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.

The story of the Chakratheertha

This is the first of the 732 Hanuman idols that the venerable Vyasa Raja or Vyasa Theertha (1447-1539) consecrated. The idol is in Hampi or Vijayanagar and it has an interesting history.

Vyasa Raja was he Raja Guru of  Vijayanagar. He not only stayed in Vijayanagar and advised the Emperor, but also held the position of Chancellor of Vijayanagar University.

Vyasa Raja and his disciple, Purandara Dasa, were inseparable. Purandara was always at the beck and call of Vyasa Raja, whom he acknowledged as his guru. When Vyasa Raja preached, Purandara sang and danced.

Whenever Vyasa Raja stayed at Vijayanagar, he used to walk from the Virupaksha Temple to Chakratheertha where the Kodandarama Temple is situated. This temple is believed to be the precise spot where Rama crowned Sugreeva King of Kishkinda after killing Vali.

Vyasa Raja always had his bath at the Chakratheerta. He then meditated and prayed at a rocky hill adjacent to the Chakratheerta.

Chakratheertha had a special place in the heart of Vyasa Raja as the swirling waters here form the image of Rama. Lakshmana and Sita.   

One day, a monkey came and sat on a rock where ha had drawn it with angara or charcoal. It disappeared into a rock soon after Vyasa Raja completed his pooje. It vanished from the surface of the rock. This happened several times (Legend says it occurred twelve times over a period of twelve days) and for several days. One evening, Vyasa Raja prayed to Prana Devaru and requested him to stay back on the rock and bless people.

Vyasa Raja then composed the Yantrodharaka Hanuman stotra. He then encircled the image with yantra. This is called the Shatkona Yantra or Hexagon which is also known as the Vayu Yantra. Thereafter, the image of the monkey then remained on the rock.

This place is holy as it is here that Hanuman met Rama when he came with Lakshmana to Kishkinda searching for Sita, who had been kidnapped by Ravana.

Today, this area is better known as Yantrodharaka Hanuman. This is the place where Vyasa Raja meditated. This is also the place where Purandara Dasa used to give Hastodaka for Prana Devaru.

It was the Vijayanagar Emperor, Tammaraya, who constructed the Yantrodharaka temple on the rock. He also built the steps leading to the temple.

The temple has attracted Madhwa seers and Haridasas right from the time of  Vyasa Raja. One of the three sons of Purandara Dasa called Madhwapathi Dasa, worshipped it daily. In fact there is story that Madhwapathi Dasa as a child used to return home in Hampi only after the Yantrodharaka Hanuman took the Hastodaka prepared by his father.

Vyasa Raja has composed a song on Yantrodharaka Hanuman and it is called by the same name. This is one of the few temples of Hanuman in a sitting position.  

Raghavendra Swamy, the next avatar of Vyasa Raja, came to Chakratheertha and worshipped the Hanuman temple before proceeding to Nava Brindavana.  Vijaya Dasa, who is believed to Madhwapathi Dasa the son of Purandara Dasa in his earlier birth and also an amsha of Brighu Muni, has composed a beautiful poem on the Yantrodharaka Hanuman.

Surendra Theertha and Vijayendra Theertha of the Rayara Matha, Vadiraja Theertha of  Sode, Srinivasa Theertha and Rama Theertha of Sosale Vyasaraja Matha, Kanaka Dasa, Jagannatha Dasa, Gopala Dasa, Guru Jagannatha Dasa, Mohana Dasa have worshipped the idol at different points of time.

The composition by Vijaya Dasa on the Yantrodharaka Hanuman is a suladi and it goes like this:

Yantrodharaka Hanuma Surasarvabhouma
Yantradharaka Yenage Manasinolage
Yantravahakana Dayadindha
Sakalantaryamiyagi Characharadaliya
Tantravanu Nadesuva Mantri
Eetanu Kano Swatantrapurusha
Vijayavithalana Nijaa Bhakta
Antravilladae Thana Stutiparana Poreva.

One of the most famous disciples of Vijaya Dasa was Gopala Dasa. He too has written a beautiful song on the Yantrodharaka Hanuman.

