamia and Egypt. The fabled Silk Road carried Indian gems to Persia and Rome, where they became highly prized. Roman historians wrote of India as the "land of gold and jewels," and traders risked deserts and seas to reach her shores.

In medieval times, India became the envy of explorers and colonizers alike. Diamonds like the Koh-i-Noor, the Hope Diamond, and the Orlov Diamond — all originating from Indian mines — found their way into royal treasuries across Europe.

The Spiritual Significance

In Indian thought, gems were not mere luxury; they had deep metaphysical meanings. Each gemstone was linked to a planet (Navaratna system) and was worn to balance cosmic forces. Astrologers prescribed gems to enhance fortune, health, and wisdom. Ruby for the Sun, pearl for the Moon, emerald for Mercury — each carried symbolic power.

Even today, millions in India wear gemstones not just for their beauty, but as sacred shields against misfortune and as channels for divine blessings.

A Legacy That Endures

Though modern India has seen many changes, her fascination with gems endures. Jaipur is today a bustling hub of gem-cutting and jewelry-making. Indian craftsmanship in stone-setting continues to win international admiration, blending ancient techniques with contemporary designs.

The story of Indian gems is not just about wealth — it is about a civilization's deep relationship with nature, beauty, and the mysteries of the cosmos. Each glittering stone carries within it a piece of India’s soul: timeless, radiant, and filled with wonder.

The journey.

Ganjifa: India's Traditional Art of Divine Playing Cards

The word Ganjifa comes from the Persian word ganjifeh, meaning "playing cards." The earliest reference to Ganjifa appears in the biography of Babur, the founder of the Mughal dynasty, in the early 16th century. Originally a game for royalty, Ganjifa quickly found its way into the hands of the common people, evolving into a vibrant tradition of art, storytelling, and craftsmanship.

At first, Ganjifa sets were luxurious objects of courtly entertainment. Crafted from ivory or tortoise shell and inlaid with precious stones, these royal cards were known as darbar kalam. As the game spread across India, artisans began to create more affordable versions for the general public, called bazar kalam, using materials like wood, palm leaves, and thick cardboard.

Ganjifa cards are most famous for their circular shape, although some regions also made square versions. Each set was traditionally handmade and hand-painted, turning each card into a miniature work of art. A standard deck often included eight, ten, or even twelve suits — far more than the four suits we find in modern playing cards. Every suit had ten numbered cards plus a King and a Minister card.

Regional Variations of Ganjifa

As Ganjifa spread across India, different regions developed their own unique styles:

Mysore (Karnataka): Under the patronage of rulers like Krishna Raja Wadiyar III, Mysore produced rich and colorful Dashavatara Ganjifa sets, often embellished with gold.

Sawantwadi (Maharashtra): Even today, Sawantwadi remains famous for its finely painted Ganjifa cards featuring scenes from the Mahabharata and other epics.

Puri (Odisha): Strongly associated with the Jagannath Temple, Puri's Ganjifa cards focused on Vishnu's avatars and temple rituals, painted with natural dyes on palm leaf or thick paper.

Rajasthan and Gujarat: In these regions, Ganjifa incorporated Persian and local folk art styles, featuring geometric and floral motifs alongside epic narratives.

Each region’s Ganjifa sets reflected its cultural soul — whether sacred, mythological, or royal.

Famous Themes in Ganjifa Designs

Several legendary themes became common in Ganjifa decks:

1. Dashavatara Ganjifa:

The ten avatars of Lord Vishnu, such as Matsya (Fish), Kurma (Tortoise), Rama, Krishna, and Kalki, each formed a suit.

2. Ramayana Ganjifa:

Scenes from the epic Ramayana — Rama’s exile, Hanuman’s leap to Lanka, and the battle against Ravana — filled the cards.

3. Mahabharata Ganjifa:

Stories of the Pandavas, Kauravas, Krishna, and the great battles were painted in detail.

4. Mughal Ganjifa:

Early Ganjifa decks under Mughal influence displayed crowns, swords, coins, and scimitars, with more geometric and floral designs.

5. Rashi Ganjifa:

Rare decks based on the 12 zodiac signs (Rashi) also existed, especially in Bengal and Odisha.

In spiritual Ganjifa sets, playing the game became more than entertainment; it was a way to tell sacred stories, teach values, and preserve culture.

Why the Cards Are Circular

The circular shape of Ganjifa cards holds deep meaning:

The circle represents wholeness, eternity, and the divine — perfectly matching the sacred and mythological subjects painted on the cards.

It resonates with the Indian symbol of the Chakra (wheel), notably Vishnu’s Sudarshana Chakra.

Practically, the circular form allowed players to shuffle and fan the cards without damaging their delicate edges.

Philosophically, the motion of circular cards echoed the cyclical nature of time and the cosmic dance of creation and destruction.

Thus, the very shape of the Ganjifa card made it not just a game piece, but a symbol of the universe itself.

