achalam
Origin, Growth, Sampradaayam, Significance, Vedantic View, Propagation and other details discussed fully by Achalabhakthan

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SYNOPSIS

Origin

Growth

Sampradaayam

Significance

Vedantic view

 Propagation

SAMPRADAAYAM

Paddhathibhajan

Divyanaamam

Gopikageetham

Dolotsavam

Ashtapathi

Kalyanotsavams

Kalyanamanthangal

ATTAVANAIS

BHAJANA SAMPRADAAYAM

Even though chanting or singing the Lord's name without following any order of performance will suffice (Deveotional Songs), systematic performance will always benefit. Even for our worldly activities, we list out the steps to be followed to achieve anything. A Samprdaayam is the established practice or custom or method of doing any act in a prescribed manner  Thus came the Sampradaayam in Bhajan also.

Our Gurus have evolved a method for doing Bhajan, which we have to follow meticulously, if we have to derive the benefit.  The Songs, Lyrics, Raagaas and the method of singing them etc. should be strictly followed as each of these elements have a definite meaning and purpose.  The Raagaas chosen have a direct relationship with the lyrics and the lyrics have a definite meaning, which is in praise of the Lord or will be a prayer from the Bhaktha to the Lord.  If we try to change the lyrics or raagaas, the entire purpose or objective of the songs is lost.  Moreover, we are not competent to correct or change what is given by our Gurus, who have prepared them with self-experience and after going through the Bhava Rasa.  Moreover, the Sampradaayam was evolved  to the shape what it is today by our Gurus after a great amount of reasearch and analysis and the present Sampradaayam is a comprehensive system encompassing various practices followed by many bhakthaas in all over India.  Our Gurus have travelled throughout India and collected the great works of Bhakthaas and Sanths and have given a well codified systematic Sampradaayam, which we have no right to alter.

For different topics, please click on the above links and read them as you choose.   For knowing about different Paddhathis, please click on the links given below and go to the respective sections.  May you flourish in Bhakthi by following the Sampradaayam strictly as given by our Gurus.

RADHEY KRISHNA

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Origin

As there are Trinities in Carnatic Music (Thyaagaraaja Swamigal, Muthuswami Deekshithar & Shyama Sasthrigal), so also in Dakshina Bhajan Sampradaayam field, there are three Gurus (Govindapuram Bodhendra Swamigal, Thiruvisanallur Shridhara Venkateswara Iyyavaal and Marudaanallur Sadguru Swamigal), who have prescribed Naama Japam and Bhajan as the only source for Mukthi in Kaliyuga.  They knew that in Kaliyuga people will not be able to engage themselves in Dhyana, Yaaga, Yajna, Tapas, Pooja etc. etc. as done in Krita, Thretha and Dwapara Yugaas, which are too time consuming and needs more spending.  They have evolved a method which is so easy to follow and is definite in results.

Bodhendra Swaamigal  was the 59th Pontiff of the Kanchi Kaaamakoti Peettam, who came in the lineage of Aadi Sankara Bhagawat Paada.  He propagated RAAMA NAAMA Japam as the way to achieve salvation. Being a Sanyasi, he had to restrict himself by giving out upadesa.  He preached that Naama is superior to Naami, i.e. the name is first and then the roopam.  The name Raama has an origin prior to the birth of Raama and was selected by Rishi Vasista.  The sanctity of RAAMA Naama is that when we utter "RAA", the mouth opens which allows all our sins to go out and when we utter "MA", the mouth closes so that no more evil speech or though will enter into us.  He stated that the name Raama denotes "always in Bliss", which is not pleasure that we enjoy at our Body, Mind and Intellectual level.

