Krishna Seva

[Sital]

Jai Shree Krishna,

Thanks Pusthidasji, for your prompt reply and further elaboration on Shodash Shringar.

Regards the book, any volunteers?

JSK
_________________
Madhurkomalkant padavali namami
Sital

[Trushna]

Jai Shree Krishna,

Well Sitalji I think we should write the book about women! Vaishnav women! After all we know quite a few! Lets do a study on Vaishnav Women and their different bhavs, attitudes and styles?

But speaking for Sitalji and myself, firstly Pushtidasji we eagerly await your next posting? Where are you?
_________________
Yadi Shree Gokuladhisho dhrutah sarvatmana rudhayi, tathi kimparambruhi loukikai vedikai rapi
Jai Shree Krishna

[Sital]

Jai Shree Krishna,

Trushnaji, extremely fascinating theme, suggest for you to commence this study, promise I will join you later on I suspect this investigation to continue eternally, as women are beyond doubt a reflection of Thakorji’s complex character

Yes Pusthidasji where you hiding? We on Tibari are all in virah

JSK
_________________
Madhurkomalkant padavali namami
Sital

[Pushtidas]

Jai Shree Krishna.

Thank you Sitalji, Palnaji and Trushnaji. Your comments noted and I am graced by your love for satsang. Here is the next posting. Please enjoy the posting.

Now after the Sodas Shringar we retreat to our main posting. To nudge your memory, before we talked about shringar Rasa, we were indulging eminently into the three swaroop which Shree Vallabh had discussed. In Siddhant Muktavali Shree Vallabh mentioned three swaroop of Shree Yamunaji and these are (1) Adhidaivik, (2) Adhyatmik and (3) Adhibhautik.

We did discuss Adhidaivik swaroop before Shringar Rasa, now the next, the second swaroop, Vallabh mentioned is of Adhyatmik.

Bhautic, Adhiyatmik and Adhidevik swaroop

The life and story of Shree Yamunaji began with her Journey from Shree Thakorji’s Shree anga (body). She was formed from His heart. This process is of Leela swaroop. In Nitya-leela her swaroop is designated as dual (dwaita) swaroop. In leela her dual swaroop are known as ‘Rasa’ swaroop and ‘Ghana’ swaroop.

Ghana swaroop is the swaroop which was formed from Thakorji’s Shree anga. This swaroop is known as a female part of Shree Krishna, hence is known as Krushnah.

In Nitya-leela the leela called ‘Suratkeli’, and it was due to this leela we were fortunate enough to get the second swaroop of Yamunaji known as ‘Rasa’ swaroop. In Suratkeli leela, the flow of Shrama-jal gathered and overflowed as ‘Sindhu’ (Sindhu=sea). This Nitya-leela river was so large and was so deep that its depth was bottomless, unfathomable. Because of its profound depth, the river was classified as sea (Sindhu) and became icon of the sacred water of Nitya-leela.

This process is known as part of the universal creation and is called cosmologies and it includes cosmogonies, that is, accounts of how the world and its entity is formed or began. Often these have been evaluated as quasi-scientific accounts and then have been measured for worth in current or against current theories in Natural Science.

In fact, a religion may have many cosmogonies, often contradictory of each other, each of which serves a different purpose. There are at least five creation stories in Jewish scriptures and many more than that in Hindus. The point is that religions devise and elaborate cosmogonies and cosmologies, not in order to anticipate the brief episode of 20th-century science, but in order to display the universe as an arena of opportunity, the opportunity to live in the ways and for the purposes that a religion suggests or demands. Here the cosmos is the bearer of meaning, and shows particular ways to act and live with different cosmic visibility and living.

The sweet vibrating sound of Sindhu swaroop flow gave its name as “Virja”. So in Gaulock (Nitya-leela) the Shrama-Jal of Suratkeli mixed with Yamunaji’s own Shrama-jal which was also abundant (profuse) during the same leela.

