Tag: Banyan Tree

Dakshinamurthy Sthothram – Sloka 2 – அண்டமும் ஆண்டவனும் – The Universe & the Lord

Dakshinamurthy Sloka No 2

बीजस्याऽन्तरिवाङ्कुरो जगदिदं प्राङ्गनिर्विकल्पं पुनः

मायाकल्पितदेशकालकलना वैचित्र्यचित्रीकृतम् ।

मायावीव विजृम्भयत्यपि महायोगीव यः स्वेच्छया

तस्मै श्रीगुरुमूर्तये नम इदं श्रीदक्षिणामूर्तये ॥२॥

தமிழ் மொழிபெயர்ப்பு

சிறுவித்தினில் அடங்கும் வருபெருந்தரு ஒப்ப,  இவ்வுலகை – தன்

இச்சையுடன் மந்திரச்சித்தனும் வித்தக ஞானியும் போல் விரித்து – பின்

இலை கிளை கொடி மலர் காய் கனி வித்தென கணக்கிலா வகையுடன்

வெளி நொடி வரையிலா மாயையால் வேறுபட க் காட்டி பின் மறைத்திடும்

ஆதிஅந்தமிலா மோனநிலை ஆசானாம் அருள்மிகு

தக்ஷிணாமூர்த்தி  பொற்பாதம் பணிந்திடுவோம்

Meaning in English:

To Him who, like unto a magician, or even like unto a mighty Yogin, displays by His own will this universe, undifferentiated in the beginning like the plant within the seed, but made afterwards picturesque in all its variety in combination with space and time created by Mâyâ, to Him who is incarnate in the Teacher, to Him in the Effulgent Form Facing the South, to Him (Siva) be this bow!

Background Information

In the first Sloka, we dealt with the nature of the Ultimate Reality/ the Supreme Self/the Brahman/God by analysing two states of the Individual Self/Consciousness viz., dream and awake states. In other words, by analysing the dreaming jīvātma and waking jīvātma we learnt about our jīvātma svarūpam. Therefore, first verse is dealing with an important word “tvam”. And now in the second verse, Śankarācārya wants to deal with the word “tat” – tat padārthaḥ, the meaning of the word: tat, i.e., paramātma or Brahman. We saw in the previous blogs, that in all the śāstrās, it is stated that Brahman is the cause of the universe; using the spider as an example, we saw that Brahman is the intelligent and material cause for the universe. We will see now how he “creates” the universe.

Is it Creation or Manifestation?

Śankarācārya brings forth the philosophy that Creation is not there; everything is in potential form. Brahman is the material and intelligent cause to bring it out as His manifestation. This is the core Vedanta Principle that Śankarācārya brings out by citing two examples which we saw in the two videos of the previous blog; the giant Sequoia tree and PC Sorcar, the magician.

The Tree and the Material Cause:

And where did this big tree come from? From a very small seed. This is the example that Śankarācārya brings out in Sloka 2 – The seed and tree; He says; the tree is already existent in the seed, before its origination; in dormant condition; potential condition. He uses the expression “nirvikalpa rūpeṇa”; in an undifferentiated form, the tree exists. And why do you use the word undifferentiated? Because in the seed, even though the tree exists, you will not be able to see where the flowers are, which are the branches etc.; the branches, thousands of leaves etc. are going to come; they are all there in the seed.

இதையே அவ்வைப் பாட்டி ‘வெற்றிவேர்க்கையில் ’ குறிப்பிடுகிறார்.