Shreedhara Venkateswara Iyyavaa was a contemporary to Sri Bodhendra Swamigal, was a Siva Bhaktha and he has rendered many kritis in praise of Siva as also in praise of Krishna. He was propagating Siva Bhakthi through his Naama Prachaarams.   Shreedhara Iyyavaal was a Gruhastha and moved, leaving his wealth and belongings, from one place to another with his mother and wife, but following his Nithya Karma as a Bhagavatha (including daily Bhajans and Unchavruthi). Finally he settled in the village Thiruvisanallur.  He is said to be the incarnation of Siva

Once, while performing Shraadha for his father, Shreedhara Iyyavaal offered the food prepared for the Brahmins to a Bhikshaka, who was hungry and who was an outcaste. This shows that Shree Sridhara Iyyaaval was so deep rooted in Bhakthi  and compassion towards the sufferings of others irrespective of what comes to him, even a sin.  At the behest of the Purohits assembled there, he was to take bath in ganges and re-prepare the food and do shradha again.  Though to show his devotion and spiritual power, it is said that through his song, composed and sung by him with deep rooted Bhakthi, he could bring Ganges into the well at his residence, which occasion is being celebrated even today once in a year.  

The Priests and Bhagawathaas in the village complained to the King that Shreedhara Iyyavaal is converting everyone sas Shaivites and wanted to punich him.  While the procession of Sri Krishna was taken out in the village and when it came to the door steps of the house of Shreedhara Iyyaval, he came out and offered prasaadam to Lord and took Aarati.  Thus he proved that there is no diffrerence in Shivites and Vaishnavites and both Gods are the same.  He has composed songs in various gods, which are being sung today in our Sampradaayams.  It is the Maruthanallur Satguru Swamigal who gave us the original Sampradaayam, which is being followed by the present day Bhajanists, though with additions made by later Bhagavathaas.

Marudaanallur Sri Sadguru Swamigal, born to Venkata- subramania dampathis after about 100 years of Bodhendra Swamigal's Samaadhi and originally named as Venkata- ramana, was said to be the re-incarnation of Sri Raama. He was duly initiated into Brahmacharya and Gruhastha Ashramaas, being married to Janaki. 

Sadguru Swamigal was engaged in Bhakthi Maarga by singing the names of God. He was the one who identified the Samaadhisthal of Bhagavan Naama Bodhendra Swamigal in the Cauveri river bed in Govindhapuram (Kumbakonam), which was earlier washed away by flood waters and people did not care for it. Ordained by fate, he decided to discover the Samaadhi by tying his legs (nay he may stamp on the samaadhi) and rolling on the river bed. He heard the chanting of "Raama Raama" at one particular location and decided that it should be the samaadhisthal of Sri Bodhendraal, which he wished to re-build surrounded by a beautiful Brindaavan. However, Sadguru Swamigal, being a gruhastha with no financial backing, approached the then Maratta King Sri Sarabhoji Mahaaraja (the ardent disciple of Samartha Raamadaas - a Raama Bhaktha), who financed the project of diverting the flow of the river a little away and to build an Adhishtaanam at the spot where he Samaadhi was found. 

Sri Sadguru Swamigal followed the Bhagavatha Dharmaanushtanam meticulously and travelled throughout India and observed and collected the songs composed and sung regularly by various Bhakthaas/Sants  in their own languages such as Hindi, Maratti, Thelugu, Kannada, Tamizh,Malayalam and Sanskrit,  the Saptha Bhaasha. The Bhakthaas who have rendered/sung songs/slokaas can be classified as: Thukkaraam, Naamdev, Gorakkumbha, Santh Gnaneswar, Gnaanaabai, etc. in Maharashtra; Purandaradas, Kanakadas etc. in Karnataka; Meerabai in Rajasthan; Kabirdas, Thulsidas etc.in Uttar Pradesh; Jayadevar in Orissa, Chaithanya Mahaa Prabhu in Bengal; Raamadas, Annamaacharyar, Narayana Theerthar etc. in Andhra; Sri Narsi Mehta in Gujarath; Aazhvaargal, Naayanmaargal, Bondhendraal, Sridhara Ayyavaal,Sadhasiva Brahmendral, Thyaagaraaja, Gopalakrishna Bharathi etc.in Thamil Naadu, and many others. 