Example: The Dashavatara Ganjifa Set

A traditional Dashavatara Ganjifa set looked like this:

Each suit had:

10 numbered cards (1 to 10)

1 King card (depicting the avatar)

1 Minister card (showing a close companion or important figure)

For instance, in the Matsya suit (Fish avatar), the King card would show Matsya emerging from the ocean, saving the Vedas; while the Minister card might depict Satyavrata, the devoted king who helped.

Ganjifa is not just a card game — it is an exquisite blend of art, spirituality, and culture. Each set carries the soul of the region that crafted it, the devotion of the artist who painted it, and the stories of a civilization that saw play and prayer as parts of one sacred whole.

Today, efforts are being made to revive this beautiful tradition, reminding us that even simple objects — like a deck of cards — can carry deep wisdom and joy across centuries.

M C vyuh.

Cakravyuh (Chakravyuha):

Cakra means "wheel" and vyuha means "battle formation."

Cakravyuh is a circular, spiral-shaped military formation used in ancient Indian warfare, especially mentioned in the Mahabharata.

It is designed like a moving wheel or labyrinth, with multiple rotating layers of warriors.

The soldiers and chariots form successive circular tiers, making it extremely difficult for enemies to penetrate or escape once inside.

Only a few trained warriors knew how to enter and exit it safely — it required knowledge of precise battle strategies and timing.

In the Mahabharata, Abhimanyu, the son of Arjuna, famously entered the Cakravyuh but did not know how to exit, leading to his heroic death.

Makaravyuh (Makaravyuha):

Makara refers to a mythical sea creature (often seen as a crocodile or a composite aquatic animal) and vyuha again means formation.

Makaravyuh is a battle formation resembling the shape of a Makara — with a broad front, narrow middle, and a powerful rear, mimicking a sea creature's movement and strength.

This formation is used to confuse and trap the enemy — initially allowing them to advance, then surrounding and crushing them as they get deeper into the formation.

It combined deceptive openness with deadly force, much like a Makara would first appear slow or passive but strike with deadly precision.

It was a more fluid, adaptive strategy compared to the rigid circular motion of chakravyuh.

Vrishabhanu.

 Vrishabhanu , the father of Srimati Radharani, one of the most revered and beloved characters in the Vaishnavite tradition, especially among followers of Krishna-bhakti:

Vrishabhanu: The Blessed Father of Srimati Radharani

In the divine tapestry of the Krishna Leela, where each thread is soaked in love, devotion, and celestial mystery, the name Vrishabhanu stands as a radiant figure of virtue and devotion. Though often mentioned in the background, his story carries the fragrance of divine grace and the privilege of parenting none other than Srimati Radharani, the eternal consort of Lord Krishna.

Who Was Vrishabhanu?

Vrishabhanu was a highly respected and virtuous Vraja-vasi, a cowherd chieftain who resided in Barsana (also known as Varsana), a village near Vrindavan in present-day Uttar Pradesh, India. He belonged to the Yadava community of gopas and was known for his deep devotion to Lord Narayana and his noble, dharmic conduct.

He was married to Kirti Devi (or Kirtida Devi), an equally pious and gentle soul. Together, they became the earthly parents of Radharani, the very embodiment of prema-bhakti (divine love).

The Divine Birth of Radharani

According to the Padma Purana, Brahma Vaivarta Purana, and the Garga Samhita, the story of Radharani’s birth is no ordinary tale. It is a mystical descent rather than a biological birth.

One day, Vrishabhanu found a beautiful golden-hued baby girl floating on a lotus in a pond known as Ravala Kund, near Barsana. The divine child radiated celestial brilliance, but strangely, her eyes were closed. Despite the love and care showered on her, the child never opened her eyes.

It was only when Lord Krishna visited Vrishabhanu’s house, carried in the arms of His foster mother Yashoda, that a miracle occurred. As baby Krishna came near Radharani, she opened her eyes for the very first time—and her first sight was that of Krishna Himself. This moment is celebrated as the first divine union of Radha and Krishna, witnessed by their respective parents and the blessed residents of Vraja.

Vrishabhanu's Devotion and Dharma

Despite knowing the divine nature of his daughter, Vrishabhanu remained humble and fully immersed in his dharma. He raised Radharani with deep love and care, training her in the arts, scriptures, and householder duties, although she was naturally perfect in everything.

As a father, he supported her deep connection with Krishna, recognizing that their bond was not merely of this world. The love between Radha and Krishna is not born of worldly affection but is the soul's eternal yearning for the Divine. Vrishabhanu, in his wisdom, honored and safeguarded this sacred connection.

The Legacy of Vrishabhanu

Vrishabhanu is revered in Vaishnavite traditions, especially in the Gaudiya Vaishnava lineage, where Srimati Radharani is worshipped as the Supreme Goddess of devotion. On Radhastami, the appearance day of Radharani, devotees celebrate the glory of Vrishabhanu Maharaj with gratitude, acknowledging that through his devotion and purity, the world received the shelter of Radharani’s love.

