Jagannath Rathyatra Festival…

Jagannath Puri, is the abode of Lord Jagannath or Purushotham, the Lord ofthe Universe or the Supreme Personality of the Universe.

Jagannath Puri Dham or Jagannath Puri or even Puri as it is called, is situatedon the sea shore of the Bay of Bengal in the State of Orissa (India). It is one of thefour Holy Kshetras of India including temples at Rameshwaram, Dwaraka, Badrinath and Puri. The Annual Rathyatra Festival is the high point of all the festivals celebrated and has been attracting lakhs of devotees and pilgrims since time immemorial. To see the Lord on the Chariot on the Rathayatra day is to secure salvation from the cycles of birth and death.

Rathyatra :-

The world famous Rathayatra of Lord Jagannath is also known as Yatra and Ghosha Yatra. These festivals are held on"ASHADHASUKLADWITIYA" ie..the second day of the bright fortnight of ashadha (June-July) every year. This Rathayatra symbolises that after a long time of the separation Lord Shri Krishna is going to Kuruksetra from Dwaraka to meet the inhabitants of Brindavan. Three different sizes of chariots are made for this Rathayatra which begins from the Lord Jagannath Temple. The Chariot of the Lord Jagannath is called NANDIGHOSH, the Chariot of Balabhadra is called TALADVAJA, the Chariot of Lady Subhadra is calledPADMADHVAJA. Except the vessels of Kalasa, which are on top of the chariots, the side Deities, the Charioteers and Horses, the rest of the whole chariots are made new every year in accordance to the strict ancient specifications. Nearly around one thousands of Devotees are needed to pull these chariots with
the help of four ropes which are tied to each chariot and has no steering system on it.

NANDIGHOSH RATH:-
This Chariot is of Lord Jagannath, it is 45ft (13.71mts) high and having sixteen wheels. The fabric of the roof is in Red and Yellow colour. A wheel is placed on the top of the chariot.

TALADVAJA RATH:-
This chariot belongs to Balabhadra. The height of this chariot is 44ft(13.2mts), and consists of fourteen wheels. The fabric colour of the roof is Red and Green. Tala fruit is placed on top of the chariot.

PADMADHVAJA RA

 

TH:-

This is Lady Subhadra's chariot. It is 43ft (12.9mts) in height and consist of twelve wheels. The fabric of roof is in Red and Black colour.
There are side deities on each of the chariot as SUDARSHANA is seated by the side of Lady Subhadra in her chariot, MADANMOHANA sits in the Lord Jagannath's chariot, and small deities of Lord RAMA AND KRISHNA take their seats in the Balabhadra chariot. Thus total seven Deities are seated on the three chariots
and are pulled by the Devotees by catching the ropes tied to the chariots and taken to the Gundicha Temple which is about 3km away from the main temple. 

The Ceremonies held in main temple before Ratha Yatra. They are :-


1. SNANAYATRA FESTIVAL :
This ceremony is held on "Jyesthapurnima", when the main deities along the Sudarsana are brought to the snanamandapa (a platform for bathing, Snana means bathing) and are bathed arount mid-day. One hundred
and eight pots of water is poured on the Deities. The water is brought from a sacred well which is dear to the Goddess Sitala. After bathing the Deities are put on Elephant masks, which is called as GANESH VESHA. Then the Deities are offered BHOG (Cooked Food) and ARATHI. The Deities are then taken back to the
temple in a procession and stay in retirement for fifteen days. The deities are placed in the Hallway between the inner and outer shrine in a semi-horizontal position. Here in this ceremony the general public can see the food Offerings to the Deities, which is not possible any time in the year. 

2. ANAVASARA FESTIVAL :
During these Festivals after Snana Yatra Lord Jagannath become sick and suffers from fever. He is therefore moved to his private stay, there He is offered drugs which are prepared by the fruit juice. The Dayita (servants
of Lord Jagannath) take care of Lord Jagannath. They sleep and stay there with the Deity. The word ANAVASARA is used when Lord Jagannath is not seen in the temple. 

3. NIBHRITA FESTIVAL :
The fifteen days period of Resting and Renovation is called NIBRITHA. Honouring the isolation of his wife Goddess Laxmi, Lord Jagannath lives there in privacy enjoying SVAKIYA RASA. Then by taking her (Goddess Laxmi) permission Lord Jagannath come out for His Rathayatra. 

