NATHADVARA
NATHADVARA
• Pranama mantra
• Location
• Deity
• Temple Architecture
• System of worship
• The temple servants
• Festivals
• Other Deities and important places in and
around the Temple complex
• Deity / Temple history
• Great personalities associated with the Deity
• Special songs – kirtanas and padas
• Art forms
Pranama mantra
vämas tämarasäkñasya
bhuja-daëòaù sa pätu vaù
kréòä-kandukatäà yena
néto govardhano giriù
Çré Caitanya Mahäprabhu said, ‚‘May the left arm
of Çré Kåñëa, whose eyes are like the petals of a
lotus flower, always protect you. With His left arm
He raised Govardhana Hill as if it were a toy.’‛
This verse is found in the Bhakti-rasämåta-sindhu
(2.1.62).
Location
Nathdwar is located on the
right bank of Banas River,
amidst the Aravalli hills, 48 km
north-east of Udaipur, in the
Rajasmand district in
Rajasthan. Nathdwara is
located at 24.93 ° N 73.82 ° E. It
has an average elevation of
585 mts (1919 ft). While the
river dries to a mere trickle in
the summer, during the
monsoon season the
countryside grows green and
lush, and the Banas overflows
with water.
The name of the town means
‚The Doorway to Nathji.‛
Deity Sri Nathji is a beautiful black marble Deity
of Lord Krishna, standing with his left
hand upraised lifting Govardhan Hill.
The Deity appears in a large black stone
from which his form emerges in bas-relief.
The stone around the Deity bears several
marks:
•two cows,
•a snake,
•a lion,
•two peacocks,
•a parrot by the Lord’s head,
•two sages seated on His right side and a
third on His left, and below the sages is
another snake.
•Around the Lord’s neck is a flower
garland, resembling a black snake.
The Lord wears a large diamond beneath
his lips, which is said to have been a gift
from the muslim emperor, Akbar.
Temple Architecture
The temple of Srinathji is called a haveli. The Haveli is considered
as Nandalaya, the house or palace of Nanda maharaja. A haveli is
typically a place of residence and a place of worship. Typically, it
was in the middle of the city / town where everyone could access it.
Though a place of worship, for security reasons, the heart of the
haveli was not directly visible from the entrance of the haveli.
To avoid the Muslim invaders, the havelis were built in such a way,
so as to conceal the wealth therein - making sure the main entrance
was plain, or as normal as can be. No one could look into the nij
mandir, or the jagmohan / doltibari from the outside. This kept the
deity and the devotees out of view from outsiders.
Temple Architecture
This basic structural difference between temples and havelis
has also been explained in various philosophical ways. Here
are some of them -
Haveli is supposed to represent the house of Nadababa, and
hence is a house first. You would not have your inner rooms
open to public view, and hence, they are secured from the
outer gate by a series of courtyards and halls preceding them.
Krishna is a small child and hence should not be exposed to
the evil eyes. Only those trusted by Yashoda may come and
play with her child. This is done to avoid "najar" - the "evil
eye" of envious people.
Just as a child would be kept indoors, as far away from the
busy street as possible - least he runs out without his mother's
permission, the Deity is kept in the inner most part of the
haveli, to keep him safe.
Temple Architecture
The havelis in Gujarat are often
built with plenty of wood
carving, whereas the ones in
Rajasthan have a lot of stone,
stucco and painted murals.
Havelis usually consist of
several courtyards, halls and
rooms. Usually, they are multi
storied. The Nij mandir is
typically on the ground floor.
Families who live there usually
occupy the upper stories There
may also be a garden, well, and
a cowshed in a haveli.
Map of the Haveli at Nathadvara
A late 19th Century painting of Nathadvara haveli
Map of the Haveli at Nathadvara A. Nagar khana - Kettle Drum
Gate: Musicians play and sing
here to
announce that Shri Nathji is
prepared to receive
visitors to the temple
B. Govardhan Puja Courtyard:
cows are invited for a feast
in this courtyard during the
festival of Gopashtami
C. Suraj Pol (Sun Gate): pilgrims
and visitors wait here
until the doors are opened; they
then rush in to view
Shri Nathji
D. Doltibari: the room where
viewers stand to see Shri
Nathji
E. Shri Nathji's Shrine: Shri
Nathji stands here to greet
his visitors
F. Navanita Priyaji's Shrine:
Navanita Priya means "The
Little Boy Who Loves Butter."
The small gilt image of a
child with a ball of butter in his
hand has its own
separate shrine at the nathadvara
temple.
G. Lotus Courtyard: visitors exit
through this courtyard
after viewing Shri Nathji
H. Moti Mahal (Pearl Palace): a
priestly family, hereditary
caretakers of Shri Nathji and
Navanita Priyaji, resides
in this palace
Map of the Haveli at Nathadvara
Nagarkhana
As in the palaces of all the powerful rulers of old, the main
public audiences are announced by a drummer and a
herald.
Govardhan Chok
During Divali (Govardhana Puja) and New Year
celebrations, a miniature mount Govardhan is created in
this courtyard. On daily basis, fruit and vegetable sellers
sell their goods for those wishing to offer fresh food items
to the various havelies in town. The Lord's tailors sit
above the chok and make new garments for the Lord on a
daily basis.