Barsana, his town, is now a major pilgrimage site, home to beautiful temples like Radha Rani Temple (Shri Ladli Ji Temple), which stands atop the Brahmagiri hills, symbolizing the eternal majesty of Radharani and the blessedness of her parents.

A Silent Pillar of Divine Leela

Vrishabhanu’s story teaches us that greatness often lies in quiet devotion and surrender. Though he did not seek glory, he became the custodian of the highest form of divine love. His legacy is not only in being Radharani’s father but in his example of humble service, unwavering faith, and sacred parenting.

To remember Vrishabhanu is to remember the hidden saints who become instruments of divine purpose—not through grand deeds but through purity of heart and deep love for God.

Actually in his previous birth he was a celestial who was one among the gods wtho was mesmerized by mohini. He prayed to God that he would like a child asbeautiful as mohini for a daughter. The lord said that he himself will deck mohini to before as his daughter. No wonder then tthat Radha Rani is the the most beautiful child of the universe. 

A Father Beyond Time: A Reflection on Vrishabhanu

In the quiet hills of Barsana,

Where peacocks dance and Yamuna sings,

There lived a soul of simple grace—

A cowherd king, unknown to kings.

His name—Vrishabhanu, pure and still,

Unshaken by the world’s acclaim.

A father not by mortal chance,

But chosen by the Lord’s own name.

He sought no throne, no blazing crown,

No echoing praise from sages' lyre—

Yet in his arms, the lotus bloomed,

The source of bhakti's sacred fire.

She came to him on petals bright,

A golden child of silent gaze.

The world beheld a mystery,

He only saw his heart ablaze.

He did not ask, "From where or why?"

Nor questioned fate, nor destiny.

He simply gave his all to her—

A gift returned eternally.

And when her eyes first met her Lord,

The world stood still in holy awe.

A father watched with knowing smile,

What only rishis rarely saw.

He taught no war, no worldly ways,

But how to serve, to love, to give.

He held the lamp so Radha's light

Might teach the world how souls should live.

Not every tree bears sacred fruit,

Not every pond holds moonlit grace.

But Barsana, through him, became

The heart of Krishna's resting place.

O Vrishabhanu, silent sage,

Your tale is not in battles told—

But in the love that raised a Queen,

Whose glance turns iron hearts to gold.

"जय कृष्ण मनोहारिणी" एक प्रसिद्ध मंत्र है जो भगवान कृष्ण की सुंदरता, प्रेम और आकर्षण का सम्मान करता है। यह मंत्र अक्सर कृष्ण की पूजा और भक्ति के दौरान बोला जाता है।

मंत्र का अर्थ:

• जय कृष्ण:

  "जय" का अर्थ है विजय, और "कृष्ण" भगवान कृष्ण का नाम है। इसलिए, "जय कृष्ण" का अर्थ है "कृष्ण की विजय हो" या "कृष्ण की जय हो"।
• • मनोहारिणी:

    "मनोहारिणी" का अर्थ है "मन को मोहित करने वाली", "सुंदर", या "आकर्षण वाली"। यह कृष्ण की सुंदरता और आकर्षण का वर्णन करता है।

मंत्र का उपयोग:

• • यह मंत्र कृष्ण की पूजा और भक्ति के दौरान, विशेष रूप से जन्माष्टमी के अवसर पर, बोला जाता है।
  • यह मंत्र कृष्ण के प्रति प्रेम और भक्ति व्यक्त करने के लिए भी उपयोग किया जाता है।
  • यह मंत्र व्यक्ति को कृष्ण के प्रति समर्पित और आकर्षित करने में मदद करता है।

अन्य कृष्ण मंत्र:

"हरे कृष्ण, हरे कृष्ण, कृष्ण कृष्ण, हरे हरे, हरे राम, हरे राम, राम राम, हरे  हरे""ॐ देविकानन्दनाय विधमहे वासुदेवाय धीमहि तन्नो कृष्णः प्रचोदयात" "कृष्णाय वासुदेवाय हरये परमात्मने। प्रणत क्लेशनाशाय गोविन्दाय नमो नम:" 

Pranay

 Pranay Geeth (प्रणय गीत) literally means "Song of Love" in Sanskrit and many Indian languages. It is a term often used in devotional, literary, and poetic contexts to denote a song expressing deep affection, love, or devotion.

Pranay Geeth can refer to:

1. Devotional Love Songs: In Bhakti literature, especially in traditions like Vaishnavism, "pranay geeths" are songs of divine love — expressing the soul's yearning and intimate connection with the divine. For instance, the Gopis' love for Lord Krishna in the Bhagavata Purana is often described in such terms.

2. Romantic Poetry or Songs: In classical and modern Indian literature or film, it can mean romantic songs that express a lover's emotions — longing, union, separation, or joy in love.

3. Literary/Spiritual Expression: In a more philosophical sense, pranaya (love) is seen as a divine emotion, and a pranay geeth could be an allegory for the union of the individual soul (jiva) with the Supreme (paramatma).