Idu yeno Charita Yantrodhara
Idu Yeno Charita
Sri Padumanabhana Dhoota
Sada Kala Sarvara Hrudayantargatanagi
Varidhi Gospada Nerante
Dhira Yogasana Dhariyagipudu
Durula Kouravaranu Vara Gadeyali
Konda Karadali Japamale Dharisi Yenisuvudu
Hena Matagalanu Vanili Taridantha
Jnanavantane Hege Mounavagipudu
Sarvavyapaka Neenu Poorvika Devane
Sarvana Pitha Bandu Parvata Sereadu
Gopalavitalage Nee Pretiya Mantriyu
Vyapara Madade Ee Pari Kuli.

The Chakratheertha is one of the most holy spots for pilgrims in Hampi. It is this very place where Vishnu got his Chakra. Since the Tungabhadra flows nearby, it got the name Chakratheertha.

Near the Chakratheertha is the Purandara Mantapa and across the river is Nava Brindavana, which houses the nine brindavana of Madhwa saints. Nava Brindavana is also the place where the first ever Brindavana of a Madhwa saint was built and this is of Padmanabha Theertha, one of the four direct disciples of  Madhwacharya.

The Brindavana of  another of the four direct disciples of Madhwacharya-Narahari Theertha- is also located nearby. His Brindavana is not part of the Nava Brindavana complex. Narahari Theertha has ascended the Madhwa peetha after Padmanabha Thertha.

Chakratheertha has a number of smaller temples and many sculptures that are scatter across the rocks. Some of them include the small Kotilinga which is sculpted on a rock, avatars of Vishnu sculpted on a rock, sculptures of Lakshmi Narasimha and Anantha Padmanabha on boulders and a few paintings belonging to the Stone Age.   

Coming back to the Yantrodharaka Hanuman, Vyasa Raja travelled all over the Vijayanagar Kingdom and consecrated 731 more idols of Hanuman after this one at Hampi. Of the 732, he consecrated more than 360 in Penukonda itself.

Chakratheertha can be described as Hampi’s most sacred bathing Ghat and a point for crossing the swirling Tungabhadra on a coracle.

Nearby is the Vyasaraja Temple which once formed part of the famed Lokapavani University or Hampi University of which Vyasa Raja was the Chancellor. This University had 10,000 students.         

Today, we can see a majority of the Vyasa Prathistha Hanuman in the states of  Karnataka, Andhra Pradesh and Tamil Nadu. Some of the prominent Vyasa Prathistha Hanuman in and around Bangalore are the Gali Anjaneya on Mysore Road, the Kannaspatre Anjaneya or Hanuman in front of Minto Eye Hospital, the Kote Anjaneya in fort near City Market, the Hanuman Temple at Kengal on Bangalore-Mysore Road and the Anjaneya Temple at Honnenahalli near Yelahanka on the Doddaballapur road.

Jaya Vayu Hanumantha

Hanuman or Hanumantha is one of the most important deities in India. He is known by different names in different states and his names are as innumerable as is his prowess.

Even in Karnataka, he is known by different names in different regions. In south Karnataka, he is Hanumantha, while in north Karnataka, he is more popular as Maruti. He is also popularly known as Anjeneya. The Haridasas of Karnataka called him Prana Devaru.

Madhwas or Vaishnavas. Who follow the tenets of Madhwacharya,  revere Anjaneya as the first of the Hanuma-Bheema and Madhwa incarnation.

Hanumantha has played a major role in the Ramayana where he is as important figure as others. Popularly known as Monkey God, our scriptures have invested him with superhuman powers.

In the Mahabharata era, he becomes Bheema and in Kali Yuga he is Madhwacharya, the pioneer of the Dwaitha system and a saint-philosopher par excellence.

Madhwa saints and seer after Madhwacharya have eulogized Hanumantha and one among them-Vyasa Raja or Vyasa Theertha (1460-1539)-consecrated 732 idols of Anjaneya or Hanuman throughout India.

Of them, 365 idols of Hanuman were consecrated in and around Penugonda, now in Andhra Pradesh. Vyasa Raja consecrated the first of these 732 Hanuman idols at Chakratheertha in Hampi or Vijayanagar.

Vyasa Raja, who was the previous of Raghavendra Swamy (1595-1671) was as devoted to Hanuman as to Krishna. He has composed a sloka on the Yantrodharaka Hanuman at Chakratheertha and several other hymns in praise of the monkey god.

Jaya Vayu Hanumantha is another composition of Vyasa Raja. Here is the lyrics in English.

