How should the Deities be arranged in a

temple at home ?
October 19, 2005Temple at home

(Scientific importance and arrangement)

Temple at home

1. What should be the

direction of the temple at home ?

The temple at home should always be in the east-west direction.

2. What should be the

features of the temple at home ?
 2 A. What material should
the temple at home be made of ?

As far as possible, the temple at home should be made of sandalwood or teakwood.

Sandalwood is expensive and may not be viable for the average individual.
Comparatively, teakwood is cheaper and has better ability to retain and
emit sattvik (Sattva-predominant) waves. Eventually it is the bhav towards God that
attracts the Divine waves to the top of the temple, which are further dispersed in the
house as per the requirement.

2 B. What should be the

colour of the temple at home ?

Though the modern trend is to paint the temple at home with different colours in the
name of decoration, it is ideal to retain the original colour of wood, that is, pale brown.
Since a simple religious act like worship of a Deity amounts to spiritual practice, it helps
the individual in traversing from the state of sagun to nirgun, meaning, from duality to
non-duality.

The temple at home is made with the intention that the worshipper gets maximum
Chaitanya from the worship of the Deities.

The level of bhakti and bhav in individuals with spiritual level above 50% is high and
hence, the amount of Chaitanya generated as a result of their worship of the Deity is
also high.

Above the spiritual level of 60%, the progress of the seeker is towards introversion. Idol
worship, representative of the sagun form of bhakti in a way, makes the seeker
extrovert. Hence, a seeker who finds solace in being an introvert, is lesser inclined to
make a temple at home. (It is acceptable to have a temple at home if it is the wish of
other family members.)

3. How should the Deities

be arranged in a temple at home ?

3 A. Conical arrangement
‘Arrange the Deities in a conical shape. In front of the devotee performing the puja at
the tip of the cone, that is, at the centre, place Shri Ganesh. To the right of the devotee
place the female Deities beginning with the family Deity, followed by sub-forms of
superior Deities and then other female Deities. To the left of the devotee place the male
Deities in the same sequence. Shri Ganesh, Kuladevi and Kuladev are sufficient,
because this helps the individual awaken bhav faster than for other Deities. Our sojourn
should be from Idol worship to the various sagun and nirgun Principles of the respective
 Deities, and from there on to God who, although completely linked with the nirgun,
encompasses all these Principles.’

Images created by Sanatan are sattvik and as a result, they help evoke bhav. (Sattvik
images of Deities created by Sanatan are available in different sizes. Click here to see !)

Those who are already blessed with a Guru and live alone should place only the Guru’s
photograph in the temple at home. As per the quote ‘गगगगगगगगगगगगग
गगगगगगगगगगगगगगगगगगगगगगगग गगगगगगगग ग’, for the disciple the Guru is
everything. In such cases act accordingly.

Reference : Sanatan’s Holy Text ‘Temple at home and implements used in the
worship of God ‘

How should one arrange deities in the

temple at home?

ement of deities in the temple at home

Contents
 1. Ritualistic worship of God (puja)
 1.1 Temple at home
 2. Going to temples or places of worship
 2.1 Importance of temples and places of worship
 2.2 How often should one go to the temple or place of worship?
 2.3 Circumambulation (pradakshina)
 2.4 Repeating (chanting) God’s Name in the temple
 3. Following family traditions of spiritual practice (kulachar)
 4. Obeisance to the village deity (gramadevata)

1. Ritualistic worship of God (puja)

1.1 Temple at home

If one does not have a temple at home or if there are no photographs or idols of the
family deity and Shri Ganesh then they should be duly procured and installed in a
temple at home. The deities should be arranged in the temple in the following
manner: Shri Ganapati in the centre with the photographs or the idols of the male family
deity and other male deities, e.g. Hanuman, Balkrushna, to His right and the female
family deity and other female deities, e.g. Annapurna, to His left. In some pictures the
female deity is depicted along with the male deity, e.g. Sitaram, Lakshminarayan, etc.
Whenever She is depicted to the left of the male deity She bestows blessings onto
devotees along with Her master. The left side symbolises the moon channel
(chandranadi) and endows Serenity and Bliss. This is the saviour form of the female
deity. In such photographs the male deity is considered as the main one and the picture
is placed to the right of Shri Ganapati. In some pictures the female deity is depicted to
the right of the male deity. The right side signifies the sun channel (suryanadi). Thus the
deity is believed to be very powerful. This is the destroyer form of the female deity. The
holy text Kalivilastantra narrates that deity Kali performs a dance on the chest of
Deity Shiva. Here the female deity is more prominent than Her male counterpart. To
conclude, when the female deity is to the right of the male deity She possesses more
energy and should be considered as the principal deity. Hence such a picture is placed
 to the left of Shri Ganapati. One should keep the picture of the saviour or the destroyer
form of the deity for the ritualistic worship as per one’s wish to undertake spiritual
practice of that form. If a person having a Guru resides alone then he should keep only
his Guru’s picture / photograph in the temple. If there are other family members then the
Guru’s picture / photograph should be placed to the right of Shri Ganapati and should
be followed by the male family deity’s photograph.

If one is not performing any ritualistic worship (puja) presently, then the method of doing
so as per one’s convenience is as follows.

 A. Everyday the deities and the temple should be wiped with a cloth and two incense
sticks should be lit in the morning as well as in the evening.

 B. Removing the previous day’s withered flowers and leaves (nirmalya) the deities
should be wiped with a cloth. After offering flowers, incense sticks should be lit and
waved in a clockwise motion. Then two wicks should be rolled into one and placed in a
lamp containing ghee. The lit lamp should then be moved in a circular motion (arti) in
the clockwise direction.

 C. The idols should be bathed and the photographs wiped first with a wet and then with
a dry cloth. Then sandalwood paste (gandha) should be applied to the deities and
unbroken consecrated rice grains (akshata), flowers, turmeric and vermillion (kumkum)
should be offered. This should be followed by lighting one incense stick and moving a lit
lamp in a clockwise motion (arti). Finally, an offering of food (naivedya) should be made
and one should pray for success in one’s spiritual practice.

2. Going to temples or places of worship

2.1 Importance of temples and places of worship

‘गगगगगगग गगगगगगगगगग गगगग: ग गगगगगगगगगगगग गगगगगगगगग ग’
meaning the embodied soul (jiva, drashta) is bound by the view of external objects. In
absence of the view it is free; for instance the embodied soul feels like eating a favourite
dish so long as the food item is in its view. It is not so at other times. It is exposed to
different scenes all the time. Then, when will the scenes cease? If we say that this will
happen only during dissolution (pralay) of the universe, then the cessation of scenes will
be meaningless as the embodied soul too will be dissolved at that time. According to the
Vedanta the origin of external objects lies in the viewer. Then is there no way of
liberating the embodied soul? There certainly is. The embodied soul has only one path
available to acquire Liberation. It is to place before the viewer such a composite
structure of scenes, that his very bondage to them will assist his Liberation. This means
that his attitude (vrutti) will transgress from tama to raja and from raja to sattva. Such
scenes which will liberate the viewer from the bondage are those of temples or places of
worship. Discourses (pravachans and kirtans), singing the glory of the birth and mission
of incarnations of God and His divine play as also those of His devotees take place
here. Upon hearing (shravan) these, contemplation (manan) occurs leading to intense
yearning (nididhyas), culminating in Self-realisation (Atmasakshatkar).’ – H.H.
Kane Maharaj, Narayangaon, Pune district, Maharashtra

2.2 How often should one go to the temple or place of worship?

One should go to the temple or place of worship to pay obeisance and should offer
prayers atleast once a week in the beginning and everyday later on, so that one’s
spiritual practice continues smoothly with the grace of God.

2.3 Circumambulation (pradakshina)

Initially, one should circumambulate once and later on, several times depending on the
deity of worship, for instance male deities in even numbers and female deities in odd
numbers. Additional information on why cirmcumambulation for male deities such as
Ganapati and Hanuman is done in odd numbers like twenty-one and five respectively is
provided in other spiritual books.

2.4 Repeating (chanting) God’s Name in the temple

Since repeating (chanting) God’s Name occurs at its best in a temple due to
the sattvik (sattva predominant) environment one should chant the name at least 108
times (or one mala).

If the temple of one’s deity of worship (aradhyadevata) is not in the vicinity, then one
should visit the temple of any other male deity instead of one’s male deity of worship or
any other female deity instead of one’s female deity of worship and offer obeisance to it
with the spiritual emotion that it is the very form of one’s deity of worship.

3. Following family traditions of spiritual practice (kulachar)

One should follow the family traditions of spiritual practice meticulously, for instance
if Ganesh Chaturthi, Navaratri or any other festival is celebrated in the family then it
should be continued. If it is customary to offer ‘oti’ (offering of coconuts and a piece of
cloth) at the annual festival of a female deity, the practice should be continued. If the
temple of the family deity is far, then one should go and pay obeisance to it at least
once a year. If it is in the vicinity then one should pay obeisance more often.

4. Obeisance to the village deity (gramadevata)

Some people remember the village deity only once a year during its annual festival and
the rest of the year, leave it to the priest of the temple. This is incorrect. The village deity
is responsible for protecting all the villagers. Hence it is important to go to its temple and
pay obeisance regularly.

How to do Puja or Worship at Home?

Most of us, Hindus, indulge in some form of worshipping God. But we may be getting many
doubts and may doubt whether we are doing it properly or not. As I am performing puja
since many years and have developed a systematic procedure of doing it, I would like to
share my experiences of how to do puja at home in a simple and systematic manner so that
you can get utmost satisfaction by performing your puja.

Preparing yourself before starting Puja

Before starting to perform puja or the

worship of God, one must get himself clean and pure by bathing and wearing pure and
clean clothes. This makes your body and mind cool and prepared for meditation. Most
orthodox people keep their silk dress solely for puja purpose which is used only for
performing puja and then kept at a holy place for using it daily. In this case, the silk dress
need not be washed daily. It can be washed weekly or fortnightly as it is worn only for one
hour or so daily during performing puja.

The place of worship also needs to be clean and peaceful. You may place your God in a
corner of a peaceful room or, if you have a separate room for puja, it is well and good. Keep
the place neat and clean by cleaning with a cloth or small broom used separately for that
purpose.

How to perform Daily Puja or routine worship

I will explain how to perform puja at home in a very simple manner according to your
available time and facilities. But you should keep it a daily practice to make it bestow peace
and happiness in your life and family. You may do it shortly for 15 minutes or long and
detailed puja for more than one hour according to your facility.

 First, you will clean the place and idols. Then sprinkle some drops of water over the
idols and around the place of puja. It is like bathing Gods. Puja is just a resemblance of your
own lifestyle. Just like you get up early, wash and bathe yourselves and wear new clothes,
then take food. In the same way, you clean the God and wear clothes to Him and offer your
prayers and food to Him.
 Before starting worship, you will light the oil lamp or deepam according to the Hindu
customs. The lamps are generally made up of brass or panchaloha metal. Keep the lamps
simple and small so that smoke will not occur.
 Change the cotton vattulu (or wicks) daily morning and fill the lamp holder with oil
upto 75% or like that so as to prevent from overflowing of oil. Then light it with match stick.

 You may place two lamps on both sides of God. While placing so, one deepam will
be placed towards east (towards Sun) and the other one towards North (for God).
 Wicks are generally lighted by combining two wicks into one which represents
the the family or man- woman bondage. This brings harmony and happiness in family.
 After lighting lamps, you will chant the hymns or sloka of "Suklambaradharam" and
then make the guru stuthi or paying respect to the tree of your gurus (teachers of family
tree). It starts from the guru of your old ancestors till your present guru.
 Then, you will say all your hymns and slokas in praise of your Gods known as
stothram. You can read or recite as many as you can according to your time or family
traditions. Puja books are available at any shop of puja material.
 If you can afford, you may worship with flowers also.
 After worship and prayers are over, you will light the incense sticks and show round
your Gods.
 After incense, show the light of the lamp towards God with your right hand.
 Now, offerings of food and fruits are made to God by showing the food and fruit with
your right hand towards Gods' mouth as if feeding Him.
 Last thing is lighting camphor and reciting arati lines or songs.
 Now, your puja is over and you can take the prasadam and offer to your family
members also.
 Those doing Gayatri mantra daily will first perform the Gayatri puja by standing
before Sun and then start the daily puja.

Special Puja at home

At special occasions like festivals or auspicious ceremonies of family, you may like to give
more time to God for expressing your deep love and devotion towards Him. On such
occasions, you may perform long and detailed worship in a ritual mood. So, besides the
daily formal worship, you may want to worship Him more sincerely contributing more time
and devotion. Some of the rituals can include as follows.
 You may bathe your God and clean Him with water and soap. Goddess can be
bathed with applying turmeric powder also.
 You may pour milk and rose water also while doing so.
 After bath is over, dry the idols. If they are photos, you will not bathe them. Simply
sprinkle some drops and clean with pure cloth.
 Then apply turmeric and kumkum powder to the seat or place of God before placing
the God on it.
 Apply some turmeric to Goddess and tilak on forehead to both God and Goddess.
 Then you can adore Gods with flowers.
 Decorate the puja room or place also beautifully.
 You may decorate with electric lights also.
 You can light more oil lights or place more wicks in each lamp if there is provision for
placing five wicks in each light lamp to make the place dazzling and beautiful.
 Do the puja or worship as done daily but while reciting names of God you can
worship with flowers at chanting of each name. 1000 name worships can be done placing
1000 flowers or petals of flowers. Worship is done with some special leaves of plants and
trees also at certain occasions. You can buy the prayer books from puja material stores.
 Special offerings like sweets and food dishes and fruits and coconuts are also
offered during such worships.
 People are invited to take part in the celebration and prasadam distributed to them
also.

Benefits of doing puja or worship

You may ask what are the benefits of doing puja or worship. I would say it is for our own
happiness and satisfaction. We experience a lot of happiness and peace of mind by doing
puja. We feel satisfaction and a feeling of relief and joy with this practice. It is like
meditation. Freeing your mind from tensions for sometime and experiencing tranquillity and
peace. Your health and brain power will improve with this. It will result in happiness and
lead to success by facing and solving problems peacefully. So puja is very good for your
life.

How to do Puja
Puja is a sacred practice of reverence, honor, adoration or worship from the devotee towards the
Almighty. Puja could mean different things to different people. For Puja, all you need to have is a
devoted heart full of love for the divine. The merciful God overlooks the shortcomings of men if they
follow the path of spirituality with devotion. So, minor faults don't really matter, if the devotion is
sincere. God is kind and grants blessings to the devotees with sincere heart.

How is Puja Celebrated?

According to Hinduism, a formal puja consists of meditation (dhyana), austerity (tapa), chanting
(mantra), scripture reading (svadhyaya), offering food (thaal) and prostrations (panchanga or
ashtanga pranama, dandavat). People apply tilaka on their forehead with sandalwood paste, and a
vermillion dot (kumkum Chand) in its centre. The centre of the forehead is considered as the crucial
point suggesting the omnipresence of the Divine. Puja is generally concluded with aarti to the lord.

Puja can be celebrated by an individual person or in gatherings. The ceremony may be done in
silence or accompanied by prayers. Sometimes a puja is done for the benefit of certain people, for
whom people ask blessings.

Steps of a Puja
Each and every sect, family or an individual have their own way of doing Puja. Every time when you
say ''samarpayami'' (I m offering), offer two akshatha with love and devotion to the lord.
(Akshatha is uncooked rice; if possible color it with kumkum, saffron powder, turmeric and a little bit
of water. This can be made for a week in advance and can be kept near the Alter)
A typical Puja involves the following 27 steps:

 Dhyaanam Samarpayami (Think or meditate on the Lord)

 Aawaahanam Samarpayami (Offering invitation the Lord)
 Aasanam Samarpayami (Offer a seat to the Lord)
 Paadyam Samarpayami (Offer water to wash the feet)
 Arghyam Samarpayami (Offer water to wash the hands)
 Aachamaneeyam Samarpayami (Offer water to drink)
 Snaanam Samarpayami (Give bath to the Lord)
 Maha Abhishekam Samarpayami (Give main head bath to the Lord)
 Pratishtaapayaami (Make him seated)
 Vasthram Samarpayami (Offer clothes to the Lord)
 Yajnopaveetham Samarpayami (Offer the Holy Thread)
 Gandham Samarpayami (Offer sandalwood paste/powder)
 Akshatham Samarpayami (Offer Akshatha/ Rice)
 Pushpam Samarpayami (Offer Flowers to the Lord)
 Ashthothtra Poojam Samarpayami (Offer the holy 108 names)
 Dhoopam Aaghraapayaami (Offer Fragrance / Agarbatti)
 Deepam Darshayaami (Offer light to the lord)
 Neivedyam Samarpayami (Offer Food to the Lord)
 Phalam Samarpayami (Offer Fruits to the Lord)
 Taamboolam Samarpayami (Offer betel nut and leaves)
 Dakshinam Samarpayami (Offer money to the Lord)
 Maha Nirajanam Samarpayami (Offer aarti to the Lord)
 Pradakshinam Samarpayami (Taking clockwise rounds of arti)
 Namaskaram Samarpayami (Offer Prostrations)
 Mantra Pushpam Samarpayami (Offer incantations and flowers)
 Praarthanaam Samarpayami (Offer prayers, request your desires)
 Kshamaapanam Samarpayami (Offer apologies & ask for forgiveness)

How should we pray?