He felt that to involve people in Bhakthi Marga, there must be unity and he compiled the songs sung by the above Bhakthaas in various languages, codified them into a Paddhathi and made it his daily routine. What a herculean task! This brings out the theory of Unity in Diversity. What a best method of National Integration. Marudaaanallur Sadguru Swaamigal was the one who provided us the basic  Dakshina Sampradaaya Bhajan paddhathi by incorporating songs in different languages, which came to stay as the basic Paddhathi Krama that are in use today.The Sampradaayam prescribed by Sadguru Swaamigal is found in original Ola Chuvadi in the Mattam and at Bodhendral Mattam and about 60 years ago it was publshed in Grandhaksharam by Thillai Sthanam Narasimha Bhagavathar under the title : BHAJANOTHSAVA PADDHATHI. Later, in Chennai Sri Kothandarama Swamigal published an elaborate Paddhathi in Thelugu. Again, Thiruvayaar Nagaraja Bhagavathar brought out a short publication of this in Thamizh for the first time. Later Udumalaipettai Ramakrishna Bhagavathar has brought out a somewhat elaborate Paddhathi in Thamizh, which used to be followed widely all over India. 

Thus, Sri Maruthanallur Satguru Swamigal is the one who has given us the Basic Bhajana Sampradaaya Paddhathi, though added and developed by the later Bhagavathaas as said above.  Even today, there is his Mattam in Maruthanallur Village, which is administered by his lineage, who are spreading the fame of Satguru Swamigal.

Even today, to show our indebtedness to these Bhajan Trinities, we sing in praise of these three Gurus (a must) at the beginning of our Bhajan Paddhathi (Guru Keethanam). Normally, the Guru Keerthanams should be in praise of these Gurus and not the songs sung by them. However, if such keerthans in praise of them are not available or not known to us, it is perfect if we sing the songs rendered by them in Guru Keethanam.        

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Growth

Pudukkottai Sri Gopalakrishna Bhagavatha Swamy, born on Friday 04.10.1892 (Nandana Varuzham Purattasi Maadham 30th day Krishna Paksha Navami in Aashlesha Nakshathram) to Smt.Meenakshi Ammal and Sri Sundaresa Ayya staying in Vallavari Village (Aranthangi Taluka, Trichy Dist., Tamil Nadu) and he was named as Venkata Gopalakrishnan. In his early age itself he learnt Thelugu, Sankrit, Thamizh languages, Music and had Manthropadesam from his brother-in-law.  He attained the Lord's feet on Friday, 30/04/1971 Virodikruthu Varzham Chithirai month 17th day).

Appa strictly followed the Bhagavatha Dharma literally by doing Nithyavrutthi, Raama Naama Japam, Unchavrutthi, Bhajan and Dolothsavam on a daily basis.. He was a staunch Narasimhopaasaka & was conducting till his niryaana, Narasimha Jyanthi every year in Pudukkottai, which he chose as his abode.  His compassion, Daya, Daakshinya, Egoless status, Samabhaava, Santha Swabhaava etc. established him as a real Santh.

After Sri Maruthanallur Satguru Swamigal, in recent times, Pudukkottai Sri Gopalakrishna Bhagavatha Swamy (fondly known as Appa) has done an yeoman service to the world of Bhajan by addiding to and propagating the original Sampradaayam prescribed by the trinities of Bhajan.  He used to visit various bhajan programmes of learned Bhagavathaas of his time and got involved in it. Later he travelled all over India and participated in many Bhajans. 

