Blessed by Shreenathji in Nathdwara

Shreenathji, originally hailing from Vraja, was forced to move to Rajasthan with his entourage after Muslims massacred and plundered the seats of learning and worship in North India, remarks Kiron Soni Gupta

ONE of most popular religious destinations for the domestic tourists in south Rajasthan is Nathdwara. Located 45 km from Udaipur on N.H. 8, the small town of Nathdwara is in Rajsamand district, which is also known for the largest number of freedom fighters it gave to the country.

Nathdwara also known for silver enamalled jewellery, famous pichwaais and iconic minakari paintings belonging to Nathdwara School of Art. Of the four major places of worship on the national highway — Eklingji at Kailashpuri, Shreenathji’s haveli at Nathdwara, Dwarakadheesh at Kankroli and Charbhuja, probably Nathdwara draws throngs of people throughout the year. The bulk of devotees is constituted by prosperous Gujarati merchants who come off and on to part with their share of profits to the deity.

True to the philosophy of riches of the Gujaratis, the Lord too is provided with all the delights. This makes him the second richest deity in India, after Lord Venkateshwar of Tirupati.

Pushti Marg — (Path of Grace) is a cult of Krishna worship, whose foundations were laid by Vallabhacharya. This cult worships Lord Krishna as a baby of seven years of age portrayed as a royal child, who is worshipped through song, dance, dress and painting.

This form of worship of Krishna has made him more human, alive and accessible. Vallabhacharya rendered his religious and spiritual discourses all over India. Eighty-four of such places are now better known as baithaks which are till date maintained with great reverence and care.

Shreenathji, originally hailing from Vraja, was forced to move to Rajasthan with his entourage after Muslims massacred and plundered the seats of learning and worship in North India. The icon of Shreenathji was moved in 1672 in a wooden chariot (now stationed at Lal Bagh Museum for public viewing). As the story goes, the wheels of the chariot got deeply stuck in the mud and the people pulling the chariot were unable to move it. It was probably interpreted as the deity’s desire to be initiated here for times to come. The result was a magnificent and an extraordinary traditional haveli which houses the deity and the adjacent palace, Moti Mahal, of Tilkayatji. The jigsaw puzzle of numerous rooms and corridors, with splashes of colourful painting, motifs and murals, the jewel-room, paan room, treasure-room and all the major junctions of the havelis are well guarded by guards of Shreenathji at all the vantage points who are more engaged in directing the public to form an array for the ensuing darshanas.

The nine steps to the Suraj pole gate signifies the nine stages of devotion to reach Shreenathji. The Kamal Chowk with the spread of 24 petalled marble lotus amidst the blackstone, reminds one of the 24 letters of Gayatri Mantra. The Hathipole, Anon Chowk, Ratan Chowk all adorned with the finest paintings and sculptures represent richness of the bygone times. Legend explains how Shreenathji came to stay in Mewar. It is said that Vithalnathji was once on his way to Dwarka and decided to halt at Mewar, where he was respectfully treated by Rana Udai Singh.

They offered him gold coins and a village as gifts in return. Gosainji presented him with garments which had once adorned Shreenathji. Ladies of the royal family and princess Ajab Kumari grew deeply attached to Vithalnathji, who requested the Lord to come and reside in Mewar to save Him the trouble of daily journey. He promised the princess that he would remain in Mewar until Gosainji (Vithalnathji) was reborn and taken back to Mount Goverdhan. It is believed that the haveli actually stands on the site of the palace of Princess Ajab Kumari.

The pictorial manifestation of the Pushti Marg tradition are the pichhvais, serving as a backdrop behind the deity. It chooses to enhance the magical effect of the darshanas. Unravelling the popular themes of Rasa Lila, the pichhvais invariably with the lotus flowers and leaves picturise the indulgences of Lord Krishna. The Swarup, the living deity of Shreenathji is a subject of all the miniature paper paintings produced by the artists here. This School of Art does have a style and a character of its own emerging to fulfil the emotional needs of pleasing Shreenathji. The pichhvais are produced in many ways and by various techniques — they are painted, printed, woven, brocaded, studded with mirrors and embroidered with pearls and stones. A picchvai is often a group effort — several artists working together under the supervision of a master artist. The road to main shrine with the intersection at Chowpati, is lined with shops displaying paintings of Shreenathji. One cannot help but buy one of them Every visitor carries this prized possession.

The affairs of this temple are controlled and managed in accordance with the Nathdwara Temple Act, 1959 and Nathdwara Temple Rules of 1973. The administration of the temple and all its endowment vests in the Nathdwara Temple Board which has representatives from the states of Maharashtra, Gujarat and Rajasthan.