July 14, 2014Prayerprayer

With intense humility unto God, pleading with yearning for a desired aspect is termed as
a ‘prayer’. A prayer includes respect, love, pleading and faith. It does not have any
restraint of place, time or purity-impurity. This article describes various stages in
praying, progressing from prayer done with efforts to praying at regular intervals and
finally praying with devotion and complete surrender unto the Holy feet of the
Deity/Guru.

1. Prayer is a sadhana (Spiritual practice) that is

devoid of restraints !

A. No restraint of place

Just like chanting, the sadhana of prayers can be performed at any place such as in
front of a Deity, in a house, in a courtyard, office, field, school, hotel, hospital, while
travelling, sitting or lying in bed etc. In the initial stage, it is better to pray in front of a
Deity to attain concentration. Later, praying can be done in other places too.

B. No restraint of time

‘Pray regularly, from morning till bed-time, not just during moments of sorrow but also
during happy moments.’ (Monthly ‘Rushi Prasad’ November 2010)

(To maintain consistency in prayers, develop a habit of praying every 10 minutes.

Methods such as setting an alarm on a mobile phone, requesting others to remind you
etc. can be implemented. – Compiler)

C. No restraints of purity-impurity

Just like chanting, there are no restraints of purity, soyar-sutak (Impurity arising out of
birth-death in family) etc. on praying.

2. Whom to pray ?

A. First stage

An ordinary individual should pray to his Kuladevata (Family Deity) or Deity of worship,
while an individual who has a Guru should pray to his Guru.

B. Second stage

In addition to the prayers in the first stage, pray to the Deity associated with the
respective task. For example, pray to the Deity of water before bathing and to Sri
Annapurnadevi before a meal. This makes us realise the importance of the respective
Deity and enhances our bhav (Spiritual emotion) of gratitude unto that Deity.

C. Third stage
In addition to the prayers mentioned under first and second stage, pray unto the
instruments / tools that are of assistance in the respective task. For example, the user of
a mobile phone should pray to the mobile phone and a housewife should pray to the
utensils, stove etc. required for cooking. In this manner, an individual will learn to see
the God Principle in all animate and inanimate objects. During the course of our
sadhana, we have to move towards worship of one Deity from the worship of many
Deities. Despite this, we have advised praying to various Deities and tools. The
objective underlying such prayers is also explained at the respective places. When
diehard faith that ‘There is no other easier path for deliverance except surrendering unto
the Guru’s Holy feet’ develops for the Guru or Deity of worship, prayers mentioned
under second and third stage need not be made.

3. How should we pray ?

A. Commonly used method

1. Keep the mind steady and calm during the prayer.

2. Join the hands in a namaskar-mudra (The palms joined and held at the level of the
Anahat-chakra [The fourth centre in the spiritual energy flow system, located in the
region of the heart in the subtle-body], but a little away from the body)
 Hands joined in Namaskar-mudra
3. Visualise that the Deity or Guru is actually present in front of you or visualise the Holy
feet of the Deity or Guru.

4. Concentrate on the Holy feet of the Deity or Guru for a few moments.

5. Pray in clear words. In the initial stages, to get used to praying, pray aloud. Later, it
can be done mentally.

6. Concentrate on the words in the prayer and their meaning.

7. Instead of praying as if you are reading it out, try to communicate with God /Guru in a
precise manner. For example, while praying that ‘let the obstacles in my sadhana be
eliminated’, recall the obstacles that are repeatedly disturbing your sadhana and convey
them to the Deity/ Guru in a precise manner.

8. Express gratitude unto the Deity/Guru for the fact that they themselves have got the
prayer made through you.

B. Stages in praying
1. General stages

Once the importance of praying is understood, a numerical increase in it is expected

initially. In the initial stages, praying takes place merely as a mechanical exercise of
repeating words and is devoid of bhav. In the subsequent stages, a qualitative increase
in praying is expected, that is, it is expected to be made with bhav. Given ahead are the
general stages in praying.

A. First stage

In this stage, praying is done with efforts. It is desirable to pray with hands joined in a
namaskar-mudra as it helps in early generation of bhav. (Later, when a sanskar
[Subconscious impression] of praying develops in the mind, praying mentally without the
namaskar-mudra also contains bhav.) In this stage, praying has a definite purport and
specific words. Awareness that ‘I am praying’ is intense in this stage.

B. Second stage

Once we become well-versed in the practice of praying and when praying starts taking
place at regular intervals, contemplation begins on it. Awareness develops that praying
is a conversation with a Deity/Guru. Therefore, instead of taking place in a fixed pattern,
praying takes place earnestly. It has bhav of pleading to the God/Guru.

C. Third stage

In this stage, there is a bhav that the Deity/Guru is actually standing in front and with an
attitude of surrender we are bowing at His Holy feet and pleading. In this stage, not
much effort is required to set words for a prayer; they come spontaneously.
D. Fourth stage

With passage of time, the sanskar of praying develops on the mind and we do not have
to make efforts to pray. Along with chanting the Name, praying is spontaneous and with
bhav. While praying we remember the form of the Deity/Guru, His Holy feet, gestures
etc. The words for the prayer also originate from the heart. Depending on the situation,
God suggests how to pray from within. This will be clear from an example mentioned
ahead. Mr. Ghanashyam Gawade is a Sanatan seeker from Goa. Once he was
given seva of blowing a conch during Arati (A ritual of waving a lit lamp) in the Ashram.
He did not know how to blow a conch. He prayed to Srikrushṇa and later to SriGuru –
‘you only get this seva of blowing the conch done through my medium’. After this prayer
he could blow the conch very well.

E. Fifth stage

In this stage, praying takes place with devotion and with complete surrender unto the
Holy feet of the Deity/Guru. Very often there are no words in the prayer, just an emotion
of gratitude. There is awareness that ‘I exist only for God/Guru and He is everything to
me’. In the initial stages of praying gratitude needs to be expressed separately;
however, in this stage we get a spiritual experience that both, the prayer and the
gratitude are one.

2. It is possible to enhance spiritual emotions of gratitude and surrender by

making prayers of progressively higher stages

‘A seeker in the initial stage of sadhana prays to God – ‘O God ! you remain with me’. A
seeker in the intermediate stage of sadhana says, ‘O God ! Keep me at your Holy feet’.
A seeker in the next stage says, ‘O God ! Let my thoughts be as per your expectations,
let my actions be as per these thoughts and let the fruit of the actions be surrendered at
your Holy feet’. A seeker in the next stage says, ‘O God ! you are making all this
happen. Let everything happen according to your wish’. If we remain in communion with
God according to these points and make prayers of progressively higher levels, then
there is realisation that there is nothing which is really mine. God has control over
everything in this animate and inanimate world. He Himself is making everything
happen’. Thus, however hard we try to repay His debts, the efforts will be too trivial, and
we realise that ‘we can never repay His debts’. Naturally then the bhav of gratitude and
devout surrender will be enhanced. It is then that every activity of an individual reaches
the Holy feet of God in the real sense.’ – Mr. Giridhar Bharghav Vaze (Kartik Shukla
9, Kaliyug Varsh 5112 [15th November 2010])

3. Examples of prayers of progressively higher levels and spiritual experiences

While sitting at a shop in the past, a ladyseeker would pray – ‘let there be no customers
in my shop’, so that she could chant without any obstacles. Later, another lady-seeker
told her that she should give up even that wish while praying. Thereafter, she started
praying – ‘O God ! Let your wish prevail’. – H.H. Dr. Athavale (Poush Shukla
11, Kaliyug Varsh 5112 [16th January 2011])

A change in prayers resulting in a quicker change in the self

‘Earlier I would pray – ‘Let prembhav (Emotion of love) develop in me’. Now I pray – ‘O
God ! Please generate prembhav in me so that I am able to love you’. This prayer
changed the basic reason for bringing about a change in myself. Therefore, I realised
that quick changes were taking place in me. I also realised that ‘once we decide to do
something for God, He only gets it done.’ – Dr. (Ms.) Maya Patil, Sanatan Sanstha (July
2010)
4. The ultimate state of prayer

‘Forgetting that I am praying’ is the ultimate state of prayer.’ – Vaidyacharya (Dr.)

Vasant Balaji Athavale, Chembur, Mumbai (Year 1980)

Reference : Sanatan’s Holy Text ‘Prayer (Importance and Examples)’

How does chanting help us

to achieve oneness with God?
July 4, 2014Chanting

Chanting of God’s Name purifies the subtle-body, and helps one to achieve the state of
advait (Non-duality). This article explains how one can achieve spiritual progress
through chanting.

1. Just as the burning in Deity Shiva’s throat

(because He had
consumed ‘Halahal’) stopped after chanting
Bhagawan Ram’s Name, similarly,
the burning which stems from Maya (The Great
Illusion) stops after chanting God’s Name

When the Deities and the demons churned the ocean, a poison known as ‘Halahal’ was
created. All creation faced the danger of extinction. Then, Deity Shiva drank this poison,
which made His throat turn blue. (Therefore, He is known as Neelkantha, which means
‘the blue-throated one’). Though the River Ganga surges from Deity Shiva’s forehead
and He adorns the Moon (Both being symbols of coolness) on His head, the heat
generated (because of the poison) would not go away. He then thought of chanting
Bhagawan Ram’s Name; only then the burning sensation stopped. When we chant, the
burning which stems from our sins (Maya) stops.

2. Acquiring siddhis (Supernatural powers)

The practice of specific chanting enables us to acquire control over a specific Principle
and accordingly some supernatural powers; for instance, chanting of Suryadevata helps
obtain control over Tej (Absolute Fire Principle) and subsequently we are not affected
by heat.

3. Spiritual progress is expedited due to chanting

God’s Name is like a fast train. It skips all the small stations on the way (such as seeing
different colours, seeing light, hearing various sounds) and takes us straight to God.

4. Dissolution of ego

A. Just as ghee (Clarified butter) melts when kept near fire, ego too dissolves by the fire
of chanting.

B. When someone adopts us, we have to give up our old name and replace it with a
new one, so that we inherit the property of the parents who have adopted us. Similarly,
to acquire God’s grace we have to sacrifice our ego, forget our name and replace it with
His (that is, chant His Name). Thus, we should get so absorbed in chanting God’s Name
that we become oblivious of the self, and ultimately merge with His Name. – H.H.
Bhaktaraj Maharaj

The Guru advises chanting ten million times to eliminate even the slightest of ego :
Once Shrikaka was taking a review after a programme. He developed ego about this.
H.H. Bhaktaraj Maharaj could not stand even this slight rise in ego and was displeased
with him. In the next few days, he ordered Shrikaka to go to a sacred place at
Gondavale and chant ten million times.

5. Guru’s grace is acquired by chanting

It is very fortunate to be advised by the Guru Himself about the Name we should chant;
however, even if we do not come across a Guru, we should continue to chant. This is
because through chanting itself that the Guru will come in our lives.

Honeybees hover around flowers to collect honey and ants are drawn towards sugar.
They need no invitation for this. Similarly, Saints are drawn to us when we chant. They
lead us on the right path and shower their blessings on us.

6. We can merge with God due to chanting, that is,

achieve advait (Non-duality)

A. Chanting can liberate the soul that is held captive by the body.

B. When grass and fire come together, grass ignites and changes to the form of fire.
When we chant God’s Name, it incinerates all sins and the devotee unites with God.

C. Water poured in a vessel takes its shape. Likewise, the mind gets transformed to the
thought it dwells upon. Hence, when the mind chants constantly it gets transformed to
the form of ‘Name’, that is, God. The mind is moulded according to the thoughts it
dwells upon. Therefore, if the mind chants constantly then it is transformed according to
God’s Name.

D. Once Sita (Shriram’s wife) asked Trijata (An ogress), “Since I constantly remember
Ram, if I become one with Him, what will happen to my marital bliss?” Trijata replied “As
much as you remember Ram, He remembers you; hence, Ram will become Sita and
your marital bliss will remain intact”.

E. When he who chants merges with God’s Name, or when he who chants merges with
the Deity whose Name he is chanting or the Deity and the act of chanting merge, then
this triad will dissolve and advait will be attained.

7. Chanting helps even after death

Subtle-most amongst the gross aspects is God’s Name. At the time of death, it
accompanies the subtle-body. There is no death for a Namadharak (One who chants
the Name), only union with God’s Name. Continuous chanting unites the seeker with
God’s Name, meaning, he becomes one with God’s Name. – H.H. Bhaktaraj Maharaj

8. Benefits from samashti (Society) perspective

Chanting helps our vyashti sadhana (Individual spiritual

practice that benefits
only the seeker undertaking it); but how it also helps at the
samashti level is explained ahead

A. Chanting protects the seekers who perform samashti sadhana (Spiritual practice for
the spread of Spirituality) from the attacks of the negative energies.

B. The obstacles that arise in Dharmakarya (Service unto Dharma) can be eliminated
through chanting.
C. Through collective chanting, reinstatement of the Hindu Dharma and uniting Hindus
is possible: Today, the Hindu Dharma is in a pathetic state. Denigration of Hindu
Dharma, Hindu Deities, Hindu spiritual leaders etc. is rampant. One of the reasons for
this is the lack of pride in Dharma amongst the Hindus. Collective chanting in the form
of Namadindis (Processions carried out while chanting) has been carried out by
Sanatan Sanstha and has been successful. Through placards, the participants urge
people to stop denigrators from harming Dharma. As a result of this activity, many
Hindus were able to increase their faith towards the Deities and their awareness
towards the Hindu Dharma has revived. Very often, differences emerge between sects
because of varied beliefs on spiritual practice. Unlike other religious orders, the Hindus
are not united. However, while attending the Namadindis, the Hindus keep aside their
differences, sect or position in the society. They wholeheartedly participate in the
service unto Dharma. This has helped in fostering unity among various sects and
Hindus.
Importance of ‘Om’
July 1, 2016Chanting

1. Experiments

Number 1 – Notice what you feel on pronouncing the English letter

‘A’ for 2 minutes.

Number 2 – Notice what you feel on pronouncing Sanskrut letter ‘Om’ for 2 minutes.

A. Result of the experiment

Experiment 1 : While pronouncing the English letter ‘A’ for 2 minutes, you feel
heaviness.

Experiment 2 : While pronouncing the Sanskrut letter ‘Om’ for 2 minutes, you will first
feel peaceful and then perceive Anand (Bliss). A sort of chetana (Sentience) will be
created in the body.

If we compare ‘Om’ in this way with a letter in any language of the world, we will be able
to experience the same.

2. Importance of ‘Omkar’
 A. It is not that the Anand or Shanti (Peace)
are perceived only while pronouncing ‘Om’, but the
feeling continues when you pronounce 3-4 words after
‘Om’.

B. Divinity of ‘Om’ helps in achieving completeness !

Many Sages & Ascetics imbibed nirgun (Non-materialised) and nirakar (Formless)
Divine sound from Brahmanda (Universe) through meditation and presented it in the
form of sagun (Materialised) and sakar (With form). Akshar-brahman (Brahman
Principle in the alphabets) was created from ‘Omkar’ and Sanskrut language was
created through it. Omkar is the perfect being – Omnipotent and Divine form. Similarly,
it bestows completeness. Omkar is the spiritual experience of perfection as bestowed
by God.

C. NASA (in USA) also realised the importance of Omkar

The research on Omkar was conducted at many places in our country and overseas.
Recently, ‘NASA’ has also conducted research on Omkar. Many researchers and
scientists have reported that the Divine sound of Omkar has positive effect on the
human body, mind, intellect and subconscious.