The additions and changes made by him to the original Pddhathi is praiseworthy. He added more songs composed by Bhagavathaas & Sanths of his time all over India in various languages and expanded the original Paddhathi. A few Kruthis of Oothukkadu Venkatasubbayyar, which are famous for their bhava & Bhakthi were added as they are also best suited for Abhinaya. Sri  He excelled in these activities through total involvent  with Bhaava and Bhakthi and with Dance and Abhinaya in the Bharata Naatya method, which he had learnt. This has attraced many Bhakthaas and followers towards him, because even those who are not able to follow the verses sung or not knowing the meaning of them could involve themselves fully while attending his Bhajans. Because of his total involvement and Bhakthi/ Bhaava, his abhinaya conveyed the meanings of these songs. Today, visual education is easier than vocal and this method is followed in almost all walks of life. Sri Appa achieved this objective very efficiently in his Bhajans. His eyes had a tremendous Vasya (attraction) power, which poured anugraha to Bhakthaas. After Kanchi Mahaa Periyavaal and Sri Ramana Maharshi, I have seen the powerful eyes only with Sri Appa. As he followed the Bhagavatha Dharma, he imbided certian occult powers(Tapo Phalam) which he never propagated. But those blessed ones who are destined to be cured/blessed by Sri Appa, automatically got it.  

Sri Appa has revolutionised the Dolothsava Paddhathi of Saint Thyaagaraaja by adding important and apt songs from Pawwalimbu Uthsavam to it, in order to enjoy the essense of it on a daily basis, instead of on Kalyaanams or after finishing 24 Ashtapadi songs. Many of the songs from Pawwalimbu do fit in well in the Dolotsavam,. Knowing the import of these songs, and the Bhakthirasam in them, he enacted it and enjoyed the essence of it in the philosophical sense.  This is indeed a treasure for bhakthaas who excel in Bhakthi and enjoy the essence of Lord's Leela. He had initiated a few deserving Bhajnists into Suthropadesam and I am one of those lucky ones.

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 The Sampradaayam:

Today there are a few Bhajana Sampradaayams in existence, like (Bodhendra) Madatthu Sampradayam Thiruvisa Nallur Sampradaayam, Marudaanallur Sampradaayam, Pudukkottai Sampradaayam, Krishna Premi Sampradaayam etc. Though there are slight differences in these Sampradayams, all of them have the same main theme as provided by Sri Sadguru Swamigal. Whichever Sampradaayam we follow, we should do justification by following the tenets prescribed by that Sampradaayam. We should not indulge in grading these Sampradaayams. The authors of these Sampradaayams were following them strictly as per rules on a daily basis. In my opinion, a real Bhagawatha has to perform, apart from his Nithyavrutthis, the Unchavrutthi, Paddhathi Bhajan and, Dolothsavam on a daily basis. The entire Bhajana Sampradaayam is grouped into various Paddhathis. However, in the present day situation, due to time factor and lack of knowledge, the full paddhathi could not be/are not being followed in toto but parts of which are performed at different times. Based on the present state of affairs, the various parts can be grouped under two major Groups: I have based the following Padhdhathi mainly based on Sri Appa's Paddhathi. 

           PADDHATHI BHAJAN:(Basic)
              THODAYA MANGALAM             Ist Part
              GURUDHYAANAM        )
              GEETHA GOVINDAM    )            2nd part 
              THARANGINI                )     
              OTHER GURUS            )  
              POOJOPACHAARAM                  3rd part   
           DHYAANAM  	                        4th part
        
          SPECIAL BHAJAN:
              DIVYANAAMAM                          5th Part
              DOLOTHSAVAM                          6th Part
              UNCHAVRUTTHI             )           
              KALYAANA UTHSAVAM )      
              VASANTHOTHSAVAM    )         7th Part

Poorna Ashtapathi Paddhathi is prescribed to be peformed before Kalyana Utsavam.

 

 

 

 

 

 

 

 

 

 

 

 