Map of the Haveli at Nathadvara
Suraj Pole
Lord Surya guards this Eastern gate of the Haveli. This most direct
entrance to the Haveli is often referred to as the "ladies gate". As a crowd
control measure, during major festivals, only women and children are
allowed to go through this gate. Alternatively, men and women's gates are
opened to let successive batches of devotees pass through the main
audience chamber of the Lord. This is called "kheava" and at such times,
the haveli stays open for as long as it takes for everyone to have at least one
darshan of the Lord. Pigeons throng to this area and are fed by the
devotees every morning.
Map of the Haveli at Nathadvara
Ratan Chok
Courtyard of Gems ! It is here that a Hatadi is setup
during Divali. It is also the first courtyard immediately
outside the Lord's inner chambers. Three gates lead into
this courtyard, leading into the triple arched "hall of
audience" for Shri Nathji. Apart from Suraj pole and
Hathi pole, a gate also leads into here from the walled
garden of Shri Nathji. Before a darshan, entrance from
this gate is normally reserved for the manorathies.
Map of the Haveli at Nathadvara
Dolti Bari
Main audience chamber of the Haveli. It provides a glimpse into the
wonderful world of ShriNathji. The chamber is often transformed
for special festivals, such as Nauka (boat) vihar, hindolas, Tij and
Dol Uttsava - hence its name - Dolti Bari (bari = window). Keeping
with Rajasthani traditions, men and women are segregated during
the darshan, women at the front and men at the back of the hall. To
make it easier for the people at the back to have a darshan, wooden
platforms of varying heights are placed from the middle to the back
of the hall.
Mani Kot
Singers normally sing in this chamber during darshans. During such
festivals as Divali, an arch of lamps is created in here. Special guests
of the Tilkayat may have their darshans from here. Only members of
the Vallabh kula and special temple servants may go beyond this
point.
Map of the Haveli at Nathadvara
Nija Mandir
Inner sanctum of the Lord. Here the Lord resides in all his
splendour. This is the heart of the Haveli and the seven flags of the
Lord fly above its’ tiled roof.
Map of the Haveli at Nathadvara
Anar Chok
Leading out from Dolti Bari, this is the courtyard linking the
kitchen and the Kamal Chok. All food for the Haveli is brought
through here and often, it leaves from here to be distributed to the
devotees.
Kamal Chok
A large courtyard with a distinct design of a lotus in the middle,
this is the main courtyard where devotees can sit and wait for their
darshan. On one side, there is the Samadhan - where officials
record the cash gifts from devotees (the word gift - "bhet" is used in
Pushti Marg, never donation - "dana" for such transactions) and
give prasadam. The courtyard has four gates, one leads to Anar
chok, one to Ratan Chok, one to Dholi Patia and the Northern one
leads to Pritam Pole - the Beloved's Gate - leading to the Haveli of
Shri VitthalNathji.
Map of the Haveli at Nathadvara
Hathi Pole
Flanked by two beautiful elephants, these silver doors lead into the
Ratan Chok. Also referred to as the men's gate as during kheava,
and at times when there is a large crowd, only men are supposed to
enter the chok and Dolti Bari from here.
Ratan & Singh Pole
After their darshan, devotees sit momentarily at this gate to
contemplate the beauty of their jhakhi / vision / glimpse of the Lord.
Handsome horsemen lead their painted charges through this gate
and larger than life tigers guard the outer walls of this gate. A
charming tale recounts how mother Yashoda had to keep the
naughty Krshna from running out of the house by telling Him that if
He runs out once more without his parents, the tigers guarding the
Singh Pole will growl at Him !!
Map of the Haveli at Nathadvara
Dholi Patia
Painted in brilliant lime white, this is the courtyard
where flower sellers sell fragrant gifts which can be
offered to the Lord. Seasonally, one sees such beautiful
flowers as lotuses, jasmines, roses, champas, kevada,
mogara etc. During the day, you can buy clothes and
jewellery for your own seva and in the evening, painters
sell paintings of ShriNathji to be put in the seva. Raised
above Govardhan Chok, this is an ideal platform from
which Shri VitthalNathji watches the proceedings of
Govardhan Puja during the New Year celebrations.
Map of the Haveli at Nathadvara
Moti Mahal (Pearl Palace): a priestly family, hereditary
caretakers of Shri Nathji and Navanita Priyaji, resides
in this palace
Map of the Haveli at Nathadvara
The different parts of the temple have also been categorized as follows:
1. Nikunj Nayak Shrinathji
2. Dol Tibari & Gol Deli (Dehri)
3. Mani Kotha
4. Kirtaniya Gali
5. Shri Chakraraj Sudarshan (Dwajaji)
6. Kamal Chowk
7. Samadhan Vibhag
8. Prasadi Bhandar & Khasa Bhandar
9. Panghar
10. Phool Ghar
11. Shakghar
12. Patalghar
13. Mishrighar
14. Pedaghar
15. Doodhghar
16. Kharasghar
Map of the Haveli at Nathadvara
17. Rasoighar
18. Lalaji Ka Mandir
19. Shrikrishan Bhandar
20. Kesar-Kasturi Chakki
21. Goverdhan Puja Chowk
22. Anar Chouk
23. Ratan Chowk
24. Dhouli Patiya
25. Druv Bari
26. Kharch Bhandar & First Charan Chowkiji
27. Ghee Tel Ke Kue
28. Lal Darwaja
29. Mahaprabhuji Ki Bethak
30.. Shrigoverdhan Vachanalaya
31. Bheetar Ki Bavdi
32. Haveli Sangeet Sikhshan Sansthan
32. Pustimargiya Library 3
35. Dhoop Gadi (Solar Clock)
36. Shri Navneet Priyaji Temple
System of worship
The temple priests are
followers of
Vallabhacharya, who
was born in 1479. His
son Sri Vitthalanathji
raised the worship of Sri
Nathji to a very high
standard. The temple is
under the management
of the main acharya
(spiritual leader) of the
Vallabha-sampradaya,
called Tilakayata. He is
the head of the temple.
