Shrinathji is a form of Krishna, manifested as a seven-year-old child.[1] The principal shrine of Shrinathji is the Shrinathji Temple in the temple city of Nathdwara, 48 kilometres north-east of Udaipur city in Rajasthan, India. Shrinathji is the central presiding deity of the Vaishnava sect known as Pushtimarg (the way of grace) or the Vallabha Sampradaya, established by Vallabhacharya. Shrinathji is worshipped mainly by the followers of Bhakti Yoga and the Vaishnavas in Gujarat and Rajasthan,[2] and Bhatias[3] amongst others.
Vitthal Nathji,[4] son of Vallabhacharya institutionalised the worship of Shrinathji at Nathdwara.[5] On account of the popularity of Shrinathji, Nathdwara city itself is referred to as ‘Shrinathji’.[6] People also call it Bava's (Shreenathji Bava) Nagri. Initially, the child Krishna deity was referred to as Devadāman ("the conqueror of Gods" referring to the over-powering of Indra by Krishna in the lifting of Govardhan hill).[7] Vallabhacharya named him as Gopala and the place of his worship as ‘Gopalpur’. Later, Vitthal Nathji named the deity as Shrinathji. Shrinathji's seva is performed in 8 parts of the day.
History
According to the legend, the icon of Shrinathji self-manifested from stone and emerged from the Govardhan Hill. Historically, the image of Shrinathji was first worshipped at Govardhan hill, near Mathura.[8] The image was initially shifted from Mathura in 1672 A.D. along river Yamuna and was retained at Agra for almost six months, in order to safeguard it from, according to legend, the Mughal ruler Aurangzeb, who wished to keep the prestigious deity with him in Agra.[9] Subsequently, the image was transferred further south on a chariot to a safer place to protect it from the iconoclasm of Aurangzeb.[10] When the icon reached the spot at village Sihad or Sinhad in Mewar, the wheels of the chariot are said to have sunken into mud and could not be moved any further. The accompanying priests realised that the place was the Shrinathji's chosen spot and, accordingly, the icon was installed in a temple there under the rule and protection of the then Maharana Raj Singh of Mewar. No other Hindu ruler was ready to take the image in his kingdom as it would mean to oppose Aurangzeb, who was the most powerful man in India at that time.[11]
In the anomical environment of the late 18th and early 19th centuries, the temple of Shrinathji was attacked by the Medas and the Pindaris. Accordingly, the icon was shifted again and was protected at Udaipur and Ghasiyar under the patronage of Maharana Bheem Singh of Mewar.
The Nathdwara temple was built in the 17th century.[12] The temple is popularly called Shrinathji ki Haveli (House of Shrinathji). Like a regular mansion, it has a chariot for movement (the original chariot in which Shrinathji was brought to Singhar), a store room for milk (Doodhghar), a store room for betel (Paanghar), a store room for sugar and sweets (Mishrighar and Pedaghar), a store room for flowers (Phoolghar), a functional kitchen (Rasoighar), a jewellery chamber (Gahnaghar), a treasury (Kharcha bhandaar), a stable for horses of chariot (Ashvashala), a drawing room (Baithak), a gold and silver grinding wheel (Chakki).
Nathdwara is known as the "Vraj" of the western India. Over 100,000 Hindus visit Nathdwara in a year.[citation needed]
Icon at Nathdwara
Nathdwara Srinathji at representing the autumn Annakuta Festival. Late 18th century.
The icon is carved in bas-relief out of a monolithic black marble stone,[5] with images of two cows, one lion, one snake, two peacocks and one parrot engraved on it and three sages placed near it. The icon of Shrinathji wears exquisitely worked jewels, some dating back to pre-Mughal period.[13]
Shrinathji is adorned with intricately woven shaneels and silk clothes having original zari and embroidery works. The icon changes its clothes (vastra) eight times a day. During festive days like Janmashtmi, Holi and Diwali, the icon wears dresses which are woven by gold wires and diamond studded embroidery. Once worn, the clothes are not re-used, but given to devotees.
