Tuesday, January 7, 2025

courtyard.

 An independent house with a courtyard in the middle. All rooms opening into the courtyard. the longest wall  of the courtyard had a fountain a beautiful one which could be lit up. it was a crescent shaped  structure. most gatherings happened in the courtyard there were potted plants on three steps on both the sides and all around the fountain  of the courtyard one side led to the double kitchen one for the cook when he she cooked the other one with a rasized platform where we cooked. The outer kitchen  had a mesh window through which the full courtyard was visible the opposite side had the downstairs diwan khana and just before it were stair case leading to the first floor where  again there was a central courtyard a similar one but here it was facing the side of the house which had rooms on both sides at the perifree. the best part was one side of this upstairs courtyard had a full view of the downstairs courtyard., the upstairs one was not as private as the downstairs one as other houses on both sides could get a view of any thing happening here. half of the upstairs courtyard had a sheltered verandah which housed a large table tennis table which  doubled into dining area when we had important guests over. the food was cooked in the double kitchen downstairs and transported upstairs. it was  bada khana that used to be served here with all the finest cutlery and dining sets. no this area though visible to the neighbours houses still had the best and coolest dining arrangements. our room led directly into this space it was ideal place to study and spend hours on end engaged in what one liked to pass time with  be it painting sculpture writing etc. but you could not leave any thing here as it was a space accessible to monkeys which did visit us some times twice a day morning and evening they always visited in groups so those times we just went into the rooms upstairs and closed the door till they left. though it was part of the house we never imagined that we had to build walls and enclose the space. nov end to mid jan sometimes feb we had the open portion of the courtyard housing daliah flowers which used to be bought in lorry and arranged  here nearly 50 60 pots of flowers which bloomed in various colours all through the time they were housed. music programs used to be conducted here once a quarter. with almost nine rooms both downstairs and nine upstairs two car garages each could house two to three cars . Rooms were huge and well lit the corridors itself were 3000 sq ft both upstairs and downstairs. all marble floorings with the best ornamental pillars supporting the stucco. The downstairs courtyard doubled up as open to sky area to be used  to sunbathe the various kitchen items like sun bathed pickle chundo icecreams used tobe made here. this courtyard also was used as dining place but one had to squat on the floor and eat. we either used pai or mane to sit only grand mother sat on a make shift chair and stool cause she could not sit on the floor all cousins used to eat together here. mothers sisters family brothers family etc. we also used to have guests who stayed for long periods of two months at a stretch. we were four girls parents grandparents and an aunt with her two children staying together. another aunt and uncle used to drop by daily. We were so self sufficient we never found the need to have friends outside of family. School friends college friends were just acquaintances. May be once in few years came home. Lots of relatives did come especially around deepavali .

We went swimming cycling hobby classes together. I and my eldest sister went for typing classes as well as car driving. We enjoyed our childhood.

Entry by my sister .

2nd kitchen raised cooking platform came subsequently. Earlier this kitchen was used only for Tea Coffee Milk, etc.

The house had separate rooms like Haath dhonae ka room; Sone ka room, lamba room.bade Amma ka room, kone ka room, Bandar, watch man room not included which was as big as our bed room now a days ,Masi ka room, Kids were thrilled to know that there was a room for washing hands which was as big as one full dining room. Dining table and eight chairs could be accomodated conveniently and there still would be place for 2 or 3 crockery cubords.

The bar on the gate would chime indicating Entry & Exit- loud enough to be heard from any corner of the house.

Downstairs court yard was of multi purpose use as it was a few feet deep a corridor running all through connecting the rooms kitchen Bandar the pillars supporting this were so huge as children we could hide behind them and dodge while playing hide and seek. Four corners was another game we played where the pillars marked the boundary running and catching. (a) helped in blocking rainwater in which kids would make paper boats and enjoy playing. (b) Steaming hot Jalebis were made during Diwali. (c) Party get together 

(d) background for clicking pictures

Terrace was at 2 levels used for Kite flying.

Extremely intelligent

https://www.facebook.com/nuevacomics/videos/898527802411508/?mibextid=9drbnH

Friday, January 3, 2025

Kadambari.