Shree Yamunaji is that ‘Rasa’ swaroop. This swaroop was also formed from Thakorji. This formation (Pragatiya) happened in Ravi-mandal (also known as Suriya mandal). The Narayan swaroop in Suriya Mandal was the swaroop who formed the ‘Rasa’ swaroop of Shree Yamunaji. There was also a small stream of Yamunaji which did spring from Narayan during formation of Rasa swaroop. This stream fell on Kalind-giri (Mount Kalind, giri=mountain) and from here Shree Yamunaji ascended on earth. Shree Yamunaji’s vocation to bless with her water and bring about that auspicious spirit purification when anyone who swims in her waters. And this is how Shree Yamunaji arrived on earth.

All the Vraj Bhaktas who enjoyed the privilege in taking part in Maharaas were enjoying the shrama jal, an alokik sign of enjoyment of Maharaas. This shrama jal then was immersed in Shree Yamunaji’s water with Thakorji’s Shrama jal (this jal is known as Adhidevik jal swaroop) and hence the Yamnastakam stanza:

"Smara, shrama jalanubhi."

This way smara shrama jal was mixed with Shree Yamnaji's jal (Her jal was from Aditya Narayan so her swaroop is known as Adhiyatmik ) and in her jal the Adhidevik jal was mixed.

In Sarasvat Kalpa (Shree Vasantbhai, our admin has explained very well about the four kalps and time schedules and scales of time in his article, please refer to the article for further details on Kalpa) Shree Thakorji appeared as Krishna on the earth. With Him came all His parikar (close associates, sakhis and sakhas). Thakorji appeared in Gokul at Nandraiji and Shree Svaminiji appeared as Radhaji at Vrashbhanji's. Rest of parikar, appeared as Gopes and Gopis. At that moment Shree Yamunaji also appeared as daughter of Bhanu Gope and her swaroop is known as Bhanu-Tanya (tanya =daughter), daughter of Bhanu Gope. And this swaroop is said to be the from Ghana swaroop (see above).

Now as I explained above the various swaroop of Yamunaji, the next swaroop of Yamunaji appeared in Svatvaraha Kalpa. This swaroop is known as Kalindi. (The Rasa swaroop which appeared from Aditya Narayan is Jal swaroop which also appeared at Kalind Mountain. This swaroop is separate from Svatvaraha Kalpa swaroop). Kalindi swaroop appeared from Suriya Mandal as well. But this swaroop was formed by the Sun with association with his wife Sangna (she is also known as Sanjavali). Sangna bore twins, Yam and Yami, Yam was born as a male counterpart and the female was Yami. According to Akhiyaka notes (an old Puran which recorded this event) Yami decided to join Yamnaji's rasa swaroop on Kalind Mountain. Yami resided on the summit of Kalind in a cave (Kandra). Here Yami decided to meditate (taap) and the reason for meditation was to acquire Krishna as her husband.

Yami now became sixteen years old. She grew into a most ravishing full fledged woman. She was still doing the meditation and it was on one of these days when she was engrossed in meditation, she heard a voice from the sky, informing her of Krishna's appearance in Gokul. So she decided to visit Krishna. She came down the mountain and started her journey towards Gokul. On that day King Kalindrai was also hunting in the vicinity. He saw her and was overpowered by Yami's beautiful torso. He dismounted his horse and ascended towards Yamiji. He was taken up with her jubilant beauty, he forgot his manners and held her hand and asked her to marry him. Yami was taken aback with this suggestion and scorched his body with her eyes and with that look, king's whole body was covered with leprosy (Koodh).

Kalindrai quickly composed himself and was also quick to realise his mistake. He thought this lady must be an Oracle and he has offended her so he knelt in front of Yami and begged for her forgiveness.

'You have received leprosy because you touched my beauty and body which I had acquired and enhanced it for Shree Krishna,' Said Yami.

'Please forgive me, I am really sorry, I don't know what came over me,' said Kalindrai.