System of worship
Darshan
The Darshan in the haveli is opened
eight times a day for a certain duration.
The concept of darshan is explained as
follows.
The Haveli is considered as Nandalaya,
the house or palace of Nanda maharaja.
The gopis loved the Lord so much that
they would be at Yashoda’s door at all
times, finding some excuse to see their
beloved Nanda Gopal. Mother Yashoda
was very protective of her darling child
and concerned that with all these
adoring gopis, hanging around her
house at all hours of the day, her darling
child will never get any time to rest or
play properly with his friends. So she
decided that all those who wish to visit
her beloved Bala Gopal, could do so
after He had finished a snack or a meal,
and was resting before going out again.
System of worship
Taking this as his cue, Sri
Vallabhacharya decided to have a
similar system in the haveli, his
version of the Nandalaya, and thus
have darshana at specific times of
the day only. The great Acharya set
aside eight times of the day when
the doors of the inner sanctum
would be left open for the people to
catch a glimpse ("jankhi") of the
Lord. Rest of the time, the Lord was
allowed to go out and play with his
friends - the gopoas and the young
gopis of Vraja.
System of worship
The sequence of the eight darshans are:
Mangala
First darshan of the day. The Lord, having woken up, has just had his
breakfast and greets his devotees with the most "auspicious" darshan of the
day. This darshan usually occurs at dawn.
Shringar
Having bathed and dressed her little darling, Mother Yashoda allows
everyone to adore her baby. After this darshan, the Lord goes out to play
with his friends.
Gval
Having had his mid-morning snack, the Lord is about to go out to heard
the cows of Nandaji. The Lord is worshipped by reciting His thousand
names and the sacred tulsi (basil) leaves are offered with each name.
Rajbhog
After his mid-day meal, the Lord is resting in the comfort of Nanadalay.
The Lord is most regal and resplendent for this darshan. Fresh garlands
and lotuses are offered to the Lord. After the arti, Lord plays chopat, an
ancient board game or version of chess to while away the hot afternoon.
System of worship
Utthapan
The Lord has just woken up from his afternoon rest.
Bhog
Having had his afternoon snack, the Lord is about to go out to
play again.
Sandhya
As the sun dips over the western horizon, the Lord returns with
the herds of Nandaji and the gopis come to see their beloved.
Mother Yashoda wards off any evil that may have befalled her
darling in the woods of Vraj, by doing an arti and the Lord
bathes for the evening meal.
Shayan
Having had his dinner, the Lord is about to go off to his bed
chamber. This is the last public darshan of the day.
System of worship
There is a story that Sri
Nathji once tore His
garment while rushing
back to the temple to be on
time for darshan. From
that day on, it has been a
custom to blow the conch
and then wait several
minutes before opening
the altar doors.
System of worship
Arati
Arati is performed four times,
twice in the morning session of
seva and twice in the evening
session.
In the morning session it is
performed during ‘Mangala
Darshan’ and during "Rajbhog
Darshan’.
In the evening session, it is
performed in ‘Bhog-Sandhya
Darshan’ and ‘Shayan Darshan’.
System of worship
At regular intervals, classical music is played live in its
many halls as pilgrims float through its perfumed
marble halls and courtyards. Pankhwalas still manually
pull on the large fans to cool the interior.
Everything in the inner temple, from china to silver/
gold-ware, paintings, wall hangings, clothes and
furniture, are of the finest quality. Havali itself employs
some 1000 people, whilst rest of the town thrives on the
business given directly or indirectly by the Havali and
the pilgrims.
The temple of Sri Nathji is said to be the second richest
temple in India, the first being the Balaji Temple in
Tirupati.
The Temple servants
Tilakayat :- Head of the Pushti Marg sect. High priest and head of
the Vallabha dynasty. All staff and servants of the great haveli, as
well as the national branches of the haveli report to him.
Mukhiyaji :- The priest(s) who adorn the Lord and are in-charge of
the day-to-day activities in the inner sanctum.
Chadidar :- Chief stewards who announce the arrival of important
people into the inner sanctum.
Zapatia :- They help clear the area directly in front of the inner
sanctum by coaxing, and if need be, by "hitting" the pilgrims with a
"zapat" from a cotton scarf.
Samadhani :- Clerks and accounts staff of the Lord. They record the
cash gifts and sevas for the Lord.
(Krishna) Bhandari :- Chief treasurer to the Lord. Records large gifts
of cash and materials to the Lord. He also looks after the Lords'
jewels.
