Radha
Madhava Kalyanam
(By
Achalabhakthan)
Preface
Kalyanotsavams in Bhajan Padhathi is being performed by many a
bhagawathaas though the paddhathis may vary slightly according to the school
they follow. Meenakshi Sundareswarar Kalyanam (ancient), Valli Kalyanam, Seetha
Kalyanam, Rukmini Kalyaanam are the ones being performed in ancient days.
Now-a-days, Ganapathi Kalyanam, Dharma Shaatha Kalyanam (wrongly called Ayyappa
Kalyanam) etc. These are added by present day bhagawatghaas and were not
prevalent in ancient times. I do not know in which padhathi these are certified
to be correct. Any way, if we take the right meaning and bhava, we can perform
any Kalyanams.
Radha Kalyanam is being performed widely though there is an
argument that it is Gandharva Vivaham and no marriage took place between Radha
and Krishna. The argument is that Radha was a Gopi and Krishna has not married
any Gopi. All Gopies considered Krishna as their husband and Krishna has not
married any of them. Krishna married only Rukmini and Stayabhama. Sathyabhama
Kalyanam is not being held since probably She was a Deva Kanyaka and not a
Bhaktha unlike Rukmini, who longed for Krishna and then got married through her
devine love.. Whatever may be said, Radha Kalyanam is widely accepted and is
being conducted any time in a year, whereas Seetha Kalyanham is performed during
Ramanavami, Rukmini Kalyanam during Gokulashtami and Meenakshi Sundareswara
Kalyanam during Dhanur Maasam.
Here I will be dealing with the padhathi, meaning,
philosophical essence, importance, significance etc. of Radha Kalyanam. While
the other Kalyanams were described in various puranaas, Radha Kalyanam is not
described in any Puranam except Brahma Vaivartha Puranam, which describes the
scene in Golokam, which is said to be placed above Satya Lokam. Here Lord
Madhava and Radha exist as the Purusha and Sakthi in original status (not in any
specific physical existence). This existence is said to be the TOTAL BLISSFUL
state, which is explained as the status fo Brahman. This Brahma Swaroopam
(because they are together and not separate).playing into the world in the form
of Krishna and Radha. For this there is a story stated in the Brahma Vaivartha
Puranam. Once when a Bhaktha was discussing various aspects of Bhakthi,
existence, birth and death etc.with Madhava, Radha got upset and cursed the
Bhaktha. The Bhaktha got enraged and cursed Radha Devi thus: You got upset like
a human being, may you go to the world and take birth as a human being. In those
days, Bhakthas have such powers and their curse would work. When Radha realised
her mistake, she felt aggrieved for she cannot stand separation from Lord
Madhava and asked for Sapa vimochanam. Lord Madhava consoled her, saying that he
would take birth as Krishna to Devaki and Vasudeva and would be reared up by
Yasoda and Nandagopa in Brindavan and she can take birth in Brndavan and rear
Him iup in the form of a child and enjoy his presence always as a maid to
Krishna. Satisfied with this explanation, she took birth (before the incarnation
of Krishna) as the child of Maharaja and came to Brndavan and was rearing up the
child Krishna as a Gopi.. A question arises that if she took birth in the world
before Krishna, she must be elder to him. Yes, as Radha and Krishna but not as
Madhava and Radha. It is like in a drama you act like a young boy. Do you lose
your age? It is only for the play. The original age does not get curtailed.
Secondly, it is not Radha Krishna Kalyanam, but Radha Madhava Kalyanam, about
which we will discuss further and hence the age does not come in the way. Radha
has lost memories of her original status/existence whilst Krishna always was in
the knowledge of His original existence as Madhava because he is an incarnation.
So much for the preface.
Padhathi
While different schools prescribe different padhathis, I would
like to summarise the Pudukkottai Padhathi as below:
Previous day
Poorna Ashtapathi (Day time) (Optional) - Sampradaya Bhajan,
Panchapathi, Poojopacharam,) Dhyanam, Divyanaamam & Dolotsavam ) (Night)
Next day:
Unchavruthi,Nischithamboolam, Vara Prekshanam, Kalyanam (day
time) Pavvalimbu (night) Usually, the Kalyanam day starts first and next day the
Sampradaya Bhajan, Pooja, Dhyanam, Divyanaamam and Dolotsavam are performed,
i.e. after the Kalyanam. The Poorna Ashtapathi is also optional depending on the
convenience of performer. However, the above has come to stay at many places and
this function is held on two days as stated first above. With some Bhagawathas,
it is customary to skip Nischithamboolam and Varaprekshana (Mappillai Azhaippu,
Maalai Mattal and Oonjal) in Radha Kalyanam, in view of the fact that it has to
be performed in the early hours and that unlike other Kalyanams. Probably this
may be due to the fact that Brahma Deva had to rush through the important
functions and as there are no Sambandhis, these items may be skipped or are
considered not necessary by them. It is the custom in each place that decides
about this.
