Showing posts with label Vadiraja. Show all posts
Showing posts with label Vadiraja. Show all posts

Friday, 6 February 2015

The history of Hayagriva

 Last week was the jayanti or birth anniversary of one of the greatest saints of the Madhwa parampare.  The saint was a philosopher par excellence and also a composer of extraordinary ability.
A disciple of Vyasa Raja or Vyasa Theertha, he was a strident proponent of Madhwa Siddantha and he is more remembered today for his many steps to streamline the administration of the Krishna Temple in Udupi.
Having lived for 120 years, he was the first Madhwa saint to enter Brindavana alive. His Brindavana is in Sode in Sirsi taluk and today draws a large number of people from all over the world.
This seer is none other than Vadiraja Theertha, popularly called Rajaru by millions of  his devote. Born in 1480 in a small hamlet set in verdant paddy fields in Hoovinakere, he strode across the earth till 1600 when he entered Brindavana.
Vadiraja is known for his devotion to Hayagriva, an avatar of Vishnu. Hayagriva is generally depicted as a God with the head of the horse. Vadiraja has picturised  with the horse god eating the prasada or Hayagreeva, a sweet dish.
What or who is Hayagreeva and what is his place in Hindu mythology. Let us examine some aspects related to the Horse God. Interestingly, Hayagriva is not only mentioned in the Hindu text but in Buddhist works also and he is a god not only in India but in several countries of South East Asia, Tibet, Nepal, Bhutan, Japan and China.
The word Hayagriva is a Sanskrit term and it is also spelt as Hayagreeva.  Considered to be an avatar of Vishnu, Haya in Sanskrit means horse and Griva neck.
Hayagrīva is associated with knowledge, learning and wisdom. The horse head is pure white in colour and the god is seated on a lotus. White represents purity, wisdom and  truth and Hayagriva is invested with the character of  one who swept away darkness and passion and lit up the world.
Interestingly, it was not Vadiraja who first spoke or wrote about Hayagriva. The name goes back to more than 2000 years ago when the Aryans began worshipping many animals including cow, elephant, horse. The Aryans attributed speed, intelligence and strength to a horse.
In the Vedas, particularly Rg Veda, there are numerous references and hymns dedicated to a horse or a steed. In many of them, the horse is related to the Sun.
Many legends of the Hayagriva are found in the Mahabharata and the Puranas too. In Devi Bhagavatha, Hayagriva is a horse demon defeated by Vishnu.
In the Skanda Purana, the story of Vishnu-Hayagriva is related in chapter 14-15 of Dharmaranyakhanda. In the Vamana Purana, Prahalada worships Hayagriva at Asvatheertha near Kanauj. This Purana also speaks of  the worship of Hayagriva in different regions of India, including Assam and in the Krishna (river) regions. The Nilamata Purana refers to Hayagriva in the Kashmir region.
The Matysa Purana says Hayagriva avatar preceded Matysa avatar. However, the Vaman Purana contradicts this and says Hayavadana is the third incarnation of Vishnu. The Garuda Purana places Hayagriva after Datta.
In the Sanatkumara Samhita (Sanat Kumara was one of the four spiritual sons of Brahma), Hayagriva is placed alongside Surya and Chandra .
The Pancharatna agamas also mention Hayagriva. The agamas are a body of  religious-cum-philosophical literature which trace their origins too the Vedas.
The Visvaksena allots a northern direction to the world occupied by Lord Hayagriva. This is the Hayagriva Loka. The Naradiya Samhita also allots a similar world to Hayagriva.
The Hayagriva Upanishat belongs to the Atharvana Veda. This tells us about the benefits of chanting mantas relating to Hayagriva.
The Tantras also mention Hayagriva. The Meru Tantra gives us information on several aspects relating to Hayagriva. The Yogini Tantra deals with the power of the Hayagriva.
The agamas have an exclusive work devoted to minor gods and it is called Hayasira Samhita. It is here that we find mention of Hayagriva, who scholars say, is a minor avatar of Vishnu. The avatar of Hayagriva is believed to have come about on a full moon day in August (Shravana-Pournami ) and on the ninth day of  Navaratri.
There is a verse in the Pancharatna Agama that deals with the Hayagriva. It says.....

"jñānānanda mayaṃ devaṃ nirmala sphaṭikākṛtiṃ
ādhāraṃ sarvavidyānaṃ hayagrīvaṃ upāsmahe."

This verse is now the prefix to the Hayagriva Stotra of the renowned 13th-century Srivaishnava poet-philosopher Nigamanta Mahadesika popularly known as Vedanta Desika (1268-1370). The Stotra is one of the earliest compositions of Vedanta Desika.
Consisting of  32 slokas, it is a beautiful hymn on the attributes of Hayagriva. It is said that it was Garuda himself who appeared before him and taught the Hayagriva Mantra.
He says,

Visheshavitparishadeshu natha: vidagdhagoshthisamaranganeshu |
Jigishato me kavitarkikakendran jihvagrasimhasanamabhyupeya. ||

For Vedanta Desika,  his Hayagriva has four lotus hands, with one bestowing knowledge; another holding books of wisdom. The other two hands hold the Conch and Discus.