Here is a simple Gujarati Pranay Geet (પ્રણય ગીત) with English translation. This is in a devotional style, expressing love for the Divine.

Gujarati (ગુજરાતી):

પ્રેમ રે પ્રભુ સાથેનું, અનંત સાગર જેવું,

હૈયાનું ગીત બની ઊઠે, શાંત મધુર સવાર જેવું.

સાંજ સુઘરી તારા વીણા, જીવન અધૂરો લાગે,

તારી સ્મૃતિમાં જ શ્વાસ લેશે, એવું મન એ માંગે.

તું હસમુખી છે વાતોમાં, તું શાંત છે સંગીતમાં,

તું જ રહેશો હમસફર, આ જીવનની દરેક રીતમાં.

Love for the Lord is like an endless ocean,

It rises as a song of the heart, like a calm and sweet morning.

Evening feels empty without your stars, life feels incomplete,

The mind longs only to breathe in your memory, that is its only plea.

You smile through words, and rest in music's calm,

You alone shall be my companion, in every rhythm of life’s charm.

Chokamela half eaten mangoes.

The Mangoes of Grace: A Saint Born Outside the Temple Walls

In the sacred town of Pandharpur, where the air is thick with the name of Vitthal, and the streets echo with the footfalls of countless devotees, lived a soul so pure that even the stone walls of the temple remembered his song. He was Sant Chokhamela, a name now revered across Maharashtra, a poet-saint whose love for the Lord transcended the iron bars of caste and the cruelty of social rejection.

But Chokhamela’s story—his very birth—is wrapped in divine mystery, a tale as tender as his devotion and as profound as his verses.

The Mangoes and the Unknown Elder

Long ago, a devout couple used to make the pilgrimage to the temple at Pandharpur every single day. One morning, they set off carrying a bag of the finest, sweetest mangoes, carefully chosen as an offering to their beloved Lord Vitthal.

On the road to the temple, they were stopped by a frail, elderly man. His eyes, weary yet knowing, met theirs as he said softly, “Bhavti, I am hungry.”

Moved by compassion, they offered him some of the mangoes. But to their surprise, the old man bit into each mango and returned it half-eaten, smiling with gentle satisfaction. He did this to several mangoes and then silently walked away.

The couple, now with a mix of reverence and unease, decided to separate the uneaten mangoes for the temple and carry the half-eaten ones to feed stray dogs or cattle on the way back.

But as they continued walking, something strange occurred.

The bag with the half-eaten mangoes grew heavy—much heavier than it ought to. Alarmed, they opened it, only to find that the mangoes had vanished. In their place lay a baby boy, glowing with peace and purity, his gaze tranquil as though he had descended from another world.

Afraid of how society might react, and confused by the divine strangeness of the event, the couple left the child beneath a tree and quietly disappeared into the crowd.

Raised by the Humble, Destined for the Divine

It was a group of blacksmiths who later passed that way and heard the baby's soft cries. Seeing the abandoned child, they felt a surge of compassion and took him into their home. They raised him as their own, unaware that they were nurturing a future saint.

Thus was born Chokhamela—not through conventional means, but through divine intervention, placed gently into the arms of the oppressed so he could rise as their voice, their poet, and their liberator of the soul.

The Devotee Outside the Gate

As Chokhamela grew, so did his love for Vitthal. Though born into a marginalized caste and barred from entering the temple, his devotion knew no boundaries. Every day, he stood outside the walls of the temple, singing abhangas with tears in his eyes and love in his voice.

When asked how he could pray from so far, Chokhamela replied:

“The Lord does not live only inside those walls. He lives where there is true love.”

His poems, simple yet profound, touched countless hearts. Even the priests who once mocked him began to feel the weight of his words.

When the Wall Remembered the Saint

Years later, when Chokhamela passed away, his body was not allowed inside the temple. His ashes were buried near its outer wall.

But God had the final word.

It is said that the wall began to crack, and from it emanated a soft light and the murmured echoes of Chokhamela’s songs. Devotees began to feel a presence so strong that they would lean against the wall, saying,

“This is where Chokha’s soul sings to Vitthal.”

Even the stone, it seemed, could not forget the love of a true devotee.

The Lasting Legacy

Sant Chokhamela’s life was a living abhanga—each moment a verse offered at the feet of the Divine. He was not born into privilege or priesthood, but grace chose him, perhaps through that mysterious old man on the road with the mangoes. Who was he? Some say he was Vitthal Himself, testing hearts, sowing divinity where the world saw none.

In Chokhamela, the Lord showed the world that bhakti is not bound by caste, birth, or temple walls. It flows from the heart and reaches the Divine unhindered.

And perhaps, even today, in the quiet hours of dawn, if you stand near that temple wall in Pandharpur, you might just hear a saint still singing,

“Vitthala, Vitthala…”

Eg abhang.