On Kalyanam day:
Poorvangam:
Unchavruthi, Samgraha Thodaya Mangalam, Guru Dhyaanam Ashtapathi
(22nd Kalyana Ashtapathi) (When Poorna Ashtapathi is performed the earlier day,
it is the custom to stop it at 19th, take up 20th during sampradaya Bhajan at
night and 21st at the time of Dolotsavam and on Kalyanam day take up 22, 23 and
24th Ashtapathis and complete the padhathi. If Poorna Ashtapathi is not
performed, then only Kalyana Ashtapathi need be taken up.).
Utharangam:
Gowri Kalyanam Kotnotsavam and Musala Narthanam Thalandu
Shobhanam (Thaila Snanam) Othiyiduthal (dress to Varan and Vadhu) & Alamkaram
Choornikai Pravaram Kanyakadhanam & Panigrahanam Mangalashtakam Thirumangalya
Dharanam Aanandha Kalippu Sangraha Poojopacharam & Upacharam Nalangu
Parthasarathi Geetham (If Ashtapathi is completed only now with 22,23, 24th)
Bhakthopacharam (songs on Bhaktas) Anjaneyotsavam (If not planned separately
later) Konangi (If Pavvalimbu is not performed in the night) Normal Practice:
Radha Kalyanam is specially performed at the early hours - 3.30 a.m. or so and
should be over before sunrise. This is the ancient system. This is because it is
not a Kalyana Utsavam normally done as in other cases. It has a philosophical
import. It is considered to be the Jeeva Brahma Ikyam. The Jeevaatma merging
with Paramatma. Radha is the embodiment of Bhakthi and Mdhava the Purusha
(Brahman). A Bhaktha rejoining with Brahman is the spiritual essence of Radha
Kalyanam. However, it is being performed in the normal way like other Kalyana
Utsavams for our own convenience and enjoyment externally. The question is: Is
there the other formalities like Nischithartham, Kotnotsavam (Muthukkuthal),
Varaprekshana, Chhornika, Pravaram, Kanyaka Dhanam, Panigrahanam and
Thirumangalya Dharanam etc. etc.? As I said, Radha Kalyanam is a spiritual way
of merging with God. All these need not be there. However, it has come to
practice to perform the Kalyanam just like Seetha Kalyanam etc. There is nothing
wrong in doing it. Moreover, the Choornikai in Radha Kalyanam specifically
states that at the behest of Lord Krishna, Brahma Deva performed the Kriyas like
Pravaram, Kanyaka Dhanam, Panigrarahanam Homams etc. though there were no
Sambhandhis from both sides. This may be another reason it is to be conducted in
early hours (Ushas). In my opinion, it is nothing wrong in performing
Radhakalyanam like any other Kalyana Utsavam, so far as we perform it with a
mindset focused on the Jeeva Brahma Ikyam, principle. It is the intention and
not the method, which counts more. Moreover, Our Gurus have given us a full
padhathi for Radha Kalyanam and it is befitting to perform it accordingly. If we
look at the Choornikai of Radha Kalyanam, it describes the scene of realization
by Radha of her real status and makes her jump to unite with Madhava. Let us
look at the Choornika Saram, to understand this fully.
Choornika Saram:
Sri Nandagopa has gone to the forest for cattle feeding and
took the child Krishna with him on his shoulders. Suddenly the sky went dark and
thunder and ligtning started and there was a heavy downpour of rain. He lamented
that Krishna would get frightened and should be sent home and was looking
around, when he found Radha Devi coming along. He called out for Radha and gave
the child to her and asked her to fetch him home. She held the child lovingly
close to her and was walking. In fact this climatic change was brought about by
Krishna for getting such a chance to make Radha realize her original form.