“தெள்ளிய ஆலின் சிறுபழத் தொரு விதை

தெண்ணீர்க் கயத்துச் சிறுமீன் சினையினும்

நுண்ணிதே யாயினும் அண்ணல் யானை

அணிதேர் புரவி ஆட்பெரும் படையொடு

மன்னக் கிருக்க நிழலாகும்மே’’

சிறுமீனின் கண்ணைகாட்டிலும் சிறிய முட்டையில் அரசன் தன் நாற்படை பரிவாரங்களுடன் வந்து தங்க நிழல் தரும் பெரிய ஆலமரம் உள்ளது’ என்பது (தெள்ளிய ஆலின் ) தமிழ்ப்பாட்டியின் வாக்கு. இந்தச் சிறிய விதைக்குள் தன்னைப் பிற மரங்களிலிருந்து வேறுபடுத்திக் கொள்ளாமலும் வேர், கிளை கொப்பு விழுதுகள் போன்ற உறுப்புகள் காணப்படாமலும் சத்தியாக ஆலமரம் மறைந்துள்ளது. இதனை வடமொழியில் ‘நிர்விகல்ப ரூபம்’, அவ்வியக்தம் (un manifested, undifferentiated form ) என்பர். அதாவது, காணப்படும் பிரபஞ்சம் தோன்றுவதற்கு முன் அது ‘ஜகத் காரணமாக’ சூக்கும சத்தியாகப் பிரமத்தில் இருந்தது. அதனால் பிரமம் பிரபஞ்சத்திற்கு வித்து. எனவே, இவ்வுலகம் பிரமத்தினால் படைக்கப்பட்டதன்று. பிரபஞ்சம் படைக்கப்பட்ட தன்று. ஏற்கெனவே உள்ளது. ஏற்கெனவே உள்ள சூக்குமப் பிரபஞ்சம் நம்முடைய கண்ணுக்குக் காட்சிப் படவில்லை. எனவே காட்சிப்பட்ட பிரபஞ்சத்தினை இறைவன் படைப்பு எனக் கருதுகிறோம். பிரமமே முதற்காரணம்.

The world was there in potential form, in Brahman, the kāraṇam, material cause. And therefore Śankarācārya says; बीजस्याऽन्तरिवाङ्कुरो जगदिदं प्राङ्गनिर्विकल्पं Bijasya antha nirvikalpaha ankura asthi. Within the seed, ankuraha, the tree is there; nirvikalpaha, in an undifferentiated, unrecognizable form (unmanifest, undifferentiated, potential form); In the same way, the whole universe, existed in potential form; in whom? Brahmani, the world was existing in Brahman in potential form; therefore, Brahman is the seed of the universe. Bhagavan did not create this world; why? because the world was already there; He didn’t. It was already available inside Him in undifferentiated form.

Now let us come to the second line. मायाकल्पितदेशकालकलना वैचित्र्यचित्रीकृतम् – māyā kalpita deśa kāla kalanā vai citri citrikritam. That unmanifest world was made manifest. The undifferentiated world got differentiated. – citrikritam made to manifest, magnified, multiplied or differentiated. Just as from the undifferentiated seed, gradually differentiation comes; this sprout comes; then you can see the branches, the leaves, the twig, flowers, the fruit, they are all differentiation from the past condition where these differences were not there. And therefore, creation can be called a manifestation or a differentiation or a form of multiplication. Thus, citrikritam means it was diversified, magnified; multiplied.

And for this multiplication of one into the manifold world, what is required. Śankarācārya gives in a very technical form and says māya kalptita deśa kāla. Desa and kāla (space and time), are caused by the māya shakthi (veiling and projecting powers) which is in Brahman. Thus, when I look at through time and space, Ekam Brahma is perceived as anekam jagat. Now what is essence of this entire line? Brahman continues to be non-dual; when māyā shakthi is activated, called vikshepa shakthi, then the time and space comes into existence; and they are the goggles for the consciousness. When I look through the time space spectacle, a non-dual Brahman appears, or is modified into the pluralistic universe. And from the line, what is the main point we get. Brahman is the material cause of the universe.