Kadambari: A Timeless Masterpiece of Sanskrit Literature

Kadambari is an extraordinary Sanskrit prose romance authored by Banabhatta, one of the most celebrated court poets of King Harsha of Kannauj (7th century CE). Completed posthumously by his son Bhushanabhatta, "Kadambari" is a literary masterpiece known for its intricate narrative, ornate style, and profound philosophical undertones.

The Structure and Style of Kadambari

"Kadambari" is a prose kavya (champus), meaning it is a blend of prose and poetry. Its highly ornate and descriptive style is a hallmark of Banabhatta’s literary genius. The text is characterized by long compound sentences, elaborate similes (upama), and metaphors (rupaka), making it a challenging yet mesmerizing read.

The narrative is non-linear, interweaving multiple subplots, flashbacks, and tales-within-tales, showcasing a sophisticated storytelling technique far ahead of its time.

The Plot: A Tale of Love and Rebirth

The story of "Kadambari" revolves around themes of love, destiny, and reincarnation. It is a blend of human and divine elements, with gods, sages, and celestial beings playing key roles in the narrative.

1. The Beginning:

The story begins with King Chandrapeeda of Ujjain, a noble and virtuous ruler, falling in love with a celestial maiden named Kadambari. However, their union is obstructed by a series of divine curses, misunderstandings, and circumstances.

2. Subplots and Intricacies:

The narrative is enriched by several interwoven subplots, such as:

The friendship between Chandrapeeda and his loyal companion Vaishampayana.

The tragic tale of Mahashveta, a divine woman who falls in love with Pundarika, a cursed celestial being turned into a swan.

The curse and rebirth cycle that intertwines the fates of all the main characters.

3. Reincarnation and Resolution:

Reincarnation plays a pivotal role in the story. Chandrapeeda and Vaishampayana are reborn as Pundarika and Kapinjala, and their intertwined destinies unfold across multiple lifetimes. The story culminates in the ultimate union of Chandrapeeda and Kadambari, symbolizing the triumph of love and devotion over time and destiny.

Themes and Symbolism

1. Eternal Love:

"Kadambari" explores the concept of love as eternal and transcending the boundaries of life and death. The soul’s yearning for its beloved remains undiminished across lifetimes.

2. Fate and Free Will:

The characters often grapple with the interplay of fate (daiva) and personal effort (purushartha). While divine curses dictate much of the storyline, human virtues like loyalty and perseverance shape the resolution.

3. Reincarnation:

The story underscores the Hindu belief in karma and the cyclical nature of existence, where actions from past lives determine present circumstances.

4. Nature and Aesthetics:

The lush descriptions of forests, rivers, and celestial abodes highlight Banabhatta’s keen observation and reverence for nature. Nature serves as both a backdrop and an active participant in the narrative.

Philosophical Depth

Beyond its romantic and narrative appeal, "Kadambari" delves into profound philosophical questions, reflecting the Vedantic and Samkhya traditions of Indian thought. It addresses:

The transient nature of life and the permanence of the soul.

The illusory nature of worldly existence (maya).

The pursuit of moksha (liberation) as the ultimate goal.

Legacy and Influence

"Kadambari" holds a unique place in Indian and world literature:

1. Impact on Later Literature: Its intricate narrative structure inspired later Indian works, including Persian and Urdu romances.

2. Cross-Cultural Appeal: The themes of reincarnation and eternal love resonate with universal human experiences, making it relevant across cultures.

3. Adaptations: "Kadambari" has been retold and translated into various languages over centuries, ensuring its enduring popularity.

Banabhatta's work also inspired the modern Indian name "Kadambari," symbolizing beauty, intelligence, and grace.

"Kadambari" is much more than a love story. It is a philosophical exploration of human emotions, the cyclical nature of existence, and the transformative power of devotion and perseverance. Banabhatta’s unparalleled storytelling and poetic brilliance have ensured that "Kadambari" remains a timeless masterpiece, admired by scholars and readers alike.

This epic stands as a testament to the richness of India’s literary and cultural heritage, inviting every generation to rediscover its beauty and wisdom.




Satdarshanas

 Chakrath Alwar (Sudarshana Chakra):

Chakrath Alwar, also known as Sudarshana Alwar, is a revered form of Lord Vishnu's divine discus, the Sudarshana Chakra. In Vaishnavism, Sudarshana Chakra is not merely a weapon but a deity in its own right, symbolizing divine protection, cosmic order, and spiritual guidance. He is often worshipped for protection from evil forces, relief from physical and mental ailments, and success in endeavors.