After the King's humble plea, Yami replied,' I had kept my body, beauty and soul intact for Krishna in Gokul as I wanted to woo Him as my husband. Now that you have used Kaliyug lust for this body, I cannot offer this body to Krishna. I have to destroy this swaroop.'

Yami, the Suriya putri, Yamnaji was distressed and was about to disappear, but the king kneeled before her and begged her not to do so and asked her to be his daughter.

Yami then retreated and replied,' I have no other option and I have to destroy this body. As you have done many good deeds as king, I forgive your sins. Although I cannot face Shree Krishna with this Parthik (Earthly body) I will have to destroy it. I have decided to enter into "Rasa" swaroop and flow into river. This water will become sacred and auspicious water and when you bath into this water, your leprosy will disappear and thou shall be back to original body free of any disease.'

'Oh humble and kind devi, thank you for your grace, but I feel guilty about destroying your chances to woo Shree Krishna, is there anything I can do to help? Is there any solution to this predicament?' King still kneeling, with tears in his eyes, both hand folded and said in a soft remorse voice.

Yami looked at the king, paused, stared at the direction of Gokul as if seeking advice from Shree Krishna, she closed her eyes. There was a silence in the air, everything seemed to stand still. All the trees, flowers birds and animals stopped, they were all anxious to find out what will Yami say next. She, to win Krishna had engaged herself in ascetic practice to make her body glow.

It seemed an eternity, the seconds passed away and then minutes. King was full of tears. He looked at the powerful torso of Yami swaroop and absorbed every moment of her auspicious smile. A ring of fire appeared over Yami's head and then a halo. King did sastang dandvaat pranam and she opened her eyes and asked Kalindrai to get up.

'I will enter the sacred water and reappear as your daughter. I shall be known as Kalindi and the part of river where I will enter now will be also known as Kalindi River. This was Yamunaji's "Bhautic Swaroop".

All the animals and birds and the nature rejoiced, and she entered into the water and resided at the bottom of the river where she started the ascetic taap (meditation). Here Shree Krishna appeared and promised her that He will marry her when he becomes the king of Dwarka, she became the fourth queen of Dwarkadhish (Krishna was called Dwarkadhish after he ruled as a king over Dwarka. Dwarkadhish=king of Dwarka).

So from all this, it was deduced that the Swaroop of Kalindi (the Suriya Putri) is Bhautic swaroop (earthly form) which came from Suriya Mandal. Inside this Bhautik swaroop lies that water which was known as Rasa swaroop. This Rasa swaroop which came from Ravi Mandal from the heart of Aditya Narayan, and this Rasa swaroop is known as Adhiyatmik swaroop. Under Rasa Swaroop also known as the "Tirtha Swaroop" lays the Smara Shram Jalanu water. This water is known as Adhidevik swaroop.

So when anyone takes bath in Yamunaji River they benefit from these three auspicious waters. The Pravahi soul will be touched by Kalindi water (Bhautic swaroop) which destroys sins of that soul and Yamaraja will not touch that soul at the death bed, but Vishnu Doot will be taking charge of the soul.

Mariyada Bhakta and Gyani (knowledgeable, scholar) will be touched by Adhiyatmik water and receives Moksha.

Pushti Bhakta are blessed by Smara Shram Jalanu (the Adhidevik swaroop) and acquires that Pushti fal. These three waters of Shree Yamunaji are well described in a Pad by Shree Surdasji:

Mariyadadik kahe, loukik sukh lahe, Pushtiko Pushti Path, Nishchay ju mano.
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Dasa nu das
Pushtidas

[Pushtidas]

The Ras-leela

We have now established that Shree Yamunaji has main two main swaroops and these are Nikujeswari and Raseswari. She is also Nirgun Bhav Svaminiji. Because of this, Shree Thakorji has also graced her with 'Tatsukh' bhava. Always ready to help others and never puts her interest before anyone elses. She is always present in all Raas-leelas as venue for Raas is always on her banks. After Raas everyone washes the Shram jal in her water. She is never away from Thakorji; in fact, she is His constant companion.