Suddenly the Goloka scene was created with high buildings and Upaarikai and
Madhava and Radha rejoicing in their original form. Seeing this, Radha Devi
suddently realized her original status and tried to rush to Krishna with both
hands spread apart in joy forgetting about that she was holding the child. At
that time, the child disappeared and Lord Madhava appeared in her presence. As
Madhava and Radha are in human form of Krishna and Radha, Krishna feld they
should abide by the rules and hence Krishna called Brahma Deva and asked him to
perform the marriage immediately as per vedic rites and Brahma Deva perfomed it
with all formalities like Pravaram, Kanyaka Dhanam, Panigrahanam and Homams.
This is the meaning of the Choornikai in short. Thus, there is a proof that the
Kalyanam was performed in full form like any other Kalyana Utsavam. Hence, there
is nothing wrong in performing it according to the Padhathi given to us by the
Bhajan Gurus. However, Nichithartham, Mappillai Azhaippu, Maalai Matruthal,
Oonjal etc. need not be done.
Kotnotsavam:
In Telugu Sampradayam, paddy (rice covered with a light skin)
is poured into a wooden Stand with hollow side on top and a round flat base) and
it is crushed with ULAKKAI (a long round shaped thick stick) decorated with
Mango Leaves, red and white colour lines, flower etc. The powder coming out of
this crushing is taken and poured into the cloth around the couples' waiste and
later they are taken for Oil both, to be brushed with this powder. Then they are
offered dresses by the Priest which they wear in the marriage. As the Padhathi
is given by Telugu Gurus, they have prescribed the same method. Here we assume
that Muthu, Vairam, Vaidooryam etc. are poured into the Ural (now-a-days
represented by Akshathai - rice mixed in Haldi) and crushed with Ulakkai to make
it a fine powder which is poured imaginarily into the cloth around the waiste of
the couple and later they are bathed with fragrant oil (known as Thanadu
Shobanai) and offered dresses. This is called Muthukkuthal and Thalandu
Shobhanai. These are performed with special songs, describing them.
Spiritual aspect :
Here, I would like you to look into the spiritual import. The Ural is compared
with our Pure Mind, the Ulakkai with Omakara Naadam and the Akshathai with us as
Jeevaatmaan - the Satwic natured Jeeva (white coloured rice) encompassed by
Maaya (the skin covering the rice). For realization of God, we need to keep our
mind pure, free from the Kama Krodhaadhi Shatgunas, away from Thripudi etc. into
which pour ourselves - the jeevaatmaas (in meditation). For meditation, as the
mind needs the co-operation of the Panchendriyas (which bring the stimuli from
outside into our mind) five Kanyakas (girls below the age of 11 years, who are
considered to be free from Kalmasham (evil thoughts)) representing the Five
Sense Organs are made to pour these Akshathai (Jeevatma) into the Ural (Mind),
and five Bhagavathaas (representing the five matured Karmendriyas) repeatedly
hit the rice in the Ural with the Ulakkai (Omkara Naadam,) to the tune of songs
describing the qualities of the Lord.(known as Muthukkuthal) and remove the
covering (Maaya) - known as Muthukkozhithal - and bring out the white coloured
akshathai (Jeevatma) and pour it uno the roshtrum of the Lord. This is the
symbolization of Jeevatma, released from Maaya and having become pure, merges
into the Brahman. The entire process of Muthukkuthal and Muthu Samarppanam (Kotnotsavam)
represents the process of meditation, which is done with the co-operation of
Five Sense Organs and Five Karmendriyas and chanting inside the Omkara Naadam as
described above. Thus, this is a process of realization of God through
meditation. If we have this mindset while performing the Kalyanam, that is more
than enough. We will be blessed with Lord;s grace. To commemorate the Jeeva
Brahma Ikyam as above, whereby the Bhaktha becomes Jeevan Muktha. Harathi is
taken T
There are two opinions about Kotnotsavam. Some say that it is
to be done only in Seetha Kalyanam, Rukmini Kalyanam, Venkateswara Kalyanam etc.
and it is not required in Radha Kalyanam. Another set of people opine that it is
required in Radha Kalyanam also. Any way, as these Kalyana Padhathis are in
Telugu Sampradaya, Muthukuthal is prevalent in Karnataka and it is being
performed. There is nothing wrong to perform it, since it has a spiritual
meaning in it.