Vadiraja in his Hayagriva Sampada stotra, says

hayagreeva hayagreeva hayagreeveti vaadinam |
naram munchanti paapaani daridramiva yoshitah ||1||
hayagreeva hayagreeva hayagreeveti yo vadet.
tasya nihsarate vaanee jahnu kanyaapravaahavat ||2||
hayagreeva hayagreeva hayagreeveti yo dhvanih |
vishobhate cha vaikunTa kavaatodghaatanakshamaH ||3||
shloka trayamidam punyam hayagreevapadaankitam |
vaadiraaja yatiproktam pathataam sampadaam padam.||4||
Itee Shri Madvadiraja Poojya Charana Virachitha
Hayagreeva Sampada Stotram Sampurnam.


Apart from these two stotras, we can find Hayagriva stotra in the Garuda Purana. This is part of a chapter on Hayagriva Pooja Vidhi.
The other stotra is in Skanda Purana and it is part of Brahma Khanda, Hayagriva Upakhyana.
In Buddhism, Hayagriva is depicted as a fierce and awesome god whose wrath knows no bounds. In the Mahavairocana-sutra, Hayagriva is described as one wearing a garland of skulls. Here, he is a Krodha Vighnantaka. For the Buddhists, Hayagriva is an avatar of Bodhisattava.
It is interesting to note that Hayagriva transformed from a Brahminical God of knowledge and purity to a fierce and intimidating God of the Buddhists. This transformation is traced by Robert H Van Gulik in his work: "Hayagriva: The Mantrayana aspect of a Horse Cult in China and Japan".
Another Buddhist work where Hayagriva is mentioned is the Dharma Samgraha-a collection of ancient Buddhist texts.
Hayagriva is depicted as a Horse God in several temples of India. One of the best representations is in the Lakshmana temple in Khajuraho. Built by the Chandela Kings, the outer wall of this temple has images of over 600 gods. It is entirely dedicated to Vishnu.
The first ever historical representation of Hayagriva can be found in several sculptures belonging to the pre-Gupta period. One of the earliest such sculptures can be seen in the Bharat Kala Bhavan museum in Varanasi.
Another pre-Gupta idol of Hayagriva can be seen in a museum in Mathura. The image of Hayagriva is depicted in the Vishwaroopa sculptures of Deogarh, Mandasor, Samalji and Kanauj.
Closer home, we can see images of Hayagriva in the Hoysala temple at Nuggahalli near Mysore. The Hayagriva which Desika so eloquently wrote about can be seen in Tiruvendipuram in Cudddalore district of Tamil Nadu. Since he is meditating, the horse God here is also called Yoga Hayagriva.
There are idols dedicated to Hayagriva in the Ranganatha Temple in Srirangam and in the Vaikunta Perumal temple in Kanchi.
By the way, the presiding diety of Parkala Matha of Mysore is Hayagriva.
In Tibet, Hayagriva was initially worshipped by horse dealers. Hayagriva came to Tibet, thanks to Atisha (980-1054), the Indian scholar from Bengal who was instrumental in spreading Buddhism in Tibet and other countries such as Sumatra.
Some other temples dedicated to Hayagrive in India are at Tank Bund Road in Gandhinagar, Bangalore: lakshmi Hayagriva Temple at Nanganallur in Chennai: Chettypunyam Hayagriva Temple in Chengalpattu, Tamil Nadu, Hayagriva Temple, North Mada Street, Tirumala and Lakshmi Hayagriva Temple at Machilipatnam in Andhra Pradesh.
Of course, who can forget the famous Hayagriva  Madhawa  Temple in Manikuta, Hajo near Guwahati, Assam. This temple is revered by both Hindus and Buddhists.
There are temples dedicated to Hayagriva in Yadagirigutta and Mahaboob Nagar in Andhra Pradesh, Madurai in Tamil Nadu and there is one in Pondicherry.