Our Hindu culture prescribes Seven main Samskaaraas: Jasthakaranam & Jaathakaranam, Chowlam, Upanayanam, Marriage, Seemantham, Shashtiabhdha Poorthy, Sathabhishekam. although the Samskaraas prescribed by Sanatana Dharma vary from 16, 24 or 42 etc. as per various schools of thoughts. Even in our marriages, there is an Angam as SAPTHAPADI", which is the proof of marriage, apart from Kanyaka Daanam and Panigrahanam. (Unless Sapthapadi is conducted, it is not considered as a valid marriage even by the Hindu Law). Spiritual evolution (if proper spiritual evolution is considered to be taking place) should pass through these stages: Baalyam, Kawmaaram, Brahmacharyam, Gruhastham, Vaanaprastham, Sanyaasam, Samaadhi, which in Kaliyuga, is not attainable, as the Dharmaas in each stage cannot be observed and the samskaaraas are not being followed stictly. Namasamkeerthana is said to be the Maarga for salvation in Kaliyuga, which is simple to follow, easy to observe and definite in its result. What is required is sincereity in approach, concntration and Bhakthi Bhaava, total surrender to the Lord without Ego and with minimum Nithya Karmaanushtaanams prescribed for Kaliyuga Dharma. As there are seven main samskaras (minimum), so also I view the Sampradaaya Bhajan Paddhathi grouped into seven parts as above, for attaining salvation. This sampradaayam is a conglomoration of Slokams & Keethanams composed ands ung by various Bhakthaas/Sanths/Bhagavathaas with a definite meaning and purpose. If we want to follow them, naturally we have to adhere to the rules set therein.

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Vedantic view of of the Paddhathi:

As I see it, having perfected ourselves with Sathwic Vichaar, enabled by the Pooja Paddhathi & Dhyaanam, we qualify for a vision of the Lord. By performing Deepa Pradakshinam, we get the vision of the Lord, go close to the Lord by enacting His leelaas and by being in company with Him through Bhakthi Bhaava. Through Gopikaa Geetham, we enjoy the Madhura Bhaava, suffer the pangs of separation due to our Ego, practice Bhakthi and total surrender and get the knowledge that Jeevaathma and Paramaathma are one and without Paramaathma, nothing exists. Through Dolothsavam, we merge with the Lord in the form of Nidhidhyaasan and get established in the Paramaathma Tathwa. This is possible only if we grasp the Philosophical meaning of these paddhathis and put them into practice. Let me hasten to add that while externally we may, through singing/abhinaya/dance, depict the various bhaavaas, inwardly we should be able to keep the above Vedantic stature for a full experience of spiritual anubhavam.

While we cannot avoid doing work to earn our livelihood and do our Dharma as a Gruhastha, we should always bear in mind that our(Jeevaathmaas') origin is Paramaathma Thathwa and we should always aim at spiritual evolution by doing our karma in the world with pure mind, unattached, without Ego, with Daya towards others, serving humanity in whatever way we can and singing in praise of God always, lead a pious and simple life, so that our real AIM is ever shining in our mind and we try to achieve it before casting away this body in this birth. The only way for this is NAAMA SANKEERTHANAM as prescribed by elders.

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Propagation/Pracharam

The Sampradaayam was propagated in the 19th/20th centuries by a few Bhagavathaas like Maruthanallur Venkatrama Bhagavathar, Pudukkottai Gopalakrishna Bhagavathar (lovingly known as APPA by his followers), T.V.Narayana Sasthri, T.M.Ramakrishna Iyengar, Abhedananda etc., to mention only a few, who have published Sampradaaya Bhajan Padhathi books with a few additions of songs rendered by other Bhaagavathaas of their time, according to the time change. These Bhagavathaas followed the Bhagavatha Dharma strictly. They have spread Sampradaaya Bhajans throughout India. Late Sri Pudukkottai Sanjeevi Bhagavathar (son of Sri Gopaala Krishna Bhagavathar), followed his father's footsteps in spreading Nama Sankeerthan with daily Upaasana till the end of his lifetime. Sri Haridas Giri also strived to spread the Bhajana Sampradaayam by his Bhajans and Upanyaasams in India & Abroad during his lifetime. He established various samajams called "Gnananada Samaajams".  