Musala Narthanam:
Bhagawathas dance with joy with the Ulakkai on hand to the
tune of the Ashtapathi song. This depicts the joy of Jeevan Muktha, who dances
in joy as he stays at this state for ever. Also, once the Jeevaatma merges with
Paramatma, there is no question of Dwandhwa Bhava and hence Omkaram does not
exist separately. The Brahman, Omkara and Jeeva all are one now. Hereafter the
Jeevan Muktha ever shines joyous in the Blissful status. Thalandu Shobhanam:
Varan and Vadhu are going through ;abhyanga snaanam. Achamaneeyam, Poonal
Dharanam etc. performed symbolically.
Then Othiyidal of dresses to both
and alankaram. Choornika saram is given above, which describes the scenery which
culminates in Radha joining with Krishna (in the original form of Radha Madhavan)
and Brahma Deva performing the marriage ceremony.
Pravaram:
The three ancestral lineations (Nasmes of father, grand father
and great gran father) with the Gothram, Suthram and Veda Sakha are chanted
three times for both sides. Kanyakadhanam & Paniraham:: The customary method of
handing over Kanyaka to the Varan symbolically with Coconut, Thamboolam and
Dakshinai in the hands of Vadhu's party handed over with water to the Varan;s
party, who places it at the roshtrum. This is with the Manthram:
Iyam Radha Maamakeeya Sahadharma
Chareethava
Pradeechcha Chainam Bandram Te Paanim Grihniswa Paaninaa
Kanyam Kanaka Sampannam Sarvaabharana Bhooshithaam
Daasyami Vishnave Thubhyam Brahma Loka Jikeershaya,
Vishwa Bhoothaah: Saakshinyah: Sarva
Devatha:
Imaam Kanyaam pradaasyami Pithrunaam Dharanaayacha.
Mangalashtakam:
It is presumed that the Kalyanam is being performed in the
presence of all Devathas, Rishis, Bhaktha Ganaas etc. and at this time all of
them are praying for the well being of the couple. These are eight slokaas
describing that the Devataas, rivers, ashtadik palakaas, Rishis, Rivers,
Mountains and everything in the nature offer their Tapa Bhalas (the good effects
of their Tapas) to the couple for their well being hereafterThis means that
everything in the nature should be full and that the nature should function
favourably to the entire well being of the Jeevaas because all the jeevaas have
become Jeevan Mukthas and whatever is offered to God will be enjoyed by them. At
this time Mangalakshathai is distributed to elders who offer it at the roshtrum
at the end of each sloka as a token of offering by the above entities.
Thirumangalya Dharanam:
This is purely a Lowkeeka function. Even in our marriages, all
the above items are there as prescribed by Vedas but Thirumangalya Dharanam is
Lowkeekam. Sapthapathi rounds are compulsory in our marriages after the homams,
which are not perforemed in Kalyana Utsavams for obvious reasons. Still we
follow the customary function of Thirumalgalya Dharanam to appeal to the
Bhakthaas. One elderly Bhaktha places the Thirumangalyam on the photo of Radhika
with the following Manthram:
Mangalyam Thanthunanena Jagat Jeevana
Hethuna
Kante Bhadrami subhake Jeeveva saradassadam
Sarva Mangala Maangalye Sive Sarvaartha Saadhike
Saranye Thryambake Gowri Naaraayanee Namosthuthe
Aananda Kalippu, Poojopacharam, Nalangu
etc. need not be explained. Nalangu is the symbolic
performance of Radha Devi enjoying the presence of the Lord and adoring him with
flower, scents and beautifying him in her own way and playing with him Poo
Pandhu, Lali etc.
Finally, we have to remember the Bhakthas like Prahlada,
Narada etc., Pundaleeka etc. by singing in praise of them. Then, if
Vasantha Kelikkai, Pavvalimbu and
Aanjaneya Utsavam are not there in the night,
it is customary to sing in praise of Anjaneya and Konamgi (which is a part of
Pavvalimbu). Conclusion: If possible, it is appropriate to include Vadideeka
Kriyaas in some places - Vigneswara Pooja, Maha Sankalpam, Kanyakaa Dhaanam,
Mangalya Pooja etc. and give away Dhaanam in the form of Dakshina for the well
being of all and for the proper conduct of the function. I have tried to paint a
picture of Radha Kalyanam performed by me in the Pudukkottai style. There are
other padhathis, which vary slightly certain sampradaayams stated above but
basically the theme is the same. What is more important is not the performance
per se but the Bhava with which we perform. We have to consider this as a
function by which we (Jeevaas) evolve and realize the Godhood in us. That is the
essence of all Kalyana Paddhathis.
Lokaaha Samsthaa Sukhino Bhavanthu
: MANGALAM :
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