Iconography of Chakrath Alwar

Chakrath Alwar is typically depicted with multiple arms holding various weapons, symbolizing his invincible power. The image usually features a fierce yet benevolent expression, emphasizing his role in protecting devotees. The Sudarshana Chakra is a rotating, fiery discus, embodying both destruction of negativity and preservation of dharma.

Philosophical Significance

1. Protector of Dharma: Chakrath Alwar symbolizes the preservation of righteousness (dharma) by eliminating evil and maintaining cosmic balance.

2. Embodiment of Knowledge: The spinning motion of the Sudarshana Chakra signifies the cycle of creation, preservation, and destruction, representing the universal laws governed by divine wisdom.

3. Energy and Devotion: Sudarshana is often associated with fire (agni), symbolizing energy, purity, and devotion.

Worship and Rituals

Devotees worship Chakrath Alwar through recitation of the Sudarshana Ashtakam and performance of Homams (fire sacrifices) invoking his blessings for protection and well-being. Special pujas are also conducted in temples dedicated to Chakrath Alwar.

Number 6 (Ṣaṭ):

In Hindu philosophy and symbolism, the number 6 (ṣaṭ) holds significant meaning. Let’s explore its detailed implications:

Symbolism of Six in Hinduism

1. Six Faces of Lord Muruga: Lord Muruga (Kartikeya) is known as Ṣaṇmukha (the six-faced one). His six faces symbolize omniscience, protection from all directions, and mastery over the six qualities (ṣaṭguṇa) needed for spiritual perfection.

2. Ṣaṭcakras (Six Chakras): The human body is believed to have six primary energy centers (chakras) according to yogic tradition. These are Muladhara, Swadhisthana, Manipura, Anahata, Vishuddha, and Ajna, which represent spiritual evolution.

3. Ṣaḍṛipu (Six Enemies): These are the six internal enemies—lust (kāma), anger (krodha), greed (lobha), delusion (moha), pride (mada), and envy (mātsarya)—that one must overcome for spiritual growth.

4. Ṣaṭdarshanas: The six orthodox schools of Indian philosophy—Nyaya, Vaisheshika, Sankhya, Yoga, Mimamsa, and Vedanta—explore different aspects of truth and existence.

5. Ṣaḍṛitu (Six Seasons): In the Indian calendar, the year is divided into six seasons—Vasanta (spring), Grishma (summer), Varsha (monsoon), Sharad (autumn), Hemanta (pre-winter), and Shishira (winter).

Application of the Number 6 in Spiritual Practice

1. Ṣaṭkarma in Yoga: These are six purification techniques—neti, dhauti, nauli, basti, kapalabhati, and trataka—designed to cleanse the body and mind.

2. Ṣaṭguna: In Vedantic teachings, six divine qualities—knowledge (jñāna), strength (bala), lordship (aiśvarya), virility (vīrya), energy (śakti), and brilliance (tejas)—are attributed to the supreme being.

Both Chakrath Alwar and the number 6 reflect profound spiritual and philosophical concepts in Hindu tradition.


Anja significance.

 The name Anjaneya for Lord Hanuman is derived from his mother, Anjana, and literally means "the son of Anjana" (in Sanskrit, Anjana + eya = Anjaneya). The name reflects Hanuman's birth story and his deep connection to his divine mother.

The Birth of Anjaneya

According to the Ramayana and various Puranas:

Anjana was an apsara (heavenly maiden) named Punagavasini, who was cursed to take birth as a vanara (monkey-like being) on Earth. She was later married to Kesari, a valiant vanara king.

Anjana undertook intense penance to please Lord Shiva and sought a boon for a divine child. Her prayers were answered when Shiva blessed her with a portion of his energy.

Vayu, the wind god, played a crucial role in transferring this energy to Anjana, leading to the miraculous conception of Hanuman. This is why Hanuman is also called Vayuputra (son of Vayu).

Born with celestial strength, devotion, and intelligence, the divine child was named Anjaneya, honoring his mother.