Festivals and rituals at the temple
The Shrinathji temple at Nathdwara celebrates, on an average, three festivals in a week.[13] As regards to daily routine, the inner sanctum is opened 8 times a day for the devotees undertake sacred darshan of the deity. Very elaborate and complex rituals have emerged around the worship of Shrinathji due to confluence and inter-mixing of bhakti of Krishna as well as that of Pushti Margi Shri Vallabhacharya.[14]
The main attractions of Shrinathji are the Aartis and the Shringar, i.e. the dressing and beautifying of the icon of Shrinathji, treating it as a living child, adorning it with the appropriate dresses commensurate with the time of day or night. The formal prayers are offered with diya, flowers, fruit and other offerings, with local instruments and devotional songs of the Shrinathji, according to the demand of the time and occasion. The view of the icon after the parda (curtain) is removed is called jhakhi.
The gadipatis and acharyas in the Havelis of Shrinathji are believed to be from the kul (descendants) of shri mahaprabhuji, Vallabhacharya, the founder of this deity's icon at Govardhan hill, near Mathura. Presently, Shrinathji is worshipped by priests from this kul (genealogical descendants) of Vallabh Acharya. In the rest of the world, a Gurjar of a special sect who has initiation and agya (permission) perform the worship of Shrinathji.
Devotees throng to the shrine in large numbers during occasions of Krishna Janmashtami, Radhashtami, Sharad Purnima, Holi and Diwali. The deity is treated like a living image, and is attended with daily normal functions, like bathing, dressing, meals called "Prasad" and the resting times in regular intervals. Since, the deity is believed to be a child form of Krishna, special care is taken and attention is given to the deity, the same way a mother would to her child.
Shrikrishna Janmashtami, the birth anniversary of Krishna is celebrated with the salute of cannons and guns at Nathdwara temple of Shrinathji in Rajasthan. People not only from the internal regions of Rajasthan but also from Gujarat and Maharashtra, visit Nathdwara to witness Krishna's seraphic festival. Here, important arrangements are made by the temple trust for security at the police and administrative level. The temple is decorated with attractive light decoration for the festival. The entire city of Nathdwara reverberates owing to the melodious sound of drum, trumpet, and clarinet at the main entrance of the temple. A series of congratulatory exchanges began pouring in a month earlier from the Ashtami of Shravan of the Krishna. According to the confirmation order, Shri Krishna Janmotsav is not celebrated as a public exhibition in the night, but on the second day, as the Nandamahotsav, that is, by affirming 'Nand Gher Anand Bhayo, Jai Kanhaiya Lal ki’ in the presence of Tilakayat Maharaj Shree and his family, Brajvasi Sevakgan (Brigadian staff), Mukhiyaji (Headman), and Shrinathji along with spattering of milk and curd while dancing in front of them.
Daily ritual of 8 darshans
Legend
The gopies of Vraj used to love the Lord so much, they would be at Yashoda's door at all hours, finding any excuse to see their beloved Nanda Gopal. Mother Yashoda was very protective of her darling child. 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.
Ritual
Taking a legend as his cue, Mahaprabhu Vallabhacharya decided to open the haveli, his own version of the Nandalay (House / Palace of Nanda, foster father of Krishna), at specific times of the day only. 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 ("jakhi") of the Lord. Rest of the time, the Lord was allowed to go out and play with His friends—gopas and gopies of Vraj.
The sequence of eight darshans are set out below.
Mangala: First darshan of the day. 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.[15]
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 herd the cows of Nandaji. 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. Lord is often most regal and resplendent for this darshan. Fresh garlands and lotuses are offered to the Lord. During the arti, the Lord plays chopat, an ancient board game or version of chess to while away the hot afternoon.