Thursday, 2 January 2014

The miser who became a Haridasa

Just like his friend Purandara Dasa, he too was rich person and he was a miser too. If Purandara Dasa lived in Kshemapura in Shimoga district, he lived in Belur in Hassan district.
Though both were contemporaries, they did not know each other. If Purandara Dasa was a Madhwa Brahmin, this person was a Srivaishnava. If Hari himself transformed Purandara Dasa into a Haridasa, it was Vadiraja Theertha (1480-1600) who gave this man from Belur deekshe and transformed his mundane life into a pious and holy one.
Both Purandara and the man from Belur met at Hampi where they quickly became close friends. Both accepted the venerable Vyasa Raja or Vyasa Theertha (1447-1539) as their guru and both composed innumerable devaranamas.
The man from Belur later went on to make a mark as a great devotee of Sri Krishna whom he always worshipped. This man is none other than Belur Vaikunta Dasa (1480-1550).
It was Vadiraja who reformed a rich Vaikunta Dasa and gave him a Hayagriva Saligrama. Vadiraja told Vaikunta Dasa that he could amass untold wealth and riches if he worshipped the Saligrama with sincerity and devotion.
More out of greed, Vaikunta Das began performing pooje daily to the Saligrama. Slowly but surely, he became devoted to the Saligrama and the pooje continued. Over a period of time, he realised that the Saligrama was more precious than all his wealth and that it could never be quantified.
He became a devotee of Hayagriva and lost interest in the materialistic world. When Varidara realised that Belur Vaikunta dasa was a transformed man, he blessed him and named him “Sri Vaikunta Dasa.”
Vaikunta Dasa became a Haridasa and began composing Kirtanas in Kannada on Sri Hari with Ankitha Vaikunta.
Vaikunta Dasa was a native of  Belur and he rarely if ever stirred out of Belur. He has a few compositions in Kannada which bear the ankita nama Vaikunta Dasa. He became a close friend and companion of Purandara Dasa and Kanaka Dasa and also a disciple of Vadiraja Theertha.
His devotion to Hari was such that Krishna danced in front of him when he sang. All the three dasas -Vadiraja, Kanaka and Purandara have paid tributes to Vaikunta Dasa.
Purandara Dasa went around the Vijayanagar Kingdom spreading the tenets of Madhwacharya and singing the glory of Hari. During one such tour, he came to Belur in Hassan district where Belur Vaikunta Dasa was staying.
Vaikunta Dasa rarely, if ever, stirred out of  Belur and the few times he did was to visit his friend Purandara Dasa and his guru, Vyasa Raja. Though he was a Srivaishnava scholar, he  composed many songs on Hari.
Vaikunta Dasa lived in a house in Belur and when Puranadara Dasa came, he saw a beautiful child playing on the lap of the Dasa. Both Belur Vaikunta Dasa and the boy, whom Belur Vaikunta Dasa called Keshava, were so engrossed in playing that they did not notice Purandara Dasa.
When Purandara Dasa came very near to them, he suddenly realised that the Keshava who was playing in the lap of Belur Vaikunta Dasa was none other than Krishna himself.
Even as Puranadara Dasa was about to speak, the child looked up and on seeing a stranger burst into tears. The incessant crying of the child immediately spurred Purandara Dasa into composing a poem.
This beautiful poem is:

 “aLuvadyaadako raMgaa! atta raMjisuva  gummA  

puTTidELu divasadali!duShTa pootaneeya koMde
muTTi moleya haaluMDa kaaraNa! dRuShTi taakitE ninage kaMdayyaa  1

bAlakatanadalli gO! paalaroDagooDi
kALiMga maDuvanu kalakida kAraNa! kaalu uLakitE ninage raMgayyaa    2

turuva kaayalu pOgi! bharadiMda maLegareye
beraLali beTTavanettida kaaraNa! beraLu uLukitE ninage kaMdayyaa    3

vasudEva sutanaagi asurara mardiside
basurali bommana paDeda kAraNa! kisaru taakite ninage raMgayyaa     4

sharaNu vElaapurada  doreye  chennigaraaya
sharaNara salahuva karuNAnidhiyE varada puraMdara viThala rAya        5

When Purandara Dasa began singing in his melodious voice, the child stopped crying and gave a smile.
Puranadara Dasa stayed back at the home of Belur Vaikunta Dasa for some time before proceeding on his onward journey.
Another time, when Purandara Dasa was walking on the streets of Hampi or Vijayanagar one evening with Belur Vaikunta Dasa, a rogue elephant suddenly came out of nowhere and charged at them.
While Purandara Das managed to take evasive action, Vaikunta Dasa came face to face with the animal. Purandara Dasa immediately began singing,

“Sakala duritagala parihara maado Venkatesha, bhaktige volidu bandu bhaktana kaayo Venkatesha….varada Purandara vittala,”

Meanwhile, the elephant ran upto Vaikunta Dasa and it saluted the Dasa with its trunk and left. A dumbfounded Purandara Dasa had no words to describe his feelings and he embraced Vaikunta Dasa and both continued their evening stroll.  


Monday, 23 December 2013

The stotra to get back riches and money

One of the greats saints of  Madhwa parampare is Vadiraja Theertha (1480-1600).
He belonged to the Sode Matha, which today is better known as Vadiraja Matha. He was given deeksha by Vageesh Theertha and
He was born in Gowri Gadde and his Brindavana is in Sode near Sirsi.
Vadiraja has several brilliant compositions and philosophical works to his credit. He was one of the most prominent disciples of Vyasa Raja or Vyasa Theertha (1447-1539). He was a contemporary of several Madhwa saints and Haridasas such as Surendra Theertha, Vijendra Theertha and Sudhindra Theertha of Raghavendra Swamy Matha,  Srinivasa Theertha and Rama Theertha of Sosale Vyasaraja Matha and several others.
He knew Purandara Dasa, Belur Vaikunta Dasa, Kanaka Dasa, Annamacharya and others.   
Vadiraja Theertha was a frequent visitor at Hampi and he is believed to have been one of the outstanding visiting professors of
the Vijayanagar University of which Vyasa Raja was the Chancellor.
However, after the passing away of Vyasa Raja in 1539, his visit to Vijayanagar or Hampi became less and less frequent. However, when he heard that Achuta Deva Raya (1529-1542) was in distress as the Kingdom’s treasury was empty, he helped out the Hindu Kingdom by revealing the secret treasures that had been hidden in the rocks around Hampi.
Vadiraja Theertha also composed a stotra and asked Achuta Deva Raya to recite it to regain all the lost wealth of Vijayanagar. Of course, the stotra helped the Raya regain the lost wealth.
Vadiraja Theertha asked Achuta Deva Raya to recite the sloka a thousand times. Achuta Deva Raya did so and he was able to get hold of untold wealth.
A little known fact about Achuta Deva Raya is that he patronized Purandara Dasa and he himself was an accomplished Veena player.
Coming back to Vadiraja, both Krishna Deva Raya and his half-brother, Achuta Deva Raya, had high regard for the saint from Sode.     
This is how the stotra that Vadiraja taught Achuta Deva Raya goes. It can be recited if you have lost money and or wealth. Be sure to recite it after doing sankalpa.

