DARSHANS OF SHRINATHJI

The following excerpt is from ‘In Adoration of Krishna: Pichhwais of Shrinathji – Tapi Collection’ by Kalyan Krishna and Kay Talwar.

ISBN # 978-81-905935-0-2

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“Worship at Nathdwara is an elaborate ritual, more so than in most Hindu temples. No effort is spared in pleasing, cosseting and adoring the Divine Child. It follows a set daily pattern, modified slightly by the various annual rituals that take place. There are eight daily darshans (formal viewings) when the doors of the sanctum are thrown open for short periods and the image of Shrinathji appears before the worshippers. These are often referred to as ‘jhanki’s’ or brief glimpses…

…Everything at this moment is directed toward the attainment of aesthetic enjoyment, toward the creation of a certain ‘bhava’ or mood. And for the devotee, dazzled by a resplendent Shrinathji, backed by an ornate pichhwai in a room hung with rich textiles, with poetry and music suited to the occasion, and with heady perfumes filling the air, the darshan is an enchanted moment. He is an active participant in the Lord’s ‘ananda’ or bliss and there is not a shred of doubt in his mind that he is in the presence of a living, breathing Krishna. What he experiences is divorced from time and space.” End excerpt.

Here is an outline of the different darshans during the day.

MANGLA: This is the first jhanki (darshan) of the day, and Shrinathji is awoken with the sound of the ‘Shankhnaad’ or conch. In winter the darshan takes place before sunrise, while in summer, it is later. The idea behind this seasonal time change is that Shrinathji plays longer in the summer, and hence sleeps later. In the summer, Shrinathji wears a light cotton cloth or ‘Uparna’, whereas in winter, he wears a quilted coat with only the ‘Mukharvind’ or face showing. There is a sigri or coal fire lit before him to create warmth in the cold season. The name Mangla refers to the auspiciousness of beginning the day with a glimpse of the Lord. According to the season, Shrinathji is offered milk, mishri (rock sugar), butter, seera and other delicacies made out of milk. Aarti is offered to him to symbolize the banishing of ill effects of evil spirits that may have been hovering over him from the night before. Seva is performed with the bhava (bhao) of Shri Navnit Priyaji, and the Ashta Chaap (eight poet friends) poet Shri Parmananddasji’s bhajans and kirtans are sung.

SHRINGAR: An hour after Mangla is the next darshan, Shringar. For this jhanki, Shrinathji is given a bath and then attired in colorful clothes, exquisite ornaments, beautiful flower garlands (mala), and pleasant perfumes depending on the season of the year. This is done with utmost care and love. His entire wardrobe has been decided by Shri Gusainji and is followed till today. The clothes he adorns are never worn again. The Mukhiyaji (priest/pujari) then holds a mirror in front of Shrinathji so that the Lord can satisfy himself that he is well dressed. A flute is placed in his hand, and he is given his walking stick. The significance of this darshan is that Mother Yashoda having bathed and dressed her little darling now allows everyone to adore her baby. He is offered dry fruits, nuts and sweets symbolic of delicacies brought to him by the gopi’s of Vraj. After this darshan, Shrinathji goes out to play with his friends. Seva is performed with the bhava of Shri Gokulchandramaji, and the kirtans and bhajans sung are composed by the poet, Shri Nandadasji.

GWAL: This is the third darshan when the Lord takes his cows to the field. During this darshan, Dhunni Dhoop is performed so no evil eye harms Shrinathji. Aarti with ‘Do Vaat Batti’ or two standing wicks is performed now. Milk, kheer, dhaiya, rabdi, and other milk products are offered to Shrinathji before he leaves to herd the cows of Nandaji. Shrinathji is worshipped by reciting His thousand names and the sacred tulsi (basil) leaves are offered with each name. The Mukhiyaji of the gaushala (a house for cows or a cowshed) comes to inform Shrinathji that all his cows are doing well. Neither flowers nor flute are shown since during this darshan Shrinathji plays with his cowherd friends. This jhanki symbolizes the time of day when Shri Krishna along with his cowherd friends, takes the cows for grazing to the green pastures of Vrindavan. Seva is performed with the bhava of Shri Dwarkanathji, and the kirtans and bhajans in this jhanki were composed by the poet, Shri Govindswamiji.