    

Jaya vAyu hanumantha jaya bheema balavantha
jaya pUrna mativantha jaya salaho santha  || jaya||

anjaneyali huTTi andhu rAmana seve
nandadindali maaDi kapi balava kuDi
sindhu langisi kalara vana bhangisi site-
dungurava koTTi lankapurava suTTi  || jaya||

harige chuDAmani yanitthu harigala kuDi
sharadiyanu kaTTi aribalavanu kuTTi
uraga bandandinda kapivararu maimareye
giriya sanjivanava thandhu badukisida || jaya||

dwaparAnthyadalli paanDu bhupanatmanendenisi
sripArtha sArathiya bajaka neenAde
paapi baka keechaka hiDimbakara
kopadindali taride mUrjjagadi merede  || jaya||

dhuradali duryodhanana bhalavanu thilide
aritu dushaasanana oDalanu bagede
urava tappisi kauravanna thoDegala muride
hariya kinkara durandharagaaru sariye  || jaya||

kali yugadali kallarudisi durmatigalanu balisi
sri hariya gunagala maresi
kaliyabbu sarisalu guruvaagi avatarisi
kalara durmata muride srikrishna paranende || jaya||

The composition ends with the ankita or pen name Srikrishna. Initially, Vyasa Raja wrote under the ankita Krishna but he subsequently changed it to Sri Krishna. This is because Krishna came in his dream and told the seer that he (Krishna) was a householder and that he was married and he had children. How then could you call me directly as Krishna, he asked the seer and urged him to give him a little respect.

Vyasa Raja immediately changed the ankita from Krishna to Srikrishna. 

Songs of Vyasa Raja

Vyasa Raja is one of the most important saints of the Madhwa parampare. He started the Vyasa Koota and the Dasa Kota. While the Vyasa Koota was a philosophical movement comprising among others Vadiraja Theertha, Srinivasa Theertha, Rama Theertha, Vijendra Theertha, Sudhindra Theertha and several others, the Dasa Koota was made of poet-composers and singers like Purandara Dasa, Kanaka Dasa, Belur Vaikunta Dasa.

Vyasa Theertha or Vyasa Raja was a master of both the kootas and he has written scores of songs in all genres but only a few remain.

The most famous of his composition is “Krishna Nee Begana Baro” which is sung even today in all the dance programmes.

Vyasa Raja or Vyasa Theertha (1447-1539) first wrote with the Ankita Krishna and then changed to Sri Krishna.

Some of his other compositions include Avava Bageyinda: Bharatipatiya Pada: Eduraro Guruve Samararo: Ellimaya Yaadane: Yenna Bimbamuruthiva: Govinda Govinda Krishna: Jarathvavanu Maadida: Jayavayu Hanumantha: Kava Divayu: Krishna Krishna Krishna: Labavahudu Harikathamura: Mahiume Salade Iste: Pavamana Sanjatha Maruti and Tore Begane Toraja Nayane

The English lyrics of Avava bageyinda are as follows:

AvAva bageyiMda nInE rakShisuveyO

dEvAdi dEva shrIkraShNa nInennanu

hiMdinakAlava vyarthavAgi kaLedenO

muMdina gati chiMte lEshavillavo

saridu hOyitu dEhadoLagina balavella

maMdavAdavu iMdriya gatigaLella

AseyeMbudu ajana lOkakke muTTutide

kAsu hOdare klEshavAguttide

mOsamADi mrutyu baruvuda nAnariye

vAsudEvane enna dayamADi salahO

janaru dEhava biTTu pOpuda nA kaMDu

enna dEha sthiraveMdu tiLidukoMDu

dAnadharma modalAda hariya nEmava biTTu

The lyrics of  edurAro are:

edurAro guruve samanAro

madana gOpAlana priya jayarAya

kaDugarjisuva kEsariyaMte nimma vAda

gaDaNeya kELuta nuDi muMdODade

gaDagaDa naDuguta mAygOmAygaLu

ADaviyoLaDagOru nimma bhItiyali

kuTila matagaLeMbo chaTulaMdhakArakke

paTutara tatvaprakAsikeyeMteMba

chaTulatApadiMda khaMDisi tejO

tkaDadi merada budhakaTakAbja mitra

amita dvijAvaLi kumudagaraLisi

vimatara mukhakamalaMgaLa bADisi

svamatara hratsaMtApagaLODisi

vimala sukIrtiya paDedeyO chaMdra

vEdashAstragalEmbO shraMgagaLiMda su

dhAdi graMthagaLembO stanadiMdopputa tatva

bOdhaneyeMba dugda shiShyavatsaMgaLige

Adaradali koTTa yatisuradhEnu

vyAsasUtragaLeMba maMdaravanu vEda

rAShiyeMba varAShiyoLiTTu

shrI sarva~g~jara vAkyapAshadi sutti

bhAsura nyAyasudhA paDeda yatIMdra

vanajanAbhana guNamanEgaLu sarva~g~ja

munikrata graMthagaLavaniyoLagaDe sa

jjanarige bEkAMjanadiMda tOrisi

ghana sukhasAdhana mADidyOdhIra

ArthimaMdAra vEdArthavichAra sa

martha ShrIkraShNa pAdambhujalOla pra

tyarthi mattEbhakaMThIravakvObya

tIrtha karaja jayatIrtha yatIMdra

The song elli mAyavAdane goes as follows:

elli mAyavAdane raMgayyanu

elli mAyavAdane

elli mAyavAda pullanAbha kraShNa

chelve gaMgaLeyaru huDuka hOguva banni

maMdagamaneyarella kraShNana kUDe

cheMdadi iddevalla

kaMdarpa bAdhege guriya mADidanalla

maMdamati namage baMdu odagitalla

sarasijAkShiyaru kUDi kraShNana kUDe

sarasavADutaliddeve

karekaregoLisi manathribAdhegoppisi

charaNasEvakarAda taraleyaranu biTTu

bhaktavatsala dEvanu tannavarannu

akkaradali poredanu

sikkade hOganu huDukuta hOguva

akkayya bannire uDipi shrIkraShNanu

The enna biMba is anothert famous song:

enna biMba mUrutiya pUjisuve nAnu|

manamuTTi anudinadi mareyadE janarE||

gAtravE maMdira | hridayavE maMTapa | sUtravE mahaddIpa | hasta chAmaravu |

yAtre pradakShiNe | shayana namaskAra | sAstra mAtugaLella maMtraMgaLu ||

 enna svarUpaveMbude rannagannaDi | enna manOvratteyeMbudE Chatrike |

innu nuDiva harinAmAmratavE tIrtha | enna manaveMbudE siMhAsana ||

anya dEvate yAke | anya pratime yAke | anyavAda maMtrataMtravEke |

ennalli bharita sAdanegalu irutiralu | chennAgi shrIkraShNasvAmiya pUjisuvE ||

The Govinda Govinda song is as follows:

govinda govinda kriShnA hari

govinda mukunda gopala krishnA

kaDegannilindomme noDo nee

naDigeraguveno nee dayamaaDo

biDadenna ninnavarolu kUDo en-

noDeya nityaananda nee nalidADo

makkalagoDeya neenaagi hasu

makkalakuDa neenaaDa hogi

sikkide bahu dinakaagi dindi-

mikendu kunisuve baa chennagi

hrudaya kamala dolage ninnA

padakamalavanne nee daya gaiyyo munna

chadura kuniyo chelvaranna vibudara

oDeyane nityaananda Krishna

 

The jAratvavanu song is as follows:

jAratvavanu mADida pApagaLigella

gOpIjana jAraneMdare sAlade ?

chOratvavanu mADida pApagaLigella

navanIta chOraneMdare sAlade?

krUratvavanu mADida pApagaLigella

mAvanna koMdavaneMdare sAlade?

prati divasa mADida pApaMgaLige ellA

patitapAvananeMdu karedare sAlade?

iMtippa mahimeyoLogoMdannAdarU omme

saMtasadi neneye salahuva sirikraShNa

The song on Hanumantha or Anjaneya is equally famous:

jaya vAyu hanumantha jaya bheema balavantha

jaya pUrna mativantha jaya salaho santha

anjaneyali huTTi andhu rAmana seve

nandadindali maaDi kapi balava kuDi

sindhu langisi kalara vana bhangisi site-

gungurava koTTi lankapurava suTTi

harige chuDAmani yanitthu harigala kuDi

sharadiyanu kaTTi aribalavanu kuTTi

uraga bandandinda kapivararu maimareye

giriya sanjivanava thandhu badukisida

dwaparAnthyadalli paanDu bhupanatmanendenisi

sripArtha sArathiya bajaka neenAde

paapi baka keechaka hiDimbakara

kopadindali taride mUrjjagadi merede

dhuradali duryodhanana bhalavanu thilide

aritu dushaasanana oDalanu bagede

urava tappisi kauravanna thoDegala muride

hariya kinkara durandharagaaru sariye

kali yugadali kallarudisi durmatigalanu balisi

sri hariya gunagala maresi

kaliyabbu sarisalu guruvaagi avatarisi

kalara durmata muride srikrishna paranende

The Abhavahudu is as follows:

Abhavahudu harikathAmrutha

padumanAbhana pAdada pathadi

ahudu sajjana gaNake satyA

arishaDvargaMgala toradu

jaridu tApatrayava kaledu

muraharana pAdada pathadi

iralu sajjane gaNake satyA

elu dinavu pariskshitanu

veley arithu hariya katheya

keli mukthanaada mele

kelida katheya kela beku

eraDu galige kaTwAnga rAya

harana puradi sri kRuShNaMNa katheyu

smarisi mukta naada mele

nirutha katheya kelabeku

Another small but beautiful composition on Hanuman is

pavamana saMjata maruti !

ninageNeyaaro ee jagadi maruti !!

aMjane udaradi janiside bhava baMjana namava paaDide !!

aMjade siMdhuva daaTide mudreyuMgura seetege neeDide !!1!!

kuMti kumaara kali bheemane mahadaMta sameera niseemane !!

naMda kishOrana oliside maha saMdhaana korryava seeLide !!2!!

vEdaaGna viprara varasuta divya vEdaaMta peeThada yativara !!

gOpi caMdanadoLu aDagida muddu gOpaala kRuShNana pUjipa !!3!!

hIna viShayagaLigeraguve sirikraShNa

koLalanUduva chadura yaare pELammayya||pallavi||

taLiraMdadi taa poLeva karadi piDidu||a.pa||

naadadi tuMbitu gOvardhanagiri

yaadavakula ghana oreditu khagakula

saadhisi nODalu kRuShNanu Igale

saadhyavE nI bRuMdaavanadoLu||koLalanUduva||

mEvu maretavu gOvugaLellavu

saavadhaanadi haridaLu yamune

aavu kaavutali gOvaLarellara

haavabhaavadali bRuMdaavanadoLu||koLalanUduva||

suraru suridaraakaaSadi sumagaLa

saridu pOgi nODe bRuMdaavanadoLu

saari saari SrIkRuShNanu Igalu

turugaLa taa kaayda kadaMbavanadoLu||koLalanUduva|

Some of these songs are also Taratamya songs. The Taratamya concept was one of the most important tenets of Madhwacharya. For him, there was a clear and distinct gradation of gods or Taratamya and all Madhwa saints, including Vyasa Raja or Vyasa Theertha and all Haridasas accepted and propounded this in their writings.   

Madhwa philosophy in a shloka

India has many streams of philosophy and Dwaitha philosophy first propounded by Madhwacharya is one of the most important schools of thought.

It was Madhwa who first took on the Adwaitha concept  and challenged its concept. He faced both physical and intellectual challenges when he began preaching his Tatwavada or Dwaitha school of thought.

He began demolishing the concept of Adwaitha and went on a pilgrimage all over India to propagate his philosophy. He won over scores of scholars to his side and his first two disciples-Padmanabha Theertha and Narahari Theertha were earlier Adwaitha scholars.

They lost in debate to Madhwa and became his followers as did Pandit Trivikramacharya. The Madhwa school of thought received a further boost when apart from Padmanabha Theertha and Naharahi Theertha, two other able disciples of Madhwa- Madhava Theertha and Akshobya Theertha- took on the mantle of the Dwaithism.

Akshobya Theertha defeated Vidyaranya, the guru of Hakka and Bukka-the founders of Vijayanagar dynasty, in a debate in Mulabagal. After him, Jayatheertha or Teekacharya gave a new meaning to Madhwa philosophy.

Sripadaraja of Mulabagal began propagating Madhwa philosophy in Karnakata. He sang, composed, wrote and even preached in Kannada and brought Madhwa philosophy closer to the masses.