Kirtania :- Musicians to the divine court. Their classical singing
accompanies almost all activities in the inner temple. From the
moment the Lord awakens to the moment goes to sleep, musicians
are at hand to entertain the Lord.
The Temple servants
Jalgharia :- Carry heavy (silver) urns of water from the well/
river to the temple.
Phoolgharia :- Make garlands, flower arrangements and adorn
the swings etc. in the temple.
Pangharia :- Make the beetelnut "pan" for the Lord.
Rasoia :- Cook and prepare all the food stuff in the temple.
Gval :- Look after the cows of the Lord and bring their milk to
the temple. During festival days, they all bring the cows and
calves to the temple.
Darji :- Tailors of the Lord. Apart from sewing new clothes for
the Lord (ShriNathji wears new clothes everyday !), they also
sew the flags, scarves, quilts, simple pichoies, awnings and
curtains for the haveli.
Chokidar :- Guards of the Lord. They guard the many doors
and gates of the great Haveli. They are also responsible for the
safety of the pilgrims.
The Temple servants
There are innumerable servants of the Lord. Those listed above are
but the most obvious and "visible" servants of the Lord. Many
others perform the various services in the inner and outer temple of
the Lord, without being really seen or noticed by the pilgrims.
A Number of goldsmiths and jewellers are also employed by the
temple to make the various jewels, plates, bowls, toys and furniture
for the lord. Painters and decorators repaint the entire haveli every
year. Due to the size of the haveli, some are kept as permanent staff,
while others work mainly during the weeks preceding the new year
festivities (before Divali).
To account for illness, holidays, and general "un-availability*" of
staff, up to 300 men are employed as "spare" in the parachana
section, who can be called into work at the drop of a hat.
As ShriNathji owns a number of other properties outside
nathadvara, offices are setup in cities like Bombay and Calcutta to
deal with "His investments". Buildings, temples, shops, farms, cattle
etc. are all looked after from these offices and are centrally
controlled from nathadvara. There is usually a haveli attached to
these offices of the Lord.
The Temple servants
Payment for Temple servants
When the temple began to employ permanent staff in the
16th century, the main method of payment was "in kind"
rather than money. Servants were paid in cooked and
uncooked food, clothes and some cash. The temple, to
this day, pays a majority of its servants in food stuffs.
The kitchens of the great temple work around the clock
to cook the food that must be supplied to the servants as
part of their payment. Special sevas, festivals and
manoraths required extra work from the servants, hence,
on such occasions more food was distributed to the
servants to compensate them for their "hard" work.
The Temple servants
Apart from the cooked food, uncooked rice, wheat, pulses, salt,
sugar etc. are also given on a monthly basis. Clothes are given on
seasonal basis and some furnishings, such as mats, are also given to
the servants. In addition to the annual pay, temple servants get an
extra portion of rice, sugar etc. on special family occasions such as a
marriage in the family. Only a small portion of the "pay" was ever
made in cash. In the old days, it was not considered necessary.
The temple servants sell their portion of the food that comes to them
from the temple. Pilgrims love the various sweets that are made in
the temple, but, as these are not always directly available from the
temple, they buy these from the temple servants. Now-a-days, this is
formalised in the form of shops that sell the prasadam from the
temple. Temple servants have annual contracts with these
shopkeepers and they collect this prasadam directly from the
temple. This way, the servants get the money they need and the
pilgrims get the prasadam they want
Prasadam
The worship of the Deity is very luxurious, and one
who goes there can purchase varieties of prasädam by
paying a small price. (SP, CC purport)
Every day Sri Gopal is offered large quantities of
opulent foodstuffs cooked in ghee.
There are four wells where the ghee is stored, each
having a capacity of 10,000 lts.
The temple owns over 2000 cows. One of the cows is
called ‚Sri Nathji’s cow,‛ and she comes from a lineage
that has served the Deity for generations. The milk from
the cow is offered only to Sri Nathji to drink.
Festivals
The largest festival is known as Annakuta, commemorating the
pastime in which the people of Vrindavana worshipped
Govardhana Hill. Thousands of people attend this festival. As part
of the celebration, a 2500-kilo hill of rice is offered to the Lord.
Diwali is also an important festival. It precedes the Annakuta
festival by one day.
At the end of the summer is Ratha-Yatra. The Lord is taken around
on a silver chariot and 100,000 mangoes are offered to Him. The
swing festival Jhulan-yatra, takes place in june/july.
Janmashthami (August/September) the appearance day of Lord
Krishna is also a major festival
Festivals
Pavithra Ekadashi - colourful silken garlands adorn the
Lord during the Hindola season.
Sanji - the colourful designs created in havelis of Pushti
Marg
Divali - 5 days of festivities.
Holi and Dhuleti
Summer Festivities - Chandan choli etc.
Monsoon Festivities - Jhulan utsava – swing festival
Adhik-mas - The extra month of celebration and
devotion.
Eclipse - an excellent time to do darshan of the Lord.
Other Deities and important places in the
Temple complex
The main havelis in and around Shri Nathji's own are :-
1) Navnit Priyaji's haveli - right across the courtyard from Shri
Nathji's own.
Other Deities and important places in the
Temple complex
2) Vitthalnathji's haveli is across the road from Pritam Pole of Shri
Nathji's. It is an important pilgrimage site, as this is one of the
seven main nidhis of Pushti Marg.