3. When Yoga is incomplete without the

pronounciation of Omkar, the BJP Government is
busy in
appeasing minorities that oppose pronunciation of
Omkar !
The BJP Government has taken a shocking decision to delete the pronunciation of
‘Om’, which is essential in various exercises of Yoga and make Yoga ‘secular’. Mr.
Shripad Naik, Union Minister for Ayush, has clarified that
performing Suryanamaskar (Posture in Yoga in obeisance to the Sun Deity) and
pronouncing ‘Om’ on ‘International Yoga Day’ is not compulsory. He also said, “Though
Yoga is incomplete without the pronunciation of ‘Om’, its pronunciation is not
compulsory. We hope that the people will understand this”.

Deleting ‘Om’ from Yoga postures is like sucking the soul out of the body. Other
religious communities do not tolerate interference in their religious matters from anyone
including the rulers. The Government does not dare to drop the word ‘Kafir’ from the
books of the minorities. (This word is the cause of terrorism all over the world.) In the
same manner, no one has any right to interfere in the science of Yoga that is associated
with Hindu Dharma. In such a situation, how can the decision to delete ‘Om’ from Yoga
under the pretext of opposition from some Muslims and Christians and expect Hindus to
understand this be justified ? Not a single Christian and Muslim country has expressed
opposition to Yoga. On the contrary, they understand the importance of Yoga very well.
However, well aware of the vulnerability of Bharatiya rulers, Muslims and Christians in
Bharat are opposing Yoga. The Modi Government is appeasing the minorities instead of
taking religious fanatics to task. This proves that the Modi Government does not
hesitate at all to trample on the religious sentiments of Hindus for the sake of appeasing
religious fanatics.

4. Do not forget that ‘Om’ has

an importance in other religions as well !
According to our Scriptures, ‘Om’ is a Beejmantra (First letter of all mantras) and the
source of creation of the Universe. It has special importance in other religions (such as
Buddhists, Jains, Sikhs etc.) too.

The present Government that deletes ‘Om’ from Yoga does not agree with the
importance of ‘Om’ that is accorded by ancient Sages and Ascetics to it. If the
Government does not want to trust our Sages and Ascetics, it should conduct the
aforementioned experiments on ‘Om’ and realise its importance. Of course, even if the
rulers are convinced about the importance of ‘Om’ by conducting the experiment, they
will not accept the reality for the fear of hurting the minorities.

The present rulers are feigning to be blinded by darkness in broad daylight ! – Paratpar
Guru (Dr.) Athavale

Why does a japa mala consist of 108 beads?

November 9, 2007Chanting
 A. The effects of Names of certain deities

1. Deities at a higher spiritual level

If a seeker at the level of the pruthvi (absolute earth) element suddenly commences
chanting of the tej (absolute fire) element then he feels uncomfortable since he does not
have the potential to tolerate the radiance (tej) generated by it.

2. Deities worthy of worship and those unworthy of

worship

Chant the Name of any of the forms of Lord Vishnu such as Narayan, Keshav, etc.,
Shiva or Ganapati, for one minute. Then chant that of either Prajapati or Brahma for a
minute. Note whether you feel pleasant or distressed with each chanting, only then read
further.

At a satsang (spiritual meeting ) after chanting ‘Shankar’ 12 out of 30 people felt

pleasant and none experienced distress. Contrary to this, after chanting ‘Prajapati’ 6
people felt good while 3 experienced distress, that is developed a headache, felt like
stopping the chanting, etc.

At another satsang after chanting ‘Narayan’, 4 out of 28 people felt pleasant and none
experienced distress. As against this, after chanting ‘Prajapati’ none felt pleasant and 3
experienced discomfort.

At yet another satsang after chanting ‘Keshav’, 5 out of 22 felt pleasant and none
experienced distress. In contrast, after chanting ‘Brahma’ none felt pleasant and 5
experienced discomfort.

Since everyone is not capable of giving answers in the subtle dimension, all cannot
participate in such experiments. The point to be emphasized here is that through
various experiments one thing is proven repeatedly and that is, that usually chanting of
Vishnu, Shiva and Ganapati does not cause distress as is the case with Prajapati or
Brahma. Hence Vishnu, Shiva and Ganapati are worthy of worship while Prajapati and
Brahma are not. Thus temples of Prajapati and Brahma are mostly not constructed. One
may thus conclude that no one worships Prajapati and Brahma since they are
responsible for our creation and our entrappment in the Great Illusion (Maya)!

3. Superior and subordinate deities

Chant the Name of Vishnu, Shiva or Ganapati for one minute. Then chant Yaksha
(demigods), Gandharva (celestial male singer), Kinnar (celestial musician) or names of
Apsaras (celestial beauties) like Menaka, Rambha, Urvashi, Tilottama, etc. for one
minute. First note whether one feels pleasant or uncomfortable with the chanting, only
then proceed.

At one satsang (spiritual meeting) 20 out of 35 people felt pleasant after chanting
‘Shankar’ and none were distressed. Contrary to this, after chanting ‘Yaksha’ only one
felt pleasant and 6 were distressed.

At another satsang 21 out of 41 felt pleasant after chanting ‘Vishnu’ and only one felt a
little distressed. As against this after chanting the names of the celestial beauties
Menaka, Rambha, Urvashi, Tilottama, etc. no one felt pleasant. Instead 10 of them
experienced distress (though 24 out of the 41 were males)!

Since all cannot get answers in the subtle dimension everybody at the satsang cannot
participate in such experiments. Yet from this it is clear why Vishnu, Shiva, Ganapati,
etc. are called superior deities and Yakshas, Gandharvas, Kinnars, Apsaras, etc. are
called subordinate deities. Since worship of subordinate deities can cause distress due
to their excessive manifest energy their temples also are not constructed.

4. The obstacle of distressing energy

If one is affected by distressing energy such as spirits, black magic (karni), etc. then
initially one may experience discomfort even with appropriate chanting. This is so
because the seeker chanting, himself becomes a sort of battlefield for both, the pleasant
energy generated by chanting and the distressing energy. However, the distress caused
by the distressing energy gradually decreases with chanting the Name of the family
deity (kuladevata) or that given by the Guru and then stops altogether.

5. Time and deities

Some seekers may experience distress if they chant the Name of a deity or a presiding
deity other than the deity of the day or the presiding deity of that date (tithi). However,
this difference will be obvious only after a seeker who has made substantial spiritual
progress, experiments by chanting in this way.

A. Days of the week and deities

Monday (Somvar): Shiva (Som means the Moon) Tuesday: Parvati / Lak

Wednesday: Pandurang Thursday: Datta

Friday: Parvati / Lakshmi Saturday: Maruti

Sunday (Ravivar): Ravi (means Surya, the Sun deity)

B. The dates (tithis) and their respective presiding deities

1. Pratipada (1st) Agnidev (The 2. Dvitiya (2nd) B

deity of fire) d

3. Trutiya (3rd) Gouri 4. Chaturthi G

5. Panchami Sarpa (The 6. Shashthi (6th) K

serpent)

7. Saptami (7th) Surya (Sun) 8. Ashtami (8th) B

9. Navami (9th) Durga 10. Dashami (10th) A

(
d
11. Ekadashi (11th) Vishvedev 12. Dvadashi (12th) H

13. Trayodashi (13th) Kamadev 14. Chaturdashi (14th) P

15. Pournima (full Chandra 16. Amavasya (new P

moon day) (Moon) moon day)

If instead of the presiding deity of that date (tithi) one worships the presiding deity of
another date then the benefit obtained is less, for instance if instead of Agnidev (the
deity of fire) one worships other deities on the first day (pratipada) of the Hindu lunar
calendar then the percentage of the benefit obtained is as follows.

PROPORTION OF PROPO
THE DEITY
THE DEITY THE BENEFIT THE BE
COMPONENT
OBTAINED % OBTAIN

1. Agnidev (The 100 9. Durga 70

deity of fire)

2. Brahma 40 10. Antak 40

(Yamaraj)

3. Gouri 70 11. Vishvedev 70

4. Ganesh 40 12. Hari 40

(Vishnu)

5. Sarpa 70 13. Kamadev 70

(The serpant)
6. Kartikswami 40 14. Shiva 40

7. Surya 70 15. Chandra 70

(Moon)

8. Bhairav 40 16. Pitar 70

(Shiva) (ancestors)

B. The method of chanting the deity’s Name

When addressing someone instead of simply using his name, one refers to him
respectfully as Shri. (Mr.), Smt. (Mrs.) etc. Similarly, one should chant the Name of the
family deity in a way which expresses respect for the same. Shri should prefix the Name
of the family deity, the Name that follows should be in dative case (chaturthi pratyay)
and should conclude with namaha. For instance, if the family deity is Ganesh then ‘Shri
Ganeshaya namaha (गगगग गगगगगग गग: ग)’, if it is Bhavani, then ‘Shri
Bhavanimatayai namaha (गगगग गगगगगगगगगगग गग: ग) or Shri Bhavanidevyai
namaha (गगगग गगगगगगगगगगग गग: ग)’. Since it is difficult to pronounce ‘Shri
Bhavanyai namaha‘ one can say matayai or devyai. The table below shows how the
dative case should be affixed to the word. The affix means ‘to’, that is (obeisance) to
Ganapati, to the deity, etc.

THE AFFIX
THE NAME OTHER EXAM
(CHATURTHI)

THE MASCULINE GENDER

1. Ending in ‘a’ Rama Ramaya Narayanaya, Gane

 Vyankateshaya

2. Ending in ‘i’ Hari Haraye Marutaye (Maruti)

(Agni), Ravaye (R

3. Ending in ‘u’ Vishnu Vishnave Gurave (Guru), Bh

(Bhanu)

4. Ending in ‘ru’ Pitru Pitre

5. Others Hanumat Hanumate

THE FEMININE GENDER

1. Ending in ‘a’ Durga Durgayai Umayai, Ramayai

2. Ending in ‘i’ Parvati Parvatyai Sarasvatyai

3. Ending in ‘u’ Dhenu Dhenvai/

Dhenave

4. Ending in ‘ru’ Matru Matre

1. Prefixing Shri or Om to the Name

Generally Shri or Om is prefixed to the Name. The importance of this prefix is given in
‘Science of Spirituality: Chapter 10 – Path of Mantra (Mantrayoga) point 2.- Parts of
a mantra‘. The comparison of Shri and Om is given in the following table.
 Shri Omka

1. Meaning Divine Energy The u

(Shakti), Beauty, (nirgu
virtues, etc. princi

2. The level (%) of a seeker who 20-60* 30-70

may use it

3. Possibility of distress due to 0 2**

the energy generated by the
pronunciation or remembrance
of the prefix %

4. Commonly prefixed to the Almost all Shiva

Name of which deity deities

* Beyond a spiritual level of 60% one concentrates on Bliss (Anand) instead of the word.

** For creation of the manifest (sagun, the Great Illusion) from the unmanifest
(nirgun, Brahman) tremendous energy is required. Such energy is generated by Om.
Hence, repeating (chanting) of Om by one whose spiritual level is not adequate to do so
can cause physical distress such as hyperacidity, a rise in the body temperature, etc. or
psychological distress like restlessness.

Note : The above table indicates adding prefix Shri or Om to the chant of the Deity. It is
advised to seek guidance for forming the specific chant.

Women should not chant Om. The frequencies emanating from Om generate a lot
of energy (heat) in the body. This does not affect the male reproductive organs as they
lie outside the body cavity. However, in case of women this heat can affect the
 reproductive organs as they lie within the abdominal cavity. Thus women may
experience distress. They may suffer from excessive menstrual flow, amenorrhoea,
dysmenorrhoea, infertility, etc. Hence, it is advisable for women not to prefix Om to the
Name unless otherwise recommended by the Guru; for example they may chant
‘Namaha Shivaya (गग: गगगगग)’ instead of ‘Om namaha Shivaya (ग गग: गगगगग)’.
Otherwise they should use Shri as a prefix.

C. The speed of chanting

A seeker with a tamasik (tama predominant) temperament should chant fast while
one with a rajasik (raja predominant) temperament and sattvik temperament should do
so slowly. Until a seeker in the primary stage begins to like chanting, he should chant
changing the tune, rhythm and rate of chanting in order to avoid feeling bored. A seeker
in the advanced stage should chant with one tune, rhythm and rate and gradually
decrease the speed of chanting to facilitate keeping the mind in a thoughtless state. By
extending the Om if it is present in one’s japa, the speed of chanting decreases.
Chanting very fast too stops the chanting and the mind becomes thoughtless. One
should gradually prolong the period of pronunciation of The Lord’s Name each time, so
that if chanting is occurring twenty times in a minute, it is reduced to fifteen times, later
to ten times and so on.

D. The stage of the seeker and the mode of speech

(vani)

1. The primary stage:

 The Vaikhari mode of speech

 Writing The Lord’s Name: This should be done every morning and evening for atleast
ten minutes and on Sundays and holidays for atleast half an hour to one hour
 Chanting with a mala (rosary): If one chants with the help of a mala (rosary) then one
should do at least three turns (malas) per day. If the chanting is less, then to know the
 reduction in the number of malas, one should count their number. If substantial chanting
occurs then there is no need to count the malas.

2. The intermediate stage: Madhyama and Pashyanti modes of speech

3. The advanced stage: Pashyanti and Para modes of speech

Whether one chants in the Vaikhari, Madhyama, Pashyanti or Para mode of speech is
not important. One should chant with that mode of speech with which the wandering of
the mind is minimised. Information on these four modes of speech is given in
table ‘Comparison of chanting in the four modes of speech’.

E. Keeping a count of the chanting

The methods of counting the chanting are as follows:

 1. The mala of beads: Information about the mala (rosary) is given below under point ‘6.
The japa mala (rosary)’.

 2. The mala of fingers (karamala): The joints of the fingers of the right hand used to
count chanting constitute the mala of fingers (karamala). The method of counting
chanting is as follows:

Start by counting 1 on the middle joint of the ring finger. Then count 2 at the base of the
ring finger, three, four and five on the joints of the little finger in the ascending order, six
on the upper joint of the ring finger, seven on the upper joint of the middle finger and
eight, nine and ten on the joints of the index finger in the descending order. Once one
reaches the base of the index finger one should reverse the order while counting till one
reaches the middle joint of the ring finger. In this forward and reversed order, chanting
occurs twenty times. In the mala of fingers (karamala) the base of the index finger
should be considered as the merubead (merumani) and should not be crossed. So also
 the lower two joints of the middle finger should not be touched.’ (1) When chanting using
the mala of fingers some joints are not to be touched as the mudras resulting from their
touch can reduce one’s concentration.

 3. Counting machines: Nowadays counting machines are used to count chanting

wherein a button is pressed, each time one chants. Electronic counters are also
becoming popular. However since they are made of stainless steel
the sattva component generated in them on account of chanting and the benefit derived
by the seeker thereby is far less than that generated in a mala used for the same
purpose.

F. The japa mala (rosary)

1. The number of beads

The Hindu mala (rosary) usually consists of 108 beads in addition to the
merubead. In some sects however the number of beads vary, for instance in
the Shaiva sect the mala has 32 beads. According to some holy texts the mala should
have only 9 beads and one should count 108 with 12 of its turns.

The mala of alphabets (akshamala) is made of rudraksha beads. It is composed of

51 alphabets from the Devanagari script from ‘a‘(ग) to ‘ksh’(गगग). Here ‘a’(ग) to ‘l’(ग)
are counted on the ordinary beads and ‘ksh’ on the merubead. When chanting with this,
first one starts in the natural order from ‘a‘ to ‘l‘ and then backwards from ‘l’ to ‘a’.

A. The number of beads depending on the motive:

1. Spiritual progress
 2. Thousands of mahapurashcharans

3. Attainment of the Final Liberation (Moksha)

4. Acquisition of wealth

5. Fulfillment of all one’s desires

6. Acquisition of distressing energy (Aghori vidya)

B. The meaning of 108 beads in the mala:

 ‘Desire, anger, greed, attachment, pride and envy are the six defects or foes of the soul
(shadripu). Often more than one defect is dominant at a time. Sometimes even two
defects can be dominant. Thus one derives six permutations of a defect, for instance
desire, desire-anger, desire-greed, desire-attachment, desire-pride, desire-envy, etc.
Thus from the six defects, thirty-six permutations are obtained. These thirty-six
permutations have either sattva, raja or tama, as their predominant component, for
instance desire-anger-sattva, desire-anger-raja, desire-anger-tama. Thus 36×3=108
permutations are obtained. Every bead in the mala is a representative of such a
permutation. The merubead (merumani) maintains its separate existence inspite of
being with the rest. Thus finally the mala consists of 109 beads. The spiritual emotions
developed in every bead are generated from the nine types of devotion (navavidha
bhakti).’ (2)

 The four parts (charans) of each of the twenty-seven lunar asterisms (nakshatras) that
is 27 x 4 equals one hundred and eight. These are represented by 108 beads in
the mala. This reminds one of the fact that the Vedic teachings have to be propagated
to these 108 places.
 The beads symbolize the 108 sensate foci in our body.