4. ANGA-RAGA OR NAVA YAVANA FESTIVAL :
These Festivals are held for the purpose of renovation of the Lord Jagannath body. After being washed the body of Lord Jagannath needs repainting, This work is done by the DAITYAS, which takes two weeks to complete. Then the Lord Jagannath Deities is fully restored to youth (NAVA YAVANA). 

5. NETROTSAVA :
This ceremony is performed in the inner shrine where the Deities are placed in semi-horizontal position. They have been fully painted, except their eyes. In this ceremony the eyes of the Deities are painted by their respected Pujaries and the Puja (worship) is started in the temple. The Deities are still in the same position. 

After completing the above said ceremonies the Deities are taken out from the temple and placed in their respective chariots on the Rathayatra day.
The procession of the Deities from the temple to the chariot is the most colorful aspect of the Rathayatra. The Chariots are brought and kept at front of the Simha Dwara, facing north side before Rathayatra begins. In a
traditional ceremonial manner first Sudarshana is brought from the temple and put on to the Chariot of Lady Subhadra, followed by Balabhadra first as is elder in the family placed in his chariot, then followed Lady Subhadra and Lord Jagannath are placed in their respective chariots.

While bringing the Deities of Balabhadra and Lord Jagannath out of the temple they are made to swing forward and backward in a manner called "PAHANDI". As the Deities are extremely heavy they need many strong
men to move them. Each Deity is provided with thick soften ropes around their body. By taking assistance from the Pujaries who holds the ropes, the Dayitas(Lord Jagannath servants) move the Deities. As the main Deities arrive on their respective chariots ,the small Deities of Lord Rama and Krishna are placed on the Balabhadra chariot and Madanmohan Deity is placed on Lord Jagannath chariot. All Deities are then refreshed and
offered fresh garlands. At this time in a Palanquin the king of Jagannath Puri arrives and sweeps the street in front of the chariots with a golden handled Whisk broom-stick and sprinkles the ground with fragrant waters. 

After all this rituals completed the Rathayatra begins with the Balabhadra chariot going first as he is elder. Then follows chariot of Subhadra and then follows chariot of Lord Jagannath. The chariots of Lady Subhadra and Balabhadra reach directly the Gundicha Temple, where as the chariot of Lord Jagannath stops at his Mausima (Aunt's) GoddessArdhamsini temple. Here the Lord is offered with Poda Pitha(fried cheese cake). Again the chariot of Lord Jagannath proceeds towards the Gundicha Temple. However the Rath (chariot) of the Lord Jagannath usually reaches the Gundicha Temple next day. After reaching the Gundicha Temple the Deities take rest on their chariots for another day ,then they are taken into the sanctum of the Gundicha
Temple. while staying in the Gundicha temple for seven days the Deities receive all the routine rituals same as they used to receive in themain temple. 

On the 10th day, fortnight of Ashada the Deities are brought back on to their respective Chariots and the Rath is pulled back to the main temple, this is known as BAHUDA YATRA. While returning to the main temple Lord
Jagannath stops again at His "Mausima" Goddess Ardhamsini temple and receives BOGH(Poda Pitha). He then proceeds towards the King's palace where he has a meeting with Goddess Laxmi and continues his Yatra and the Rathayatra reaches to an end i.e.. to the Lord Jagannath Temple at night and spend their night in the
Rath till Morning. 

Next day in the morning on BADA EKADASI the Deities are Dressed in the SUNA VESHA(THE GOLDEN-DRESS), Arms and Feet which are made of pure gold are attached to the Deities, and are decorated by putting on them the Golden Ornaments and Golden Crowns. This day is considered to be the most auspicious
day of the festival. The devotees makes Pradhakshina of the rath(chariot) by moving around the chariots. After a few hours the golden ornaments are removed from the Deities and brought back to the temple, As usual first comes Balabhadra then Subhadra and then Lord Jagannath in a traditional procession among huge assembly of thousands of devotes.