3) Yamunaji's haveli is just further up the road. It is a private
haveli.
4) Gopalji's haveli is also near Pritam Pole.
5) Madan Mohanji's haveli is along the main route leading from
Shri Nathji's main gate towards many of the older dharmshalas and
the market where clothes and material our own sevas can be
bought. The icon here was once cared for by the princess of
Udaipur. It is now in the care of ShriNathji.
6) Kalyanraiji and Dwarikashishji have a haveli near the main gate,
but the Lords no longer reside here. However, seva offered here
(fruits, flowers etc) does reach them in their own distant havelies.
Deity / temple history
Bhaktivinoda Öhäkura annotates that this
Gopala Deity was originally installed by
Vajra, the great-grandson of Kåñëa.
Vajranabha, Lord Krishna’s great
grandson, installed the Deity 5,000
years ago. Five hundred years agi
Madhavendra Puri found the Deity in
some bushes next to Govardhan Hill
near Vrindavana. Madhavendra Puri
then established the worship of Sri
Gopal in a temple on Govardhana Hill.
Madhavendra Puri then handed over
the Deity to the son of Vallabhacharya,
Vitthala.
Deity / temple history
The town of Nathdwar was built in the seventeenth
century for Lord Nathji at the tiny village of Sinhar, after
the Deity was brought to Rajasthan to protect Him from
the destructive reign of the muslim ruler Aurangzeb,
who terrorized the Vrindavan area in 1665. For almost
six months the Deity stayed in Agra. Then He was
moved to Mewar. When the Deity reached a certain spot
the bullock carts wheel sank deep in the mud and
refused to move further. The accompanying priest
realized that this was the Lord's chosen spot and the
Deity did not want to travel any further. A grand temple
was established at Sinhar by Rana Raj Singh of Mewar
and the place was renamed Nathadvara. These events
happened around the year 1669.
Great personalities associated with the Deity
Caitanya Mahaprabhu
Madhya 18.22
That night the Lord stayed at the temple of Harideva, and during the night He began to reflect.
‘govardhana-upare ämi kabhu nä caòiba
gopäla-räyera daraçana kemane päiba?’
Çré Caitanya Mahäprabhu thought, ‚Since I shall not at any time climb Govardhana Hill, how
shall I be able to see Gopäla Räya?‛
Thinking in this way, the Lord remained silent, and Lord Gopäla, knowing His contemplation,
played a trick.
Caitanya Mahaprabhu
anärurukñave çailaà
svasmai bhaktäbhimänine
avaruhya gireù kåñëo
gauräya svam adarçayat
Coming down from Govardhana Hill, Lord Gopäla granted an interview to Lord Çré Caitanya Mahäprabhu, who
was unwilling to climb the hill, thinking Himself a devotee of Lord Kåñëa.
Çré Caitanya Mahäprabhu then took His bath in a lake called Govinda-kuëòa, and while He was there, He heard
that the Gopäla Deity had already gone to Gäìöhuli-gräma.
Çré Caitanya Mahäprabhu then went to the village of Gäìöhuli-gräma and saw the Lord Gopäla Deity.
Overwhelmed by ecstatic love, He began to chant and dance.
gopälera saundarya dekhi’ prabhura äveça
ei çloka paòi’ näce, haila dina-çeña
As soon as the Lord saw the beauty of the Gopäla Deity, He was immediately overwhelmed by ecstatic love, and He
recited the following verse. He then chanted and danced until the day ended.
Caitanya Mahaprabhu
vämas tämarasäkñasya
bhuja-daëòaù sa pätu vaù
kréòä-kandukatäà yena
néto govardhano giriù
Çré Caitanya Mahäprabhu said, ‚‘May the left arm of Çré Kåñëa, whose eyes are like the petals of a lotus flower,
always protect you. With His left arm He raised Govardhana Hill as if it were a toy.’‛
This verse is found in the Bhakti-rasämåta-sindhu (2.1.62).
Çré Caitanya Mahäprabhu saw the Gopäla Deity for three days. On the fourth day, the Deity returned to His own
temple.
gopäla saìge cali’ äilä nåtya-géta kari
änanda-kolähale loka bale ‘hari’ ‘hari’
Caitanya Mahäprabhu walked with the Deity of Gopäla, and He chanted and danced. A large and jubilant crowd of
people also chanted the transcendental name of Kåñëa, ‚Hari! Hari!‛
Caitanya Mahaprabhu
gopäla mandire gelä, prabhu rahilä tale
prabhura väïchä pürëa saba karila gopäle
The Gopäla Deity then returned to His own temple, and Çré Caitanya Mahäprabhu remained at the
bottom of the hill. Thus all the desires of Çré Caitanya Mahäprabhu were satisfied by the Gopäla Deity.
ei-mata gopälera karuëa svabhäva
yei bhakta janera dekhite haya ‘bhäva’
This is the way of Lord Gopäla’s kind behavior to His devotees. Seeing this, the devotees were
overwhelmed by ecstatic love.
Çré Caitanya Mahäprabhu was very eager to see Gopäla, but He did not want to climb Govardhana Hill.
Therefore by some trick the Gopäla Deity personally descended.