 They represent the 108 Upanishads.

 The Names of Vishnu and Shiva in the Mahabharat are also 108.

 The major psychiatric illnesses according to the Ayurveda too are 108.

 The number of the deities of knowledge and the various sciences (vidyas) is 108 as
well.

 In the tenth kand of the text Shatpath Brahman it is said that one sanvatsar has 10,800
auspicious moments (muhurts). The Rugveda, Yajurveda and Samaveda also have the
same number of couplets. (The Atharvaveda is considered inferior to the other
three Vedas. Hence it is not discussed here.) The life span of man in the Kaliyug is
hundred years. If 10,800 is divided by 100 the result is 108. Thus the 108 beads in
the mala indicate the 108 auspicious moments (muhurts) in a year and also the couplets
of the three Vedas.

 An average person breathes 21,600 times a day. If a seeker gives half these breaths to
worldly activities then he should devote atleast the remaining half, that is 10,800 breaths
to spiritual practice. So, chanting of a minimum of 100 turns (malas) of a mala
consisting of 108 beads should be done everyday.

 ‘The author of Ankavidya, S.H.Joshi has illustrated the scientific relationship between
numbers and actions. Zero refers to the inactive, formless and
attributeless Brahman whereas, 1 indicates the non-dualistic state of Brahman. S.H.
Joshi while elucidating the concept further says, each number has its own importance.
The 108 beads of the mala also have a significance. The sun when traversing the
twelve zodiac signs completes a polar circle which is known as a ‘vrutta‘. The vrutta has
 360 degrees. If one converts the degrees of the revolution into kalas one gets 360 x 60
= 2,16,000 kalas. The sun remains in the northern hemisphere for six months and in the
southern for the remaining six. Thus one obtains the figure of 1,08,000 in each part.
From another angle it is considered that there are 60 ghatkas from one sunrise to the
other. One ghatka consists of 60 pals and each of the 60 pals amounts to 60 vipals.
Thus 60 ghatkas amount to 2,16,000 vipals. If these are divided between day and night
then one arrives at the number 1,08,000. To establish a relationship between time and
numbers, the three zeros of the figure 1,08,000 may have been deleted and the figure
of 108 may probably have been used for the japa mala.’

2. The types of beads in a mala

A. According to the deity: The mala should consist of beads which have the ability to
attract pure (most subtle) particles of the deity whose Name is being chanted, for
instance rudraksha beads for chanting the Name of Lord Shiva and tulsi beads for
chanting the Name of Lord Vishnu.

B. According to the motive: Beads predominating in sattva, raja, tama are chosen
according to the motive.

 Spiritual progress : According to the sect – tulsi (Vishnu), rudraksha (Shiva), pearls or
corals (Shakti), gold (Lakshmi), red sandalwood [raktachandan] (Tripuradevi), ivory
(Ganesh).

 Taravidya: Conch

 Begetting a son: Fruits of a tree called ‘Putrajiva‘.

 Acquisition of wealth: Corals

 Fulfillment of desires: Silver

 Nullification of sins: Blades of grass (kushagranthi)

 Acquisition of the mantra of attracting others: Ivory

 Destruction of enemies (completion of the undertaken task, acquisition of

wealth): Padmaksha

 Distressing (Aghori) energy: Bones

C. The merubead: This is the main bead of the mala. Why this bead is not crossed
while chanting is given in point ‘6.4 A’. The merubead which remains steady without
being included in the counting unlike the other beads, is associated with the following:
the constellation of seven stars (the Saptarshi) which revolves between the North Pole
(Dhruva) and the South Pole (Dhruvas). The centre of this revolution which is steady is
called sumeru. Hence, the merubead which is excluded in the counting of chanting is
also known as the sumeru.

3. The thread and the Brahmagath (gath = knot)

Since the red thread is said to bestow all the supernatural powers (siddhis) three
rounds of it are recommended for tying the beads of a mala. The merubead is tied in the
middle of the mala with the Brahmagath. The beads should be separated by a knot so
that they do not strike each other.

4. The principles of using the mala

A. One should not traverse the merubead

Why does one reverse the mala after reaching the merubead (merumani)?
 ‘To forget the act of chanting !’ – Saint Bhaktaraj

Just as from the seeker’s point of view, it is important for the

central Sushumna channel to be functional rather than the left sided Ida or the right
sided Pingala, so also, it is incorrect for a seeker to use the mala in only one direction.
The Sushumna channel is between the Ida and Pingala channels, and likewise the
merubead is between the opposite directional rotations of the mala.

If one happens to cross the merubead by mistake, one should practise pranayam six
times as a penance.

B. The mala should be drawn towards oneself

Observe what one experiences when the mala is pushed away from oneself as
against drawing it to oneself. A majority experience distress. The reason being that
when drawing the mala towards oneself the vital energy, pranvayu is active while when
pushing it away the vital energy, samanvayu is active. More Bliss (Anand) is
experienced when the pranvayu is active in comparison to the samanvayu. [More
details on these vital energies are given in ‘Science of Spirituality : Chapter 35 –
Pranayam‘.]

C. According to the motive: Chanting is done with the mala held in the right hand as
given below:

 1. As spiritual practice

A. The mala should be placed on the middle joint of the middle finger and the beads
should be drawn with the thumb towards oneself. The index finger should not touch
the mala.
 B. The mala may also be placed on the ring finger with the tips of the ring finger and
thumb touching each other. The mala should then be drawn with the middle finger.

 2. To acquire supernatural powers of Uchchatan and Utsahan from the Path of Tantra:
The mala is placed on the ring finger and drawn with the thumb.

5. Performing sanskars (spiritual rites) on

the mala [malasanskar]

These sanskars (rites) are performed only to charge a new mala before
use.’The mala should be placed on a leaf of the holy fig tree (pimpal) or a copper plate
(if the leaf is not available) after sprinkling water purified with grassblades (kushodak), a
mixture of five things namely milk, curd, butter, urine and dung of the cow
(panchagavya), etc. on it. Then 50 alphabets
(matrukas) Om (ग), rhim (गगगगग|), am (गग), am (गग), im (गग), im (गग), um (गग), u
m (गग), rum (गग), rum (गग), lrum (गगग), lrum (गगग), em (गग), aim (गग), aum (गग),
oum (गग), am (गग), aha (ग:), kam (गग), kham (गग), gam (गग), gham (गग), nham (
गग), cham (गग), cham (गग), jam (गग), jham (गग), yam (गग), tam (गग), tham (गग), d
am (गग), dham (गग), nam (गग), tam (गग), tham (गग), dam (गग), dham (गग), nam (
गग), pam (गग), pham (गग), bam (गग), bham (गग), mam (गग), yan (गग), ram (गग), l
am (गग), vam (गग), sham (गग), sham (गग), sam (गग), ham (गग)
and ksham (गगगग)’ are pronounced aloud (nyas) placing the right hand over the mala.
Then the priest performs the sanskars (rites) with
‘sadyojatadi (गगगगगगगगगगगग)’ mantras. Should a priest be unavailable then
the sanskars should be performed chanting the mantras of the benevolent deity
(ishtadevata). An offering of five things viz. sandalwood paste (gandha), flowers,
incense (dhup), a lit lamp (dip) and an offering of food (naivedya) is made in that order,
amidst chanting of those mantras.

It is a custom to perform a similar sanskar on the mala worn around the neck.
If such elaborate sanskars are not feasible then the mala may be washed
with panchagavya and later sandalwood paste should be applied to it. The mantra of the
benevolent deity (ishtadevata) should be chanted ten times on each bead and a
hundred times on the merubead and should be followed by the five-fold ritual of worship
(panchopchar puja) of the mala. The mala is then ready for use.’ (3)

6. The ritual of accepting a mala (japamalagrahanvidhi)

The mala is purified by washing it with panchagavya. Then its invocation

(pranpratishtha) and worship is done. Since the mala is associated with Dharma i.e.
Dharmacharan">Righteousness (Dharma), money (artha), desire (kama) and the Final
Liberation (Moksha) during the worship, one should pray for success in achieving them.
A new mala should be procured from the Guru. As is the custom, prior to this, one
should worship the Guru.

7. Donning the mala

‘At places such as Pandharpur a special ritual of ‘donning the mala‘ is performed.
Only a tulsi mala is used for this purpose. The Guru or chief of the group gives the oath
of following the traditional restrictions and code of conduct such as prohibition of wine,
meat, adultery and coveting others’ wealth, following the religious observance
of Ekadashi, going on a pilgrimage to Pandharpur, reading the Haripath, adorning
a tilak on the forehead, etc. One is now known as a malkari‘ (one wearing the mala). If
the mala happens to break and fall then one does not partake of food till it is
replaced.’ (4)

8. Practical suggestions about using a japa mala (rosary)

 A. As far as possible one should use one’s own mala (rosary). Mostly each one’s
chanting is different. Hence, if all use the same mala the frequencies developed in it can
even prove distressing to some.

 B. One should use only one mala. With use, pleasant vibrations develop in it and
consequently the charged mala facilitates concentration.

 C. If one is recommended the chanting of two or three Names for spiritual reasons then
one should chant with the same mala. Due to chanting of those Names frequencies
essential for oneself develop in that mala and prove beneficial to the individual.

 D. Prior to commencement of chanting, holy water should be sprinkled on

the mala (prokshan) and then it should be worshipped ritualistically (puja) or obeisance
(namaskar) should be offered to it.

 E. One should take care to see that the beads do not strike each other while chanting.
Hence they should have a knot in between them. According to the scriptures, if a sound
is generated by the striking of the beads with each other then the chanting is said to be
futile.

 F. To avoid loss of energy from the mala it should either be kept with the other materials
of ritualistic worship (puja), in a box or a steel cup (vati) or should be worn around the
neck. If a mala is worn then depending on its length, it can have an effect on a
particular chakra. The mala with 108 beads generally reaches the navel, so it can have
an effect on the Manipur chakra. If a mala of 32 beads is worn then it encircles the neck
and hence has an effect on the Vishuddha chakra.

The scriptures say that the mala used for chanting should not be worn. The motive
behind this being that since no one can remain sattvik (sattva predominant) throughout
the day if the mala is worn, the sattva component generated in it due to chanting will be
 destroyed. In order to prevent this the seeker in the primary stage should not wear
the japa mala. If worn it will only serve psychologically to remind him that ‘one should
behave in a sattvik manner’. For a progressed seeker whether the mala is worn or not,
does not matter at all.

 G. A bag shaped like a cow’s face (gomukhi): It is said that after obtaining a new japa
mala it should not be shown even to the Guru who gives it. It is just to emphasise the
point that it should not be shown to anybody that the above statement is made. Similarly
if chanting is done keeping the mala exposed then the result of the chanting is said to
be taken away by spirits, ghosts, demons, etc. Due to this fear many a seeker using
a japa mala either chants in isolation or chant inserting the right hand holding
the mala in a small silk bag having a length and breadth of 20 cms and shaped like the
face of a cow. This bag is called a gomukhi.

 H. The slip and fall of the mala: ‘If when chanting, the mala slips and falls from the hand
it is considered to be a bad omen. If this happens one should perform pranayam as a
penance six times.

 I. The breaking of the mala: Should the beads of the mala fall apart while chanting, it is
considered an omen of disaster and one should perform the chanting
of Mahamrutyunjay japa to ward off the obstacle. Although there are stringent rules for
the amount of chanting to be done, generally forty thousand is the amount advocated.
However, if the thread of the mala is found to be weak then using one’s judgement one
may reduce the chanting.

9. The exchange of a mala

One cannot gift a mala used by oneself to someone else. However a Guru can
give it to His disciple. A mala can also be kept as a memento of a departed soul.
A mala acquired from a Guru who has renounced His body or a mala which is a
 memento of a dead person cannot be used for chanting.’ (5) One should not use the
Guru’s japa mala as, if kept unused for a longer period one can derive maximum benefit
whereas if used the sattva component in it gets reduced faster. One should not use
someone else’s japa mala since it is charged with the frequencies of his deity of worship
and to charge it with one’s own chanting would take time.

10. The japa mala (rosary) in certain sects

A. Jain

 1. Name: japa mala

 2. Number of beads: 108

 3. Material of the beads: Sandalwood, thread, gold, silver, marble, gomed (a precious
stone), vegetable seeds.

 4. Colour: The colours of the mala correspond to the colours donned by the saintly men
(tirthankars).

B. Sikh

 1. Name: Simarani

 2. Number of beads: 108

 3. Motive: There are 108 quotes of the Guru in the religious text ‘Shri Guru Grantha
Sahib’
From the seeker’s point of view the importance of the number of beads, the types and
the sanskars on the mala is just 0.0001% whereas chanting with spiritual emotion
(bhav) is 100% important.

Namsankirtanyoga
October 27, 2005Chanting

Namasankirtanyoga

1. Definition

Sankirtan means singing the praises, glory or chanting the Name of a Deity. Uniting the
embodied soul with Supreme God through the medium of chanting the Name of the
Deity is known as Namsankirtanyoga.

2. Japa (Chanting)
 A. Derivation and meaning

1. ‘गगगगग गगगग गगगगगगगगग गगगगग गगगगगगगग ग’

Meaning : chanting (Japa ) is that which destroys sins and liberates one from the cycles
of birth and death.

2. Chanting means repetition of a letter, word, mantra or sentence.

B. Types

1. Namajapa means repeating the Deity’s Name repeatedly or chanting the Deity’s
Name (Namasmaran).

2. Mantrajapa means chanting of a particular mantra.

3. Importance of chanting the Name

A. Chanting is necessary to reduce the attraction towards

Great Illusion

It is being often said that, in Kaliyug, renouncing the family to attain God is not
necessary. The family life cannot be bad, for it is the creation of the all too powerful God
Himself. It’s the attachment to the family life that is bad, for it is binding and the root
cause of the cycles of birth-death. Not only this, we have to shift the nucleus of our
worldly desires from relations like father, son or materialistic desires like wealth etc. and
make the supreme God the nucleus of our desires. This is easily achieved by chanting.
 B. Blending with the Name is more important
than wasting one’s spiritual practice in opposing the
factors of Prakruti

The subconscious mind carries millions of impressions. To erase even a single

impression would take a very long time. Thus, if one were to practice moral virtues and
observe restraints, a considerable period would be wasted in overcoming the
tendencies of the subconscious mind. It is much more important to make continual
efforts to blend with the ‘Purush’, rather than to try and erase impressions which arise
from ‘Prakruti’. This is precisely what can be achieved by chanting a Deity’s Name. The
mind, intellect, subconscious mind, etc. are all constituents of Prakruti and they function
according to their own characteristics. Instead of wasting one’s spiritual practice in
resisting them, one would achieve the goal faster if the spiritual practice is utilised to
progress toward God, that is to become one with the Name (of God) that one chants. –
H.H. Bhaktaraj Maharaj

C. The Name of God is more important than His appearance

While chanting the Name of God if God Himself poses physically in front and asks,
‘What do you want ?’ and to that if the reply is ‘give me Your Name alone’, then that
would be called nishkamata. God who has appeared in physical form is indeed going to
disappear sometime; but His Name will last forever and whenever His Name is uttered,
He will have to be present by the Name.

D. A spiritual practice that is convenient to all

Fire sacrifice, an offering, ritualistic bath, chanting a mantra etc. can be carried out only
during specific Holy times and require purification of worshipper, place etc. However
chanting the Name of the Deity is independent of all these requirements and has no
restrictions of place and time, shuchitvaashuchitva or sovale-ovale.

E. The Deity’s Name is saviour of the honest as well as

sinners

All the people sitting in a train, whether having first class or second class tickets or
those travelling without ticket, if they do not disembark the train midway, then they all
make it to their destination. Likewise, those who chant the Name, whether honest (one’s
with ticket) or sinners, cruel and dishonest (one’s without ticket), all attain moksha if
they do not give up chanting midway. Not to give up chanting the Name is most
important.

4. Methods

A. According to the faculty

1. Body

Writing the Deity’s Name with one’s own hand.