Lord Jagannath faces a tough time when he tries to enter into the temple, as Goddess Laxmi is angry with Lord Jagannath because he went to Rathayatra along with his Brother and Sister She also expresses her anger by going to the Gundicha Temple on 5th day of the festival. The DEVIDASIS (servants of Godess Laxmi) close the Simha Dwara and ultimately opens it again but closes the Jaya Vijaya Dwara, Hear songs comprising
of dialogues exchanged between DEVIDASI and DAYITAS. Then Lord Jagannath tells to Goddess Laxmi if he is allowed to enter into the temple He will present her so many gifts, listening to this Goddess Laxmi allows Lord Jagannath to enter into the Temple. Thus Rathayatrais completed.

Always Chant,

Hare Krsna Hare Krsna Krsna Krsna Hare Hare I

Hare Rama Hare Rama Rama Rama Hare Hare II

And Be Happy...Always...

Principles Of Surrender...

Principles Of Surrender...


1. First Principle of Surrender: Dainya, Humility

2. Second Principle of Surrender: Atma-Nivedana, Dedication of the Self

3. Third Principle of Surrender: Goptrtve-Varana, Acceptance of the Lord as Sole Maintainer

4. Fourth Principle of Surrender: 'Avasya Raksibe Krsna'-Visvasa, Palana: Faith in Krsna as Protector

5. Fifth Principle of Surrender: Bhakti-Pratikula-Bhava Varjanangikara: Renunciation of Conduct Unfavorable to Pure Devotion

6. Svikara: Acceptance of Activities Favorable to Pure Devotion

7. Bhajana-Lalasa: Hankering for Divine Service

8. Siddhi-Lalasa: Hankering for Spiritual Perfection

9. Sri Nama-Mahatmya: The Glories of the Holy Name

Hare Krishna...
Radhe Radhe...

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WHAT IS THE MEANING OF CONQUERING DEATH ?

ACTUALLY THE SOUL NEVER DIES EVEN AT THE TIME OF DEATH . IT JUST GOES OR TRANSMIGRATE FROM ONE BODY TO ANOTHER SIMILAR TO A PERSON MOVING FROM A SCOOTER INTO A CAR . BUT OWING TO OUR IDENTIFICATION WITH THE MATERIAL BODY WE IMAGINE THAT " EVERY THING IS GOING TO BE FINISHED ". SO FOOLISH PEOPLE TRY TO PRESERVE THE BODY , HOPING TO KEEP THIS DECAYING ROTTING MATERIAL BODY ETERNAL. THIS IS AVIDYA OR IGNORANCE.
   SOMETIMES PEOPLE FOOLISHLY ATTEMPT TO CREATE ARTIFICIAL METHODS BY WHICH THEY CAN POSTPONE OLD AGE ( LIKE HAIR DIES OR FACE LIFTS ) OR OVERCOME DEATH ( ARTIFICIAL RESPIRATION) . THEIR IDEA  IS TO SOMEHOW OR OTHER CONTINUE THEIR EXISTENCE IN THIS  WORLD AND UNDERGO THE CYCLE OF HAPPINESS AND DISTRESS . THERE ARE SOME PEOPLE WHO WANTS TO BE IN HAPPINESS ALWAYS AND THERE ARE OTHERS WHO BEING HARASSED AND EMBARRASSED BY VARIOUS MISERIES , CLAIM " WELL IF THERE WERE NO MISERIES THAN WHERE IS THE SPICE TO ENJOY THE SWEET MOMENTS OF LIFE ?. IT IS NECESSARY TO HAVE MISERIES TO APPRECIATE  HAPPINESS  OR ONE CAN EXPERIENCE ABSOLUTE  HAPPINESS  CONTINUOUSLY AND BE SATISFIED ALWAYS? WOULD ANY STUDENT WANT TO GET FAIL MARKS IN AT-LEAST IN ONE OR TWO PAPERS  IN ORDER TO BE ABLE TO TASTE THE SWEETNESS OF GETTING DISTINCTION IN OTHER PAPERS ? OR WOULD LOVE TO FAIL IN ONE SESSION AND THAN TASTE THE HAPPINESS OF  PASSING , FOOLISH , IT IS OBVIOUS  THAT NO ONE WANTS OLD AGE OR DISEASE OR DEATH . BECAUSE THESE THINGS HAPPEN  INEVITABLY , SOMEBODY MAY ARTIFICIALLY POSE TO HAVE NO PROBLEM OR MAY TRY TO FORGET THE REAL PROBLEMS BY ABSORBING ONESELF  IN TV OR MOVIES  OR TRANQUILIZERS ETC . BUT THE FACT IS FACT . DEATH IS CONSIDERED A NUISANCE IN ONES BUSY PLANNING AND HAPPY LIFE , BUT WITH SINGLE STROCK OF DEATH EVERY THING IS FINISHED . 
   BUT HOW DOES ONE CONQUER DEATH ? A MATERIALIST WHO DOES NOT SURRENDER TO GOD WOULD WANT TO CONQUER DEATH BY FIGHTING AGAINST NATURAL LAWS THAT HAVE BEEN CREATED BY GOD. MANY IN THE PAS HAD A DESIRE TO GO ON LIVING IN THIS WORLD  AND  THEY TRIED  MANY DIFFERENT METHODS FOR SURVIVAL . IT IS NOT POSSIBLE FOR ANYONE TO  LOVE WITHIN THIS BODY FOR EVER AND ENJOY. THIS IS NOT THE MEANING OF CONQUERING DEATH. THE REAL MEANING OF CONQUERING DEATH IS :
1/   TO KNOW THE FACT THAT " I AM NOT THIS BODY . I AM PURE SPIRIT SOUL, PART AND PARCEL OF GOD. I AM SERVANT OF GOD. "
2/    TO RECOGNIZE THAT SINCE TIME IMMEMORIAL WE HAVE BEEN WANDERING  WITHIN THIS MATERIAL WORLD IN SEARCH FOR HAPPINESS. ONLY OBTAINING  MORE AND MORE SUFFERING . 
3/     TO BE ABLE TO PERCEIVE OUR ENTANGLEMENT IN THE COMPLICATED NETWORK OF ACTION AND REACTION THAT HAS GROWN LIKE HUGE BANYAN TREE WHOSE ROOTS SPREAD FAR AND WIDE AND IS DIFFICULT TO  CUT . 
4/      TO SEVER THE TREE THAT HAS SPROUTED BY ASSOCIATION OF THREE MODES THROUGH THE SWORD OF DETACHMENT AND PURE LOVING ATTACHMENT TO SRI KRISHNA AND BECOME ELIGIBLE TO RETURN BACK HOME BACK TO GODHEAD ..........