There are many leelas of Shree Yamunaji, but only two are very popular, as they are the most popular, we shall indulge in these leelas and demonstrate the reasoning behind these leela.

1. Sarad Purnima -Leela

This was the first Sharad Purnima Raas manorath in Adivrandavan (adi=ancient), Parasoli. It was the beginning of Shree Krishna's manorath, there was desire, which was the first seed of the 'mind' which Thakorji wanted to plant, it is also was well depicted in Rg Veda. Our Hindu philosophy on pleasure and games believes that the process of creation of anand (happiness and joy) emerged from a primordial (prehistoric) chaos of frenzied disorder. Shree Krishna wanted to create that joyful frenzied chaos in Raas-leela. This Raas-leela devolution became, over time, the traditional Hindu views of creation of flirting and the joy of creation and it was manifested as erotic hierophant making the Raas-leela a sacred creation. Krishna interprets and expounds the meaning of obscure and mysterious raas, especially, sacred doctrines or mystery of Raas-leela.

On this particular night He played His flute and called the Vraj Bhakta to join in the Raas-leela. He wanted these Vraj Bhakta to view His world as He made an intimate connection with nature. Just as earth bore grain, the trees bore fruit and the animals produced young ones, these Vraj Bhakta were invited to indulge in their desires and marvelled at the miracle of intimate birth of joy, rejoicing in the raas intimacy that made such creation possible.

Krishna's manorath was viewed as a prerequisite, preconditioned for existence, the pursuit of pleasures of Bhakta body with Spiritual Krishna body, one way of contemplating the spiritual union that one aspired for. The need to apprehend Anand (bliss, pronounced as Ananda) as well as the pursuit and understanding of Sukha (pleasure and happiness), which included all the permutation of love and pleasure, became a subject of rigorous inquiry for Vraj Bhakta.

When Bhakta arrived, with awe and wonder, and the coming together of Shree Krishna and Gopis was considered magical, Shree Krishna then spoke very softly and firmly:

'The need to fully comprehend, explore and sustain the magical moments will become an end in itself, we need to balance spiritual celestial body of mine with the alokik human body of yours (Gopis). To balance these differences, which will have curiosity to lead to contemplation, and the study of human desires will become the basis for top notch human love and pleasure. To acquire this with the thread of spiritual entity embedded deep into my clothes, its fabric. These clothes and my Shringar, ornaments have that alokik Ashvariya (supremacy). As long as I have these cloths and ornaments we will not have that balance and Gopis, you all will be deprived of real sukh of raas. So I have decided to discard all my cloths and the shringar, I hope you all have to objection no this.'

Shree Krishna paused and then smiled at one of the Gopi, Chandravaliji. She had a twinkle in her eyes and said, 'Kana, we do not worry about these petty things, all we want is to enjoy your company and the Sharad Purnima and the raas.' All the Gopis soon joined her and they all spoke the same language, the language of Chandravaliji.

'Ah but I will only discard my cloths and shringar on one condition.' Krishna said with tongue in cheek.

'Huh, as always, Kana you make simple things so complicating, Prabhu just discard your clothes and Shringar and let's get on with it.' Chandravaliji also said in the same mode, tongue in the cheek.

'Chandravaliji, it is not really complicating the issue, as these items of clothes and ornaments have that Ashvariya, they cannot be hanged on tree nor are they are supposed to put on the ground, if one does that then I will loose the supremacy and will be unable to give you that ultimate raas Sukh. I want someone to volunteer and that Gopi will have to hold my clothes and ornaments in her hands all the time when we play raas. She must at no time put these items on the earth. That is all I am asking. Simple?' Shree Krishna stared at these young Gopis. They looked at Krishna and then started discussing the matter amongst themselves.