Caitanya Mahaprabhu
kabhu kuïje rahe, kabhu rahe grämäntare
sei bhakta, tähäì äsi’ dekhaye täìhäre
In this way, giving some excuse, Gopäla sometimes remains in the bushes of the forest,
and sometimes He stays in a village. One who is a devotee comes to see the Deity.
Tradition holds that he will one day return to Govardhana.
Madhavendra Puri
Once, Çré Mädhavendra Puré traveled to Våndävana, where
he came upon the hill known as Govardhana.
After circumambulating the hill, Mädhavendra Puré went to
Govinda-kuëòa and took his bath. He then sat beneath a tree
to take his evening rest.
While he was sitting beneath a tree, an unknown cowherd
boy came with a pot of milk, placed it before Mädhavendra
Puré and, smiling, addressed him as follows.
‚O Mädhavendra Puré, please drink the milk I have
brought. Why don’t you beg some food to eat? What kind of
meditation are you undergoing?‛
Madhavendra Puri
When he saw the beauty of that boy, Mädhavendra Puré became very satisfied. Hearing His sweet words,
he forgot all hunger and thirst.
Mädhavendra Puré said, ‚Who are You? Where do You reside? And how did You know that I was
fasting?‛
The boy replied, ‚Sir, I am a cowherd boy, and I reside in this village. In My village, no one fasts.
‚In this village a person can beg food from others and thus eat. Some people drink only milk, but if a
person does not ask anyone for food, I supply him all his eatables.
‚The women who come here to take water saw you, and they supplied Me with this milk and sent Me
to you.‛
The boy continued, ‚I must go very soon to milk the cows, but I shall return and take back this milk
pot from you.‛
Madhavendra Puri
Saying this, the boy left the place. Indeed, He suddenly could be seen no more, and Mädhavendra Puré’s
heart was filled with wonder.
After drinking the milk, Mädhavendra Puré washed the pot and put it aside. He looked toward the path,
but the boy never returned.
Mädhavendra Puré could not sleep. He sat and chanted the Hare Kåñëa mahä-mantra, and at the end of
the night he dozed a little, and his external activities stopped.
In a dream Mädhavendra Puré saw the very same boy. The boy came before him and, holding his hand,
took him to a bush in the jungle.
The boy showed Mädhavendra Puré the bush and said, ‚I reside in this bush, and because of this I suffer
very much from severe cold, rain showers, winds and scorching heat.
‚Please bring the people of the village and get them to take Me out of this bush. Then have them
situate Me nicely on top of the hill.
Madhavendra Puri
‚Please construct a temple on top of that hill,‛ the boy continued, ‚and install Me in that temple. After
this, wash Me with large quantities of cold water so that My body may be cleansed.
‚For many days I have been observing you, and I have been wondering, ‘When will Mädhavendra Puré
come here to serve Me?’
‚I have accepted your service due to your ecstatic love for Me. Thus I shall appear, and by My audience
all fallen souls will be delivered.
‚My name is Gopäla. I am the lifter of Govardhana Hill. I was installed by Vajra, and here I am the
authority.
‚When the Muslims attacked, the priest who was serving Me hid Me in this bush in the jungle. Then
he ran away out of fear of the attack.
‚Since the priest went away, I have been staying in this bush. It is very good that you have come here.
Now just remove Me with care.‛
Madhavendra Puri
After saying this, the boy disappeared. Then Mädhavendra Puré woke up and began to consider his
dream.
Mädhavendra Puré began to lament, ‚I saw Lord Kåñëa directly, but I could not recognize Him!‛ Thus
he fell down on the ground in ecstatic love.
Mädhavendra Puré cried for some time, but then he fixed his mind on executing the order of Gopäla.
Thus he became tranquil.
After taking his morning bath, Mädhavendra Puré entered the village and assembled all the people. Then
he spoke as follows.
‚The proprietor of this village, Govardhana-dhäré, is lying in the bushes. Let us go there and rescue
Him from that place.
‚The bushes are very dense, and we will not be able to enter the jungle. Therefore take choppers and
spades to clear the way.‛
After hearing this, all the people accompanied Mädhavendra Puré with great pleasure. According to his
directions, they cut down bushes, cleared a path and entered the jungle.
Madhavendra Puri
When they saw the Deity covered with dirt and grass, they were all struck with wonder and pleasure.
After they had cleansed the body of the Deity, some of them said, ‚The Deity is very heavy. No single
person can move Him.‛
Since the Deity was very heavy, some of the stronger men assembled to carry Him to the top of the hill.
Mädhavendra Puré also went there.
A big stone was made into a throne, and the Deity was installed upon it. Another big stone was placed
behind the Deity for support.
He then established the Deity of Çré Gopälajé on top of Govardhana Hill with great pomp. Gopäla was
worshiped, and the Annaküöa festival was observed. This festival was known everywhere, and many
people from the neighboring villages came to join.
Associates of Lord Caitanya
The two brothers Rüpa and Sanätana did not climb the hill. To them also Lord Gopäla
granted an interview.
In ripe old age, Çréla Rüpa Gosvämé could not go there, but he had a desire to see the
beauty of Gopäla.
Due to fear of the Muslims, Gopäla went to Mathurä, where He remained in the house of
Viöhöhaleçvara for one full month.