JAI RADHE . READ , MAY BE NOT ALL MAY UNDERSTAND THIS EASY CONCEPT STILL TRY AND WHERE YOU STOP LET US START . IN , ALWAYS FOR YOUR WELL WISHING . SRR..........

KAISE BANTE HAI HAMARE SAMBANDHI LOG ( THE VIEW OF SHASTRA )

HAR KOI YEH JANNA CHAHTA HAI KI SAMBANDH MAI AS PAS ANE WALE LOG KAUN HO SAKTE HAI  . SHASTRA KE ANUSAR YE IS PRAKAR GHATTA HAI . YE MATRA MAMULI JANKARI KEWAL HINT DENE KE LIE KI APKE PYARE KAUN HO SAKTE HAI 

    YEH SANSAR SAMBANDHON KA BANA HAI . POORVA SAMBANDH KE BINA KOI  IS JANM MAI SAMBANDHI NAHI BANTA . SABHI SAMBANDH POORV SANSKARON SE JUT TE HAI .  ISI PRAKAR MAN , PAD PRATISSTA KI HAI .   JAISE KISI NE PICHLE JANM MAI ANNADAN KIA , USKI IS JANM MAI PRASIDI AUR PRASANSA HOTI HAI . JISNE PICHLE JANM MAI JITNE LOGON KE KASTON KO DOOR KIA HOGA WAH UTNE HI LOGON KA PRIYA HOGA. JISNE JITNI TAPASYA BRAT , ANUSTAN KIYE HONGE UTNA HI IS JANM MAI USE SARIRIK SUKH MILTA HAI . JISNE SANSAR KA TYAG KIA WAH IS JANM MAI SANSAR SE KOI MATLAB NAHI RAKHTA ARTHAT USKA SAMBANDH KISI KE SATH NAHI RAHTA. JISNE PICHLE JANM MAI BHAGWAN KI BHAKTI KI THI KINTU MUKTI NAHI MILI AISE BHAGYASALI BYAKTI KO HI IS JANAM MAI SHANTI MILTI HAI AUR WAH IS JANM MAI DRIDHTA POORWAK BHAGWAN KI BHAKTI KARTA HAI . 

