Panchastavi – Free download as Word Doc .doc /.docx), PDF File .pdf), Text File .txt) or read online for free. Panchastavi. The compound word ‘Panchastavi’ in ordinary parlance connotes a collection of devotional hymns divided into five cantos. The very first verse of. Pancastavi In Kashmir. by Dr. B. N. Pandit. The Pancastavi is a collection of five hymns sung in the praise of Mother Goddess Tripura, the personified absolute.
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Such an approach on their part does not ignore the human weaknesses of their devotees and therefore these deities direct worldly souls, step by step, towards upward ascent to higher stages of spiritual evolution. All charm lies in the divine activities of God. Pandit The Pancastavi is a collection of five hymns sung in the praise of Mother Goddess Tripura, the pancuastavi absolute Godhead of the lord. But some important facts which have escaped the attention of the writers of such articles are being brought to light in the paper at hand.
God is Siva in his ever static transcendental aspect. Therefore it has become very popular with the Saivas of Kashmir. As far the domicile of Dharmacharya, the author, he appears to have been a southerner belonging probably to Kerala.
Many things about the hymns and their author have thus come to light. Worship of Sabari holds such position in the Kerala tradition of Tantric Sadhana, but not in the Kashmirian tradition. Your browser does not support panchastavl.
II Pancastavi is highly popular with the pandits of Kashmir who sing it regularly at the time of their panchastwvi worship at their homes and especially at the religious places of the Mother Goddess. III The highest thing prayed for by the poet is a constant engagement in the worship of the Mother Goddess by means of the activities of all his senses and organs.
Panchastavi – A Brief Study
Featured Collections Panchastavi – A Brief Study The compound word ‘Panchastavi’ in ordinary parlance connotes a collection of devotional hymns divided into five cantos. Moreover, this ‘super-marvel’ Maha-maya creates and annihilates this world of sound and sense by the triple formula of desire, perception and action. He wrote an extensive poetical work name ‘Sankra-digvijya’ after about five hundred years from the time of Sankaracharya.
One of its fresh traditions was laid down by Madavacharya in the fourteenth centuly. When an adept practitioner of spiritual sedhana feels actually his powers to create, to dissolve, pannchastavi make and to unmake things at his free will, he realizes himself as none other than God Discussions and debates without such realizations are futile. Similarly the stories prevalent in Kashmirian tradition are also mere fiction.
Hymns sung in praise of the absolute Godhead of God, the Divine Mother of pxnchastavi whole universe, are therefore accepted as part and parcel of Saivism. At times it has been equated with super-knowledge, bliss and even this whole cosmic world.
Pancastavi does not resemble even the Tattuagrabha-Stotra, a hymn to Mother goddess by Bhatta Pradyamna, the chief disciple of Bhatta Kallata. God is Siva in his ever static transcendental aspect. Pancastavi is thus a beautiful Saiva Sastra composed in poetic form. He says that a boy disciple of Abhinavagupta getting just an indication from his preceptor, stood up and in order to impress the importance of Saktis on Sankaracharya, uttered Laghustava as a spontaneous flow of poetry coming out of the speech of an “Asukavi”.
Such deities do not resent the passionate longings of worldly beings for the attainment of sensual enjoyments. A Spiritual aspirant has to realize all divine powers in him. Click here for more video clips Both Siva and Shakti pamchastavi thus one and the same reality.
Satu Sri-Dharmacarya varyaih svakiye Laghustave “mayakundalini” ityadi-slokena sucitah. A spontaneous pachastavi of the poetic inspiration, capable of creating charming poetry, has been counted among the signs of a devotee on whom God bestows His forceful divine grace.
He says thus about it.
Therefore any worship, that is ever performmed by any spiritual aspirants, is in fact the worship of the Godhead of God. It is as good a Saiva Sastra as the “Sivastotravli” of Utpaldeva and is practically as much popular with the Saivas of Kashmir as the latter.
Panchastavi By Gopi Krishna Central Institute For Kundalini Research Srinagar
So, it will not be out of place here toallude to those shades contained in the number five, so as to comprehend exactly as to what the poet wants to express by its use. There it can be included in Karanayoga of the Trika System and such yoga has been assigned there the third step in the descending order in the third type of yoga named Anavobaya.
Madavacharya wrote his poem only on the basis of his poetic imagination and personal devotion. Perhaps this contention presupposes that the devotee-poet has deliberately confined his imagination to five cantos stavas only, so as to make it synchronize with other shades of meaning contained in this number.
Panchastavi Prem Nath Shastri
Such two concepts of Sivahood and Shaktihood, known under the two names are worked out with respect to the ultimate absolute reality just for the sake of the perfectness of understanding on the part of seekers of the truth. Makundamala by Kulasekhara Alvara of Tamilnadu also enjoys such popularity in Kashmir and stories about this author also have been heard by the present writer in his boyhood.
There is neither any internal nor any external evidence to prove the correctness of any such thing. The first one among the five hymns of Pancastasvi bears several commentaries in Sanskrit.
Both Siva and Shakti are thus one and the same reality. The poet has psnchastavi candidly referred to this approach in the fifth canto 6th verse. About ninety percent of it is mere fiction with just about ten percent of history in it.
Pancastavi does not contain even the slightest mention of any of the kali deities popularly worshipped by Saivas of Kashmir, especially by Somananda, Abhinavagupta and Jayaratha.
As for its highest popularity in Kashmir, that cannot lead to any definite conclusion. There is not even the slightest allusion to the Sambhavayoga or even to any special variety of Sakta yoga of the Trika system in any of the five hymns of Pancastavi. Tvad-rupaika – nirupana-pranayita-bandho drsos tvadguna – Grama Karnana ragita sravanayos tvat samsmrtis cctasi, Tvat padarcana – caturi karayuge tvat kirtanam vaci me kutrapi tvadupasana vyasanita me Devi ma samyatu, P.
The very first verse of the first canto remakes it abundantly clear that these panegyrics are essentially meant for the ‘Rainbow-hued’ Divine Energy comprising the ‘speech’ and ‘resplendence of symbols’. Many other similarly wonderful but fantastic things about the meeting of the two great teachers are still being heard from old pandits of Kashmir.
The worship of higher and superior deities help in the attainment of such realization and all such deities, right up to lord Sadasiva, are different types of outward manifestations of the Godhead of God.
In fact this tendency also existed in some lower or higher measure In all literary writers of India, Madhavacharva is typical example of such poetic writers. The tradition of writing such fictitious accounts of the lives of great religio-philosophic teachers is based on the policy of the authors of the later Puranic mythology. God, pushing playfully His nature pnachastavi Godhead into oblivion, appears as a finite being and He, revealing it again to such a being, recognizes His own nature of Godhead.