PURPORT
When the two brothers Çréla Rüpa Gosvämé and Sanätana Gosvämé went to Våndävana,
they decided to live there. Following Çré Caitanya Mahäprabhu’s example, they did not
climb the hill because they considered it nondifferent from Kåñëa, the Supreme Personality
of Godhead. On some pretext, the Gopäla Deity granted Çré Caitanya Mahäprabhu an
audience beneath the hill, and Gopäla similarly favored Çréla Rüpa Gosvämé and Sanätana
Gosvämé. During his ripe old age, when Rüpa Gosvämé could not go to Govardhana Hill
because of invalidity, Gopäla kindly went to Mathurä and remained at the house of
Viöhöhaleçvara for one month. It was then that Çréla Rüpa Gosvämé could see Gopäla’s
beauty to his heart’s content.
Associates of Lord Caitanya
The following description concerning Viöhöhaleçvara is given in the Bhakti-ratnäkara (Fifth Wave):
viöhöhalera sevä kåñëa-caitanya-vigraha
tähära darçane haila parama ägraha
çré-viöhöhalanätha——bhaööa-vallabha-tanaya
karilä yateka préti kahile nä haya
gäöholi-gräme gopäla äilä ‘chala’ kari’
täìre dekhi’ nåtya-géte magna gaurahari
çré-däsa-gosvämé ädi parämarça kari’
çré-viöhöhaleçvare kailä sevä-adhikäré
pitä çré-vallabha-bhaööa täìra adarçane
kata-dina mathuräya chilena nirjane
Çré Vallabha Bhaööa had two sons. The elder, Gopénätha, was born in 1432 Çakäbda Era (A.D. 1510), and the younger,
Viöhöhaleçvara, was born in 1437 (A.D. 1515) and died in 1507 (A.D. 1585). Viöhöhaleçvara had seven sons: Giridhara,
Govinda, Bälakåñëa, Gokuleça, Raghunätha, Yadunätha and Ghanaçyäma. Viöhöhaleçvara completed many of his father’s
unfinished books, including his commentary on the Vedänta-sütra, the Subodhiné commentary on Çrémad-Bhägavatam,
Vidvan-maëòana, Çåìgära-rasa-maëòana and Nyäsädeça-vivaraëa. Çré Caitanya Mahäprabhu went to Våndävana before the
birth of Viöhöhaleçvara. As previously mentioned, Çréla Rüpa Gosvämé was very old at the time Gopäla stayed at the
house of Viöhöhaleçvara.
Associates of Lord Caitanya
Çréla Rüpa Gosvämé and his associates stayed in Mathurä for one month and saw the Gopäla Deity.
When Rüpa Gosvämé stayed at Mathurä, he was accompanied by Gopäla Bhaööa Gosvämé, Raghunätha
däsa Gosvämé, Raghunätha Bhaööa Gosvämé and Lokanätha däsa Gosvämé.
Bhügarbha Gosvämé, Çré Jéva Gosvämé, Çré Yädava Äcärya and Govinda Gosvämé also accompanied
Çréla Rüpa Gosvämé.
He was also accompanied by Çré Uddhava däsa, Mädhava, Çré Gopäla däsa and Näräyaëa däsa.
The great devotee Govinda, Väëé Kåñëadäsa, Puëòarékäkña, Éçäna and Laghu Haridäsa also
accompanied him.
Associates of Lord Caitanya
‚The following Vaiñëavas were present with Çréla Rüpa Gosvämé: the merciful Gopäla Bhaööa
Gosvämé; Bhügarbha Gosvämé; Çré Lokanätha däsa Gosvämé, a reservoir of good qualities; Çré
Mädhava; Çré Paramänanda Bhaööäcärya; Çré Madhu Paëòita, whose characteristics are all wonderful;
Premé Kåñëadäsa; Kåñëadäsa Brahmacäré; Yädava Äcärya; the merciful Näräyaëa; Çré Puëòarékäkña
Gosvämé; Govinda; Éçäna; Çré Govinda; the magnanimous Väëé Kåñëadäsa; Çré Uddhava, who
occasionally visited Bengal; Dvija Haridäsa; Kåñëadäsa Kaviräja; Çré Gopäla däsa, whose body is
completely spiritual; Çré Gopäla; Mädhava; and many others.‛
It was with great jubilation that Rüpa Gosvämé visited Lord Gopäla, accompanied by all these devotees.
Special songs
The original padas and Kirtans were written
by the devotees who were initially
converted to Pushti Marg by Sri
Vallabhacharyaji and Shri Gusaiji. There are
eight main poet singer devotees of the
sampradaya - Surdas, Kumbhandas,
Parmanad-das, Nanadadas, Krishnadas,
Chitswami, Chaturbhujdas, Govindswami.
They are the celebrated "Ashta chhap" group
of 8 divine poets and singers of ShriNathji's
court. They are also regarded as incarnations
of the shta sakhas of Krishna in Vraja lila
They were inspired by their visions and
were blessed enough to experience and
indeed "see" the lilas of the Lord.
The poetry composed by the Ashta Chhap is
known as "pada". "Drupad" was favored
mode of their music, hence "Drupad" style
of singing is often considered to be
synonymous to the "haveli" style of music.
Special songs
Of the true "greats" amongst Pushti Poets, Surdas commands a
special place of honour. He is well known for his wide range of
poetry. Unlike most others, his poetry is well known outside the
sect and his padas are sung throughout India.