Utthanpan: Lord has just woken up from His afternoon nap.
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 bedchamber. This is the last public darshan of the day.
The outline of darshans given above is a general layout. Over the centuries, different Goswamis have interpreted the "bhavas" and "lilas" differently, resulting in a mixture of oral and ritual traditions followed by the various havelies of Pushti Marg. For example, Shrinathji, having left His beloved Vraj, misses it so dearly, that for six months of the year, He runs back to Vraj for the shayan darshan. So, from Mangala to Sandhya arti, the Lord is reckoned to be in Nathadwara. After the arti, He rushes over, in His spiritual form, to play with the gopis of Vraj. Hence, Shayan arti takes place at Mount Govardhan for the warm half of the year. During the cold months, running over to Vraj is not such a practical option, and hence the shayan darshan takes place at Nathadwara. Here the bhava of gopijan's viraha and Raasa-Rasika's unique lila are of paramount importance.[16]
In art and culture
Shrinathji followers have significant influence on Hindu art in the form of the Pichhwais, which are intricate and colourful paintings on cloth, paper, walls and temple hangings which portray Shrinathji. These are devotional textiles that centre on the image of Shrinathji. Nathdwara is the hub of the pichhwai art, Nathdwara Paintings.
Nathdwara is known for the Rajasthani style of the city, which is called "pichhwai Paintings" These pichhwai paintings have been painted on the wall around the Nathdwara temple by famous contemporary artists of Nathdwara.
In 2013 the first Shrinathji haveli was inaugurated under the guidance of Shri Dwarkeshlalji (kadi kalol) in Melbourne Australia. Vrajdham Haveli located in Margao, Goa was inaugurated in 2013 for the benefit of all the Vaishnavas residing in Goa. [17][18][19][20]
Nathdwara is a city in the Rajsamand district of the state of Rajasthan, India. It is located in the Aravalli hills, on the banks of the Banas River and is 48 kilometres north-east of Udaipur. Shrinathji, is a swarup of lord Krishna which resembles his 7-year-old "infant" incarnation of Krishna. The deity was originally worshiped at Jatpura, Mathura and was shifted in the year 1672 from Govardhan hill, near Mathura along holy river Yamuna after being retained at Agra for almost six months. Literally, Nathdwara means 'Gateway to Shrinathji (God)'.
Pichhwai, literally meaning 'that which hangs from the back' from the Sanskrit words "Pichh" means back and "wais" means hanging, are large devotional Hindu painted pictures, normally on cloth, which portray Krishna. They are mainly made to hang in Hindu temples of the Pushtimarg devotional tradition, especially the Shrinathji Temple in Nathdwara, Rajasthan, built around 1672. They are hung behind the idol of Shrinathji, a local form of Krishna and the centre of Pushtimarg worship, to depict his leelas. Aurangabad was another area associated with them. The purpose of pichhwais, other than artistic appeal, is to narrate tales of Krishna to the illiterate. Temples have sets with different images, which are changed according to the calendar of festivals celebrating the deity.
The Puṣṭimārga, also known as Pushtimarg or Vallabha Sampradāya, is a sect within the Vaishnavism tradition of Hinduism. It was established in the early 16th century by Vallabha (1479–1531) and further developed by his descendants, particularly Vitthalanatha. Followers of Pushtimarg worship Krishna and engage in devotional practices centered around the youthful Krishna as depicted in the Bhagavata Purana, and the pastimes of Govardhana Hill.
Shuddadvaita is the "purely non-dual" philosophy propounded by the Hindu philosopher Vallabha, the founder of Puṣṭimārga, a Vaishnava tradition focused on the worship of the deity Krishna. Vallabhacharya's pure form (nondualist) philosophy is different from Advaita.
The Sanwalia ji temples of the Dark Krishna are situated on the Chittorgarh–Udaipur Highway, Rajasthan, India, at the town of Bhadsora, Mandaphiya and Chapar, about 40 kilometres from Chittorgarh. The deity also known as Shri Sanwaria Seth which is very renowned in Hinduism.