Apart from the above Bhagavathaas, there are many Bhagavathaas and Samajams, who are  propagating the Dakshina Sampradaaya Bhajan Paddhathi in the present days. I would like to name a few of them with whom I have come in contact with.  Delhi Subbarama Bhagavathar, Bhopal A.L. Krishnamoorthy Bhagavathar, Sethu Madhava Rao, Kanpur Mahadeva Bhagavathar, Sathalapathy Govindaraaja Bhagavathar, Thiruvisanallur Ramakrishna Bhagavathar, Naamananda Giri, Sri O.S.Sundar, Erode Rajamani, Odayalur Kalyaana Raaman,Thanjavur Thyaagaraajan, Srivanchiyam Murali, Kovai Jayaraman are engaged in the promotion of Sampradaaya Bhajan thoroughout India or/and abroad.  Sri Manjapra Mohan, Melarkodu Vaithy , Jayan & Vijayan and a few others are spreading devotion through their  Naamasankeerthanams.  Sri Jaikrishna Dikshithar Avargal is promoting Nama Sankeerthan through his discourses on Bhaktha Vijayam and Bhajans.Sri Thukaraam Ganapathy Avargal is spreading Naama Bhakthi through his Abhang songs with Upanyaasam on Bhakta Vijayam.

In Mumbai, Sri Nurani Chuppamani Avargal (instrumental in spreading Deepa Pradakshinam in Mumbay), Late Sri Rangnathan Avargal of Hariharaputhra Bhajan Samaj, Bombay Hari Avargal, BorivliI Srinivasan Avargal, Bombay Murthy,Late Kalina Ramamurthy, Mulund Bhajan Samaj, Sri Pudukkottai Narasimha Jayanthi Kainkarya Samithi, Gnanananda Mandali, SriSri Anna Bhajana Mandalis, Gharodianagar Bhajan Samaj, to mention a few, have been involved in spreading Sampradaaya Bhajan. Nama Sankeerthana Sangh (Chandran & Party) is striving to spread Naama Sankeerthana through their devotional songs programms. Abhang Ratna Sri Ganesh Kumar Avargal of Mumbai is engaged in Naama sankeethana prachaaram through his Abhang Bhajans. Late Kalyan Krishnamoorthy Avargal had strived to unite many samaajams and individuals in spreadding the Pudukkottai Paddhathi. There are many other samaajams conducting regular Bhajans in their Samajam premises.  

Sri Krishna Premi Maharaj's (lovingly called ANNA), contribution to the propagation of Bhajans Sampradaayam through his Bhagavatam discourses and Bhajans, Deepa Pradakshinams and Raadha Kalyaanams embracing all the Sampradaayams need a special mention. The books written by him on our culture are innumerable, the translations provided for many Grandhaas are immeasurable, the Bhajana songs composed by him in different languages are uncountable and the discourses rendered by him are incalculable. He has composed innumerable books on Puranic/Philosophical topics and has brought out a Unique Bhajan Paddhathi followed by his followers today, mainly in Sanskrit. He is engaged in Puranuddhaaranam work of Govindapuram, Thiruvisanallur and Marudanallur mattams, which have been neglected and are in a bad shape. He has also collected books containing Raamanaamas writen by devotees and have deposited in the Raama Naama Banks at Nasik, Pandarpur, Brindawan, Chitrakud, Govindapuram etc., which goes into Crores of Raama Naamas. He has recently - in April 2003 - found out the Adhishtaanam of Sri Vijayagopaala Swamigal, who sung various songs in divyanaama sankeerthanam and particularly the song "Devesa gana Araadhitha divyaambhuja paadhaa" in thodaya mangalam. It exists in Polagam, which is a small village in Nagapattinam Taluk near Thirupugazhur and ThiruKannapuram. It is gathered that fifty years back the Aradhana of Sri Vijaya Gopala swamy used to take place in Polagam and the Adhishtanam used to exist in the banks of river Thirumalrayan in Polagam. Really a great achievement in a life time of Sri Sri Anna. Thus he is rendering yeoman service to the Bhajana Sampradaaya and Naama Prachaara.

There are many others, who are not left out purposely but with whom I have not been directly associated with and/or about whom I do not have full details or direct knowledge and hence not listed individually.  I acknowledge all such individuals and Samajams for their service in spreading the Sampradaayam/Naama Sankeerthanam.

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