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Saturday, 21 December 2013

The Laghu Vayu Stuti by Vadiraja

The Vayu Stuti was first composed by Trivikrama Panditacharya. It is a poem in Sanskrit or Stuti in praise of Madhwacharya.
One day, Trivikrama Panditacharya saw all the three incarnations of Hanuma, Bheema and Madhwacharya together worshipping Rama, Krishna and Vedavyasa in Udupi. Overcome with devotion, he then went on to compose this stuti celebrating the three avatars.
The Vayu Stuti comprises 41 paras. It is usual practice to chant the Vayu Stuti by starting and ending it with the Narasimha Nakha Stuti, a short two-para composition by Madhwacharya in praise of Lord Narasimha.
When Trivikrama Panditacharya presented the Vayu Stuti to Madhwacharya, he insisted that the work should not be dedicated to his praise alone and instantly composed the Nakha Stuti and instructed that it be chanted before and after the Vayu Stuti.
The four lines composed by Madhwacharya are:

“pAntvasmAn puruhUtavairibalavanmAta~NgamAdyadghaTA-
kumbhoccAdrivipATanAdhikapaTupratyekavajrAyitAH .
shrImatkaNThIravAsyapratatasunakharA dAritArAtidUra-
pradhvasthadhvAntashAntapravitatamanasA bhAvitA nAkivR^indaiH”

Since then, the Vayu Stuti also came to be known as Hari Vayu Stuti.
After this Stuti, Kalyani Devi, the sister of  Madhwacharya also composed a smaller version of the Hari Vayu Stuti which she called Laghu Vayu Stuti.
After her, another woman by the same name of Kalyani Devi, who happened to be the daughter of Trivikrama Panditacharya also composed a Laghu Vayu Stuti.
Two centuries later, Variraja (1480-1600), the saint from Sode, composed the Laghu Vayu Stuthi in praise of Madhwacharya.
The composition is as follows:

shrImadviShNvaaj~jadiMda janisi pavananu kEsarI kShEtradalli
kaMjaakShi sItegaagi lavaNajaladhiyaM laMGisi laM<keyalli |
iddaMthaa raavaNannu raghupana karadi niMgisi bhUmiyiMda
kUDiddaa raaGavannu  bhajisi meredi kiMpuruShaa khaMDadalli     ||1||

A vaayu bhImanaagi suravara baladiM kObbidaamaagadanannu
kirmIraM kIcakannu bakamuKakhalaraM duShTaduryOdhanannu |
kUMdu raajaashvamEdha pramukhamakhagaLaM maaDi kRuShNaarpaNeMdu
raajaadhiraajanaagi sujanarapatiyu meradanu saadhu baMdhu        ||2||

praag janmadvEShadiMda kaliyali maNimaan saMkaraacaaryanaagi
brahmaahaM nirguNOhaM vitatha vacanadiM ellaraM keDisalaagi |
aj~jaanaakhyanadiMda  sujanara matiyu mlaanavaM poMdirallu
shrISaj~jaa shiradi vahisi kurukula patiyU  AdanU madhvasUrYaa        ||3||

sarvaj~ja shrIshanEvE vidhibhavamukharu  shrIhari daasarEnE
satyEvE Ijagattu janavu trividhavu nitya paMcaprabhEda |
IshaadhInEvE sarvashrutigidanuguNaa aMdadEvE pramaaNaa
hIgeMdu madhvasUrya tiLisi sujanake adanu divyamOdaa        ||4||

kELeMdu maayivaadI sakalasuravanu maMdigaLyaj~janallaa
jij~jaasya brahmanaaraayaNa  sakalajagatparimitiyannu balla |
nInariyO ninna naari hagalu iraLali jaaravaamaaDuvOdu
brahmaahaM nirguNeMdO vitatha vacanavu hyaaMga nIADavOdu    ||5||

maayaavaadige maanahInajanake shuddhilladaanaayige
maayi saMkarage samIranagadaa peTTiMdalE muktiyu |
nityaMdhatama ahudu eMdu tiLidu aj~jaanavaM varjisi
shrImudraasaha gOpicaMdanavannu dEhaMgaLalyarcisi    ||6||

||iti shrIvaadiraajaviracita kannaDalaGuvaayustutiH samaaptaa||
||shrIkRuShNaarpaNamastu ||

The lyrics in Sanskrit:

श्रीमद्विष्ण्वाज्ञदिंद जनिसि पवननु कॆसरी क्षॆत्रदल्लि
कंजाक्षि सीतेगागि लवणजलधियं लंघिसि लंकेयल्लि
इद्दंथा रावणन्नु रघुपन करदि निंगिसि भूमियिंद
कूडिद्दा राघवन्नु  भजिसि मेरेदि किंपुरुषा खंडदल्लि     ॥१॥

वायु भीमनागि सुरवर बलदिं कॊब्बिदामागदनन्नु
किर्मीरं कीचकन्नु बकमुखखलरं दुष्टदुर्यॊधनन्नु
कूंदु राजाश्वमॆध प्रमुखमखगळं माडि कृष्णार्पणेंदु
राजाधिराजनागि सुजनरपतियु मेरदनु साधु बंधु        ॥२॥

प्राग् जन्मद्वॆषदिंद कलियलि मणिमान् संकराचार्यनागि
ब्रह्माहं निर्गुणॊहं वितथ वचनदिं एल्लरं केडिसलागि
अज्ञानाख्यनदिंद  सुजनर मतियु म्लानवं पोंदिरल्लु
श्रीशज्ञा शिरदि वहिसि कुरुकुल पतियू  आदनू मध्वसूर्य़ा        ॥३॥

सर्वज्ञ श्रीशनॆवॆ विधिभवमुखरु  श्रीहरि दासरॆनॆ
सत्यॆवॆ ईजगत्तु जनवु त्रिविधवु नित्य पंचप्रभॆद
ईशाधीनॆवॆ सर्वश्रुतिगिदनुगुणा अंददॆवॆ प्रमाणा
हीगेंदु मध्वसूर्य तिळिसि सुजनके अदनु दिव्यमॊदा        ॥४॥

कॆळेंदु मायिवादी सकलसुरवनु मंदिगळ्यज्ञनल्ला
जिज्ञास्य ब्रह्मनारायण  सकलजगत्परिमितियन्नु बल्ल
नीनरियॊ निन्न नारि हगलु इरळलि जारवामाडुवॊदु
ब्रह्माहं निर्गुणेंदॊ वितथ वचनवु ह्यांग नीआडवॊदु    ॥५॥

मायावादिगे मानहीनजनके शुद्धिल्लदानायिगे
मायि संकरगे समीरनगदा पेट्टिंदलॆ मुक्तियु
नित्यंधतम अहुदु एंदु तिळिदु अज्ञानवं वर्जिसि
श्रीमुद्रासह गॊपिचंदनवन्नु दॆहंगळल्यर्चिसि    ॥६॥

॥इति श्रीवादिराजविरचित कन्नडलघुवायुस्तुतिः समाप्ता॥


The Kannada lyrics are as follows:


ಶ್ರೀಮದ್ವಿಷ್ಣ್ವಾಜ್ಞದಿಂದ ಜನಿಸಿ ಪವನನು ಕೇಸರೀ ಕ್ಷೇತ್ರದಲ್ಲಿ
ಕಂಜಾಕ್ಷಿ ಸೀತೆಗಾಗಿ ಲವಣಜಲಧಿಯಂ ಲಂಘಿಸಿ ಲಂಕೆಯಲ್ಲಿ |
ಇದ್ದಂಥಾ ರಾವಣನ್ನು ರಘುಪನ ಕರದಿ ನಿಂಗಿಸಿ ಭೂಮಿಯಿಂದ
ಕೂಡಿದ್ದಾ ರಾಘವನ್ನು  ಭಜಿಸಿ ಮೆರೆದಿ ಕಿಂಪುರುಷಾ ಖಂಡದಲ್ಲಿ     ||||

ವಾಯು ಭೀಮನಾಗಿ ಸುರವರ ಬಲದಿಂ ಕೋಬ್ಬಿದಾಮಾಗದನನ್ನು
ಕಿರ್ಮೀರಂ ಕೀಚಕನ್ನು ಬಕಮುಖಖಲರಂ ದುಷ್ಟದುರ್ಯೋಧನನ್ನು |
ಕೂಂದು ರಾಜಾಶ್ವಮೇಧ ಪ್ರಮುಖಮಖಗಳಂ ಮಾಡಿ ಕೃಷ್ಣಾರ್ಪಣೆಂದು
ರಾಜಾಧಿರಾಜನಾಗಿ ಸುಜನರಪತಿಯು ಮೆರದನು ಸಾಧು ಬಂಧು        ||||

ಪ್ರಾಗ್ ಜನ್ಮದ್ವೇಷದಿಂದ ಕಲಿಯಲಿ ಮಣಿಮಾನ್ ಸಂಕರಾಚಾರ್ಯನಾಗಿ
ಬ್ರಹ್ಮಾಹಂ ನಿರ್ಗುಣೋಹಂ ವಿತಥ ವಚನದಿಂ ಎಲ್ಲರಂ ಕೆಡಿಸಲಾಗಿ |
ಅಜ್ಞಾನಾಖ್ಯನದಿಂದ  ಸುಜನರ ಮತಿಯು ಮ್ಲಾನವಂ ಪೊಂದಿರಲ್ಲು
ಶ್ರೀಶಜ್ಞಾ ಶಿರದಿ ವಹಿಸಿ ಕುರುಕುಲ ಪತಿಯೂ  ಆದನೂ ಮಧ್ವಸೂರ್ಯಾ        ||||