RAJBHOG: The main darshan of the day is Rajbhog, and the most elaborate. Shrinathji is seen in his entire majestic splendor. Before the darshans open, one hears the call of the sevak to fetch Shrinathji’s mala quickly. This is done because when Shrinathji lived in Govardhan, his garden was at a distance and the pujari had to call out loudly for his mala. As a routine, this is the signal for the darshans to open. After the call for Shrinathji’s mala, Shivji (Shiva) is called for taking Shrinathji’s darshans. It is believed that Shivji is seated on the round semicircle in the Dolti Bari or darshan gallery, doing Shrinathji’s darshans. That is why no one should step on the circle during these darshans. This darshan is open for a longer time than the others.

In this jhanki Shrinathji is well dressed; stands with a fresh lotus and a new flower garland (mala), his triangle betel leaves (bidas) are offered, and his flute and canes are also present. Shrinathji is most regal and resplendent for this darshan. He is now served the main meal of the day, delicious and nutritious food, and equivalent of an elaborate lunch. His meal consists of a variety of delicacies and desserts prepared with utmost care, cleanliness, and love depending on the season of the year. His food is always prepared extra sweet, and his water is mixed with chandan (sandalwood), rose, or kesar (saffron) depending on the season.

Aarti is performed in this darshan. The aarti is offered to him as an expression of the gopi’s love for him. After the aarti, Shrinathji retires for the afternoon and rests in the comfort of Nandalaya. He plays chopat, an ancient board game or version of chess to while away the afternoon. Seva is performed with the bhava of Shrinathji himself, and the kirtankar is poet Shri Kumbhandasji. After this darshan, the haveli is shut for the afternoon (about three hours) since it is time for Shrinathji’s rest.

UTTHAPAN: Between 3:30 and 4:00 p.m., Shrinathji awakes from his afternoon nap. This is a short darshan since Shrinathji is still sleepy. Shrinathji is woken with the sound of a Vina, and the kirtans and bhajans of Shri Surdasji are sung. During this jhanki, fruits and milk products are offered. A conch is blown since this symbolizes the time Shrinathji gets ready to round up the cows grazing in the forest and return home. Seva is performed with the bhava of Shri Mathureshji.

BHOG: This darshan usually opens one hour after Utthapan. There is a flower shringar in this jhanki. During summers, small fragrant fountains are started for cooling, and in winter, a coal sigri is lit to provide heat. During this darshan, Shrinathji is offered fruits, Thor, and a light meal before he commences his return home from Vrindavan forest with all his cowherd friends and cows. Shrinathji holds conferences with other Gods & Goddesses and this is the time devotees should request Shrinathji to fulfill their desires. Dhruv Bari is the place where devotees can request the Lord to fulfill their wishes. It is in this darshan that one finds the Chadi Dar, or the guard dressed in formal Mogul attire, and carrying a gold chadi (stick) while standing on the side. A morchadi or fan is waved around Shrinathji. The Chadi Dar informs Swaminiji of Shrinathji’s arrival so that she can arrange to milk the cows. Darshans are of the bhava of Shri Gokulnathji, and the kirtankar is Shri Chaturbhujdasji.

SANDHYA AARTI: This seventh jhanki is at dusk and immediately after Bhog. As the sun sets, Shrinathji returns with the herds of Nandaji and the gopi’s come to see their beloved. Evening aarti is performed and Shrinathji wears light garments after a day full of activities. The aarti offered to him by Mother Yashoda symbolizes the banishing of the ill effects of evil spirits that may have been lurking in the forests of Vrindavan. After the aarti Shrinathji bathes for the evening meal. Shrinathji is offered his flute so that he can enchant his devotees and cowherd friends and that marks the end of the day. The Dhajaji (flag pole) above the Inner Sanctum is wrapped around for the rest of the night, and the Sudarshan Chakra (at the Dhajaji) is offered Bhog (food). Darshans are of the bhava of Shri Vitthalnathji, and the kirtankar is Shri Chittaswamiji.

SHAYAN: This is the last jhanki and public darshan of the day where Shrinathji is getting ready to retire for the night. This darshan is usually held for six months in Nathdwara (see below). These darshans are opened after the ‘rasoiya boli’; where the sevak goes on to the terrace of the haveli and calls out to Shrinathji’s chief cook asking him to come early the next morning. Drums are sounded for the darshans to open, and bhajans in the form of a lullaby are sung. The Vina is played, and Shrinathji is offered his flute for the night. It is the last darshan after which Shrinathji is free for the night.