One of the foremost disciples of  Sripadaraja was Vyasa Raja or Vyasa Raya, who later became the royal preceptor of six Vijayanagar Emperors, including Krishna Deva Raya.

While Vadiraja of Sode Matha, who was a disciple of Vyasa Raja, began popularising Madhwa philosophy in coastal Karnataka, Vyasa Raja himself took up this responsibility in the Vijayanagar Kingdom.

He traveled all over India, making the masses aware of  Madhwa Sampradaya. He also set up the Dasa Koota and Vyasa Koota to propagate Madhwa philosophy through music.

He once went to Kanchi or Kanchipuram in Tamil Nadu to not only study further but also take on the Adwaitha pandits.

Kanchipuram in the 15ht century was the stronghold of Adwaitha scholars. Vyasa Raja defeated several Adwaitha pandits in debates.

To long and elaborate arguments on the oneness of God and Man and of no difference between Man and God, Vyasa Raja silenced them with one sloka that contained in a nutshell all the tenets of Madhwa philosophy.

The single stanza goes thus:

“Sri Manmadwanate Harihi Paratara Satyam Jagattatwako

Bhinnajeevagana Hareranucharaah Nichochhabhavam Gata Muktirnyja Sukhanubhhootiratula Bhaktischa Tatsadhanam

Hyakshdritayam Pramanamakilaamnaykavedyo Hari.”

Vyasa Raja recited the sloka when a Adwaitha pandit challenged him to explain the concept of Madhwa philosophy in a single stanza.

What it means is that Hari is real and the world too is real and not an illusion. It says there are differences between God and man and that they are real. It also says that all Jeevas or living beings are servants of Hari and gradation (of Gods) is real.

Today, there is a debate on whether or not this stanza was composed by Vyasa Raja himself. Several eminent Dwaitha scholars have concluded that this cannot be Vyasa Raja’s contribution as the text does not suggest his signature.

Whatever it may be, contemporary accounts suggest that Vyasa Raja did recite this shloka to drive home his point and he did it successfully.

Vyasa Raja along with Madhwacharya and Jayatheertha are considered to be the three main original thinkers of the Dwaitha doctrine. To Vyasa Raja goes the credit of further elucidating the  doctrines of Madhwacharya which had already been commented upon by Jayatheertha or Teekacharya.

He has interpreted Madhwa and his teachings in Vyasatraya. This comprises his three great philosophical works-Nyayavali, Tatparya Chandrika, and Tarka Tandava.

Well, whether Vyasa Raja composed the Shloka or not is not important here. What stands out is that the Sholka has within it the entire philosophy of Madhwa.  

When Krishna reproached Vyasa Raja

Krishna Nee Beegane Baro…….. is perhaps one of the most popular compositions of all times. Infact, this song is closely associated with dance and it generally forms the opening sequence of any performance, particularly Bharatanatyam.

One of the Haridasas was so fond of this song that he included it in his repertoire and sang that in his own style. Over the years, this song was so closely associated with this Haridasa that many people believed it to one of his own.

This Haridasa too did not discriminate between his compositions and that of others. He sang all kinds of songs and as a wandering minstrel, he popularised the Haridasa Sangeeta all over south India.

He also set the tone and tenor of Carnatic music and today he is acknowledged as the first great composer and pioneer of Carnatic music. This Haridasa was Purandara and the man who copmposed Krishna Nee Beegane Baro….. was Vyasa Theertha or Vyasa Raja.

Purandara not only sang his own compositions but generally included Krishna Nee….. in all his performances as a wandering minstrel.

Since Purandara acknowledged Vyasa Raja as his guru, he frequently accompanied him on his tours and pilgrimage. To give an example, Purandara accompanied Vyasa Raja to the Apremeya Swamy temple in Doddamalur near Chennapatna and he was so bewitched by the Ambegallu Krishna idol, that he burst into the song… Jaggadodarana.

Similarly, when Vyasa Raja consecrated the Srinivasa Temple in Chennapatna town itself (It exists even today), Purandara sang and danced and a large number of people donated money with which Purandara built a mantapa which came to be called as Purandara Mantapa.

So, the Guru and Shishya has a close bond and each respected the other. Purandara saw in Vyasa Raja, a seer unparalled in scholastic achievements and a selfless servant of God. To Vyasa Raja, Purandara’s songs were nothing short of musical philosophical treatises which he expounded in Vijayanagar University of which he was the Chancellor.