   AB PRASNA UTHA KI IS SANSAR MAI KITNE PRAKAR KE SAMBANDH HOTE HAI .  ISKE UTTAR MAI SHASTRA NIMN PAACH PRAKAR KE SAMBANDH BATLATA HAI  . 

1/   NYAS HARTA . YEH SAMBANDH US BYAKTI SE HAI JISKO PICHLE JANAM MAI BISWAS DILAKAR USKE DHAROHAR KO HADAP LIA AUR WAPAS MAGNE PAR USKE DHAROHAR KO WAPAS NAHI KIA GAYA . AISE LOG AGLE JANM MAI AAKAR ( PICHLE JANM KE BISWAS GHAT KARNE WALE KE YAHA) ROOPWAN, GUNWAN AUR PITRABHAKTA PUTRA BANKE ATE HAI . PICHLE JANM KA BISWASGHATI ISKA PITA BANTA HAI . PITA USKE UPAR BAHUT DHAN KHARCH KARKE PADATA LIKHATA HAI , KINTU WAH PUTRA KAM AAYU MAI PITA KE SAMNE HI MAR JATA HAI JISSE PITA KO US SE BHI ADHIK KAST  HOTA HAI, JITNA KI USNE PICHLE JANM MAI USKE DHAROHAR KO HADAKPKAR DIA THA. 

2/ RIN BHOKTA ... YEH WAH SAMBANDH HAI  JISNE PICHLE JANM MAI KISI KO RIN DIA THA KINTU MANGNE PAR USE WAPA NAHI MILA , AISE RIN DATA RIN BHOKTA KE GHAR PUTRA KE RUP MAI JANM LETE HAI . AISE PUTRA JANM SWABHAW SE ATYANT KRODHI HOTE HAI . AISE PUTRA MATA PITA KO BACHPAN SE HI KAST DETE HAI AUR SABHI SAMAY ROGI  RAHKAR  MATA PITA SE DHAN KHARCH KARWATE HAI AUR UPR SE LADTE BHI RAHTE HAI . AISE PUTRA AKELE ANAND BHOGTE HAI AUR MATA PITAJI KE MARNE KI AASHA KARTE HAI . AISE PUTRA MATA PITA KE MARNE PAR SRADH TARPAN BH NAHI KARTE . 

3/ RIN DATA .... YEH SAMBANDH UNKA  HAI JINHONE PICHLE JANAM MAI RIN LEKAR  WAPAS NAHI KIA  . WE IS JANM MAI AISE SAMBANDHI BANTE HAI JO RAT DIN KATHIN PARISRIM KARKE DHAN JUTA JUTA KAR DETE HAI TATHA  MARNE KE BD LABHANWIT KARTE HAI . AISE LOG APNE PARIWAR KI SEWA KARTE HAI KINTU SEWA LETE NAHI . AISE SAMBANDHI IS JANM MAI APNA POORVA JANM KA RIN CHUKTA KARTE RAHTE HAI . 

4/  SUKH DATA .....  JAB KISI NE PICHLE JANMO MAI BRAT , DAN , THIRTH AND SEWA AADI KIA HAI TO AISE GHAR MAI PUNYATMA AAKAR JANM LETA HAI JO JANM SE HI DHARMIK PRIVIT KE HOTE HAI. AISE PUTRA BANS KO BADHANE WALE , SUKH SMIRDDHI KO DENE WALE AUR  BHOGNE WALE HOTE HAI. AISE SAMBANDH KO SUKH DATA KAHTE HAI. 

5/ UDASEEN .... KUCH AISE SAMBANDH HOTE HAI JINSE POORVA JANM KA KOI SAMBANDH NAHI THA. LEKIN KISI KARANWAS IS JAN MAI USKE SATHA SAMBANDH HO GAYA . AISE LOG IS JANM MAI SANSAR SE UDASEEN HOKAR BHAGWAN KI BHAKTI KARTE HAI. AISE LOG SANSAR SE TYAG LEKAR APNE POORWAJO KO MUKTI PRADAN KARTE HAI. AISE SAMBANDHI BADE HI BHAGYA SE PRAPT HOTE HAI , KYOUKI UNKA IS SANSAR SE KOI MOH NAHI HOTA . AGAR GRAHAST MAI BHI JATE HAI TO PAROPAKAR HI KARTE HAI DUSRON KE SUKH KE LIYE JITE HAI . 