The Magician, the Yogi and the Intelligent Cause:

Now in the third line, Śankarācārya wants to point out, that the Brahman itself is the intelligent cause also, which throws out the universe out of itself. Not only is the material cause, which becomes the universe, He is the intelligent cause also; which throws out the universe out of itself. And what is the example? svapna prapancha, I am the material cause of the dream world, and I myself am the intelligent cause also, who throw out the svapna world, out of myself. That is said here; yahaḥ vrijrimbayati. yahaḥ means the very same Brahman, the paramātma yahaḥ vrijrimbayati api विजृम्भयत्यपि; not only he is the material cause, he is the intelligent cause also. That अर्प api indicates he is creator also. He is the raw material also. vrijrimbayati api; Very same Brahman creates also. And for creating the world out of itself, what are the instruments used by Brahman. Because we require the creator, the raw material, then the instruments also. Carpenter is the creator, wood is the raw material, but those two are not sufficient, he requires the instrument; What are the instruments used by Brahman? Śankarācārya says Brahman is the instrument also. And therefore स्वेच्छया sveccayāḥ. By mere sankalpa, without requiring any instrument, swa icchayāḥ, sva saṃkalpa mātreṇa. And this is also not impossible, because we do the same thing in creating the swapna; I am the creator, I am the raw material, I am the instrument also; and saṃkalpa mātreṇa, effortlessly I throw out this svapna prapanchaḥ; Similarly, Brahman throws out the jagat prapanchaḥ.

And he gives two examples here. Even though svapna example is the ideal example, Śankarācārya does not give that example here, because in the first verse already svapna driṣṭanta he has given and therefore he gives two other examples. What are they? मायावीव māyāvi iva. Like a magician. So, Magician produces many things out of himself; he just waves the hand and you find a hat is there; or there is a dress; or there is a bird; he shows a empty hat, then from that he goes on taking many things; So what is the raw material? Without any raw material, with his own magical power, the magician materialises and we are all magicians in producing the dream world and Brahman is a magician in producing this world. He materialises like the magician. Or महायोगीव mahā yogi iva. Or like a great sidda puruṣaḥ, who can also materializes things. Visvāmitra materialised a world itself called triśanku svargaḥ, and we also read in the books of various sidda puruṣaḥ s, who materialise things. And Śankarācārya gives māyavi iva, mahayogi iva. A siddha puruṣaḥ can also materialise; a magician also can materialise. Thus Brahman is the Intelligent Cause.

Why “Create” at all ?

Adi Śankarāchayra answers one more question, which is often asked; How did this world come into being? Or why did Bhagavan create the world at all? Because he is a jnāni; he does not require anything to be happy. We are ajnānis, unhappy and therefore go on producing things, seeking happiness. But Paramātma need not seek happiness, by creating a world. He must be ātman eva ātmanā tuṣṭhāḥ. He cannot create anything out of desire; then why did bhagavan create the world, if he does not have a desire? This is one question we get often especially when problem comes.

And generally, śāstra gives the answer; the world has to be created, because we have invested in this world; invested in the form of karmas. We have got lot of karmās to be exhausted. Since we have got lot of punya pāpa karmās and the karmās have to be exhausted, and the exhaustion can take place only through experiences, and the experiences require a world.

How did we all get this karmā? Very simple. Because in the previous janma, previous shristhi, we have done lot of good and bad karmās. Some of the karmās got exhausted in the previous sṛśṣṭi; but some reminders were there; for that this sṛśṣṭi. Therefore, how did we get the karmā? Because of the previous sṛśṣṭi. This goes on and on and Adi Śankarācārya answers that question through one single word: bījasyāntati vāṅkuro jagaditaṃ prāṅnarvikalpaṃ punaḥ. That punaḥ, answers the questions. punaḥ means repeatedly, means again and again and again. Adi Shankaracharya puts one punaha; punaha indicates the cyclic nature of the creation;

Thus with two examples and three lines in Sanskrit, Adi Sankaracharya brings out the entire Vedantic Concepts about Brahman, the Creator. Amazing

“Under the Banyan Tree” in Amazon !

Greetings to you.

After two years of launching my blogs in the field of Spirituality, I have just ventured into the field of consolidating the blogs and putting them in the form of a book.

The first set of books titled

“Under the Banyan Tree” – a comprehensive guide for understanding Adi Sankaracharya’s Dakshinamurthy Sthothram in English

“ஆலமரத்தடி ஆசானின் அருள் வாக்கு” in Tamil

have just been released in Amazon.