This way Thakorji was testing the ground of Tatsukh, He wanted to see who will confine herself to the way of and practice of Tatsukh by isolation from Raas, but choose to explore the entire range of refinements that will make her life worthwhile. According to ancient wisdom, the life of a human being was directed to three goals, these goals are known as trivarga. The striving for good Dharma or right conduct: useful Artha or material possessions and well-being, and Kama, the love and the associated pleasures of the senses. Practicing these three aspects of life made it possible to lead a meaningful and joyous life both in the world (Bhutal) and the spiritual. Thus everything in life is a function of the proper place, time and person, or desa, kala and patra. By employing these aspects into correct combination, one could discover the meaning and the grace of life and relationships. These were strong elements of one powerful element known as Tatsukh. The Tatsukhology thus became a science, a Shastra. The Tatsukhs were perceived as being a refinement of the physical on a higher plane of consciousness and lust embraced as an integral part of a full and complete life and feminine beauty. Tatsukh became Shringar, the art of adornment and sixteen virtues of shringar, sixteen branches of fine character, virility and aphrodisiacs of beauty, etiquette and manners of prem, love. This is what Krishna wanted to test and He waited for that Gopi to volunteer.

All Vraj Bhakta were engrossed into a big thought, this alokik auspicious occasion will never come there way and none of the Gopis wanted to branch out of Raas and stand away from ultimate pleasure. They were longing for this moment and were hungry for this moment, now that the fruit of pleasure is laid in front of them, they want to indulge into it collectively. They were confused. Who will volunteer? They looked at each other searchingly, apprehensive and with anticipation. No-one came forward.

At this moment Shree Yamunaji was also amongst the crowd. She thought about the situation. No one was coming forward. Moon was shinning and it was already mid-night, the precious time was being wasted and these Gopis will not have enough time to enjoy Sharad Poonam. This is an opportunity to serve Bhakta and Gopis and there is also a pleasure to see Thakorji dancing away with His Vraj Bhaktas, to observe and enjoy that happiness on their faces. This thought made her smile and she blushed a little as well.

She clasped her hands together and requested Krishna, 'I will look after your cloths and ornaments. You enjoy the Raas sukh and make sure that all Vraj Bhakta have that opportunity to enjoy your swaroop rasa. That is my sukh as well.'

Every one cheered Yamunaji and Krishna was very pleased to hear this lovely render of Tatsukh. Shree Thakorji took all his abhushan (jewels) and Vastra (Cloths). He also made Yamunaji to follow the suit and then He dressed her with his cloths and jewels. She looked gorgeous, a female version of Shree Krishna, in fact she looked very much like Krishna. Even Shree Krishna was impressed to see her beauty and Krishna swaroop.

Sharad Poonam ras started and everyone enjoyed Krishna swaroop Ananda and Yamunaji felt all that Ananda through Krishna Shringar and Vastra.

This is Yamuna Maya, the majestic woman of Tatsukh. The is a unique character of Shree Yamunaji. She is not only Maya of Bhakta but also a lovely sakhi to Svaminiji (Radhaji).

The second famous leela is Krishna Maan Bhang leela with Svaminiji. Yamunaji dressed up like Krishna and presented herself to Krishna and this way she aided Svaminiji in Maan Bhung leela.

Does anyone know of this leela? Then please narrate your version of this leela in the Tibari. I would love to hear from you the vaishnavs.
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Dasa nu das
Pushtidas

[Vasant Punjabi]

Jai Shri Krishna,

Enjoying your satsang excellent inputs.

Pushtidasji we all know that your description of the Lila will be the best anyway will just make an attempt.

One day Shri Svaminiji asked Thakorji that She had lots of practice in doing maan and Thakorji had lot of practice in Maan Bhang (breaking maan); so She suggested it is His turn to do maan and She would do the maan bhang leela.

Thakorji agreed and Shri Svaminiji tried her level best to entice Thakorji but She was unable to break the maan. In the end Svaminiji decided to seek help from Shree Yamunaji.