IK AUR TARAH KA PUTRA BHI HOTA HAI . JAISE JO PARIWAR KA KOI BUJURG THA AUR MARNE KE SAMAY GHAR MAI BAHUT ASAKTI THI TO MARA PAR GHAR MAI HI PAIDA HO GAYA . AISA PUTRA . MATA PITA KI NAHI SUNTA , APNI MARJI KE KAM KARTA HAI KYOKI BUJURG JO HAI , SUN NE KA HAI HI NAHI KEWAL SUNATA HAI AUR APNE KO HI THIK MANTA HA . ...

   UPAR KAHA GAYA SIDDHANT YA NIYAM , BHAI , BAHAN , PITA , MATA , PATI , PATNI , PUTRA  , MITRA , PUTRI , NAUKAR , NAUKARANI AUR ANYA SABHI PRAKAR KE SAMBANDHIYON PAR BHI LAGU HOTA HAI . BHAGYA YA PRARABDH KE IS NIYAM SE KOI BHI NAHI BACHA HAI . JIS SE HAM KABHI BHI ALAG NAHI HONA CHAHTE YADI PRABDHA NAHI HAI TO SADA KE LIE CHOD KAR CHALA JAYEGA . AUR JIS SE DOOR RAHNE CHAHTE HAI WAH KAST DENE KE LIYE PAS MAI HI RAHTA HAI , JISKE SATTH HAM PAL BHAR BHI NAHI RAHNA CHAHTE HAI SAMPOORN JIWAN USKE SATH BITANA PADTA HAI KARAN PRABDH HAI USKE SATH . SAB KAAL KI RASSI SE JUTE HUE HAI . ISLIYE KARM HAMESA SOCH KAR KARNA CHAHIYE . SHASTRA KE ANUSAR HI CHALNA CHAHIYE . NAHI TO 

AAP HI BHOGENGE SAMBANDHON KO .....  JAI RADHE ...... TYPING MISTAKE MAT DEKHNA . MUSKILL SE KARTA HU .....

BRAHM , PARMATMA AND BHAGWAN . ARE THREE OR ONE . RAM , VISHNU AND KRISHNA ARE ALSO THREE OR ONE

JAI RADHE. PAR BRAHM IS THE ONLY SHELTER OF ALL THE SPIRITUAL AND MATERIAL WORLD OR INTERNAL IE SWAROOP SHAKTI OR SPIRITUAL WORLD ,MARGINAL ( TATASTA SHAKTI IE JEEV) , EXTERNAL IE MAYA SHAKTI .

WHAT IS THE REASON OF DIFFERENT NAMES AND FORMS OF ONE OBJECT. WHY NOT ONLY   ONE NAME AND SHAPE BUT HERE THESE THREE HAVE DIFFERENT IDENTITY AND AREA OF WORK AND DIFFERENT STYLE OF WORK .  A PERSON WHO REACHES BRAHM IS GETTING DIFFERENT TASTE AND WHO GET TO PARMATAMA HAVE DIFFERENT WAY TO APPROACH AND DIFFERENT REALISATION IN THE LAST AND SAME FOR BHAGWAN ALSO . 

THERE ARE MANY A PEOPLE WHO SAY SAB EK HAI MANY SAY DON'T KNOW , SO WHAT ACTUALLY ALL THIS IS .

A FAITHFUL DEVOTEE WILL KNOW EASILY, THIS FACT IS BASICALLY KNOWN IN SADHU SANG AND BY KRIPA . 

A PERSON OF OWN STYLE CAN NEVER ENTER THE REALM OF SPIRITUAL SKY . ONLY SHASTRA PADDATI IS FAULT LESS AND WAY TO SUPREME BRAHM KRISHNA . 

TRY TO UNDERSTAND WITH AN EXAMPLE IF  NOT BOOSTED BY PERSONAL MAYIK  GYAN .