ಸರ್ವಜ್ಞ ಶ್ರೀಶನೇವೇ ವಿಧಿಭವಮುಖರು  ಶ್ರೀಹರಿ ದಾಸರೇನೇ
ಸತ್ಯೇವೇ ಈಜಗತ್ತು ಜನವು ತ್ರಿವಿಧವು ನಿತ್ಯ ಪಂಚಪ್ರಭೇದ |
ಈಶಾಧೀನೇವೇ ಸರ್ವಶ್ರುತಿಗಿದನುಗುಣಾ ಅಂದದೇವೇ ಪ್ರಮಾಣಾ
ಹೀಗೆಂದು ಮಧ್ವಸೂರ್ಯ ತಿಳಿಸಿ ಸುಜನಕೆ ಅದನು ದಿವ್ಯಮೋದಾ        ||||

ಕೇಳೆಂದು ಮಾಯಿವಾದೀ ಸಕಲಸುರವನು ಮಂದಿಗಳ್ಯಜ್ಞನಲ್ಲಾ
ಜಿಜ್ಞಾಸ್ಯ ಬ್ರಹ್ಮನಾರಾಯಣ  ಸಕಲಜಗತ್ಪರಿಮಿತಿಯನ್ನು ಬಲ್ಲ |
ನೀನರಿಯೋ ನಿನ್ನ ನಾರಿ ಹಗಲು ಇರಳಲಿ ಜಾರವಾಮಾಡುವೋದು
ಬ್ರಹ್ಮಾಹಂ ನಿರ್ಗುಣೆಂದೋ ವಿತಥ ವಚನವು ಹ್ಯಾಂಗ ನೀಆಡವೋದು    ||||

ಮಾಯಾವಾದಿಗೆ ಮಾನಹೀನಜನಕೆ ಶುದ್ಧಿಲ್ಲದಾನಾಯಿಗೆ
ಮಾಯಿ ಸಂಕರಗೆ ಸಮೀರನಗದಾ ಪೆಟ್ಟಿಂದಲೇ ಮುಕ್ತಿಯು |
ನಿತ್ಯಂಧತಮ ಅಹುದು ಎಂದು ತಿಳಿದು ಅಜ್ಞಾನವಂ ವರ್ಜಿಸಿ
ಶ್ರೀಮುದ್ರಾಸಹ ಗೋಪಿಚಂದನವನ್ನು ದೇಹಂಗಳಲ್ಯರ್ಚಿಸಿ    ||||

||
ಇತಿ ಶ್ರೀವಾದಿರಾಜವಿರಚಿತ ಕನ್ನಡಲಘುವಾಯುಸ್ತುತಿಃ ಸಮಾಪ್ತಾ||

Friday, 20 December 2013

Sri Krishnashtakam

One of the greatest Madhwa saints to have traversed all over India and the one who hailed from Karnataka is Vadiraja Theertha (1480-1600).
Vadiraja Theertha was a seer who adorned the Sode Matha, which today is also known as Sode Vadiraja or Vadiraja Matha. He was born at Gowri Gadde and he was a disciple of the venerable Vyasa Raja or Vyasa Theertha (1560-1539).
Vadiraja Theertha was a contemporary of  Purandara Dasa, Kanaka Dasa and Belur Vaikunta Dasa. His contribution to both Dasa Koota and Vyasa Koota is immeasurable.
He was a prolific writer and composer. He has several compositions on Udupi Krishna to his credit. The Sri Krishnashtakam is one of his best.
The lyrics of this composition in Kannada, English and Sanskrit are as follows:

 ಪಾಲಯಾಚ್ಯುತ ಪಾಲಯಾಜಿತ ಪಾಲಯಾ ಕಮಲಾಲಯ
ಪಲಯಾ ಧೃತಭೂಧರಾಂಬುರುಹೋದರ ಸ್ವಜನೋದರ |

ಮಧ್ವಮಾನಸಪದ್ಮಭಾನುಸಮಂ ಸ್ಮರಪ್ರತಿಮಂ ಸ್ಮರ
ಸ್ನಿಗ್ದನಿರ್ಮಲಶೀತಕಾಂತಿಲಸನ್ಮುಖಂ ಕರುಣೋನ್ಮುಖಮ್|
ಹೃದ್ಯಕಂಬುಸಮಾನಕಂಧರಮಕ್ಷಯಂ ದುರಿತಕ್ಷಯಂ
ಸ್ನಿಗ್ಧಸಂಸ್ತುತರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ಅಂಗದಾದಿಸುಶೋಭಿಪಾಣಿಯುಗೇನ ಸಂಕ್ಷುಭಿತೈನಸಂ
ತುಂಗಮಾಲ್ಯಮಣೀಂದ್ರಹಾರಸರೋರಸಂ ಖಲನೀರಸಮ್|
ಮಂಗಲಪ್ರದಮಂಥದಾಮವಿರಾಜಿತಂ ಭಜತಾಜಿತಂ
ತಂ ಗೃಣೇ ವರರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ಪೀನರಮ್ಯತನೂದರಂ ಭಜ ಹೇ ಮನಃ ಶುಭ ಹೇ ಮನಃ
ಸ್ವಾನುಭಾವನಿದರ್ಶನಾಯ ದಿಶಂತಮರ್ಥಿಸುಶಂತಮಮ್|
ಅನತೋಸ್ಮಿ ನಿಜಾರ್ಜುನಪ್ರಿಯಸಾಧಕಂ ಖಲಬಾಧಕಂ
ಹೀನೋತೋಜ್ಝಿತರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ಹೈಮಕಿಂಕಿಣಿಮಾಲಿಕಾರಶನಾಂಚಿತಂ ತಮವಂಚಿತಂ
ಕಮ್ರಕಾಂಚನಚಿತ್ರವಸ್ತ್ರಕಟಿಂ ಘನಪ್ರಭಯಾ ಘನಮ್|
ನಮ್ರನಾಗಕರೋಪಮೋರುಮನಾಮಯಂ ಶುಭಧೀಮಯಂ
ನೌಮ್ಯಹಂ ವರರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ವೃತ್ತಜಾನುಮನೋಜ್ಞಜಂಘಮಮೋಹದಂ ಪರಮೋಹದಂ
ರತ್ನಕಲ್ಪನಖತ್ವಿಷಾ ಹೃತಹೃತ್ತಮಸ್ತತಿಮುತ್ತಮಮ್|
ಪ್ರತ್ಯಹಂ ರಚಿತಾರ್ಚನಂ ರಮಯಾ ಸ್ವಯಾಗತಯಾ ಸ್ವಯಂ
ಚಿತ್ತ ಚಿಂತಯ ರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ಚಾರುಪಾದಸರೋಜಯುಗ್ಮರುಚಾಮರೋಚ್ಚಯಚಾಮರೋ-
ದಾರಮೂರ್ಧಜಭಾರಮಂಡಲರಂಜಕಂ ಕಲಿಭಂಜಕಮ್|
ವೀರತೋಚಿತಭೂಷಣಂ ವರನೂಪುರಂ ಸ್ವತನೂಪುರಂ
ಧಾರಯಾತ್ಮನಿ ರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ಶುಷ್ಕವಾದಿಮನೋತಿದೂರತರಾಗಮೋತ್ಸವದಾಗಮಂ
ಸತ್ಕವೀಂದ್ರ ವಚೋವಿಲಾಸಮಹೋದಯಂ ಮಹಿತೋದಯಮ್|
ಲಕ್ಷಯಾಮಿ ಯತೀಶ್ವರೈಃ ಕೃತಪೂಜನಂ ಗುಣಭಾಜನಂ
ಧಿಕ್ಕೃತೋಪಮರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ನಾರದಪ್ರಿಯಮಾವಿಶಾಂಬುರುಹೇಕ್ಷಣಂ ನಿಜರಕ್ಷಣಂ
ತಾರಕೋಪಮಚಾರುದೀಪಚಯಾಂತರೇ ಗತಚಿಂತ ರೇ|
ಧೀರ ಮಾನಸ ಪೂರ್ಣಚಂದ್ರಸಮಾನಮಚ್ಯುತಮಾನಮ
ದ್ವಾರಕೋಪಮರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||||

ರೂಪ್ಯಪೀಠಕೃತಾಲಯಸ್ಯ ಹರೇಃ ಪ್ರಿಯಂ ದುರಿತಾಪ್ರಿಯಂ
ತತ್ಪದಾರ್ಚಕವಾದಿರಾಜಯತೀರಿತಂ ಗುಣಪೂರಿತಮ್|
ಗೋಪ್ಯಮಷ್ಟಕಮೇತದುಚ್ಚಮುದೇ ಮಮಾಸ್ತ್ವಿಹ ನಿರ್ಮಮ
ಪ್ರಾಪ್ಯ ಶುದ್ಧಫಲಾಯ ತತ್ರ ಸುಕೋಮಲಂ ಹೃತಧೀಮಲಮ್ ||||

||
ಇತಿ ಶ್ರೀ ವಾದಿರಾಜಯತಿ ವಿರಚಿತಂ ಕೃಷ್ಣಾಷ್ಟಕಮ್||

The lyrics in English is as follows:

pālayācyuta pālayājita pālayā kamalālaya
palayā dhr
̥tabhūdharāburuhōdara svajanōdara |

madhvamānasapadmabhānusama
smarapratima smara
snigdanirmalaśītakā
tilasanmukha karuōnmukham|
hr
̥dyakabusamānakadharamakaya duritakaya
snigdhasa
stutaraupyapīhakr̥tālaya harimālayam ||1||

a
gadādisuśōbhipāiyugēna sakubhitainasa
tu
gamālyamaīdrahārasarōrasa khalanīrasam|
ma
galapradamathadāmavirājita bhajatājita
ta
gr̥ṇē vararaupyapīhakr̥tālaya harimālayam ||2||

pīnaramyatanūdara
bhaja hē mana śubha hē mana
svānubhāvanidarśanāya diśa
tamarthisuśatamam|
anatōsmi nijārjunapriyasādhaka
khalabādhaka
hīnōtōjjhitaraupyapī
hakr̥tālaya harimālayam ||3||