Examples in Scriptures

1. Ramayana:

In Valmiki's Ramayana and other retellings, Hanuman's lineage is often mentioned to highlight his divine nature. When Sugriva introduces Hanuman to Lord Rama, he refers to him as "Anjaneya," underlining his noble heritage and immense capabilities.

2. Hanuman Chalisa:

The Hanuman Chalisa, composed by Tulsidas, frequently refers to Hanuman's divine parentage, linking him to his mother and father (Anjana and Vayu). This emphasizes his spiritual and moral virtues inherited from both.

3. Puranas:

Stories from the Shiva Purana and Vishnu Purana mention Anjana’s devotion and penance, underscoring the spiritual lineage of Anjaneya as a divine being born to serve Dharma.

Symbolism of the Name

The name Anjaneya not only honors his maternal lineage but also symbolizes:

Gratitude: Hanuman’s divine qualities are attributed to the blessings of his mother and the gods.

Connection to Earthly and Divine Realms: As Anjaneya, he bridges the earthly vanara race and his celestial mission to serve Lord Rama.

Devotion to Parental Figures: His loyalty to Lord Rama mirrors the respect and love he shows toward his mother, Anjana.

Relevance in Devotion

Devotees often invoke the name Anjaneya to:

Highlight Hanuman's humility and gratitude.

Seek blessings for filial devotion and strength to overcome challenges, just as Hanuman remained devoted to both his earthly and divine origins.

Thus, the name Anjaneya encapsulates Hanuman’s identity as a divine hero born of Anjana, imbued with strength, devotion, and righteousness.



Wednesday, January 1, 2025

Epitome of knowledge

 Lord Hayagriva: The Divine Epitome of Knowledge and Devotion

Lord Hayagriva, the horse-headed incarnation of Lord Vishnu, is a significant figure in Hindu mythology and spirituality. Known as the epitome of wisdom and knowledge, Hayagriva is revered as the guardian of sacred scriptures and the ultimate source of divine intellect. His form symbolizes the union of power and purity, wisdom, and devotion. The name Hayagriva is derived from the Sanskrit words "Haya" (horse) and "Griva" (neck), denoting his unique appearance.

This philosophical essence of Lord Hayagriva and his association with the term Japa Priya (the one who loves chants).

The Legend of Lord Hayagriva

The story of Hayagriva emerges prominently in the Purāṇas. When the demon Madhu-Kaitabha stole the Vedas and submerged them in the cosmic ocean, the gods turned to Lord Vishnu for help. To restore balance, Vishnu incarnated as Hayagriva. With a horse's head symbolizing clarity of thought and speech, he vanquished the demons, retrieved the sacred scriptures, and restored them to Brahma, enabling the continuation of creation.

Beyond this, Hayagriva is depicted as the eternal teacher (Acharya) who bestows knowledge, wisdom, and spiritual insight.

Japa Priya: The Beloved of Chants


Lord Hayagriva is called Japa Priya, meaning he delights in the chanting of sacred mantras and names. This title is rooted in both theological and symbolic aspects:

1. Essence of Knowledge Through Repetition

In Vedic traditions, repetitive chanting or japa of sacred sounds is a means to cultivate focus, purify the mind, and internalize divine wisdom. Hayagriva, as the embodiment of the Vedas, signifies the importance of consistent study and recitation in acquiring knowledge. Chanting his mantra aligns the devotee with divine vibrations, enabling clarity and spiritual enlightenment.

2. Hayagriva Mantra and Devotion

The Hayagriva mantra, “Om Shreem Hayagrivaya Namaha”, is a powerful invocation to attain knowledge and overcome ignorance. It is believed that Lord Hayagriva responds readily to those who chant his name or mantra with sincerity. This attribute earns him the title of Japa Priya.

3. Symbol of Bhakti and Discipline

The act of japa signifies devotion and discipline—qualities that are indispensable for mastering any field of knowledge. Hayagriva, as the divine teacher, emphasizes that the constant repetition of sacred chants not only invokes divine grace but also sharpens the intellect and fosters spiritual growth.

Philosophical Significance

1. Union of Knowledge and Devotion

Hayagriva’s title, Japa Priya, underscores that intellectual pursuits must be complemented by devotional practices. True wisdom arises not only from acquiring knowledge but also from the humility and surrender fostered through japa and devotion.