Though born blind, he was a gifted child and was a revered
saint even before he met Sri Vallabh. After his conversion, he
renounced his own status as a "guru" in his own right and
became a disciple of Sri Vallabh. He wrote a huge number of
padas and kirtans and is reputed to have written 100,000
poems. His "Sur-sagar" - "Ocean of Music", is a vast collection of
his works. Once, Surdas was upset at the thought that he was
now too old to write any more and will not be able to reach his
goal of 100,000 poems he wanted to write. Ever compassionate,
the Lord and Sri Radha came to his assistance and wrote padas
to help him complete the Sur-sagar for him, writing many padas
in Surdas's name.
Special songs
Others have continued the tradition of the poet saints of Pushti Marg
and these have been preserved in the collections of various havelis
around India. Written in Vraj-bhasha - the language of the people of
Vraj, the padas retain the original feel of how the Lord and his
friends might have communicated. Some of the padas were written
in Sanskrit and much later, some were written in Gujarati and other
regional languages of the Vaishnavs. These are often known as
dhoula and kirtans.
Special songs
Traditionally, all darshans in main Havelies of Pushti Marg are
accompanied by poetry composed by the Ashta Chhap. Atleast one
pada from the Ashta Chhap is sung at each darshan.
Padas are written in accordance with seasons, moods, times of day,
bhavas etc. Each Nidhi svarup has padas written for it by the Ashta
Chhap in accordance with the bhavas relating to the svarup. For
example, Navnit Priyaji has padas written with vatsalya bhava
(Lord viewed as a baby) - hence padas describe the Lord crawling on
all fours on the floor of Shri Nadababa's palace. Other padas
describe the Lord playing with his toys or being rocked in his cradle.
Many kirtans are sung in the haveli for the pleasure of the Lord.
Kirtans generally describe a lila of the Lord and are essentially an
expression of joy.
Special songs
Some examples are:
Joy of Yashoda playing with her Natakhata Nanda-Kishor.
Joy of Gopal and his friends playing in the woods of Vrindavan.
Joy of gopis wandering in the flower groves of Kadamb, tala, Madhu
etc on the banks of the Yamuna.
Joy of the Lord's lila with his beloved gopis, stealing their butter,
their clothes and their hearts.
Joy of the Lord appeasing his beloved gopi, having upset her by his
mischiefs.
Joy of devotees appreciating the grace of their beloved Lord upon
them.
All these and more is expressed in poetry and sung in various
classical ragas.
Art forms
The artists here paint exquisitely detailed
images call pichhavais, which are rectangular
backdrops that show the Lord in various
pastimes.
In the main temple area, various items on the
altar are covered or adorned with cloth
coverings, which are changed in sets like
sringara paraphernalia. A complete set (safa) of
these textiles include a canopy, coverings for
the throne, steps, table and stools, along with a
large background cloth, or pichhavai. The
pichhavais sometimes have a center space that
is cut away, in which case they're called
pithaka.
The images which have become most familiar
are the large pichhavais depicting special
festival scenes. These painted pictorials
generally have a detailed adornment around
the border, which is often cows or lotus
flowers.
Art forms
The center images may include a wide
range of scenes called Dana Lila, in which
a sequence of events are depicted, or Giri
Kandara, in which Radha and Krsna
appear in a cave on Mount Govardhan. In
some, Sri Nathji is seen sporting among
the lotus-filled waters of the Yamuna
River
In many of the traditional nathadvara
paintings, the Lord is attended by a priest
offering a deepa, while father Nanda, the
cowherds and the gopis stand nearby.
The artists of nathadvara have developed
a style that remains very steady, capturing
the Pastimes, Attire and Paraphernalia of
Sri Nathaji in their beautiful array.
Art forms
The artists here paint exquisitely
detailed images call pichhavais, which
are rectangular backdrops that show the
Lord in various pastimes.
In the main temple area, various items
on the altar are covered or adorned with
cloth coverings, which are changed in
sets like sringara paraphernalia. A
complete set (safa) of these textiles
include a canopy, coverings for the
throne, steps, table and stools, along
with a large background cloth, or
pichhavai. The pichhavais sometimes
have a center space that is cut away, in
which case they're called pithaka.
The images which have become most
familiar are the large pichhavais
depicting special festival scenes. These
painted pictorials generally have a
detailed adornment around the border,
which is often cows or lotus flowers.
Art forms Because of the heavy use to which the
pichhavais were subjected in the Sri
Nathji temple, there was a need for
their constant replacement. There was
also a large demand for devotional
pictures by pilgrims coming to
nathadvara. These needs kept
traditional Indian painting more
active in nathadvara than at any other
place in India.
The painters of nathadvara are one of
the most important of the craft
communities and today number
between 150 and 300 persons, divided
between forty to fifty extended
families. These families are divided
into two main castes, the Gaur and
Jangir, who claim to be Brahmins and
to have immigrated from Udaipur in
the first case and Jaipur and Jodhpur
in the second. A third group, the
Purbia, claims to have migrated from
Delhi and Alwar.
Art forms
Famous miniature painter
B. G. Sharma was born in
Nathdwara on August 5, 1924.
The Shri B.G.Sharma Art
Gallery is located in Udaipur.
Some works of B G Sharma
NATHADVARA
NATHADVARA