Advantages

a. Chanting the Name occurs through three mediums – the hands, the eyes and the
mind.

b. Mind does not go astray while the chanting is going on.

c. When the note books with the chant written on them are kept in the house, they help
purify and maintain the purity of the house.

2. Speech (Vaikhari vani)

3. Mind

B. According to the mode of speech

1. Vaikhari

Chanting done aloud, with effort.

a. Benefits to oneself

1. For a seeker in the primary stage, chanting aloud facilitates concentration.

2. One also derives the benefits of Pranayam.

b. Possible benefits to others

1. Helps generate sattvik spiritual emotion in the minds of those who hear the chanting.
2. The sound vibrations generated help make the environment sattvik.

c. Possible distress to others

Can disturb their thoughts and hinder their spiritual practice.

d. Limitations

The mind cannot attain a thoughtless state because of loud chanting.

2. Madhyama

It is a stage where chanting is automatic. Madhyama means middle. It is the

intermediate stage between the Vaikhari and Pashyanti modes of speech.

3. Pashyanti

Pashyanti is derived from the root ‘pashya’. It means ‘to see’. Chanting akin to that of
the Sages who can visualise the past, present and the future is called Pashyanti.

4. Para

This itself is referred to as Omkar or adibij (The primordial seed). In the Para mode of
speech, chanting ceases to exist since non-duality is achieved with the chanting.

How many pradakshinas (circumambulations)

should be performed around a Deity ?
September 22, 2014Visiting a templevisiting_a_temple_correct_methods
Many of us go to the Devalay (Temple) to have darshan (viewing) of the Deity. In order
to take maximum benefit of the darshan, one must do pradakshina of the Deity. To
commence the pradakshina one can start moving at a medium pace from the left side of
the garbha-gruha (Sanctum santorum) with hands folded in the Namaskar-mudra (Both
the hands joined and held at the level of the Anahat-chakra [The fourth centre in the
spiritual energy flow system, located in the region of the heart in the subtle-bod], but a
little away from the body), while chanting the Deity’s name. After the pradakshina, pay
obeisance to the Deity and only then commence the next pradakshina.

1. Reason for different number of pradakshinas to

be performed around a deity

The general rule is that for male Deities, the number of pradakshinas should be in ‘even’
numbers (0, 2, 4, 6) and for female Deities, it should be in odd numbers (1, 3, 5, 7). The
reason is as follows. ‘Zero’ denotes Brahman, meaning, Supreme God who is the
Creator of the universe. From ‘zero’, the number ‘one’, that is Maya (The Great illusion),
meaning, the universe has originated. Maya is feminine, the number ‘one’ is ‘odd’;
hence, pradakshina around the female Deities should be done in ‘odd’ numbers. ‘Even’
numbers are associated with ‘zero’ and hence pradakshina around the male Deities
should be done in ‘even’ numbers.

A. A subtle experiment, which proves the mentioned

reason

First, chant a number associated with zero (0, 2, 4, 6 etc., that is, even numbers) for two
minutes. Then, chant a number associated with one (1, 3, 5, 7 etc., that is, odd
numbers) for two minutes. Only then read the following part of the experiment. The
chanting of an even number gives spiritual experience of Anand or Shanti (Serenity),
while chanting of an odd number gives spiritual experience of Shakti (Divine Energy).
Male Deities are mostly associated with Anand or Shanti, while the female Deities are
mostly associated with Shakti. From the experiment here, we can experience, that
numbers associated with zero are associated with male Deities, while those associated
with number one are associated with female Deities. Hence, pradakshina around male
Deities should be performed in even numbers and around female Deities in odd
numbers.

2. Specific number of pradakshinas associated with

the
Saptadevtas (The seven Deities – Shri Ganesh,
Shiva, Shriram,
Hanuman, Datta, Shri Durga and Shrikrushna) and
the underlying reason

According to different schools of thought, the number of times a pradakshina to be

performed around a Deity is different. Some examples given here support this
statement. The number of pradakshinas change according to sagun (Materialised)-
nirgun(Non-materialised) or tarak (Saviour)-marak(Destroyer) form of the Deity or as per
the intention of the person performing pradakshina. As per the science of numerology
too, the numbers associated with different Names of Deities are different. ‘There are as
many Paths to God-realisation as the number of individuals and their respective
temperaments’ – this is an important doctrine of Hindu Dharma. According to this
doctrine, the number of pradakshinas are not fixed, they vary as per the situation.

The number of pradakshinas mentioned against a Deity’s Name in the table ahead
denotes the minimum number required for the respective Deities. Should a larger
number be intended, then it should be in the multiples of the minimum number
specified.

A. Method 1 – Subordinate forms of the Deities

NUMBER OF
SAPTADEVTAS REASON UNDERLYING THE NUMBER
PRADAKSHINAS

Deity Shiva 0 (Note 1) Deity symbolic of dormant and unmanifest nirgun energy

Goddess Durga 1 Deity representing the state of sagun manifest energy in dvait

Srikrushna 3 Purnavtars working equally at three levels of Iccha-shakti, Kriya-shakti

The king who is an ideal follower of all the four ashrams, that is, Brahm
Sriram 4
Vanaprasthashram and Sanyasashram
 NUMBER OF
SAPTADEVTAS REASON UNDERLYING THE NUMBER
PRADAKSHINAS

Deity Maruti 5 One who has mastery over Pancha-tattvas

Deity Datta 7 One who brings about spiritual progress of the jiva by purifying the seve

Srī Ganapati 8 Master of all the eight directions

The rule mentioned here applies to the subordinate forms of these Deities. – A Scholar
(Through the medium of Mrs. Anjali Gadgil, 17th January, 2005, 7.54 p.m.)

Pradakshina of the Shivapindi (Deity Shiva’s sacred symbol)

The method of performing the pradakshina of the Shivapindi is ‘Somasutri’, meaning in

a crescent shape. The ‘sutra’ (A channel) that passes from the shalunka (Base of the
linga [Deity Shiva’s sacred symbol], also known as lingavedi) (for the water of
the Abhishek[Consecration by ritualistic bathing with water, milk etc.]) towards the North
side, that is, towards the boundary of the Devalay is called ‘Somasutra’. We begin the
pradakshina from the left side and go till the outward projecting channel of the shalunka;
then, without crossing it, turn back and come unto the channel from the other side and
thus complete one pradakshina.
The flow of a shalunka is not crossed, as it is the flow of energy. When crossing it, the
legs are spread. As a result, formation of semen and the five vayus (Internal vital air
energies) are adversely affected. There is an obstruction in the flow of Devdatta and
Dhananjay vital air energies too. However, these ill effects do not occur if while crossing
it, the body is contracted, that is the nadis (Energy channel) are contracted. Rationalists
feel that the channel of the linga is not crossed because while doing so, the dirt on our
feet contaminates the water there. If devotees partake this water as Tirth , it could result
in illness! This law is applicable to man-made Shivalinga; however, this is not applicable
to a Swayambhu (Self-originated) linga or to the Shivalinga in the Devalay at home. The
way a pradakshina is done in a complete circle in case of other Deities, so is not the
case with the Shivapindi. Hence, the number of pradakshinas advised in case of Deity
Shiva is zero.

B. Method 2 – As per the Sattva, Raja and Tama(see

glossary) component and nirgun tattva (Principle)
DEITY EMITTED COLOUR OF THE NUMBER OF EFFEC

COMPONENT / SUBTLE-WAVES PRADAKSHINAS THE J

TATTVA (PRINCIPLE)

1.Sriram Pure Sattva(Tarak) Bluish white 1 (One who adheres to a A.

single vow) Awake

B. Exp

2.Srikrushna Sattva and Sattva- Raja Sattva- predominant 1 or 2 (Either in advait nirgun A.

waves are yellow in form or in dvait, that is, Awake

colour, while Sattva- functioning in sagun form) kshatra

Raja are reddish B. Exp

yellow

3.Deity Datta Predominantly nirgun-tattva White, golden yellow 3 (Combined form of Brahma, Nirgun

and to some extent Sattva and sometimes faint Vishnu and Mahesh) perform

component of the sagun- blue that, o

tattva thrice.

a seeke

4.Deity Maruti Sattva-Raja, 50% Sriram’s Saffron and dark blue 2, 5, 7, 11, 13, 21, 77, 99 and A.

Principle and marak-shakti 101 Reduct

negativ

B. Incr

of ksha
DEITY EMITTED COLOUR OF THE NUMBER OF EFFEC

COMPONENT / SUBTLE-WAVES PRADAKSHINAS THE J

TATTVA (PRINCIPLE)

5.Srī Ganapati Sattva and Sattva- Raja, Red and reddish 2, 5 and 21 Increas

depending upon the mission yellow enthus

6.Deity Shiva 70% Sattva, 30% Raja- White Half a pradakshina and if the A.

Tama and 20% nirgun- type of worship is Tantrik in B. Min

tattva nature, then 1, 2 or 3

pradakshinas C. M

D. One

Marak

F. If o

then va

experie

7.Goddess Lakshmi and Sattva Yellow and blue Even number (Tarak form)

other Goddess’ having

more of tarak-tattva, for A. A

example Goddess Experi

Saraswati

8. Goddess Durga and Sattva-Raja Red, saffron, yellow Odd numbers (Marak form) A. Incr

other Goddess’ having

DEITY EMITTED COLOUR OF THE NUMBER OF EFFEC

COMPONENT / SUBTLE-WAVES PRADAKSHINAS THE J

TATTVA (PRINCIPLE)

more of marak-tattva, for and white B.

example Goddess Kali C. Exp

C. Method 3 – As per the Energy and function of the Deity

गगग गगगगगगग गगग गगगग गगगगगग गगगगगगगगगगगगगगग ग
गगगगगगग गगगगग गगगगगगगग गगगग गगगगगगगगगगगगगगगग
गग – गगगगगगगग

Meaning : One pradakshina should be performed around the Goddess, seven around
Sun Devalay, three around Shri Ganapati’s Devalay, four around Shrivishnu and a half
around Shiva Devalay.

Spiritual Science:
1. Shrivishnu: Four pradakshinas have been prescribed for Shrivishnu, because Vishnu
Principle contains the Divine energies of four actions of invocation, recitation, songs of
praise and protection.

2. Deity Shiva: The Shiva Principle is the symbol of that half part of ‘Om’ which signifies
the function of Dissolution. Hence, only half a pradakshina has been prescribed. Half
part is the part called ‘Aas’, which remains after utterance of ‘Om’ for its functions. (‘Aas’
are the subtle sound waves that remain after an object is struck on another object. For
example, the subtle sound waves which remain in the environment when the bell in a
Devalay is sounded. These subtle sound waves are called ‘Aas’. – Compiler)
3. Goddess : ‘Full stop’ means the point where the ‘Aas’ gets dissolved immediately
after it manifests. In other words, it is the line which denotes the function of the ‘full
stop’. Hence, only one pradakshina of the Devalay of the Goddess has been prescribed.

4. The Sun : When the Tejdharana (Energy of the radiance of the Sun) comes in the
orbit of the Earth from the Sun, it intercepts seven levels and transforms at the sagun
level through the medium of Vayu (Absolute Air)-Tej (Absolute Fire), Tej-Vayu, Tej, Tej-
Apa (Absolute Water), Apa-Tej, Tej-Pruthvi (Absolute Earth) and Pruthvi- Tej Principles.
As a symbol of this, 7 pradakshinas are performed.

5. Shri Ganapati : Shri Ganapati is the symbol of Ichha-shakti (Energy of will). The
waves of Ichha-shakti are attracted to a triangular figure in a shorter time. As a symbol
of the union of the three flows, three pradakshinas of Shri Ganapati are performed.’ – A
Scholar (Through the medium of Mrs. Anjali Gadgil, 9th June 2007, 12.08 p.m.)

D. Method 4 – Performing pradakshinas of the Deities

according to Sankhyashastra (Science of numerology)

Deity Shiva – 3, Shrikrushna – 8, Shriram – 9 and Shri Ganapati – 3.

3. How many pradakshinas should be performed

around a Swayambhu Devalay

Since the activated energy in a Swayambhu Devalay cannot be imbibed by a common

man, only one pradakshina is sufficient. An individual with over 50% spiritual level can
make as many pradakshinas as he wants as per his bhav (Spiritual emotion). There is
no limit to the number of pradakshinas for him. – A Scholar (Through the medium of
Mrs. Anjali Gadgil, 22nd October 2006, 2.36 p.m.)
FAQs regarding darshan (viewing) in a
Devalay (Temple)
September 20, 2014Visiting a templevisiting_a_temple_importance_and_faqs

Most of us visit the Devalay to have darshan of the Deity. In order to receive maximum
Chaitanya (Divine consciousness) we must have the darshan in a spiritually correct
manner. For this the Hindu Dharma has provided us with a set of guidelines based on
shastras. Many of us have some common queries regarding the spiritually correct
manner of darshan in a Devalay. In the following article some of these common queries
have been answered.

1. Why is entering the garbha-gruha (Sanctum

sanctorum) prohibited?

Ordinary people cannot tolerate the Chaitanya emanating from the main energy flow of
the Deity in the garbha-gruha and spreading all over; therefore, they are prohibited from
entering the garbha-gruha.

The individual with a spiritual level of 50% has the ability to tolerate the Chaitanya
emanating from the Deity and hence can enter the garbha-gruha. – A Scholar (Through
the medium of Mrs. Anjali Gadgil, 15th February 2007, 9.19 p.m.)

2. What actions should be performed after having

darshan of the Deity’s Idol?

A. ‘There are two doors, one on each side of the garbhagar (Anteroom). After darshan
of the Deity, come out through the door on the right side and have darshan of Agnidevta
(Deity of Fire), that is, of the mandap (Hall) which has the yadnyakunda (Pit
where yadnya [Ritual of sacrificial fires] is performed) (If it is there).
B. Then enter the garbhagar once again and come out of door on the left side and have
darshan of the Idol of Deity Suryanarayan (If it is there).

C. Once again, enter the garbhagar, have darshan of the main Deity and come out of
the main door of the garbhagar.

A. Science behind these actions: The sequence mentioned here is to have darshan of
the main Deity first, followed by the darshan of Agnidevta and Suryanarayan and in the
end darshan of the main Deity again. The symbolic meaning of these acts is that, first
approach the nirgun (Non-materialised) Principle, followed by sagun (Materialised)
activity performed on the strength of the nirgun Principle through the medium of the
subordinate Deities (Agnidevta [who has Kshatratej (Radiance of a warrior class)] and
Deity Suryanarayan [who has Brahmatej (Radiance of a Brahman, class which studies
scriptures and imparts knowledge to the society)]) and then in the end dissolution in the
original nirgun Principle. This is referred to as the ‘Doctrine of duality and non-duality’ or
‘one complete journey in the universe’. Through the entire journey of going from non-
duality to duality and back to non-duality, God keeps working for the universe. – A
Scholar (Through the medium of Mrs. Anjali Gadgil, 17th January 2005, 2.27 p.m.)

3. If the arrangement for pradakshina

(Circumambulation) is not
available in a Devalay, will it be correct to perform
pradakshina around oneself ?

In case a Devalay does not have an arrangement for pradakshina, then there is no need
to perform one around yourself. However, during an Arati (A ritual of waving a lit lamp in
front of a Deity and Saints, accompanied by singing of hymns), the nada-shakti (Sound
energy) is activated and performing pradakshina around yourself helps derive the
benefit of specific vibrations from these sound waves. Hence, performing pradakshina
around yourself only after the Arati is important.

4. What is the reason for not performing

pradakshina in places
like the samadhi (Mausoleum) of a Saint, Devalay of
Navagraha and Sun Devalay ?

Samadhi of a Saint, Devalay of Navagraha and Sun Devalay are the Shaktipeeths
(Seats of Divine Energy), and hence as far as possible, avoid performing pradakshina
around them. There exists a greater possibility of suffering distress when one performs
pradakshina at places where only Shakti (Divine Energy) waves are accumulated. In the
Devalay of superior Deities, since there is a harmonious cohesion of the sagun and the
nirgun waves of Chaitanya, the possibility of experiencing distress by those having
darshan is absolutely minimal. – A Scholar (Through the medium of Mrs. Anjali Gadgil,
18th January 2005, 11.51 a.m.)