Here are a few beautiful abhangas (devotional verses) composed by Sant Chokhamela, translated into English with the original Marathi lines where possible. His poems are filled with deep humility, intense longing, and unshakable devotion to Lord Vitthal.

1. "अरे देवा, तुज माझे न जाणवे दु:ख!"

“O Lord, you do not know the depth of my sorrow!”

 अरे देवा, तुज माझे न जाणवे दु:ख।

तरी तुजपुढे म्हणतो मी अभंग॥

O Lord, You may not understand my sorrow,

Still, I stand before You and sing these abhangas.

Because You are my only refuge, my soul’s beloved.

Chokhamela expresses how even in pain and rejection, his only response is to sing in devotion.

2. "मी अभंग बोलतो गा विठोबाचे"

“I speak only of Vitthala’s glory”

 मी अभंग बोलतो गा विठोबाचे।

वाण्या कडून आलो मी विठाईच्या पायाचे॥

I sing only the praises of Vitthala,

From the world’s noise, I have come to the feet of Vitthai.

This verse speaks of leaving worldly noise behind and surrendering at the feet of the divine.

3. "आळवितो विठोबाला, अंतरीचा भक्त"

“I call to Vitthala with a heart full of love”

आळवितो विठोबाला, अंतरीचा भक्त।

माझ्या जातीचं बघून हसतात लोक॥

I call out to Vitthala from the depths of my soul,

But people laugh at me because of my birth.

Yet my Lord looks only at the devotion in my heart.

This reflects the pain of social rejection but also the spiritual strength that comes from divine love.

4. "चोखोबाचा देव वेगळा"

“Chokha’s God is different”

 चोखोबाचा देव वेगळा,

जातीभेद न पाही ॥

Chokha's God is different,

He sees no caste or division.

He sees only the heart that calls His name.

Nama panduranga.

Namdev Becomes Panduranga: A Divine Play of Devotion and Disguise

In the sacred town of Pandharpur, where the river Chandrabhaga gently flows and pilgrims sing the name of Vitthal with unending love, lived a childlike saint—Namdev. His love for

Lord Panduranga was not of ritual, but of intimate friendship, like that of a son who believes his beloved Lord lives only to speak with him, eat with him, and laugh with him.

Every day, Namdev’s mother would prepare a simple meal with utmost love and devotion. And every 

Day, she would tell Namdev, “Go, my child, call Panduranga to come and eat. Tell Him it is cooked with my heart.” And Namdev, ever obedient, would rush to the temple and plead before the deity, “Come home, Lord. My mother waits.”

The priests scoffed, the pilgrims smiled at his innocence, but Namdev never missed a day.

Then, one day, the miracle happened.

The idol of Vitthal glowed softly, and a gentle voice called out, “Namya.”

The Lord appeared before him, resplendent and kind. “Namdev, I shall come to your house today,” He said. “But you must do something for me.”

Namdev's eyes sparkled with delight. “Anything, my Lord.”

“While I go to eat at your home, you

must take my place here in the sanctum. I will make you look like Me. But listen carefully. When the priests bathe you in cold water, do not shiver. When they place butter on your nose, do not lick it off. When pilgrims come and cry out for boons—sons, riches, health—you must not grant any wish. Stand still, calm, and divine. You are Me for today.”

With a smile, the Lord adorned Namdev in yellow silk, darkened his skin with sandal paste, placed a black crown on his head, and adjusted his arms on the hips—just so.

Then, laughing softly, Panduranga vanished and walked to Namdev’s humble hut.

Namdev’s mother was overjoyed to see Him. Though He appeared as her own son, her heart recognized the divine. “Namya, you’ve brought the Lord Himself today!” she whispered.

The Lord sat like a simple guest, ate every morsel with relish, praised her cooking, and made her heart overflow with bliss.

But she noticed something strange. “Why is Namya not eating? He always rushes to eat!”

The Lord smiled. “Come with me. I’ll take you where Namdev is now.”

He asked her for a black shawl to cover Himself and quietly accompanied her to the temple.

There, standing on the sanctum platform, Namdev stood as the deity—still and radiant. The priests sang the Aarti, pilgrims offered flowers, and bells rang loud. The Lord, now among the crowd, enjoyed it all like a devotee. He clapped, sang, and beamed with joy.

Namdev, however, trembled inwardly. “Will He fall at my feet in front of everyone? Oh, please, no!”

But the Lord remained a playful pilgrim, watching His devotee playing God, savoring the scene. He whispered to Namdev’s mother, “See how well he listens to Me? Even the butter on his nose tempts him not!”

After the Aarti, the Lord revealed the leela to all.

“This is the power of devotion,” He said. “Namdev became Me—not by penance, not by rituals, but by love so pure that I cannot refuse his call. And today, I walked in the streets, tasted his mother’s cooking, and sang praises of My own image.”

Since that day, the tale of Namdev impersonating Panduranga has been sung across Maharashtra, a testimony that when devotion is true, even God plays along—happily.

Amrit saar.