One day, Purandara had just finished singing Krishna Nee Beegane Baro and Vyasa Raja too was sitting in meditation. Suddenly a flash of light appeared and Krishna appeared in front of Vyasa Raja.

Even as the Madhwa Seer was taking in the glory of Krishna, the God gently castigated Vyasa Raja. Krishna, in his sonorous voice, reminded Vyasa Raja that he (Krishna) was a householder and he had wives and children.

He then sought to know from Vyasa Raja how he could compose songs just calling him Krishna. “I am a householder and I derives better respect. You are a mendicant and you would not mind is you are called in singular”, Krishna told a dumbfounded Vyasa Raja.

Vyasa Raja immediately saw the merit in Krishna’s gentle rebuke and immediately changed the tone of all his compositions on the lord and ended them with Sri Krishna rather than Krishna.

This is not the only time that the venerable Vyasa Raja had the darshan of Krishna.

Several decades before this incident, when he was studying under Sripadaraja of Mulabagal, Krishna had danced before the seer. This is how the incident unfolded.

Sripadaraja was famous in those days for conducting poojes in Kannada and for singing songs in Kannada. One day, he was busy and he asked Vyasa Raja to conduct the pooje of the Saligramas which were kept in a box.

Vyasa Raja commenced the pooje and soon he began singing the glories of Krishna. He took a pair of Saligramas and began singing to the beat of the sacred stones.

Very soon, he opened one box or Samputa which contains idols of gods. The Samputa had the idol of Gopala Krisjna and even Sripadaraja had not opened it. When Vyasa Raja placed the idol of the sacred peeta where other idols were there, the Gopala Krishna started dancing.

A little later, Sripadaraja came and was astounded to see the idol dancing. He immediately handed over the idol to Vyasa Raja and to this dancing deity is in possession of Sosale Vyasaraja Matha.

On another occasion, Krishna the presiding deity of the Krishna disappeared from view when it was being bathed in honey and milk. The devotees, who were shocked, ran to the Madhwa saint with the news. He asked the devotees what might have happened to make Krishna disappear.

Almost all the devotees and even some disciples of Vyasa Raja told him that a farmer whom the seer had allowed near the idol might have polluted Krishna and the lord might have disappeared because of that. They also said that the low-caste person should not have been allowed to tend to the cows at the Goshala as it is a sin.

Vyasa Raja did not say anything. He beckoned to all of them to follow him. Follow they did and to their surprise they found the low caste person scrubbing the cows at the goshala. He was so involved in the work and he was doing it with such sincerity and devotion that he did not even look up to see that Krishna himself was holding up the bucket of water for him to dip his brush and scrub the cows clean.

The devotes and disciples realised their mistake and feel at the feet of Vyasa Raja. The Seer then took the low caste person as his Shishya.  

The last days of Vyasa Theertha

He was one of the greatest Madhwa sages of his times and common men and Emperors alike acknowleged it. He was honored by several Emperors including Krishna Deve Raya, his successor Achurta Deva Raya, the Adil Shahi Emperor who was a biter foe of  the Vijayanagar.

A royal preceptor to six emperors of the Vijayanagar dynasty, Vyasa Raja or Vyasa Theertha had made Hampi or Vijayanagar the home of Madhwa or Dwaitha philosophy. He had, by example,  set the tone for Dasa Sahitya.

Krishna Deve Raya honored Vyasa Raja by performing Ratnaabhisheka and placing the seer on the throne of Vijayanagar for a day. Vyasa’s power and prestige reached a peak during the period of Krishna Deve Raya.

Vijayanagar then had two durbars-the royal one in which Krishna Deve Raya presided and the Dharmic one in which the venerable Vyasa held fort. In this court, even the Emperor was only a mute spectator.

Vyasa’s durbar was attended among others by Vadiraja Theertha, Purandara Dasa, Kanaka Dasa, Belur Vaikunta Dasa (He did not stir out much from Belur and the only time he travelled was when he visited Hampi) and others such as Srinivasa Theertha and Rama Theertha, both followers of Vyasa Raja . Even the Portugese travelers Paes and Nuniz paid respect to Vyasa Raja in his durbar.   

Krishna Deve Raya died in 1529 and he was succeeded by Achuta Deve Raya. Achuta Deve Raya  showered Vyasa Raja with the same affection and respect as Krishna Deve Raya.