How should one enter the Sabhamandap (Hall)

in a Devalay (Temple)?
September 20, 2014Visiting a templevisiting_a_temple_correct_methods

In order to derive maximum benefit of darshan (viewing of deity) in a Devalay, one

should do it in a spiritually correct manner. We can follow the guidelines given to us
based on our shastras. Upon entering the devalay, one must first pay obeisance to the
kalash (dome) of the temple and then proceed towards the sabhamandap. The
sabhamandap is a manifest form of the actual region oriented nirgun (Non-
materialised)-sagun (Materialised) presence of the Deity; hence, entering the
sabhamandap amounts to entering the territory of the Deity. – A Scholar (Through the
medium of Mr. Nishad Deshmukh, 17th January 2007, 7.10 p.m.)
 1. Simple steps to be followed while
proceeding towards and after entering the
sabhamandap

A. Before entering the sabhamandap, do Namaskar

to the entrance door from a distance and then to the steps

‘Before entering the sabhamandap, first do Namaskar to the entrance door from a
distance and then do Namaskar to the steps by touching a step with the right hand, and
then touch it to the Adnya-chakra .

1. Namaskar to the entrance door of sabhamandap from a distance

Namaskar to the entrance door of the sabhamandap from a distance amounts to

Namaskar with the emotion of prayer to the guarding Divine waves moving freely in
God’s Kingdom, praying to them for freeing the passage to God’s Kingdom and
facilitating a smooth entry. The sabhamandap of a Devalay is the activity-centre of
God’s planning.

2. While entering the sabhamandap, touching the steps and doing Namaskar

Touching the steps with one hand and doing Namaskar while entering a sabhamandap
is actually Namaskar to the sanctity of the sabhamandap, which acts as samashti
(Society) form of the Devalay. It is because of the radiance of the place that Chaitanya
(Divine consciousness) accumulates in the land. Namaskar to the steps helps in
increasing the sensitivity of imbibing Chaitanya through the medium of that Principle.
Namaskar to the earth by way of touching it respectfully with the hand, results in quick
spreading of the Chaitanya from the respective areas into the body of the individual.
This, in turn, generates conduciveness for the gross body of the individual that is made
up of Pruthvi-tattva (Absolute Earth Principle) and Apa-tattva (Absolute Water Principle),
to move about freely. Due to the intense Shakti (Divine Energy) present in the Devalays
of Superior Deities, the individual is not distressed. – A Scholar (Through the medium of
Mr. Nishad Deshmukh, 17th January 2007, 7.10 p.m.)

3. Praying while stepping into the sabhamandap (It helps in reduction of a

individual’s ego)

While stepping into the sabhamandap, offer the following prayer that is conducive for
spiritual progress – ‘O Deity, let me benefit from the Chaitanya emitting from your Idol to
the utmost extent.’ This prayer will help in reducing the ego. – A Scholar (Through the
medium of Mrs. Anjali Gadgil, 17th November 2005)

2. Method of proceeding from the sabhamandap

towards the garbha-gruha (Sanctum sanctorum of a
temple)

A. Reason for not entering from the right side of the sabhamandap; instead, the
reason for exiting from this side

The right side of the sabhamandap is the activity source associated with transmitting
energy, related to the activities of the marak (Destroyer) form of God and hence, the
marak radiance of God is always active on this side. Therefore, an individual with a low
spiritual level entering from this side may not be able to tolerate such an energy and is
likely to suffer from distress such as headache or burning of eyes. Hence, instead of
entering from this side, we must exit from this side.
B. Reason for walking along the left side of the sabhamandap towards the
garbha-gruha

The left side of the sabhamandap is the main activity-source, which on the strength of
Chaitanya, works at the level of the universe by projecting the Chaitanya emitting from
the right side of the Deity’s Idol. Therefore, entering a sabhamandap from the left side
(wherein the right side of the individual remains to the right of the Idol) the individual
gets the benefit of the waves transmitted, to be operational in the universe. This makes
the body of the individual more conducive for receiving the Chaitanya, and its Muladhar-
chakra (First centre in the spiritual energy system located in the region between the
anus and the base of the genitals in the subtle body) and Swadishthan-chakra (second
centre in the spiritual energy system located approximately 3 cms above the muladhar
chakra) get purified.’ – A Scholar (Through the medium of Mr. Nishad Deshmukh, 23rd
January 2007, 6.26 p.m.)

Actions to be performed before entering a

Devalay (Temple) and the underlying science
September 20, 2014Visiting a templevisiting_a_temple_correct_methods
We all may be aware of certain actions that have to be performed when taking darshan
(view) in a Devalay. For example, removing one’s footwear, doing Namaskar at the
main door before entering the temple, not covering one’s neck at the time of darshan of
the Deity. Many a times questions may have arisen in our minds as to what could be the
reason behind these actions. Based on the knowledge provided by the rich shastras in
the Hindu Dharma, the following article answers some of these questions.

1. What is the reason for removing all objects

made of leather before entering the Devalay ?

Leather objects made from the Raja-Tama predominant hide of animals

emit Tama predominant waves, which create a sheath around the body of the individual.
This sheath reduces the ability of the individual to absorb sattvikta present in the
environment of the Devalay. As a result, the individual gets proportionately less benefit
of sattvikta present in the Devalay. Hence, as far as possible, avoid wearing leather
objects (such as waist belt etc.) on the body that create an obstruction for
the sattvik waves while entering the sattvik environment of the Devalay. – A Scholar
(Through the medium of Mrs. Anjali Gadgil, 28th January 2005, 8.36 p.m.)

2. Why should we remove footwear before entering

Devalay?
A. Wearing of Raja-Tama predominant objects like sandals
and shoes
facilitates the entry of waves, which flow from the earth to
Patal (Hell region)
into the Devalay and thereby reduces or destroys the
sattvikta within the Devalay

Devalay is a centre for collective worship. For all to get utmost benefit of the Chaitanya
(Divine consciousness) emitting from the Devalay, it is incorrect to visit a Devalay while
wearing Raja-Tama predominant and dusty objects like sandals and shoes. They can
facilitate the entry of waves flowing from the earth to Patal into the Devalay and thereby
reduce or destroy the sattvikta within the Devalay. Should the prevalence of waves
connected with Patal increase on the outskirts of Devalay, in a way, there is a likelihood
of developing a subtle Patal. Therefore, as far as possible avoid wearing such objects
while visiting a Devalay. Footwear should not be removed even in the Devalay
premises, because of the presence of waves of Deities and its ganas (Assistants);
especially in a Shiva Devalay, where His ganas are always present. Removal of
footwear in the premises leads to the development of a sheath of Raja-Tama particles
over the sattvik waves emitting from the Deity’s Idol. This reduces the sattvikta of the
area and the individual also does not benefit from the sattvikta. Besides, if any gana
(Assistant) becomes angry, the individual has to face its wrath and suffer spiritual loss.
To avoid this spiritual loss, do not remove your footwear in a Devalay premises; remove
them outside the premises instead. If this is not possible or if the Devalay is on the
roadside, you should enter the Devalay only after a sincere prayer for forgiveness to the
Deity.

B. Picture based on subtle-knowledge depicting

adverse effects of having darshan in a temple with the
footwear on
1. Distressing vibrations in the picture based on subtle-knowledge: 2%’ – H.H. Dr.
Athavale (Sanatan’s source of inspiration)

2. Proportion of vibrations : Person’s ego : 20 – 25%, Distressing energy : 1% and Black

energy : 3

3. Other points

A. Since the footwear is made from Tama-predominant material, Tama-predominant

vibrations from the environment are instantly attracted to it : Footwear is made from
Tama-predominant material like rubber, leather etc. Consequently, Tama-predominant
vibrations from the environment are instantly attracted to it. This is akin to like minded
people getting instantly attracted to each other and their thoughts matching.

B. Due to dust particles in the footwear, even negative energies in the environment are
attracted to it.

C. Due to the footwear, since black energy in them continually spreads into the person’s
body, he is unable to absorb vibrations emanating from the Deity of the temple. As a
result, he does not benefit from the darshan of the Deity.

D. A person who has darshan in the temple with his footwear on does not have bhav
(Spiritual emotion) towards the Deity. The person incurs sin by performing this
inappropriate action.

E. A person who has darshan in a temple without his footwear on obtains the Earth
Principle from the Holy premises of the temple and also gets the benefit of its Holy
waves. – Ms. Priyanka Lotlikar, Sanatan Sanstha (Jyeshtha
̣ Shukla 2, Kaliyug Varsh
5112, 14th June 2010)
C. Since leather objects are not allowed in Hindu Devalays,
the environment remains sattvik there and since they are
allowed
in prayer-places of some sects, the environment there is
Raja-Tama predominant

Leather objects pollute the environment with Raja-Tama predominant waves and bring
about a change in the attitude of all individuals, by inserting immoral thoughts in their
mind. The inferiority of some sects is understood from their act of permitting wearing of
leather objects, which are Raja-Tama predominant, in their prayer-places. On the other
hand, Hindu Dharma makes the individual undertake atonement if it performs any Raja-
Tama predominant act like this, which in a way is a provision to cleanse the sins
committed by this act. How superior is the Hindu Dharma which tells us how to purify
the Raja-Tama predominant waves after the act is committed, compared with the other
sects that permit large scale performance of such acts. If so much of Raja-Tama is
present in the sacred places of such sects, then how much Raja-Tama will be present in
other places where the culture of such sects is promoted. Sects are man-made;
whereas, Hindu Dharma is created by God Himself. That is why, there is such a vast
difference in the Hindu culture and the culture of some sects. – A Scholar (Through the
̣ Krushna Dwitiya [22.05.2008 ],7.06 p.m.)
medium of Mrs. Anjali Gadgil, Jyeshtha

D. Due to the Chaitanya in the area of the Devalay it is cool;

walking barefoot on the ground there attracts waves which
reduce body heat

It is easy for the highest order of sattvik and Chaitanya laden waves present in the earth
at places of pilgrimage, areas surrounding the Devalays, and while having darshan of a
Saint, to enter the body through the feet. Since the feet do not touch the earth while
wearing shoes at such places, an individual is not able to imbibe the waves in the earth
and hence, its sattvikta also does not increase. If an individual has some heat problem,
then the heat waves are attracted by the earth waves present in the sacred area and
are stored in the earth. The earth in places of pilgrimage is cool due to the presence of
Chaitanya there. By touching the ground, the cool waves come into contact with the feet
and are attracted into the body. They spread in the body and reduce the body heat.
That is why, Dharmashastras recommend that one should walk bare feet in places of
pilgrimage, areas surrounding the Devalays, and while having darshan of a Saint. – A
Scholar (Through the medium of Mrs. Anjali Gadgil, 22.11.2007, 12.29 p.m.)

E. If removing footwear within the Devalay premises is

unavoidable,
then remember that it is incorrect to remove them right in
front of the Devalay

Many people remove their footwear in front of the Devalay. As a result, a subtle wall of
Raja-Tama particles emitting from the footwear gets formed, which obstructs the
Chaitanya emitting from the Devalay and gets directed inside again instead of going out.
Hence, a individual standing outside the Devalay does not get the benefit of the
Chaitanya emitting from the Devalay. To avoid this, remove the footwear towards the
right side of the Devalay.

1. The removal of footwear on the line in front of the Devalay leads to creation of a
subtle-line, which resembles the subtle-line of the Patal region; as a result, the
extremely hot flows of black fibres flowing along the subtle line of Patal get activated on
the line formed by footwear and block the flow of waves emitting from the Devalay.

An Unknown Energy : ‘Why is the wall of Raja-Tama formed if footwear is placed in

front of a Devalay ? Why are the Raja-Tama predominant waves not destroyed by the
waves emanating from the Deity ?
Sri Gurutattva : The removal of footwear on the line in front of the Devalay leads to
creation of a subtle-line. This line develops a resemblance to the subtle central line of
the Patal region. The Raja-Tama particles from the footwear form a pull exerting field
like a whirlpool that unites the line from the Patal region and the line of the footwear in
equal proportion. This further leads to streams of very hot black energy fibres flowing on
the line of Patal region, gaining momentum on the line formed due to the footwear. This
blocks the flow of sattvik waves coming from Devalay. The flow of sattvik waves
emitting from the Idol, though beneficial, is not strong enough to oppose the original line
of Patal and hence, the restrictions on their movements. (Through the medium of Mr.
Nishad Deshmukh, 16.05.2006, 8.26 p.m.)
F. If it is unavoidable to remove footwear within the

Devalay premises, then it is correct to remove them on the

right side of the Deity

Since the samashtị task (For the welfare of the society) takes place in the Devalay, the
tarak (Saviour) side (that is, the Sun channel) of the Devalay’s presiding Deity is always
in an awakened state. Therefore, there are warm waves outside the Devalay. They
disintegrate the Raja-Tama component being emitted by the footwear kept outside the
Devalay. Also, since the act of destroying the Raja-Tamja-predominant waves gets
localised (in the area where footwear are kept), the waves emitting from the Deity are
better charged with activity and are emitted in a larger proportion. – Sri Gurutattva
(Through the medium of Mr. Nishad Deshmukh, 16th May 2006, 8.25 p.m.)

(Inferior level action such as destroying Raja-Tama emanating from the footwear is a
mission of the Deity’s tarak form only. Destruction of the higher level negative energies
is a mission of the Deity’s marak [Destroyer] form.)
3. Why do we need to wash our feet before entering
a Devalay ?

(Washing the feet before entering a Devalay increases an individual’s ability to absorb
the sattvik waves and maintains the sattvikta of the Devalay)

‘When walking on the road, fine particles of dust stick to the feet / footwear. It is
because of the Raja-Tama predominant waves emitting from the dust particles, that
entering the Devalay without washing the feet reduce the individual’s capacity to absorb
the Sattva predominant waves. Also, due to the emission of Raja-Tama predominant
waves into the environment, the Sattva predominance of the Devalay is reduced. On the
other hand, entering the Devalay after washing the feet removes the obstacle (dust
particles) in receiving the sattvik waves. Additionally, reduced emission of the Raja-
Tama predominant waves in the atmosphere helps maintain the sattvikenvironment of
the Devalay. – A Scholar (Through the medium of Mrs. Anjali Gadgil, 17th January
2005, 2.27 p.m.)

(Earlier, Hindus used to wash their feet in a pond outside the Devalays before
entering them. Now-a-days, most Devalays either do not have such ponds or
people are not aware of the importance of washing their feet before entering a
Devalay, that is, they lack religious understanding and hence, enter the Devalay
without washing their feet. This is one of the reasons for the reduction in the
sattvikta of Hindu Devalays. – Compilers)

4. Why should we not cover the neck

with a cloth while having darshan of the Deity and
the Guru,
while doing Namaskar, Japa (Chanting) and
pradakshina (Circumambulation)
and while performing puja (Ritualistic worship) and
havan (Offering oblations in the fire)?

(To benefit 100 percent from each sattvik wave and sattvik particle emitted by the Deity
and the Guru, we should not cover the neck with a cloth)

गगगगगगगगगग गगगगगगग ग गगगगगगग गगगग गगग ग

ग गगगगगगगगगगगगगगग गगगगगग गगगगगग गगगगगगगगगग गग –
Vadhulsmruti, Shloka 140
Meaning : While doing pradakshina, Namaskar and Japa, while performing havan and
while having darshan of the Deity and the Guru, we should not cover the neck with a
cloth.

The underlying science : ‘When one is performing the actions mentioned above,
sattvik waves emitting from the Deity or a Saint, revolve around the person in a
spherical manner. If the person has good bhav, then these sattvik waves revolve around
him for a longer period and start affecting the person’s mind and the body. If the person
covers the neck with a cloth, then he is not able to benefit from these waves. Also due
to the obstruction of the cloth, the Vishuddhachakra (Fifth centre in the spiritual energy
system located in the neck in the subtle body) of a person is not awakened and thus the
sattvik waves are not able to enter his body. We have to obtain 100 percent benefit from
each sattvik frequency and sattvik particle emitted by the Deity and the Guru. For this
reason, we must not cover the neck with a cloth. (Through the medium of Ms. Madhura
Bhosale, 5th January 2005, 8.13 p.m.)

A. Picture based on subtle-knowledge showing the

adverse effects of having darshan with a cloth draped
around the neck

Click on the below Subtle Drawing / Picture for a larger

view !