The lives of the people inside and outside the haveli are patterned on the traditional rituals associated with the Seva of Shreenathji. The unfailing routine designs and directs the activities of all from the early hours of morn till the dusk. During seva, every action evokes a mood and every form and colour has a inner purpose and a meaning.

The routine of Shreenathji pivots around the eight darshanas which enable lakhs of devotees to acquire a fleeting glimpse of their beloved Lord. The dressing pattern and the shingar, is adjusted to the seasons and as per the habits, needs and requirements of a divine child. The charcoal angeethi and manually-operated, embroidered and mirror-studded hand-fan cater to the needs of the living deity.

The opening darshanas of the day are mangala — with Shreenathji clad in a muslin dhoti or a quilted coat depending on the season. Shingar is the second darshana, which is characterised by satiating the vanity and narcissist need of the deity by holding a mirror in front of him. This is followed by Gwal darshan. Raj Bhoga is the main meal of the day and thus the most elaborate darshana of all.

After the afternoon siesta of three hours, the stringed instruments and a conch awakens the deity to give his Utthapana dharshana to the waiting public.

The sixth darshana is the Bhog wherein light meal is served, followed by Sandhya arti symbolising mother Yashoda tending to him after his wanderings in the woods. The final darshana is Shayan when the Lord is prepared to retire. This darshana is not held for six months from Chaitra Shukla 1 to Ashvin Shukla 9 when Shreenathji is supposed to visit Vraja.

The splendour and enchantment of the place starts with the festival season and reaches its climax on occasions like Janamashtami, Annakoot (Divali) and Ekadashi, Hariyali Amavasya. By virtue of holding and administrative assignment in the small district of Rajsamand, more popularly known as Rajnagar, I witnessed the most renowned festival of Pushti Marg i.d. Annakoot.

On the day after Divali, a huge mound of rice representing Mount Goverdhana weighing 2500 kg. topped with huge Gunja is arranged in Doltibari. This represents the head of Vishnu and four other sweets on four sides of the rice mound represent four weapons of Vishnu. During Annakoot, a great variety of eatables are spread out in Nijamandira, Manikotha and Doltibari. Cows are decorated with peacock and feather plumes and colourful jhumkas and tassels on either side, anklets and ghunghroos producing a melodious tinkling sound as they go past by the Goverdhana Puja Chowk.

The priests around the Goverdhana hold a green branch symbolising Lord Ganesha. As the day ends, tribal Bhils gather together mustering all their strength, vying with each other, to loot the mountain of rice as a special favour. This special privilege extended to only tribal, is certainly a scene to remember. The well-oiled bodies of well-built tribals, with cloth bags dangling around their necks and earthen pots on their heads move with striking swiftness.

The return journey after the loot especially alighting the flight of nine steps from the Suraj Pole Gate, reminds an on-looker, of the crude distributive arrangements of earlier times, keeping in tune with the traditions. One still gets to see many of them in original form and style. Janamashtami is celebrated with much fervour. A grand shobha yatra in the evening marks the occasion and at midnight the doors of the shrine are closed and Shreenathji’s birth is announced amongst chanting mantras and 21-gun salute is fired from the Rasala Chowk. The air is vibrant with joy and festivities.

Shri Navnitpriyaji has a separate shrine in the haveli and literally means "one who loves fresh butter." Made of small metal image of South Indian origin, the idol represents baby Krishna crawling on the floor with a ball of butter in one hand. It is often used as a substitute for Shreenathji on many occasions.

The celebration of the four-day manorath of Navneet Priyaji at Lal Bagh from July 30 to August 2 ‘98 was an event which shall go down in the history — not because it took place after three decades, the last being in 1967 but also as the event unrolled four days deep of unparalleled exquisite darshanas of the deity embellished with its finest exclusive possessions.

The manorath began with the Lalan being brought to Lal Bagh in a Shahi style with the mammoth shobha yatra which started from the main Haveli around 9.30 a.m. Traversing a distance of 3-4 km in three hours, the town people greeted little Lalan with flowers and chanting of Lalan lal ki jai. The band of Shreenath guards blew its trumpet glorifying and enriching the grand event. The elephants, birds, cows and trees of Lal Bagh were intoxicated with happiness on its arrival and soon the mood of happiness and excitement soon engulfed the entire surroundings.

The Rath Yatra darshana, the glimpses of the Lalan on the 200-year-old chandan hindola, the mesmerising darshana on the penultimate day of the deity being decorated with fruits and vegetables, the Sawan Bhadon darshan and the final culmination of manorath with the Lord adorned in the sensuous yellow-laced brocade and sumptuous spread of ‘Chhapan Bhog’ offered moments of ecstasy and blessings to thousands of devotees.