haimaki
kiimālikāraśanācita tamavacita
kamrakā
canacitravastrakai ghanaprabhayā ghanam|
namranāgakarōpamōrumanāmaya
śubhadhīmaya
naumyaha
vararaupyapīhakr̥tālaya harimālayam ||4||

vr
̥ttajānumanōjñajaghamamōhada paramōhada
ratnakalpanakhatvi
ā hr̥tahr̥ttamastatimuttamam|
pratyaha
racitārcana ramayā svayāgatayā svaya
citta ci
taya raupyapīhakr̥tālaya harimālayam ||5||

cārupādasarōjayugmarucāmarōccayacāmarō-
dāramūrdhajabhārama
ṁḍalarajaka kalibhajakam|
vīratōcitabhū
aa varanūpura svatanūpura
dhārayātmani raupyapī
hakr̥tālaya harimālayam ||6||

śu
kavādimanōtidūratarāgamōtsavadāgama
satkavī
dra vacōvilāsamahōdaya mahitōdayam|
lak
ayāmi yatīśvarai kr̥tapūjana guabhājana
dhikkr
̥tōpamaraupyapīhakr̥tālaya harimālayam ||7||

nāradapriyamāviśā
buruhēkaa nijarakaa
tārakōpamacārudīpacayā
tarē gatacita rē|
dhīra mānasa pūr
acadrasamānamacyutamānama
dvārakōpamaraupyapī
hakr̥tālaya harimālayam ||8||

rūpyapī
hakr̥tālayasya harē priya duritāpriya
tatpadārcakavādirājayatīrita
guapūritam|
gōpyama
ṣṭakamētaduccamudē mamāstviha nirmama
prāpya śuddhaphalāya tatra sukōmala
hr̥tadhīmalam ||9||
The composition in Sanskrit is:

पालयाच्युत पालयाजित पालया कमलालय
पलया धृतभूधरांबुरुहोदर स्वजनोदर

मध्वमानसपद्मभानुसमं स्मरप्रतिमं स्मर
स्निग्दनिर्मलशीतकांतिलसन्मुखं करुणोन्मुखम्।
हृद्यकंबुसमानकंधरमक्षयं दुरितक्षयं
स्निग्धसंस्तुतरौप्यपीठकृतालयं हरिमालयम् ॥१॥

अंगदादिसुशोभिपाणियुगेन संक्षुभितैनसं
तुंगमाल्यमणींद्रहारसरोरसं खलनीरसम्।
मंगलप्रदमंथदामविराजितं भजताजितं
तं गृणे वररौप्यपीठकृतालयं हरिमालयम् ॥२॥

पीनरम्यतनूदरं भज हे मनः शुभ हे मनः
स्वानुभावनिदर्शनाय दिशंतमर्थिसुशंतमम्।
अनतोस्मि निजार्जुनप्रियसाधकं खलबाधकं
हीनोतोज्झितरौप्यपीठकृतालयं हरिमालयम् ॥३॥

हैमकिंकिणिमालिकारशनांचितं तमवंचितं
कम्रकांचनचित्रवस्त्रकटिं घनप्रभया घनम्।
नम्रनागकरोपमोरुमनामयं शुभधीमयं
नौम्यहं वररौप्यपीठकृतालयं हरिमालयम् ॥४॥

वृत्तजानुमनोज्ञजंघममोहदं परमोहदं
रत्नकल्पनखत्विषा हृतहृत्तमस्ततिमुत्तमम्।
प्रत्यहं रचितार्चनं रमया स्वयागतया स्वयं
चित्त चिंतय रौप्यपीठकृतालयं हरिमालयम् ॥५॥

चारुपादसरोजयुग्मरुचामरोच्चयचामरो-
दारमूर्धजभारमंडलरंजकं कलिभंजकम्।
वीरतोचितभूषणं वरनूपुरं स्वतनूपुरं
धारयात्मनि रौप्यपीठकृतालयं हरिमालयम् ॥६॥

शुष्कवादिमनोतिदूरतरागमोत्सवदागमं
सत्कवींद्र वचोविलासमहोदयं महितोदयम्।
लक्षयामि यतीश्वरैः कृतपूजनं गुणभाजनं
धिक्कृतोपमरौप्यपीठकृतालयं हरिमालयम् ॥७॥

नारदप्रियमाविशांबुरुहेक्षणं निजरक्षणं
तारकोपमचारुदीपचयांतरे गतचिंत रे।
धीर मानस पूर्णचंद्रसमानमच्युतमानम
द्वारकोपमरौप्यपीठकृतालयं हरिमालयम् ॥८॥

रूप्यपीठकृतालयस्य हरेः प्रियं दुरिताप्रियं
तत्पदार्चकवादिराजयतीरितं गुणपूरितम्।
गोप्यमष्टकमेतदुच्चमुदे ममास्त्विह निर्मम
प्राप्य शुद्धफलाय तत्र सुकोमलं हृतधीमलम् ॥९॥

॥इति श्री वादिराजयति विरचितं कृष्णाष्टकम्॥


By the way, centuries earlier, Adi Shankara had also composed a similar composition. Here, Shankaracharya calls Krishna as Jagadguru and this is a composition of eight cantos.