Shree Yamnaji changed from her sari to Mukut-kachni (Dressed as Krishna)and faced Krishna. Lord Krishna (Thakorji) looked at Yamnaji dressed as Krishna, started laughing and this way His Maan Leela was broken and since that day Thakorji asked Her to wear Mukut Kachni dress most of the time.
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Vasant Punjabi.

"Shri Vallabh Shri Vithal Sukh-kari naa-me nishpap thai nur-nari,
------Nitya Lila nitya nautam shruti na pame par."----

[Nital]

Jai Shree Krishna,

I'd like to ask when was the first time that Maiya dressed up as Krishna? Was is when Thakorji dressed her before the raas or was it at the time of the maan bhang lila or was it on some other ocassion?!

Thank you Pushtidadji for such lovely, amazing satsang.

JSK

[Pushtidas]

Jai shree Krishna

Thank you Vasantbhai, that was a lovely story, short sweet and precise.

Nitalji, Kunj was the Maan Bhanga leela, it was then Yamunaji dressed up as Krishna and since then she was able wear Mukt Kachni.

When Shree Krishna dressed Yamunaji at Sharad Poonam Raas, it was the first time she wore the Krishna outfit, so yes that was the first and this gave her an idea to wear it again when svaminiji asked for her intervention to break Krishna maan bhung.
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Dasa nu das
Pushtidas

[Sital]

Jai Shree Krishna,

Wow, mind-blowing postings By imbedding the science of tatsukh Maiya was given the supreme fal, able to experience and witness Him and all His Leela’s simultaneously.

Pusthidasji, when Maiya volunteered to look after His Shringar and vastra, was it also for the reason that she wanted to enhance the raas leela by decanting superfluous vibes to gopi’s as she had attained perfection in Shodash Shringar, which would heighten the pleasure for Bhakto and Thakorji?

Is it always necessary for a sakhi to be present to take care of Thakorji vastra and shringar whilst He is imbibing in vihaar games with bhakto?

Thanks for the lovely renderings

JSK
_________________
Madhurkomalkant padavali namami
Sital

[Pushtidas]

Jai Shree Krishna

Sitalji this is what you asked:

[Sital]

Jai Shree Krishna

Thanks you so much Pusthidasji, that was a very interesting explanation

JSK
_________________
Madhurkomalkant padavali namami
Sital

[Pushtidas]

Thank you everyone for taking such keen interest in the 41 Pada of Shree Yamunaji. This subject is getting popular and it has also opened a new wave amongst younger generation of Vaishnavs. I received about twelve email asking if it is all right to do these padas outside the apras. Few of you asked if Yamunaji is into Premlakshana Bhakti.

Shree Yamunaji's 41 Padas can be sung, recited or glorified in and out of apras. Many vaishnavs sing 41 Padas during Yamunaji’s Lotiji Utsav and many do recite as a path early in the morning, so it seems we do not have any set rules for these renders of 41 Padas.

Premlakshana Bhakti has always been of importance for her in the Path of Grace. We saw Shree Yamunaji’s tatsukh character earlier, in that Leela Yamunaji also demonstrated the desire and ability of Premlakshana Bhakti.

Shree Gopalbhai in his renders of “Vallabh akhiyan” said the immortal stanza:

Aap seva kari shikhavay Shree Hari, Bhakti pana vaibhav sudhadh kidho

In a similar way Shree Yamunaji has taught us that we should practice the science of Tatsukhology which depicts love. This is the love for Thakorji which then converts into service with love, known as Premlakshana Bhakti. So this Tatsukh leela was to teach Pushti Jiva the Premlakshana Bhakti. Shree Thakorji has also always been Tatsukh lover, so he has been reciprocating the compliments by setting Rasa-leela especially to grace and make Shree Yamunaji happy. Thakorji did many leelas for Shree Yamunaji and most of these were very romantic leelas and hence these leelas are known as Rasa-daan leela in Pushtimarg. There are many leelas and we can fill postings after postings to write all of them here in Tibari, but we will only choose one leela which is very significant.