 The Golden Temple, Amritsar

Nestled in the heart of Amritsar, Punjab, the Golden Temple—also known as Sri Harmandir Sahib—is a radiant symbol of spiritual serenity and Sikh heritage. Its gleaming gold-plated façade rises from the middle of the sacred Amrit Sarovar (Pool of Nectar), inviting millions each year into its tranquil embrace. Built in the 16th century by Guru Arjan Dev Ji, the temple is open to all, regardless of faith or background, reflecting the Sikh tenet of universal brotherhood. The soothing sounds of Gurbani (devotional hymns) echo through its marble halls, while the community kitchen (Langar) serves free meals to thousands daily. A place of profound devotion and timeless beauty, the Golden Temple is not just a monument—it's an experience of the divine.

जाति न पूछो साधू की पूछ लीजिए ज्ञान ।

मोल करो तलवार को पडा रहन दो म्यान ॥

Kabir Das Ji says, a true Sadhu is considered to be above all kinds of discriminations. A Sadhu is never asked to which caste he belongs to. His knowledge is enough to respect him. Just like the value of a sword is judged on the basis of its edge and not on its sheath, in the same way, the caste of a Sadhu is like the sheath of a sword and his knowledge is like the edge of the sword.

भावार्थ: कबीर दास जी कहते हैं, सच्चा साधु सब प्रकार के भेदभावों से ऊपर उठा हुआ माना जाता है | साधू से यह कभी नहीं  पूछा जाता की वह किस जाति का है उसका ज्ञान ही, उसका सम्मान करने के लिए पर्याप्त है | जिस प्रकार एक तलवार का मोल का आंकलन उसकी धार के आधार पर किया जाता है ना की उसके म्यान के आधार पर ठीक उसी प्रकार, एक साधु की जाति भी तलवार के म्यान के समान है और उसका ज्ञान तलवार की धार के समान |

JA

 Shri Jagannath Ashtakam with meaning

Shri Jagannath Ashtakam was composed by Adi Sankracharya in praise of Lord Jagannath on his visit to Puri. The most important of hymns of Lord Jagannath, the Ashtakam was recited by Sri Chaitanya Mahaprabhu on his visit to Jagannath temple. The merit of reciting the sacred Jagannath ashtakam carefully is such that, one becomes sinless and pure hearted and gains entrance to Vishnuloka.

कदाचित् कालिन्दी तट विपिन सङ्गीत तरलो
मुदाभीरी नारी वदन कमला स्वाद मधुपः
रमा शम्भु ब्रह्मामरपति गणेशार्चित पदो
जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥१॥

kadācit kālindī-taṭa-vipina-saṅgīta ta ralo
mudābhīrī-nārī-vadana-kamalāśvāda-madhupaḥ
ramā-śambhu-brahmāmara-pati-gaṇeśārcita-pado
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (1)

Sometimes in great happiness Lord Jagannatha, with His flute, makes a loud concert in the groves on the banks of the Yamuna. He is like a bumblebee who tastes the beautiful lotus-like faces of the cowherd damsels of Vraja, and His lotus feet are worshiped by great personalities such as Lakshmi, Siva, Brahma, Indra and Ganesa. May that Jagannatha Swami be the object of my vision.

भुजे सव्ये वेणुं शिरसि शिखिपिच्छं कटितटे
दुकूलं नेत्रान्ते सहचर-कटाक्षं विदधते ।
सदा श्रीमद्‍-वृन्दावन-वसति-लीला-परिचयो
जगन्नाथः स्वामी नयन-पथ-गामी भवतु मे ॥२॥

bhuje savye veṇuṁ śirasi śikhi-picchaṁ kaṭitaṭe
dukūlaṁ netrānte sahacara-kaṭākṣaṁ ca vidadhat
sadā śrīmad-vṛndāvana-vasati-līlā-paricayo
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (2)

In His left hand Lord Jagannatha holds a flute. On His head He wears the feathers of peacocks and on His hips He wears fine yellow silken cloth. Out of the corners of His eyes He bestows sidelong glances upon His loving devotees and He always reveals Himself through His pastimes in His divine abode of Vrindavana. May that Jagannatha Swami be the object of my vision.

महाम्भोधेस्तीरे कनक रुचिरे नील शिखरे
वसन् प्रासादान्तः सहज बलभद्रेण बलिना ।
सुभद्रा मध्यस्थः सकलसुर सेवावसरदो
जगन्नाथः स्वामी नयन-पथ-गामी भवतु मे ॥३॥

mahāmbhodhes tīre kanaka-rucire nīla-śikhare
vasan prāsādāntaḥ sahaja-balabhadreṇa balinā
subhadrā-madhya-sthaḥ sakala-sura-sevāvasara-do
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (3)

Residing on the shore of the great ocean, within a large palace situated upon the crest of the brilliant, golden Nilacala Hill, along with His powerful brother Bala-bhadra, and in the middle of Them His sister Subhadra, Lord Jagannatha bestows the opportunity for devotional service upon all godly souls. May that Jagannatha Swami be the object of my vision.