ADWAY (NOT TWO) VASTU KISI KISI STHAN PE PARMATMA KISI STHAN PE BRAHM AUR KISI STHAN PE BHAGWAN NAM SE KATHIT HOTA HAI .  AB YAHA YEH DEKHNA HAI KI BRAHM ,PARMATMA , BHAGWAN YE JO TEEN HAI KYA YE ADWAY VASTU KE NAMANTER YA BHINNA BHINNA NAM HAI ? YA YE USKE ( ADWAY) TEEN AVIRBHAW BISHESH KE TEEN NAM? YADI YE TEEN NAM EK HI ABHINNA VASTU KA NAMANTER HAI TO YE SAMANYA  LAKSHAN HUA . AUR KYOOKI KEWAL NAMANTER HAI TO TEENO KA VISESH LAKSHAN BHI EK HI HONA CHAHIYE TABHI TO YE TEEN EK HI HONGE . 

NOW SEE WITH EXAMPLE . 

JAL,  WARI , AND SALIL YE TEEN EK ABHINNA VASTU KE TEEN NAM HAI , JAL SHABDA SE JO SAMJHA JATA HAI WARI SE BHI WAHI AUR SALIL SE BHI . YANI PANI . YANI IN TEENO NAM MAI SAMANYA AUR VISESH GUN SAME HAI . TABHI TO EK VASTU PANI HUI . GUN ALAG HOTE TO ALAG VASTU HOTI . ISKO NAMANTR KAHTE HAI . NAMANTER MAI SAMANYA AUR VISHESH GUN SAME HOTE HAI . ISKA MATLAB JAL WARI, SALIL EK ABHINNA VASTU KA NAMANTER MATRA HAI WO EK ABHINNA  VASTU PANI HAI . KINTU BARAF , JAL AUR WASP (VAPOURS) KA VACHYA EK VASTU NAHI . YANI BARAF KAHA JAY TO PANI NAHI SAMJHA JATA , WASP KAHA JAY TO BARAF NAHI SAMAJHA JATA YANE EK DUSRE SE BHINNA HAI . ISKO KAHTE HAI AWASTANTAR . JIS PRAKAR NAMANTER MAI SAMANYA OR VISHESH GUN SAME HOTE HAI , AWASTHANTER MAI SAMANYA TO SAME HOTE  HAI PAR VISHESH ALAG HOTE HAI . JAISE SAMANY LAKSHAN  SE YE TEENO JAL SE BANE HAI PAR VISHESH LAKSHAN MAI BARAF KATHORE OR HARD HOTI HAI JAL TARAL HOTA HAI WASP DIKHTI NAHI YAU ROOP HOTI HAI , DHYAN DENA AUR PRYOJAN BHI TEENO KA ALAG ALAG HAI . TEENO ALAG ALAG KARYA MAI PRYOG HOTE HAI . HAI SAB KUCH PANI SE . JAB PANI SHEET SE JAM JAAY AUR SFITIK SILA JAISA HO JAAY TO BARAF KAHLATA HAI , TAAP DENE PAR PANI WAYU KI TARAH HO JATA HAI USE WASP KAHTE HAI . TO YE AWASTANTER KI STITHI HAI AUR ISMAI SWAROOP ALAG ALAG HOTA HAI AUR KARYA BHI AUR YEH PRAYAY WACHI OR NAMANTER NAHI HAI . 

ISI PRAKAR PARAM TATWA TO EK HI HAI ( SAT CHID ANAND  SAMANYA LAKSHAN ) PAR YAHA PARMATMA , BRAHM AUR BHAGWAN ALAG ALAG KARYA KARTE HAI INKE AUR INKE VISHESH LAKSHAN BHI ALAG HAI . PARMATMA HRIDAYAST SUPERSOLE KO KAHTE HAI USKA KAM KEWAL MATRA DRASTA KA HAI , WO ACT NAHI KARTA , PAR BHAGWAN PAKSH LETE HAI KRIPA BHI KARTE HAI JAISE AJAMIL PE PUTNA PE , BIVISHAN PE ETC HAZARON EXAMPLE HAI . LOG IN TEENO KO EK HI SAMAJHTE HAI . BRAHM TO BHAGWAN KI ANG KANTI MATRA HAI . BAHUT KAHA JA SAKTA HAI TYPE KARNE SE SAMJHANE KA ASHRAY NAHI KEWAL HINT DIA JA RAHA HAI , AGE DHODO AUR PUCHO , SAB HAI  JANNE WALE KI  BHOOK PAR , USE SATAYE TAB TO . YEH HI FORMULA , RAM , KRISHNA , NARSINGH , VISHNU ALAG ALAG AVTARON PE  BHI LAGU HOTA HAI . AGE DEVTAON PE  BHI ETC . 