I chose this leela because this leela shows a significant level of tatsukh she showed towards Thakorji. It has an amazing style in the way she returns compliments to her Prabhu, it shows that Yamunaji’s swaroop does not only show that tatsukh only to Bhaktas but she also shows that element for Thakorji’s happiness and in doing so she also has demonstrated how much she understands Thakorji’s leela. The leela which I have chosen is the leela which is known as Chatrabhuj Leela.

This leela demonstrates:

1. Shree Thakorji adores Yamunaji and shows it by Rasa-daan leelas.
2. Thakorji rewards the Tatsukhology concept.
3. Even after the Rasa-daan leela Shree Yamunaji bestows tatsukh within the boundary of leelas.
4. It was the Chatrabhuj Rasa-daan Leela which made an impact on Dwarka leela.
5. As a result of this Chatrabhuj leela, we see why the future flared into the Dwarkadish leela.


All the above are demonstrated very well in this leela. I am sure you all are impatiently waiting to read this leela, so I will now try my best to put this Chatrabhuj Rasa Daan Leela into words. These words might not do the leela justice, but I shall try my best. Here we go, please indulge into Rasa Bhava of this amazing leela.

One day Shree Yamunaji was having siesta with a few of her close sakhis in her Kunj (garden). They were occupied in reminiscing the Rasa leelas of Shree Thakorji, the clever but very amusing leelas were remembered during the yatra of memory lane. The rituals sustenance of Thakorji’s image and swaroop were adorned by the sakhis and Shree Yamunaji enhanced these leelas by adding her versions which involved a sweet understanding and sound in-depth realm of leelas. Her renders of leela prasang (event) fulfilled the Kunj’s atmosphere with laughter and sometimes it amazed sakhis with mystic and majestic objective darshan of these leelas. Her style and the rendering narration were unique and vibrating. These leelas are revered by these sakhis with faith in their hearts. She was at this moment the icon of leela Rasa Veda Maharani.

With his divine power Shree Krishna was listening to the chats and the leelas, rendered by Shree Maharani Shree Yamunaji. This inspired him to add another leela, a leela of Rasa daan, which he exclusively culminates for Yamunaji and Svaminiji.

Shree Thakorji wanted to venerate Shree Yamunaji and give a special leela in the divine hierarchy. He decided to enter Maiya’s Kunj from the back door (dwar). Krishna approached her from behind. All the sakhis could see Thakorji and were surprised to see Him there. They were about to warn Yamunaji, but Shree Krishna silenced them by putting his finger on his lips, as a suggestion to keep it as a secret. All this time Shree Yamunaji was engrossed in leela Rasa bhava. Shree Thakorji crept quietly, softly, softly silently and stealthily behind her and clasped His hands on her eyes. Krishna’s (Thakorji’s) hands were so soft that Yamunaji was baffled, he had done this deliberately, slow, careful and in a quiet way, just to confuse her. She was unable to recognise her lover’s hands, the hands she had always adored and knew so well.

‘Who is it? Who is it?’ She exclaimed. Her voice trembled and huskiness was apparent, it showed that she was really unaware of who these hands belonged to, a momentarily strange feelings gathered into a cloud of uneasiness within her heart. Thakorji kept quiet.

‘Please tell me who you are?’ Yamunaji repeated. There was a rise of panic in her voice this time, Please reveal yourself as these unknown hands have created uneasiness and your silence turns me into stale crumbs that is being eaten by the tiger of time, the time of silence.’

At this point Thakorji created two more hands, he also held flute in them and started playing a theme, a raga which rendered the reply to her searching question. Krishna replied by playing a tune which said, ‘I am your Shyam’.

This was a tune she loved and when she touched the flute and the hands, she was reassured that this was definitely her Shyam, her Krishna. She gathered courage to pull the soft and auspicious hand away from her eyes, quickly turned around and hugged her beloved Thakorji. She was so happy and ecstatic that she started kissing and hugging all four hands, the chatar bhuja (chatar=four, bhuja=hands).

