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© 2012 - 2026, Swetha Sundaram The articles on this blog are a collection of the author's studies and/or inferences made by the author from such studies. The posts on the vedic civilizations and symbolisms in vedic texts is the result of intense study undertaken by the author and the inferences made by the author from these studies. Please ensure to cite this blog if using material from this blog. All other rights are reserved. No part of this publication may be sold, licensed, or used for commercial purposes without prior written permission from the author. Disclaimer The information in this book is for educational/informational purposes only. The author assumes no responsibility for errors or omissions. Use at your own risk. This blog is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the author, as allowed under the terms and conditions under which it was permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s rights, and those responsible may be liable in law accordingly.

Friday, 21 March 2014

Srimadh Bagawatham - Krishnavataram Part 11

Continued From: http://thoughtsonsanathanadharma.blogspot.ca/2014/03/srimadh-bagawatham-krishnavataram-part.html


Venugopala of Hembargala from Anudinam.org




Playing the flute: The Lord could have sung songs but He used a flute and assigned to it the Acharya sthanam. The Lord prefers to lecture us through an Acharyan. The flute is in contact with the Lord’s lips and conveys to us the Lord’s teachings. He wishes for us to approach Him only through an Acharyan. After the Mahabharata war, He asked Yudhishtirar to approach Bhishmacharyar in order to learn all the shastras and the Sri Vishnu Sahasranama sthothram. The Lord instructed Bagawath Geetha and He could have also instructed the Vishnu Sahasranama Sthothram but He desired for the Pandavas to learn the slokam from Bhishmacharyar. Flute represents Acharyan and the music Acharyan’s instructions which reach us to Lord. The Lord also shows to us that all jeevatmas are equal to each other. Like the air flowing through the flute depending upon the hole through which it comes out produces different tunes, the jeevatmas are influenced by karma to take up diefferent bodies.
Govardhana Leelai: controls hunger. Always chant Govinda while eating.
Vasthrabaharana Charitram: The Lord showed us that we must approach Him without feeling shy. The quality of shyness is represented by dress. We cover ourselves because we feel self-consiouss. The Lord instructed the gopis to approach Him in order to perform prapatti without feeling self-consiouss. The jeevatmas are all feminine in nature and the only true male is the Lord. Hence the jeevatmas are represented as the gopi girls. They approach the Lord without being afraid of moclery when they come out of the water without their dress and perform saranagathi. While performing Bakthi Yoga we should leave behind our inhibition and chant His name loudly. We shouldn’t feel embarassed to wear the thiruman srichurnam, bear the marks of disc & conch on our shoulders or to wear the prescribed dress.

Krishna The Butter Bandit

 

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