2. The Power of Sound

In Hindu philosophy, sound (Nada) is considered the essence of creation. Sacred chants act as a bridge between the material and spiritual realms. Lord Hayagriva embodies this principle by showing that repetitive chanting of divine names can elevate human consciousness.

3. Personal Transformation

For devotees, chanting Hayagriva’s name becomes a transformative practice, leading to inner peace, enhanced focus, and liberation from ignorance. By delighting in the japa of his devotees, Hayagriva highlights the reciprocal relationship between the divine and the aspirant.

Modern Relevance of Worshiping Hayagriva

In today’s knowledge-driven world, Lord Hayagriva serves as an inspiration for those pursuing education, wisdom, and intellectual growth. Students, scholars, and spiritual seekers alike venerate him to overcome mental obstacles, enhance concentration, and achieve mastery in their fields.

His association with japa reminds us of the importance of persistence, discipline, and a focused mind in achieving success, whether in mundane or spiritual endeavors.

Lord Hayagriva, the embodiment of wisdom and knowledge, is a divine reminder of the transformative power of devotion and discipline. As Japa Priya, he emphasizes the significance of chanting sacred mantras as a path to intellectual clarity and spiritual growth.

By invoking his grace through consistent japa and devotion, one can transcend ignorance and align with the eternal truths of the universe. Lord Hayagriva stands as a timeless symbol of the harmonious balance between intellectual rigor and spiritual surrender, guiding humanity toward enlightenment.


Janaki Raghavan.

 जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥

अनुवाद— सीताराम! सीताराम! सीताराम! यह दोनों हीं हैं मेरे अन्तिम आश्रय।


आञ्जनेयार्चितं जानकीरञ्जनं

        भञ्जनारातिवृन्दारकञ्जाखिलम् ।

कञ्जनानन्तखद्योतकञ्जारकं

        गञ्जनाखण्डलं खञ्जनाक्षं भजे ॥ १॥

अनुवाद— जो अंजनासुत हनुमान जी के द्वारा नित्य सेवित हैं, जनककिशोरी भगवती सीता जी को सदा आनन्द प्रदान करतें हैं, जो देवशत्रु असुरवृन्द का मर्दन करनेवाले हैं, जिनकी रूप की मनोहर छटा ऐसी हैं मानो अनन्त जुगनूओं के समान कामदेवों के सम्मुख रश्मि के सागर भगवान सूर्य! जिनका त्रिभुवनविख्यात प्रताप देवनायक इन्द्र को भी निष्प्रभ कर देता हैं, मैं उन खंजनसम मृदुनेत्रधारी भगवान श्रीरामचन्द्र को भजता हूं जिनसे यह समग्र ब्रह्माण्ड उत्पन्न हुआ हैं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


कुञ्जरास्यार्चितं कञ्जजेन स्तुतं

        पिञ्जरध्वंसकञ्जारजाराधितम् ।

कुञ्जगञ्जातकञ्जाङ्गजाङ्गप्रदं

        मञ्जुलस्मेरसम्पन्नवक्त्रं भजे ॥ २॥

अनुवाद— जो विघ्नहर्ता गजानन के द्वारा नित्य पूजित हें, जिनकी स्तुति पद्मसम्भव ब्रह्मा भी करतें हैं, जो देहरूप पिंजरा को नष्ट करनेवाले सूर्यनन्दन यमराज के द्वारा नित्य आराधित हैं, जिन्होने भगवान शिव की क्रोधाग्नि से भस्मीभूत कामदेव को पुनः देह प्रदान किया, मैं उन प्रमोदवन के कुंजविहारी भगवान श्रीरामचन्द्र को भजता हूं जिनके मुखारविन्द में सदा ही एक मनोहर मुस्कान विद्यमान हैं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


बालदूर्वादलश्यामलश्रीतनुं

        विक्रमेणावभग्नत्रिशूलीधनुम् ।

तारकब्रह्मनामद्विवर्णीमनुं

        चिन्तयाम्येकतारिन्तनूभूदनुम् ॥ ३॥

अनुवाद— जिनके श्रीशरीर की शोभा नवदूर्वादल के समान श्यामल हैं, जिन्होने अति विक्रम सहित त्रिशूलधारी महादेव की पिनाक धनुष का खण्डन किया, "राम" — जिनका यह दो अक्षरी नाम साक्षात् भवबन्धनहारी तारकब्रह्म महामंत्र हैं, मैं उन्हीं भगवान श्रीसाकेतपति का चिंतन करता हूं जो दानवकुल के एकमात्र तारणहार हैं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