<!–1. Accuracy of the picture based on subtle-knowledge : 80%

–> 1. Positive vibrations in the picture based on subtle-knowledge : 2% – H.H. Dr.
Athavale

5. Why is there a rule in some Devalays that

males should remove their shirt before entering the
Devalay ?
(Entering the garbha-gruha [Sanctum sanctorum of a temple] after removing the shirt
laden with Raja-Tama predominant dust particles helps in imbibing sattvikta)

‘To help in retaining the sattvikta of some Devalays where the Deity is in an awakened
state or the Idol is Swayambhu (Self-originated), it is appropriate to remove the shirt
laden with Raja-Tama predominant dust particles and then enter the garbha-gruha,
have darshan of the Deity and then offer puja objects. In such places, therefore, only
males are allowed inside the garbha-gruha. In any karma (An act) the woman is a direct
flow of supply of Shakti (Divine Energy), while the man is the doer in the form of Shiva.
Therefore, it is important that he imbibes maximum of sattvikta. In karmakanda (Spiritual
practice of rites, rituals and observances performed at the physical level) it is accepted
that it is enough to wear minimum clothing consisting of cotton or silk around the waist
and let the rest of the body uncovered. This retains the purity of the ritual for a longer
period and the worshipper gets the benefit of Chaitanya. – A Scholar (Through the
medium of Mrs. Anjali Gadgil, 13th November 2005, 2.20 p.m.)

6. Why should we do Namaskar to the main door of

a Devalay,
the doors of the sabhamandap (Hall in a temple)
and garbha-gruha ?
A. Namaskar to the main entrance door of the Devalay and Garuda-dhwaj (Flag with
emblem of Garuda [Eagle])before entering the Devalay is like seeking permission for
entry in the area of dominance :
A Devalay is the seat of Shakti of a Deity, hence, the ganas of the Deity are present in
subtle form beside the entrance doors. Therefore, Namaskar to the main entrance door
and the Garuda-dhwaj denote seeking permission to enter the Devalay for darshan of
the Deity.

B. Namaskar to the main entrance door and Garuda-dhwaj of the Devalay denote
developing the ‘impression of humility’ by the individual for entering into region of
Deities.’ – Dharma-tattva (Through the medium of Mr. Nishad Deshmukh, 4th January
2007, 7.02 p.m.)

C. Namaskar to the main entrance door and Garuda-dhwaj of the Devalay denotes
pleading to various inferior waves moving about in the Devalay, through the medium of
Namaskar and making an easy entry into the Devalay :

‘A Devalay is a home in the manifest form to God’s Dharma oriented Divine set up.
Therefore, Shakti always remains active on all the four sides of the Devalay and
protects it from attacks of negative energies. When a individual from the outer
environment enters the Devalay, which is a source of sattvikta, it encounters the
resistance for its entry from the energy that opposes Raja-Tama particles. An individual
with a spiritual level of 40% and above can tolerate the opposition and easily proceed
inside; but other individuals with lower spiritual levels cannot tolerate the opposition
from the Divine Energy and can suffer from distress such as headache, nausea, fatigue
and blurring of vision. However, when a individual does Namaskar, the waves opposing
the entry get pacified and it can enter the Devalay with ease. Therefore, as far as
possible, all visitors should enter the Devalay only after doing Namaskar according to
the spiritual science.

1. Namaskar to Garuda-dhwaj : Garuda is a Principle that holds the particles of Dharma

associated with Sustenance and hence, Garuda-dhwaj is found in front of the main
entrance doors of all Devalays. The sagun (Materialised) layout of the Devalay based
on particles of Dharma associated with Sustenance and the Divine Principle active
within lasts only in the form defined by their state. At the same time, Garuda emits these
particles of Dharma associated with Sustenance in the three dimensions of the nature
(The flow of energy – at the level of Ichha [Will], Kriya [Action] and Dnyan [Knowledge])
provides Chaitanya to Sattva particles present in the environment. Thus, it also acts as
a medium that maintains the environment neutral) Namaskar to the Garuda-dhwaj that
carries so much importance amounts to Namaskar to and expressing gratitude towards
the Vayu (Absolute Air)-form Divine Principle. Namaskar to Garuda dhwaj suppresses
the waste gases present in the outer environment that oppose the entry into the
Devalay and thus the individual can enter the Devalay easily.

2. Namaskar to the main entrance door of the Devalay : The Devalay is a sagun form of
the region of Deities. Namaskar to the main entrance door amounts to making an
impression of ‘humility’ on the self, before entering the region of Deities and receiving
their blessings. The act of Namaskar generates Divine qualities in the subconscious
mind of the individual, as a result the Deity’s blessing get attracted towards the
individual. This enables the individual to imbibe sattvikta. without encountering any
resistance. – A Scholar (Through the medium of Mr. Nishad Deshmukh, 4th January
2007, 7.05 p.m., 7.22 p.m. & 7.31, p.m.)

Actions to be performed while leaving the

Devalay (Temple) and their underlying science
September 29, 2014Visiting a templevisiting_a_temple_correct_methods

Most of visit the Devalay to receive blessings of the Deity. In order to derive maximum
benefit from the darshan (viewing), one can follow simple guidelines as per the
Hindu Dharma. After paying obeisance to the Deity, doing the pradakshina
(Circumambulation) and taking the Prasad(Holy Sacrament), we must seek permission
from the Deity to leave and only then turn around to go out of the Devalay. This action
helps generate respect towards the Deity.

1. Do namaskar (Paying obeisance) to the Deity

once again

Before leaving the Devalay, do namaskar to the Deity once again. At that time, pray for
continuous bestowal of the grace of the Deity and only after seeking permission to leave
(meaning, informing the Deity), turn around to leave the Devalay. This is similar to
informing the elders of the house before leaving the house. Take care not to turn
abruptly, since that denotes disrespect to the divinity in the Deity.

2. While leaving the Devalay after darshan, instead

of turning
the back to the Deity at once, step back seven
steps and then turn your back to leave

In the act of stepping back seven steps without turning the back, the Idol of the Deity
remains in front of the eyes. This makes it possible to remain immersed in the thoughts
of the Deity. Remembrance of the Deity awakens a feeling of gratitude and the time
taken in the action of stepping back precisely seven steps helps develop introversion;
this in turn helps in accumulation of Chaitanya (Divine consciousness) of the Deity in
the body. As a result, it becomes possible to avail the benefit of this Chaitanya for some
time even after leaving the Devalay. Hence, this act of stepping back precisely seven
steps has been advised to avail the benefit of Chaitanya of the Deity that accumulates
in the body during the period with the help of the introversion developed through the
concentration in the act. – A Scholar (Through the medium of Mrs. Anjali Gadgil,
Phalgun Krushṇa Pratipada, KaliyugVarsh 5110 [11th March 2009], 3.43 p.m.)
 A. Picture based on subtle-knowledge showing
harmful effects of turning the back to the Deity after having
darshan
1. Distressing vibrations in picture based on subtle-knowledge : 2% – H.H. Dr. Athavale
(Sanatan’s source of inspiration)

2. Vibrations emitting from the Deity : Divine Principle – 2%, Anand – 2%, Chaitanya –
2%, Shakti (Divine Energy) – 2%, but these vibrations are received by a person in less
proportion if his is back towards the Deity.

3. Other points

A. ‘Through darshan of the Deity’s Idol in a temple, Sattva component is awakened in

the person and he becomes introverted. However, after having darshan when he leaves
the temple with his back towards the Deity, his introversion lessens and he begins to
become extroverted. This can be called ‘Going towards Maya (The Great Illusion) from
Brahman (God in His aspect as the Creator of the universe) ’.

B. By turning his back to the Deity’s Idol, the person is not in a state to absorb the
vibrations emitting from the Deity. Other thoughts start coming to his mind; his bhav
(Spiritual emotion) too is not awakened at that time. In any context bhav is important.
After having darshan of the Deity since the person does not have bhav, he does not
benefit completely from the vibrations emitting from the Deity. – Ms. Priyanka Lotlikar,
Sanatan Sanstha (Nij Vaishakh Krushṇa 7, KaliyugVarsh 5112, 4th June 2010)

C. Spiritual experience – Standing with the back towards the Deity soon after the
darshan resulting in reduction in bhav unto the Deity and not being able to avail the
expected benefit of the Divine vibrations: Soon after the darshan of the Deity I stood
with my back towards the Deity. At that time, I realised that, because of the images in
front of the eyes, my bhav unto the Deity had reduced to some extent. Hence, I could
not get the expected benefit of the Divine vibrations. – Ms. Priyanka Lotlikar,
Sanatan Ashram, Ramnathi, Goa (Chaitra Shukla Chaturdashī, Kaliyug Varsh 5111 [8th
April 2009])

3. Having darshan of the kalash (Dome of a temple)

again while leaving the Devalay premises (It
symbolises the return of the
individual from nonduality to duality, to perform the
tasks related to Maya)

While leaving the Devalay, do namaskar to the kalash of the Devalay once again. Initial
darshan of the kalash before entering the Devalay is symbolic of the journey of the
individual from Maya to Brahman, that is, towards non-duality. Darshan of the kalash
while returning from the Devalay, symbolises the journey of the individual from non-
duality to duality, which means returning to carry out the tasks associated with Maya. In
this manner, Hindu Dharma has taught us the concept of duality and non duality. This
can be stated as ‘Supreme God is the one who shows the path of non-duality also
brings us back to duality and compels us to perform all the duties associated with Maya.
– A Scholar (Through the medium of Mrs. Anjali Gadgil, 30th September 2004, 9.37
p.m.)

Why should we have darshan (viewing) of the

kalash (Dome) as soon as we enter a Devalay
(Temple) premises?
September 20, 2014Visiting a templevisiting_a_temple_correct_methods

Many of us visit the Devalay in order to have darshan of the deity and to benefit from
the Shakti (Divine Energy) and Chaitanya (Divine consciousness). Did you know that
darshan of the kalash of the temple, as soon as one enters the temple premises, can
impart maximum benefit? Let us understand more from this article.

1. Special attributes of the kalash in a Devalay

A. The kalash of the Devalay imbibes the nirgun [Non-materialised] waves from the
Brahmanḍa (Universe).
B. Waves of the Deity are emitted by the kalash of the Devalay. – God (Through the
medium of Ms. Madhura Bhosale, 20th August 2007, 10.00 a.m.)

2. Creation of a sheath of sattvik waves around the

physical body
of the individual on having darshan of the kalash
from Devalay premises
Before entering the Devalay, have darshan of the kalash from the Devalay premises
and pay obeisance to the kalash. This activates the sattvik waves emanating from the
kalash and that benefits the individual having darshan by way of formation of a sheath
of sattvikwaves around it. – A Scholar (Through the medium of Mrs. Anjali Gadgil, 17th
November 2005, 2.27 p.m.)

Spiritual experience – Increase in concentration and chanting after looking at the tip of
the kalash and experiencing that the subtle bodies are imbibing the waves of Deity
Dattatreya emanating from the kalash

‘On the morning of 23rd December 2007, the day of Datta Jayanti, I was sitting on the
terrace of Sanatan’s Ramnathi Ashram and chanting, off and on looking towards the
 sky. Suddenly, I was attracted towards the kalash of the Datta Devalay near
the Ashram. While looking at the tip of the kalash, my concentration increased and my
chanting began to take place well. I experienced that my subtle bodies are imbibing the
Datta Principle emanating from the Devalay. Later, a saffron colour dhwaj (Flag) was
raised on the kalash. While looking at the dhwaj, I experienced that I am gaining Shakti
(Divine Energy) and felt goose-pimples well up. That day by God’s grace I experienced
the importance of having darshan of the kalash of a Devalay.
– Ms. Madhura Bhosale, Sanatan Sanstha

The seven layers in the arrangement of a

Devalay (Temple)
September 22, 2014Visiting a templevisiting_a_temple_importance_and_faqs

A Devalay is divided into seven levels. Each level is connected with a Cosmic Principle
and in turn purifies the related chakra (Centre in the body through which the spiritual
energy flows) of the person taking darshan (viewing) of a Devalay.

PRINCIPLE RELATED TO WHICH DEHA AND KOSH OF T

L SECTION OF DEVALAY
PANCHA-TATTVA DEVOTEE IS PURIFIED ?

Entrance and Vyaghramukh Pruthvi Sthuldeha

Compound and Tulsi-vrundavan Pruthvi and Apa Prana-deha and pranamay-kosh

 PRINCIPLE RELATED TO WHICH DEHA AND KOSH OF T
L SECTION OF DEVALAY
PANCHA-TATTVA DEVOTEE IS PURIFIED ?

Water reservoir and array of lamps Apa and Tej Manomay-kosh

The raised square of Kshetrapal Devata and the

Tej Pranmay-kosh and manomay-kosh
Mahadwar

The pathway for pradakshina, steps and sabhamandap

Vayu Sukshmadeha
(mirror, bell and the terrace)

Garbhagar, Yadnyakund, the Idol of Suryanarayan Vayu and Akash Sukshmadeha and Prandeha

Garbha-gruh, Nandadeep, the small Devalay, Go-mukh,

Akash Sthuldeha and Sukshmadeha
kalash and the flag on it

The components of all the seven levels in the structure of a Devalay have the capacity
to attract the corresponding Principle amongst the five Cosmic Principles in the universe
and also of purifying the corresponding energy chakra of the individual. These seven
levels of the structure of a Devalay denote the journey of purification of the darshanarthi
(One having darshan) from the Muladhar-chakra (First centre in the spiritual energy
system located in the region between the anus and the base of the genitals in the subtle
body) to the Sahasrar-chakra (Last centre in the spiritual energy system located at the
top of the head in the subtle body). Due to this unique arrangement of the Devalay
structure, from the seventh level (Akash-tattva [Absolute Ether Principle] associated
with nirgun [Non-materialised]) to the first level (Pruthvi-tattva [Absolute Earth Principle]
associated with sagun [Materialised]), meaning, from the kalash (Dome of a temple) to
the main door of the Devalay, nirgun waves of the Deity Principle get transformed into
sagun waves. This helps the individual entering the Devalay to get maximum benefit of
the sagun Principle of the Deity. This shows the deep and subtle thought for the
darshanarthi from the perspective of God-realisation. Such a deep and subtle thought is
not evident in the architecture of prayer places of other sects. It will be clear from these
facts, how, when compared with other sects, Hindu Dharma is superior and perfect. – A
Scholar (Through the medium of Mrs. Anjali Gadgil, 16th January 2005, 10.19 p.m.).

Importance of certain food items from spiritual

perspective
November 19, 2016Achardharma

Hindu Dharma elucidates importance of certain food items, science underlying achars to
be followed during the meals (For example, eating with the right hand, using the hand
for eating instead of fork-spoon, beginning the meals with dal(Split pulses)-rice, not
putting anything in the plate at the end of the meals) and science underlying achars to
be followed after the meals (For example, eating fennel or vida after the meals, taking a
short nap in the afternoon), etc. Let us understand from this article the importance of
these achars in enhancing sattvikta(Purity) in everyone through food and gaining
strength from the food to serve the Nation and Dharma

1. Serving ghee on dal and

rice for purification of food
 A. There is a custom of serving ghee (Clarified butter) on dal and rice for purification of
food. Ghee is a food purifier and hence, it not only destroys the harmful ingredients in
the food, but also the harmful substances in the stomach.

B. Ghee is considered ‘Brahmayadnya’ form of intake. In a Bramhayadnya,

when sattvik (Sattva-predominant) ingredients are offered as oblation, subtle gas in the
form of fire is created, through which the performer of the Yadnya receives support of
superior Deities in the form of blessings. This support in the form of blessings is
obtained upon eating the sattvik ingredient ghee. A meal comprising of dal-rice &ghee is
considered very sattvik. Ghee is Sattva-predominant and nirgun (Non-materialised) in
nature, rice is Sattva-Raja-predominant and sagun (Materialised)-nirgun in nature,
while dal is Raja-predominant and sagun in nature. Therefore, their combination helps
obtain the benefit of sagun and nirgun, which impart Chaitanya (Divine consciousness).
The predominantly sattvik nature of ghee, activates the Sattva as well
as Raja components in dal-rice, and simultaneously brings about purification of the
physical as well as subtle-bodies of an individual. Therefore, by serving ghee on dal-
rice, and by mixing them, the process of creating a sanskar (Subtle-impression)
of Sattva component on the body through the medium of food is accomplished.
Since ghee destroys the Raja-Tama particles in the respective ingredients on the basis
of its sattvikta in a short period, it is a custom to begin a meal with dal and rice. A pure
combination of dal, rice and ghee purifies the voids within the digestive organs thereby,
making digestion of the rest of the food ingredients free of Raja-Tama Therefore, Hindu
Dharma has advised a custom of serving ghee on dal and rice thereby, purifying the
food as well as the voids in the physical body.