The product details are given in the Snapshots attached (taken from Amazon’s Indian Market place; the same is available at Amazon’s other market places across the globe in US, UK, Australia etc).

The English book contains the Sanskrit Verses, transliterations and translations in English and Tamil, word by word meaning, understanding of the Sloka and the Vedantic (philosophical) concepts outlined in the Verses. The Tamil book is a condensed version containing the Sanskrit Verse, Meaning in English and Tamil.

The books are free for Kindle Unlimited users and is priced downloading/reading in Kindle.

I wanted to publish them as free; however, Amazon’s pricing policy for Ebooks demand a minimum price (perhaps to cover their hosting charges etc). I immediately decided to use the royalties received in the sale of these books towards charity. Coming from a family of teachers, I decided to use the monetary gains towards meeting the educational expenses of needy boys and girls, here in India.

May I request your indulgence in buying the book/these books in Amazon Kindle/Kindle Unlimited. Kindly forward this message to your friends and families who maybe interested in the field of Spirituality.

DAKSHINAMURTHY

The Universal Guru:

Dakṣiṇāmurty is regarded as an aspect of Siva, as the universal teacher. He is the young and radiant Adi-Guru, Para-Guru, the Supreme Guru, imparting knowledge that liberates. He is the very personification of spiritual wisdom and eminence; and one who is immersed in Self. His teaching is through the subtlest form of speech- para vak – beyond the range of the physical ear, abiding in silence; the sort of silence that envelops within itself all other forms of expressions. It is the silence that underlines the limitations of rational knowledge, futilities of the blind alleys of metaphysical queries and the frailty hollowness of words. His teaching transcends speech and thought; it is experience. His listeners are learned and wise; ripe in intuitional understanding. The Guru’s language of silence dispels the doubts, the confusion and uncertainties in the minds of those around sitting in silence.

The Banyan Tree:

The banyan tree (vata vruksha) under which the Guru sits symbolizes creation as also the expanding universe, which regenerates itself. The tree known as Akshya vruksha with its unique growth pattern also represents the eternal principle, the Dharma. (Vata derived from the Sanskrit root “vat” means: to expand, to surround and to encompass). It is meant to suggest that Sri Dakṣiṇāmurty who sits under the vata tree presides over the cyclic processes of srishti (creation), sthiti (preservation), samhara (absorption or gathering up), tirobhava (suppression) and anugraha (revealing true knowledge).

The Iconography:

The iconographic descriptions of Sri Dakṣiṇāmurty are not uniform. In addition, there are several versions of his aspects and attributes. The following, in brief, is a summary position of Sri Dakṣiṇāmurty- iconography.

Sri Dakṣiṇāmurty is depicted as a young person with serene, tranquil and pleasing countenance; seated in a secluded spot in the Himalayas, under a banyan tree, upon a throne or a rock or an elevated platform covered with tiger-skin or deer-skin. Sri Dakṣiṇāmurty who is is always depicted singly.

He is usually depicted with four arms. In his upper right hand, he holds a rosary (aksha-maala) in kapittha-mudra, as if counting beads of japa-mala; or a snake (sarpa: symbol of tantric knowledge) or both. Sometimes, he is also shown holding a drum (damaru) with a snake coiling around it. The damaru, the srishti (creation) aspect of Shiva, represents the primeval sound and rhythm from which the universe emerges; and, into which it dissolves before re-emerging. The snake coiling around the damaru, symbolizes Kaala (time); it could either be the beginning or the end of time. In his upper-left-hand, he holds a flaming torch (Agni) symbolizing enlightenment or illumination, removing the darkness of ignorance. It also stands for his samhara (absorption or gathering back the created existence) aspect. His lower-left-hand resting on his left knee (the back of the hand touching the knee) gestures varada-mudra bestowing a boon (varadam vamahastam); and, it also holds a bunch of kusha grass or a palm-leaf manuscript symbolizing scriptural knowledge. The lower right-hand is depicted in a number of ways; and, the position of its palm, its fingers/gesture often defines the nature of a particular form of Sri Dakṣiṇāmurty.  The lower-right-hand:

  • either gestures grace (his anugraha aspect) or assurance (abhaya-mudra); or
  • gestures jnana-mudra (thumb and middle/index finger meet each other and touch the  heart  (jnana  mudram hrdi sthane); or
  • it faces inwards (abhyantara mukham karma) as in the temple at Ilambyankottur (conveying that knowledge comes from within); or
  • is held in chin-mudra (the index finger of his right hand is bent and touching the tip of his thumb – the other three fingers are stretched up) indicating identity of the Absolute and the individual; or
  • is held in Vykhyana-mudra (similar to chin-mudra)- but, facing the viewer as if imparting a teaching, while seated in a relaxed position; and so on

The Posture:

Sri Dakṣiṇāmurty is most usually depicted in a seated posture; and at times in standing, as in his Veena-dhara variation (holding a veena). But he is not depicted in reclining (shayana) postures. While seated in Virasana, his right leg is stretched down (lambaka padam); and, is stamping upon (samharaka) the dwarf (apasmara–puruṣaḥ : representing ignorance and delusion). This suppression (nirodha) of ignorance is described as the tirobhava aspect of Sri Dakshinamurti. And, his left foot bent at the knee is resting on his right knee or thigh (sayanam padakam or kunchita-paada). His sitting posture is relaxed; his body position and carriage is free from bends and rigidity. His general aspect is calm and meditative.

The Hair and Decorations:

His luxuriant hair of matted locks (jatabhara, jatabhandha, jatamandala or jatamakuta), said to represent his sthithi (preservation) aspect, is adorned and enriched with jewelry, the crescent moon, a snake and bunches of wild flowers such as durdhura (dhatura). The mass of the jatas is either disheveled or held together by a snake or a band (patta-bandha); and, is arranged in conical shapes to resemble a crown. In the middle of jatabhara, resides a small smiling face of the Ganga. Curly hair locks fall onto his shoulders and upper arms. On his forehead, he bears a vertical urna (third eye). It is said dhurdhura (dhatura – belonging to Solanaceae family) and other forest-flowers as well as the cobra must be positioned over the right of his head ; the skull and moon over the left ; and , Ganga in the middle. Sri Dakṣiṇāmurty is modestly adorned with rudraksha-mala; garlands of wild flowers; flowers above his ears (karna avathamsam). The yagnopavita (sacred cord) runs across his chest, which is adorned with sandal-paste, garlands and necklaces. He is ornamented with kati-bandha jewelled waist band; naga-bandha armlets; anklets with little bells; bracelets; kirti-mukha earring in his right ear and conch- shell earrings (shankha-patra) or an open circular earring (karnavali or vrutta-abharana) in his left earlobe.

The Complexion and the dress code

The nature of Sri Dakṣiṇāmurty is sattva, pure, blissful, bright and serene (shantha). His complexion is radiant like a clear crystal (shuddha spatikopama); or the pure silvery white pearl (spatika-rajatha-varna mauktikeem); or soothingly bright as the jasmine flower or the moon (kundendu dhavala prabha). He is also described as glowing like gold (hema prabha) or dark (shyamabha) . Some Tantric texts describe his complexion as white as milk (kshira-gaura) or snow-white (Kailasadri-nibha), absorbed in self (bhava shuddha). His countenance is free from even the slightest traces of disturbance (klesha vargitam). A soothing and gentle smile lights up his expression. His steady gaze is fixed upon the tip of his nose (nasagra drshti yuk) or on the tip of his toes (padagre drhsti patam). His eyes must be slightly open (kimchid unmiltair netraih), as in contemplation (yoga dhyana-anusarinam). He is dressed in white upper garments (sittottariya) and yajnopavita (sita-upavita). His lower garment is of tiger skin (vyagra charmambara) or silk (divyambara) , held in place by a serpent.