कृपा पारावारः सजल जलद श्रेणिरुचिरो
रमा वाणी रामः स्फुरद् अमल पङ्केरुहमुखः ।
सुरेन्द्रैर् आराध्यः श्रुतिगण शिखा गीत चरितो
जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥४॥

kṛpā-pārāvāraḥ sajala-jalada-śreṇi-ruciro
ramā-vāṇī-rāmaḥ sphurad-amala-paṅkeruha-mukhaḥ
surendrair ārādhyaḥ śruti-gaṇa-śikhā-gīta-carito
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (4)

Lord Jagannatha is an ocean of mercy and He is beautiful like a row of blackish rain clouds. He is the storehouse of bliss for Lakshmi and Saraswati, and His face is like a spotless full-blown lotus. He is worshiped by the best of demigods and sages, and His glories are sung by the Upanishads. May that Jagannatha Swami be the object of my vision.

रथारूढो गच्छन् पथि मिलित भूदेव पटलैः
स्तुति प्रादुर्भावम् प्रतिपदमुपाकर्ण्य सदयः ।
दया सिन्धुर्बन्धुः सकल जगतां सिन्धु सुतया
जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥५॥

rathārūḍho gacchan pathi milita-bhūdeva-paṭalaiḥ
stuti-prādurbhāvam prati-padam upākarṇya sadayaḥ
dayā-sindhur bandhuḥ sakala jagatāṁ sindhu-sutayā
jagannāthah svāmī nayana-patha-gāmī bhavatu me (5)

When Lord Jagannatha is on His Ratha-yatra cart and is moving along the road, at every step there is a loud presentation of prayers and songs chanted by large assemblies of brahmanas. Hearing their hymns Lord Jagannatha is very favorably disposed towards them. He is the ocean of mercy and the true friend of all the worlds. May that Jagannatha Swami, along with His consort Lakshmi, who was born from the ocean of nectar, be the object of my vision.

परंब्रह्मापीड़ः कुवलय-दलोत्‍फुल्ल-नयनो
निवासी नीलाद्रौ निहित-चरणोऽनन्त-शिरसि ।
रसानन्दी राधा-सरस-वपुरालिङ्गन-सुखो
जगन्नाथः स्वामी नयन-पथगामी भवतु मे ॥६॥

paraṁ-brahmāpīḍaḥ kuvalaya-dalotphulla-nayano
nivāsī nīlādrau nihita-caraṇo 'nanta-śirasi
rasānandī rādhā-sarasa-vapur-āliṅgana-sukho
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (6)

He is the ornament of the head of Lord Brahma and His eyes are like the full-blown petals of the lotus. He resides on the Nilacala Hill, and His lotus feet are placed on the heads of Ananta Deva. Lord Jagannatha is overwhelmed by the mellow of love and He becomes joyful in the embracing of the body of Sri Radharani, which is like a cool pond. May that Jagannatha Swami be the object of my vision.

न वै याचे राज्यं न च कनक माणिक्य विभवं
न याचेऽहं रम्यां सकल जन काम्यां वरवधूम् ।
सदा काले काले प्रमथ पतिना गीतचरितो
जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥७॥

na vai yāce rājyaṁ na ca kanaka-māṇikya-vibhavaṁ
na yāce 'haṁ ramyāṁ sakala jana-kāmyāṁ vara-vadhūm
sadā kāle kāle pramatha-patinā gīta-carito
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (7)

I do not pray for a kingdom, nor for gold, rubies, and wealth. I do not ask for an excellent and beautiful wife as desired by all men. I simply pray that Jagannatha Swami, whose glories are always sung by Lord Siva, be the constant object of my vision.

हर त्वं संसारं द्रुततरम् असारं सुरपते
हर त्वं पापानां विततिम् अपरां यादवपते ।
अहो दीनेऽनाथे निहित चरणो निश्चितमिदं
जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥८॥

hara tvaṁ saṁsāraṁ druta-taram asāraṁ sura-pate
hara tvaṁ pāpānāṁ vitatiṁ aparāṁ yādava-pate
aho dīne 'nāthe nihita-caraṇo niścitam idaṁ
jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (8)

O Lord of the demigods, please quickly remove this useless material existence I am undergoing. O Lord of the Yadus, please destroy this vast ocean of sins which has no shore. Alas, this is certain that Lord Jagannatha’s lotus feet are bestowed upon those who feel themselves fallen and have no shelter in this world but Him. May that Jagannatha Swami be the object of my vision.

जगन्नाथाष्टकं पुन्यं यः पठेत् प्रयतः शुचिः ।
सर्वपाप विशुद्धात्मा विष्णुलोकं स गच्छति ॥९॥

jagannāthāṣṭakaṁ punyaṁ yaḥ paṭhet prayataḥ śuciḥ
sarva-pāpa-viśuddhātmā viṣṇu-lokaṁ sa gacchati

The self-retrained, virtuous soul who recites these eight verses glorifying Lord Jagannatha becomes cleansed of all sins and duly proceeds to Lord Visnu's abode.

