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

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