The Surroundings:

The great teacher-god is surrounded by many animals, particularly the deer and the Nandi bull. The Rishis eager to absorb the Guru’s teaching are at his feet. Their numbers and names are mentioned differently in different texts. For instance; Karanagama mentions four Rishis: Agasthya, Pulasthya, Vishwamitra and Angoras. The Kamikagama mentions seven Rishis : Kaushika, Kashyapa, Bharadwaja, Atri, Gautama and two others. And, the Amsumad-bhedagama mentions seven Rishis as Narada, Vashista, Jamadagni, Bhrighu, Bharadwaja, Sanaka, and Agasthya. The texts also mention that the number of sages depicted could either be one , two or even three (esham ekam dvayam vapi trayam vaparsvayor nyaseth). The aged sages must all be shown with matted hair coiled up (jata bhara); dressed in white; and, wearing rudraksha maala . Their height is prescribed not to reach above the chest of Sri Dakshinamurthi.

Significance of the name:

Let us now dwell on the name. Why is he called Dakṣiṇāmurty? It is mentioned repeatedly that he is called Dakṣiṇāmurty because he is facing south and also because the deity is placed in the southern quarter of the temple. Some say that the name of the deity may have been derived because of this practice. However, there are few other explanations too.

  • Yama, the Lord of Death, is in the southern direction. Usually this is considered inauspicious, for example, we are not advised to do Achamanam, japam or any mangala kaaryam facing south. Some people do not even sit facing south while eating. Since Yama, being the Lord of death is a dreaded one, Sri Dakṣiṇāmurty who liberates one from eternal death, saṃsāraḥ., is actually face-to-face with Death, challenging him. In other words, Jnana is the panacea for saṃsāraḥ., death. He who gains Jnana is never afraid of death. Death is kAla, and Shiva, Jnana, is kAla-kAla, or Shiva deals Death to that very Death. To signify this we have Sri Dakṣiṇāmurty facing south.
  • The south-orientation of Sri Dakṣiṇāmurty appears to be based on the notion that he is seated in the Himalayas looking towards the land-mass where the aspirants reside; that is towards south.
  • Another way of understanding it is; Suta –samhita describes the five faces or five aspects of Shiva which are turned towards four cardinal directions and the space above, as: on the West: Sadyojata (representing earth, and pervading ego); on the North: Vamadeva (water and manas); on the South: Aghora (fire and Buddhi); on the East: Tatpuruṣaḥ  (air and maya); and above all: Isana (akasha and soul). The South face of Shiva is Aghora. Aghora the benevolent is predominantly of sattva nature with minimal of rajas and tamas. It is a state of pure being and energy. It is pure knowledge (para-vidya); and, Sri Dakṣiṇāmurty represents that knowledge. Sri Dakṣiṇāmurty who corresponds to Aghora the south aspect of Shiva is therefore represented facing south.
  • The great seer Sri Ramana Maharishi who perhaps is closest to Sri Dakṣiṇāmurty in his ideals and in his teaching methods, explained the term as Dakshina + Amurthy, meaning a formless entity, one which is capable but is without form. Dakshina refers to He, who is competent to create, sustain, and dissolve this Universe; and, who, however, in reality, in his Absolute state, is A-murthy i.e. formless.
  • He is called Dakṣiṇāmurty because of his boundless compassion (Dakshinya) towards all creation. Dakshina , it is said , also means favourable (anukula ) to the devotee. Dakshina is also interpreted as grace. Sri Dakṣiṇāmurty is regarded the very embodiment of grace. It is explained that ‘grace’ (anugraha) is an act of unbound compassion releasing the individual from the coils of saṃsāraḥ.. As Guru, he is the sublime ideal of spiritual wisdom adorned with grace towards all aspirants. And, only through his grace can one attain liberation.
  • The term ‘daksha’ denotes one who is capable, skilful or an expert. Daksha also signifies the intelligent or competent. Dakṣiṇāmurty is the Daksha, the Master in music, arts and in all that is accomplished artistically; an exponent, an authority on scriptural learning; an adept in Tantra-vidya; a supreme Yogi; and, a teacher beyond compare who teaches the true knowledge that liberates.

Reference: Mr. Sreenivasa Rao’s Blogs – https://sreenivasaraos.com/