कोशलेशात्मजानन्दनं चन्दना-

        नन्ददिक्स्यन्दनं वन्दनानन्दितम् ।

क्रन्दनान्दोलितामर्त्यसानन्ददं

        मारुतिस्यन्दनं रामचन्द्रं भजे ॥ ४॥

अनुवाद— जो कोशलनरेश की कन्या महारानी कौशल्या जी के प्रिय पुत्र हैं, चक्रवर्ती सम्राट दशरथ जी के हृदय को आनन्ददायी शीतल चंदन हैं, रावण के भय से आतुर क्रन्दनार्त देवताओं को आनन्दप्रदाता उन मारुतिवाहन भगवान श्रीरामचन्द्र को मैं भजता हूं जो भक्ति से किए जानेवाले वन्दनाओं से सदा आनन्दित होते हैं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


भीदरत्नाकरं हन्तृदूषिन्खरं

        चिन्तिताङ्घ्र्याशनीकालकूटीगरम् ।

यक्षरूपे हरामर्त्यदम्भज्वरं

        हत्रियामाचरं नौमि सीतावरम् ॥ ५॥

अनुवाद— जिन्होने दर्पी समुद्रदेव के मन में भय का संचार किया, खर ओर दूषण का वध किया, जिनके पदसरोज का चिन्तन हलाहलपायी स्वयं देवाधिदेव महादेव भी करते हैं, जिन्होने यक्ष का स्वरूप धारण कर देवताओं के अहंकार रूपी ज्वर का हरण किया, निशाचरों के संहारक मैं उन सीतावल्लभ भगवान श्रीरामभद्र को प्रणाम करता हूं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


शत्रुहृत्सोदरं लग्नसीताधरं

        पाणवैरिन्सुपर्वाणभेदिञ्छरम् ।

रावणत्रस्तसंसारशङ्काहरं

        वन्दितेन्द्रामरं नौमि स्वामिन्नरम् ॥ ६॥

अनुवाद— जो शत्रुघ्न जी के सहोदर हैं, वामभाग में स्थिता भगवती जानकी जी को धारण किए हुए हैं, जिनके करकमल में असुरकुल का भेदन करनेवाला बाण विद्यमान हैं, तथा जिन्होने रावण के भयसे संत्रस्त संसार का भयनाश किया हैं, मैं उन नरकुलपति भगवान श्रीराघवेन्द्र को प्रणाम करता हूं जिनकी वन्दना स्वयं देवनाथ इन्द्र भी करते हैं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


शङ्खदीपाख्यमालिन्सुधीसूचिका-

        निर्मितं वाक्स्रजं चेदमिष्टप्रदम् ।

स्रग्विणीछन्दसूत्रेण सन्दानितं

        द्वब्जिनीशाभवर्णीषडब्जैः युतम् ॥ ७॥

अनुवाद— यह सर्वेष्टदायी वाक्कुसुममालिका शङ्खदीप नामक माली के शुभ बुद्धि स्वरूप सुई के द्वारा प्रस्तुत किया गया हैं। सूर्ययुगलसमप्रभ (२४ अक्षरान्वित) छः पद्म रूपी श्लोकों से युक्त यह मालिका स्रग्विणी छन्द स्वरूप धागे के द्वारा ग्रथित हैं।


॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰


इति दासोपाख्य-शङ्खदीपरचितं श्रीमज्जानकीराघवषट्कं सम्पूर्णम् ॥

अनुवाद— इस प्रकार शङ्खदीप-दास विरचित श्रीमज्जानकीराघवषट्कम् सम्पूर्ण हुआ।


Song Credits 


Song : Janki Raghav Shatakam

Lyrics : Shankdeep Das

Singer : Madhvi Madhukar Jha 

Music label: SubhNir Productions 

Music Director: Nikhil Bisht and Rajkumar 

Flute: Kiran Kumar