She softly bit one hand and produced Sankha, (the Conch Shell). This conch shell later became very important one. It symbolises “Om” the primordial vibration from which creation emerged. It is blown at temples as an indication of the presence of Lord Vishnu.

Then she adorned his second hand with her hands, she smothered her hands as if to massage the soft cuddly hands of Krishna. This gesture produced a beautiful golden mace (gadda). This Golden gadda became the symbol of primeval (development) knowledge and the power of minds, namely control, authority and the maintenance of order.

This time she kissed the third hand. Her lips were soft and sensual; they were the shape of lotus petals. Yes you guessed it, these kisses produced the lotus flower, (padma=lotus). This water lotus known as Padma became a symbol of universal purity, as well as fertility. Vishnu’s consort Lakshmiji is often depicted seated on this water lotus.

And finally she looked at the fourth Bhuja which held that enticing flute. She softly touched Thakorji’s hands and hugged the hand and brushed the hand over her breasts and the friction produced a very amazing Discus. She being Suriya Putri, was able to gather sun rays and universal atmosphere into the Discus. The Discus in Hindu religion is known as “Sudarshan Chakra”. The Chakra is a symbol of mind and the sun, which is a symbol of universal domination. It is used by Vishnu to Protect His worshipers the Bhakta.

The four arms “Chatar Bhuja” are symbols of the four principle directions of space; north, south, east and west,

Yamunaji was excited and was pleased with the four hands of Thakorji and she said, ‘Thakorji, Prabhu you look extraordinarily ravishing with this Chatur Bhuj swaroop. Please keep this form.’

‘What shall we call this form?’ Thakorji asked.

‘O my Lord, I love to remember all leelas with a special symbolic name and I want to also remember this Chatur Bhuj Leela and its special form. You have really opened my netra (eyes) dwar (the door) by clasping your hands over my eyes. I am Jal swaroop and sometimes in private you call me as ‘ka’, a nickname for water queen. And lastly you reside as Radayadhish (king of my heart) in my heart, so I want to name you using all these three names together.’ She spoke with anticipation and excitement.

‘Sure Yamuna, as usual you have always complimented every leelas with your tatsukh bhava and given me symbolic gifts, these four items, Sankha, Chakra, Gadda and Padma are best and I shall wear them close to my body with Chatur Bhuj swaroop. As you have asked me to keep this form then you should name this swaroop as well.’ Shree Krishna replied.

‘Oh Prabhu, you are very kind and gracious. I shall name you Dwar (door=entrance)ka (water) dhish (the king)., Dwarkadhish.’

‘Done, Yamuna, I shall use Dwarkadhish in Krishna Avatar. After Mathuradhish leela I will become Dwarkadhish. I will raise an Island from sea and build a whole new city and call it Dwarka, the Entrance to sea (water) and I will make you my fourth queen, the patrani of Dwarka and you will be known as Kalindini.’

Shree Krishna showed his gesture of Tatsukh. Maiya gave four symbolic items as gift for the Chatra Bhuj Leela and a name to the form. Krishna named the city and gave her chance to become His fourth patrani of Dwarkadhish.
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Dasa nu das
Pushtidas

[palna]

Jai Shree Krishna,
What a breathtaking postig! How utterly Tatsukh and clever of Yamunamaiya and of Thakorji. Dwarka the city which is the gate post to the literal sea and Dwar the gate post, back door from which Thakorji went to meet His 'Ka'! All 4 things she produced for Him only magnified His marvel!
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Prem Bandhan Ajab Gajab, Brahmaganth sami aa ganth, na tutai na chutai

Palna na Koti Koti Jai Shree Krishna

[Nirupa]

Jai Shree Krishna

Pushtidasji wonderful posting on Rasa-daan leela. You said......

[Nirupa]

Jai Shree Krishna

Pushtidasji you wrote........