The Govardhana Shila is a rock from the Govardhana Hill in Braj, Uttar Pradesh, India. Govardhan Hill holds a unique position in Hindu scriptures related to Krishna, the land called Braj where He was born. Known as Govardhan or Giriraj and being the sacred centre of Braj, it is identified as a natural form of Krishna. Indian art overwhelmingly prefers the iconic image, but some aniconism does occur in folk worship, early Buddhism, Shiva's Banalinga, and Vishnu's Shaligrama). They have solar significance, and their use in worship predates the Hindu period in India. The stone is usually brown in colour.
Govardhan Puja, also known as Annakut or Annakoot, is a Hindu festival celebrated on the first lunar day of the bright fortnight of the month of Kartika, on the fourth day of Diwali. Devotees worship Govardhan Hill and prepare and offer a large variety of vegetarian food to Krishna as a mark of gratitude. For Vaishnavas, this day commemorates the incident in the Bhagavata Purana when Krishna lifted Govardhan Hill to provide the villagers of Vrindavan shelter from torrential rains. This incident symbolizes God offering protection to devotees who take singular refuge in him. Devotees offer a mountain of food, metaphorically representing the Govardhan Hill, to God as a ritual remembrance and to renew their faith in taking refuge in God. The festival is observed by most Hindu denominations all over India and abroad.
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Narottam Narayan Sharma was an Indian artist from Nathdwara. He is especially famous for his images of Krishna, which were popular throughout North India and were even more influential than the works of Raja Ravi Varma.
Nathdwara Painting refers to a painting tradition and school of art that emerged in Nathdwara, a city in Rajsamand district in the Western state of Rajasthan in India. Inspired by the Thanjavur Painting, Nathdwara paintings are of different sub-styles of which Pichhwai paintings are the most popular. The word Pichwai derives from the Sanskrit words pich meaning back and wais meaning hanging. These paintings are cloth paintings hung behind the image of the Hindu god Shrinathji.
The Shrinathji Temple is a Hindu temple dedicated to Shrinathji located in Nathdwara. It is considered an important pilgrimage centre by Vaishnavas.
Haveli Sangeet is a form of Hindustani classical music sung in havelis. The essential component is dhrupad. It originated in Mathura in Braj, northern India. It takes the form of devotional songs sung daily to Krishna by the Pushtimarg sect.
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Pundit Devarshi Ramanath Shastri was a Sanskrit poet, scholar and commentator on Pushtimarg and Shuddhadvaita Vedanta, the philosophical school of pure non-dualism propounded by Shri Vallabhacharya (1479-1531). He was born in 1878 in Jaipur, Rajasthan in a renowned Vellanadu Brahmin family of Sanskrit scholars belonging to the Taittariya branch of Krishna Yajurveda, who migrated from Andhra Pradesh to North India in the 15th century AD and to Jaipur in the 18th century with his famous ancestor Kavikalanidhi Devarshi Shrikrishna Bhatt having been invited by Sawai Jai Singh II. His father’s name was Shri Dwarakanath Bhatt and mother’s name was Shrimati Janaki Devi. His only son was Devarshi Brajnath Shastri (1901-1954), who was also a scholar of Shuddhadvaita. He was the elder brother of epoch-making Sanskrit poet and scholar Bhatt Mathuranath Shastri. He wrote extensively in Hindi, Sanskrit and Brajbhasha languages.
Shyam Manohar Goswami also known as Shyamu Bava, is the 16th descendant of Shri Vallabha Acharya, sanskritists, philosopher, spiritual leader, active reformer & guru of the Krishna-centered Pushtimarg sect of Vaishnavism.
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Goswami Vishal Nathdwara is an Indian spiritual leader, motivational speaker, social entrepreneur and author.
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