However, sometime during 1539, Vyasa Raja felt that his end was near. He recalled the curse of Brahma when he was Shanku Karna, Brahma had cursed him with being born a Brahmin and to live on earth.

Shanku Karna then had been plucking flowers for Brahma and he had stayed back awhile to admire the melody from the Veene of Saraswathi. Brahma had been angered by the delay of Shanku Karna in bringing him flowers for the worship of Narayana. He had then cursed Shanku karna.

Though born as Balmiki Raja, Shanku Karna had not been able to throw away the curse of Brahma. He had died at the hands of Bhima during the Kurukshetra War.

When he was reborn as Vyasa Raja, he realised that he would have to complete the curse of Nrahma. Hence, he had chosen to stay for long time in Hampi, particularly Nava Brindavana, which was the very place from where he had plucked flowers for Brahma.

Vyasa Raja visited Nava Brindavana frequently and paid his respect to Padmanabha Theertha, the first direct disciple of Madhwacharya. Apart from this seer, two others-Vageesha Theertha and Kavindra Theertha-had their brindavana at Nava Brindavana.

All these saints had left a place in the centre of the Nava Brindavana and Vyasa Raja had chosen this spot for his Bindavana Pravesha.

Vyasa Raja had made his intention to enter Brindavana clear to Achuta Deve Raya and his composer Dasa, Purandara. His two Shishyas, Srinivasa Theertha and Rama Theertha, too had been informed.

During the last few days of  his physical presence, the Emperor (Achuta Deve Raya) and the wandering ministrel (Purandara) were constantly on attendance to Vyasa Raja. They tried to fulfill each and every need of Vyasa Raja.

Even in those last few days, Vyasa Raja continued reading texts and teaching his pupils. When his eyelids drooped due to old age, he asked Pyurandara to hold them up so that he could continue reading uninterrupted.

On the day he was to enter Brindavan, the Emperor and Purandara were at his side. Vyasa Raja looked calm and composed though he knew his end was near. He began his pooje and slowly sang his favourite “Krishna Nee Negana Baro,” which he had composed some decades earlier. (This song is wrongly attributed to Purandara. By the way, this was one of Purandara’s all-time favourite and it was always on his lips.) 

Another song he remembered was, “Puttadhante madu srushteesa Sri Krishna Pattabhi Ramane Parama purushotthamane gettiyaagi ninna padhagala nambidhe.” He was continuously chanting the  name of  Krishna. He had worshipped Krishna uninterruptedly for more than eight decades. 

Looking at Vyasa Raja, Purandara  burst extempore into one of his songs. He likening the movement of Vyasa to the Brindavana to the movement of a jewel bedecked chariot. This, Purandara said, was the journey from Satyaloka to Devaloka.

All the while, Vyasa Raja was majestically sitting in Padmasana. He appeared oblivious of everyone near him who were in tears. The man who shed tears most was Puurandara. The Emperor  Achuta Deve Raya too was in tears.

Vyasa Raja was entombed in the Brindavana in the middle of Nava Brindavan. The day was Saturday and the date March 8, 1539. He had been born on April 22, 1447 in Bannur near Mysore and he was 90 years old or a little more at the time of leaving the mortal world.

Even as the large crowd watched, the last stone was placed on the Brindavana and the Emperor and Purandara among others walked back to Vijayanagar. Strangely, the lively city of Vijayanagar seemed to be enveloped in an eerie silence and all forms of gaiety had ceased on that day.

Purandara says he saw Vyasa Raja being taken in a special plane to Vaikunta.

During subsequent days, Achuta Deve Raya personally monitored the completion of the construction of the Brindavana. As far as Purandara was concerned, he seemed to be lost in thought and he began spending more and more time at the Puurandara Mantapa near Nava Brindavana. 

Much of the material for this article is taken from Vyasayogicharita, a wrok by Somanatha, a Smartha poet and contemporary of the seer, the biography of Vyasa Theertha by his immediate successor to the Vyasa Raja Matha, Sreenivasa Theertha and the poems of  Purandara. I have also referred to the chronicles of the foreign travelers who visited Vijayanagar during the time of Krishna Deve Raya and Achuta Deve Raya and also accounts of Vijayanagar Empire by historians of Adil Shahi court.