Having had his light dinner, Shrinathji is about to go off to his bed chamber. He is offered paan (betel leaves). The aarti offered is an expression of his and his beloved Swaminiji’s (Shri Radha) romantic emotions. Shrinathji’s bedroom is readied with a meticulously made up bed, a container known as ‘Banta’ filled with sweets, a pitcher known as ‘Zaari’ filled with drinking water, and mouth fresheners known as ‘Paan’. It is supposed that Shri Radha will join him for the night so her garments and ornaments are also kept ready. A carpet spread on the ground leads to Shrinathji’s bed chamber. The wooden platforms from the Dolti Bari or darshan gallery are removed so Shrinathji doesn’t trip and fall on the way to his bed chamber, or as some say, on his way back to Govardhan. The doors of the ‘Singh Pole’ are also left open. Darshans are of the bhava of Shri Madanmohanji, and the kirtankar is Shri Krishnadasji.

OTHER INFORMATION RELATED TO DARSHANS

1) Over the centuries, different Goswami’s have interpreted the bhavas and lila’s differently resulting in a colorful mixture of oral and ritual traditions followed by the various haveli’s 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 there for the Shayan darshan. So, from Mangla to Sandhya Aarti, Shrinathji is considered to be in Nathdwara. After the aarti, he rushes over in his spiritual form to play with the gopi’s of Vraj. Hence, the Shayan Aarti takes place at Govardhan for the warmer half of the year. During the cold months, running over to Vraj is not a practical option, and thus the Shayan darshan takes place at Nathdwara.

2) The swaroops of Bal Krishnaji and Navnit Priyaji are that of Shrinathji as Yashodaji’s baby. The Lord is depicted as an adorable little infant crawling on the floor with a ball of butter in his right hand. Since he is so young, how could he be expected to wake up early, or herd the thousands of cows of Nandaji? Mahaprabhuji took this into account and prescribed slightly different darshan times for the haveli’s of the baby form(s) of the Lord. For that reason, Mangla darshan in Navnit Priyaji’s haveli takes place much after dawn. Typically, Navnit Priyaji wakes up when Shrinathji has finished the Shringar darshan. After bathing and getting dressed, the Lord swings in his palana or crib while the priests amuse him with various toys and the kirtankars sing to entertain him.

3) Mahaprabhuji started ‘Ashtyaam’ seva with the bhava of Nandalaya (in Mathura). Later, his second son, Shri Gusainji, established the elaborate seva of Bhog and Shringar which is followed even today 500 years later. All of Shrinathji’s Bhog (food) is prepared according to various seasons and days. All the traditional foods are prepared with the purest of ingredients, including every dry fruit, and many expensive herbs. Only black pepper and rock salt are used in the food. A lot of sugar is added in his sweet preparations. During the hot summer months he is offered water with chandan (sandalwood) and rose, while in the winters with kesar (saffron). No one is allowed to watch Shrinathji when he takes his meals.

4) Shrinathji’s Shringar is very artistic and beautiful. A variety of ornaments are used depending on the day. The flowers for his seva are freshly grown and brought every morning from various gardens. Shringar can only be done by the residing Tilkayat or Mukhiyaji who is appointed by them. No one is allowed to watch Shrinathji when he gets ready. There are times when Shrinathji refuses certain ornaments or vastra (clothes). If he has pushed them away three times, it is assumed that Shrinathji doesn’t want them. A new pair is always kept ready just in case. New garments are used daily for Shrinathji. No clothes are repeated. There is a team of tailors who continuously stitch clothes for Shrinathji.

5) The Ashta Chaap or Asht Sakha (eight poet friends) of Shrinathji wrote and sang various kirtans and bhajans in classical bhava. They usually composed them in Braj Bhasha, and sang them in the North Indian Dhrupad vocal style. This is also known as Haveli or Bhakti Sangeet. All these bhajans and kirtans, known as rachanas, are in praise of Shrinathji and express different bhavas or moods. They are used till today in Nathdwara and in various haveli’s, according to the particular darshan and time of day. Each darshan listed above has a different poet associated with it.

6) All his darshans or jhanki’s are open for a short time with the reasoning that He is a child, and will get tired of standing.

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