॥ इति श्रीमत् शंकराचार्यविरचितं जगन्नाथाष्टकं संपूर्णम् ॥

iti śrimat śaṅkaracārya viracitaṁ jagannāthāṣṭakam saṁpūrṇam

Thus ends the eight stanza hymn Jagannāthāṣṭakam composed by Śrimat Śaṅkaracārya

 

Mukh dekhi.

 This story is very beautifully told making the dialogue between Lord Shiva and yashoda very emotional. I don't know if the ending of it is right though. It is said that the brij vasi does not have to follow any ritual no pooja no japa no yaga they only shower their live for the lord in whatever way they like. A special tribe indeed. 

Once, while immersed in deep meditation, Lord Shiva received a divine revelation that all the gods had gathered in Gokul, at the house of Nanda Maharaja. Intrigued, Lord Shiva decided to visit Gokul to catch a glimpse of the newly born Lord Krishna. Parvati, his consort, expressed her desire to accompany him, but Lord Shiva, considering the journey too arduous, suggested she remain behind.

Parvati, understanding the situation, politely requested that Lord Shiva bring back some of the renowned butter from Gokul. Agreeing to her request, Lord Shiva set off on his journey.

As he neared the outskirts of the village, Lord Shiva realized that there was no need to disguise himself. He knew that Lord Krishna, in his divine wisdom, would already recognize him. This realization was a reflection of the sacred dust of Braj, which bestowed profound insights upon true devotees.

In his natural form, Lord Shiva appeared fearsome, with three eyes, matted hair, a tiger skin, a garland of snakes, and ashes adorning his body. Despite his formidable appearance, he boldly entered Gokul and made his way to Mata Yashoda’s house. With eager anticipation, he knocked on the door and humbly requested alms.

Mata Yashoda, overwhelmed with love for her beloved Krishna, opened the door but did not recognize Lord Shiva. Mistaking him for an ordinary mendicant, she offered him food and clothing as an act of hospitality. However, Lord Shiva declined her offer, stating that he only wished to see her divine child.

To his dismay, Mata Yashoda firmly refused, explaining that it was impossible for him to see Krishna. She feared that Krishna, being just a small child, might be frightened by Lord Shiva’s awe-inspiring appearance. Despite her refusal, Lord Shiva persisted, unwilling to leave without seeing Krishna.

A gentle yet firm standoff ensued. Mata Yashoda was resolute, warning Lord Shiva that she would close the gate for twice as long if he continued to insist. But Lord Shiva, undeterred, resolved to wait indefinitely, believing that one day he would witness Krishna’s divine form when he grew up and wandered freely.

Krishna, observing the exchange from inside, delighted in the devotion of his two followers. He intended to show that the love of a devotee in the mood of parental affection surpassed that of servitude. Lord Shiva embodied the pinnacle of servitorship, while Mata Yashoda represented pure parental love. Both were deeply devoted, but the bond of parental affection carried a unique depth.

Acknowledging Mata Yashoda’s superior love, Lord Shiva gracefully conceded. He left the house, feeling a sense of defeat, and retreated to the banks of the Yamuna River, where he sat in meditation, contemplating Krishna’s divine will.

Meanwhile, Krishna, sensing Lord Shiva’s disappointment, began to cry inconsolably. Despite the efforts of the cowherd boys and girls, Krishna’s tears would not cease. A perceptive gopi named Lalita, noticing the situation, asked Mata Yashoda if anyone had left the house unsatisfied. Yashoda recalled the saint with snakes around his neck who had departed without seeing Krishna. Lalita, wise and compassionate, urged that they should bring him back, as no saint should leave unfulfilled.

Mata Yashoda described the saint’s appearance, and Lalita set out to find him. She soon located Lord Shiva and brought him back to the house. Overwhelmed with emotion, Yashoda handed the crying Krishna to Lord Shiva.

The moment Krishna was placed in Lord Shiva’s arms, he stopped crying and gazed lovingly at his devotee. Lord Shiva, cradling Krishna, was overcome with transcendental ecstasy. He honored Krishna, acknowledging the Lord’s unfathomable ways, and touched his tiny feet to his head while reciting the Gopala Sahasra Nama Stotra, a hymn glorifying Krishna with a thousand names.

Upon returning home, Lord Shiva shared this divine experience with Parvati. He remembered her request for butter, but in his deep contemplation of Krishna, he had unwittingly consumed all of it on the way back. When Parvati pointed out the empty container, Lord Shiva realized his mistake. Parvati playfully remarked that since he had not brought any prasadam (sacred food) for her, no one would partake in his offerings either. Since that day, any offering made to Lord Shiva is known as ‘Shiva-Naivedya’ or ‘Shiva-Nirmaalya,’ considered sacred and not to be consumed once presented to him.