DO VICHAR HOTE HAI  THAKURJI KE REGARDING . EK TO  SIDDHANT TATWA AUR DUSRA RAS TATWA IN DONU MAI RAS TATWA HI PRADHAN HAI AUR AWASTANTER KI PUSTI AUR CLEARITY DETA HAI . KYA AISA HO SAKTA HAI KI RAS VICHAR SE RAM JI KE SATH SITAJI HAI AUR KRISHNA KE SATH RADHAJI , VISHNU KE SATH LAKSHMI JI .  TO RADHA RAM GALAT NAHI HONA CHAHIYE  SITA KRISHNA BHI GALAT NAHI HONA CHAHIYE LAKSHIM RAM YA KRISHNA BHI GALAT NAHI HONA CHAHIYE . KAR KE DEKHO . KOI MANTRA AISA NAHI OR WAKYA AISA NAHI JO ISKI PUSTI KARDE AUR RASA BHAS UTPANN HO JAYEGA . 

AGAR AISA HI HOTA KI SAB SAME HAI TO JAB SATI SITA BAN KE GAI  RAM JI ANGIKAR KAR LETE . SAB EK HI HAI NA , SHIV JI BHI KAHTE OKI BAT NAHI SATI KA TYAG KAR ALAG N BITHATE . JO LOG RAS TATWA SE ANBHIGYA HAI WO HAI SAB EK HAI KAHTE HAI AWASTANTER NAHI PAHCHANTE . RAS BHED N HO TO MANUSYA KO DEKHO , PANCH BHOOT ( EARTH EATHER WATER, FIRE , SKY ) SE BANA HAI HAR KOI

PARMATMA BE EK HI HAI SAB MAI . AUR ATMA BHI BADI AGA KI CHINGARIYON JAISI YANI EK HI SOURCE HOTA HAI TO SAB INGREDIANTS SAME HAI JI . TO HAR ADMI KA EK JAISA TESTE , STYLE , SHAPE ,DESIRES , LOOKS , HAI KYA . SAMAYA GUN SE SAB SEME HAI , VISHESH GUN MAI DIFFERENCE HOTA HAI TAB WAHA PYAR GUSSSA , INSULT ETC PRODUCE HOTA HAI . SO  WO JO BHAKTI MAI AGE BADNE KA PRAYS KARTE HAI WO  KAHI CONFUSE N HO JAYE ISKE LIYE LIKHA HAI . JO MISRIT BHAKTI WALE HAI AUR PURE BHAKTI SE BAHUT DUR HAI WO KAHTE HAI SAB EK HAI . MISRIT BHAKT BHI HOTI HAI PAR PURE BHAKTI AUR UUPER HOTI HAI . BAHUT EXAMPLE DIYE JA SAKTE HAI YE MAINE KAHA KEWAL HINT HAI WUN NAYE BHAKTON KE LIYE JO SARANGATI BHAW RAKHATE HAI . DONT GET CONFUSED . BHAKTI IS ALL WITH SIMPTOMS  AND STEPS .  

ANOTHER EXAMPLE , ALL DIFFERENT SWEETS COME FROM SUGAR ONLY . BUT WHY MANY SWEETS ARE SHOWN IN A SHOP WITH DIFFERENT COLOUR , TASTE AND SOMANY THINGS , SIDDHANT TATWA IS SAME IE  SUGAR BUT RAS TATWA IS DIFFERENCE IN SWEETS , RASGULLA , LADDU PEDE, ETC ALL WITH DIFFERENT TASTE . THIS IS TO BE NOTED ......SO ALL DEPENDS ON RAS TATWA AND KRISHNA IS THE CHIEF RASAGYA AND HOLDER OF RAS ...... SOME TIME LATER WE WILL DISCUSS ON THIS MATTER 

HARI BOLLLLLL