Subtle characteristics of dal-rice

 Proportion of vibrations in dal and rice : Chaitanya 2%, praṇa-shakti (Vital energy) 2%,
and functional energy 3%
 The individual obtains energy upon eating dal-rice that contains a mixture of proteins (in
the pulses) and carbohydrates (in the rice).
 Pulses are predominant in Raja component and rice is predominant in Sattva Their
mixture, therefore, emits Raja-Sattva components.
 An ordinary individual requires functional energy (Raja component) for his day-to-day
activities. He gets it from dal-rice.
 Since Earth is a Deity, the Principle of the Deity is attracted to pulses and rice while
their seeds are being formed.

2. Idli, medu-vada & types of dosas

Idli, medu-vada and different types of dosas are the main items of diet in South India.
These food items prepared by soaking rice & black gram overnight, grinding the mixture
to make a paste and then cooking/frying. They are relished in the rest of Bharat as well
as overseas. Black gram pulses contain more proteins than any other pulses.
Therefore, the above mentioned food items are nutritionally excellent.
 Spiritual perspective
 गगगगSगगगगगगगगगगगगग: | – – Ashtangarhudaya, Sūtrasthan, Adhyaya 6, Shloka
25
Meaning : Black gram is inferior amongst all legumes.

 The proportion of Sattva component is more in green gram among the pulses and
legumes, while black gram has greater proportion of Tama

3. Proportion of the three components

(Sattva, Raja and Tama) in various items

FOOD ITEM SATTVA (%) RAJA

1. Honey, milk 70

2. Items prepared from milk,ghee made from cow’s milk, esculent roots 60

3. Ghee made from buffalo’smilk, rice, fruits 60

4. Fruits-vegetables, and grains suchas wheat, millet, sorghum, etc. 50

5. Leafy vegetables 50

6. Pulses, legumes 40

7. Fried items 30

8. Onion 20
9. Eggs, meat 10

From the table above, we can see that the proportion of sattvikta in eggs and meat is
very little and hence, from the spiritual perspective, they are not suitable as food items.

Benefits obtained from using copper and

brass utensils and earthenware
November 3, 2016Achardharma

In the earlier times, water used to be stored in a copper vessel or a pitcher. Brass
utensils were used for cooking. These metals/alloys attract as well as
transmit Chaitanya (Divine consciousness). Such spiritual benefits are not obtained
from the use of prevalent utensils made of stainless steel or aluminium. Let us
understand more from this article reasons and also the importance of earthenware with
respect to storing and cooking food.

1. Importance of earth/clay and

metals/alloys like copper and brass

For cooking utensils, clay and metals such as copper and alloys such as brass are the
best. They generate a Divine sound that helps purify the environment and the premises.

1 A. Metals such as aluminium and

alloys such as stainless steel generate
distressing sound and pollute the environment

The environment in the present Kaliyug (Era of strife) is polluted. Hence, because of the
absorption of Raja-Tama-predominant contents by these utensils & the attacks of Raja-
Tama components on such utensils, the negative energies have created a distressing
sound. This further pollutes the environment and the negative energies can receive
energy through it.

2. Earthenware and utensils

made of stainless steel and aluminium

Steel & aluminium have less of indigenous Divine Principle. Even plastic utensils are
manufactured in a similar manner and hence, are less natural and have Raja-
Tama constituents. The ability of these utensils to imbibe Divine Principle and ability to
retaliate is less. As a result, negative energies create their seats in them. Thus, food
stored in such utensils is more likely to get charged with black energy or there is
likelihood of the food developing a covering of black energy around them.

Divine waves are attracted towards

earthenware, and food kept in them is
protected from the attacks of negative energies

Earth is nature’s creation and hence, it has greater amount of Divine constituents. It
also imbibes and emits Divine waves. Therefore, Divine waves from the environment
are imbibed by earthenware and congregate in it. As a result, the food grains stored or
cooked in earthenware get charged with the Divine Principle. Similarly, they also help in
sustaining the Divine Principle for a longer period. Due to the presence of the Divine
constituents in earthenware, they develop protective powers and as a result, the food
stored/cooked in them gets protected from the attacks of negative energies. Similarly,
brass and copper too contain Divine Principle, and they have a positive effect on food.
 3. Metals/alloys used for making cooking
utensils and the resultant benefits and harm

3 A. Raja-Sattva-predominant copper
 Use only copper utensils for storing water. Water functions at an all-encompassing level
& hence, the Sattva-Raja component that spreads from it is transferred to the stored
water. Water stored in a copper vessel thus becomes Raja-Sattva-predominant and as
a result, attracts Divine vibrations from the universe within a short time and congregates
them within itself.
 Using such charged water for cooking or drinking awakens Divine components in the
body.

Drinking this water during meals charges the voids in the body with
the Sattva component. This helps in digestion at the spiritual level to the maximum
extent, and the body becomes pure in the real sense.

3 B. Brass enhances Raja component

Brass enhances Raja component and hence, cooking food in brass utensils is beneficial
for health. Upon contact with the flow of Raja-predominant waves in brass, the nutrient
juice containing voids in the food become active to release the nutrients. This Raja-
predominant process is transferred to the body through the medium of food, and makes
the voids in the body sensitive to imbibe the subtle-gas in the food. Thus, the process of
digestion is simplified and made easy. Therefore, in the earlier times, utensils made of
copper or brass were used to more in the kitchen as well as in the implements used
in puja (Ritualistic worship).

3 C. Raja-Tama-predominant stainless steel

Stainless steel contains iron as an impurity to some extent and hence, food cooked in
these utensils easily transmits Raja-Tama in the body. Stainless steel is a Raja-Tama-
predominant alloy. Therefore, when such utensils are used for cooking, the body does
not get the benefit of nutrients; on the contrary, its resistance-power reduces. As a
result, the body becomes a victim of attacks of various diseases from the environment
and becomes conducive to interference of negative energies.

3 D. Utensils of Tama-predominant alloys

The alloys formed by melting and mixing various metals are Tama-predominant.
Therefore, they too enhance the Tama component in the food, and by adversely
affecting the health, reduce the life span of the individual.

3 E. Science that leads not towards

modernisation but towards destruction !

The scientists call the ancient method devised by Saints and Sages (who studied
Creation) of using copper or brass utensils for cooking barbaric; however, these
scientists, through their inventions of stainless steel utensils have in fact pushed
mankind towards destruction and therefore, they themselves are backward. Everyone
should understand that greater the attachment to Spirituality, happier human beings will
be.

4. Reason for the custom of using

copper & brass utensils for meals
instead of those made of stainless steel

4 A. Stainless steel

Use of steel makes the food Raja-Tama-predominant. Eating such food contaminates
the body system, which then affects the attitude and a flow of incorrect thoughts is
generated that completely disturbs the balance of health. Incorrect conduct & thoughts
 during meals and use of Tama-predominant constituents in the meals, has made
mankind in Kaliyug prone to various diseases.

4 B. Copper and brass

In the earlier times, copper utensils were used for drinking water, and brass plates or
utensils were used for cooking and serving food.

 Copper : Copper enhances the Sattva component and hence, it is used for an all-
encompassing source like water. Awakening of the Panchapran (Five vital energies)
transfers the sattvikta (Purity) of food into the body within a short period.
 Brass : Brass leads in emission of subtle Tej (Absolute Fire Principle)-enhancing sound
that has inherent gas. The food charged with this subtle-sound is conducive for
awakening of the Panchapran in the body.

5. Types of fuels used for cooking

and their beneficial as well as harmful effects

5 A. Wood (Tej imparting waves)

Fire in wood is called ‘Pradipta Agni’. This fire is natural and hence, the subtle Tej-
imparting waves emitted by it can easily disintegrate the subtle Raja–Tama-
predominant particles. The subtle-heat that contains fire in the wood is constantly in an
awakened state on the strength of its waves of the subtle-air and hence, this fire is
called ‘Pradipta Agni’. This fire has greater capacity to emit Tej and transfer it to other
components than any other fire type.

 Disintegration of Raja-Tama-predominant gas with the help of jatharagni during

the passage of food to the stomach : Fire generated from wood is rich in
the Raja component. Therefore, when food is cooked on a chulha that is plastered with
mud, the subtle-Tej is transferred to the food items kept on the chulha. This subtle-
energy containing fire awakens jatharagni when the ingested food reaches the stomach
and thereby, keeps its Raja component active at the subtle-level. Thus, the subtle Raja-
 Tama-predominant gas is disintegrated with the help of jatharagni while the food is on
its way to stomach.

 Disintegration of Raja-Tama-predominant energy generated by the frictional

movements of intestines : The subtle-effect of fire in the wood on the food also
activates the Panchapran at the navel. These then cause disintegration of Raja-Tama-
predominant energy generated by the friction caused due to movements of intestines
and thus, the body remains free from gas-related ailments generated during digestion of
food.

5 B. Coal (Tama-Raja-predominant)

Coal is rich in carbon and has negligible Pradipta Agni. Hence, it is considered Tama-
Raja-predominant fire. The subtle carbon waves transmitted to the food cooked on a
coal stove have an adverse effect on the digestive process, and the nutrients in food are
adversely affected to some extent. When such food contaminated with subtle-gas
containing carbon is eaten, the subtle-gas congregates along the inner lining of the food
pipe, and the individual suffers from ailments of the food pipe and cancer.

5 C. Kerosene (Tama-predominant)

Since kerosene is an inflammable substance, it has Tama-predominant gas in a

congregated state. Therefore, the food cooked using kerosene as a fuel shows
deficiencies mentioned ahead.

 Food that lacks nutrients : This gas directly affects the subtle-voids containing
nutrients that are conducive for the growth and development of the body and reduces
their function, meaning, it suddenly contracts them. As a result, the food cooked using
kerosene as fuel is devoid of nutrients. Instead of making the body healthy, such food
makes it Raja-Tama-predominant.
 Attacks by negative energies : When food is cooked using this fuel, the process of
cooking generates a ring of Tama-predominant gas around itself. This can attract
negative energies from the environment, which can interfere in the process of cooking.
Eating such contaminated food increases the extent of negative energy attacks on the
body.

5 D. Liquefied Petroleum Gas (LPG)

used for cooking (Most Tama-predominant)
 LPG causes maximum pollution at the level of the Tama component in the
environment, and it causes sound pollution in the food that is extremely dangerous for
health.

 Distressing sound-vibrations getting transferred to the food and discharged in

the premises : LPG is stored in a cylinder in a liquefied form under very high pressure.
Due to the high level of compression, it produces a strange subtle-sound within the
cylinder. When food is cooked using this liquefied gas, the distressing sound-vibrations
are transferred to the food and are also speedily discharged in the premises in equal
proportion.

 The environment and the body get charged with Raja-Tama-predominant

vibrations : Since the liquefied gas flows from the cylinder to the stove, these vibrations
gain further momentum. As a result, the process of emission of Tama-predominant
sound takes place in a shorter period. This process causes long-term distressing effects
on the environment as well as on the human body. While cooking, the entire
environment gets charged with these Raja-Tama-predominant vibrations. Hence, the
process of cooking which is actually a Sattva-component-boosting-process becomes
harmful for the health of family members instead.

 Destruction of body cells : Due to the subtle Raja-Tama-predominant vibrations in the

form of sound transferred to the food cooked on LPG (Liquid Petroleum Gas), the
subtle-nutrient containing voids conducive for growth of the body are completely
destroyed. A Raja-Tama-predominant energy is generated through their disintegration.
Over a period, this energy is responsible for the destruction of other cells in the body.

 Possibility of attacks by the negative energies on the premises itself : Due to this
subtle-sound, there is a possibility of attacks on the entire premises by negative
energies. It is because of their desire for food that many subtle-bodies reside in the
premises with the help of this sound.
Most Hindu households have a designated Temple Room or Devhara or Dev Ghar, Puja Ghar, or
similar. In cities where small-sized apartments are a norm, a separate room for designating Deities
is virtually impossible. Deities are installed in a corner or shelf in one of the rooms. More often the
puja altar is in the kitchen as women of the household are more devout than men. Some families
arrange a loft on a section of a wall. In such a small place crowds of Idols or Images of various Deities
are cramped together. In this article, we have narrated the number of Idols or Images of specific
Deities and their arrangement based on spiritual science, so that worshippers can accumulate
maximum benefit of Sattvikta.

Temple altar in a home: The deities in the temple altar at home should be arranged in the
following manner: Lord Ganapati placed in the centre with the male family deity/Kuldevta and other
male deities, e.g. Hanuman, Balkrushna, to His right. Ideally, the female family deity and other
female deities, e.g. Annapurna, are placed to His left. In some pictures, the female deity is depicted
along with the male deity, e.g. Sitaram, Lakshminarayan, etc. Whenever She is depicted to the left of
the male deity, She bestows blessings onto devotees along with Her master.

The left side symbolises the moon channel (chandranadi) and endows Serenity and Bliss. This is the
Tarak (Saviour) form of the female deity. In such photographs the male deity is considered as the
principal deity and the picture is placed to the right of Lord Ganapati. In some pictures the female
deity is depicted to the right of the male deity. The right side signifies the sun channel (suryanadi).
Thus the deity is believed to be very powerful. This is the Marak (Destroyer) form of the female deity.
The holy text Kalivilastantra narrates that deity Kali performs a dance on the chest of Lord Shiva.
Here the female deity is more prominent than Her male counterpart.

To conclude, when the female deity is to the right of the male deity, She possesses more energy and
should be considered as the principal deity. Hence such a picture is placed to the left of Lord
Ganapati. One should keep the picture of the saviour or the destroyer form of the deity for worship as
per one’s wish to undertake spiritual practice of that form. If a person having a Guru resides alone
then he should keep only his Guru’s photograph in the temple. If there are other family members,
then the Guru’s photograph should be placed to the right of Lord Ganapati, followed by the male
family deity’s photograph. Photographs or idols of the female family deity or other female deities
should be placed to the left of Ganapati.

How should the Temple room be planned?

Direction: The Temple room or altar should face either east or west, eastern direction being ideal.
The vibrations emitting from Deities gain momentum on the strength of action energy existing from
the eastern direction and benefits the worshipper.

Materials: The temple should be made from sandal or teak wood. It may not always be possible or
convenient to use sandal wood. Then teak wood is ideal and has more potential to imbibe and emit
Sattvik vibrations.

Colours: The colours of the temple should be faint brown, matching natural wood. This colour is in
coordination with the worshippers’ journey towards Final Liberation.

Shape and size: The size of the temple should be Length X Breadth X Height in the proportion of ‘2
X 1 X 4’. The temple should have an arch or dome-shaped ceiling. Similar design can be seen in any
entrance door of a temple.

The utensils used in a home Temple: The utensils for worship like plate, Kalash, etc. should be
made of copper. This metal has the capacity to imbibe upto 30% of Sattvikta of Deities. The other
utensils like lamp (Niranjan), bell (Ghanta) can be made of brass. A coconut should be placed on the
Kalash and a coin and a betelnut placed inside the Kalash. If possible a conch should also be placed
in the Temple. The conch, Kalash and bell should be worshipped along with Deities.

Lamp: Ideally, the lamp in the Temple is lit with Ghee, not oil.

Puja (Worship) ritual: If one is not performing any ritualistic worship (puja) presently, then here
is the ideal step-by-step method:
 • Everyday the deities and the temple should be wiped with a cloth. Two incense sticks should be lit
in the morning and in the evening.

• After removing the previous day’s withered flowers and leaves (nirmalya), the Deities should be
wiped with a cloth. After offering fresh flowers, incense sticks should be lit and waved in a clockwise
motion. Then, two wicks should be rolled into one and placed in a lamp containing clarified butter
(Ghee). The lit lamp should then be moved in a circular clockwise motion (Arti).

• The idols should be bathed and wiped dry. The photographs are wiped first with a wet and then
with a dry cloth. Then sandalwood paste (Gandha) should be applied to the deities and unbroken
consecrated rice grains (Akshata), flowers, turmeric (Haladi) and vermillion (Kumkum) should be
offered. After that a burning incense stick is placed at the altar, followed by moving a lit lamp in a
clockwise motion (Arti). Finally, an offering of food (Naivedya) is made and one should pray for
success in one’s spiritual practice.

Some suggestions to keep the Temple room neat and tidy:

• Many times we find that there are large numbers of Idols or Images of the same Deities or Saints in
the temple room. One does not acquire any additional spiritual benefit by worshipping so many Idols
or Images of the same Deity. In fact the spiritual dictum is ‘Go from several to One’. The extra Idols
or Images of Deities and Saints can either be gifted to Temples or immersed in a river, preferably a
holy river.

• If you have not yet received the Grace of Guru, you must keep the Idol or Image of the Deity of your
family (Kuldevata/Kuldev) in the temple altar. It is recommended that a worshipper visit the temple
of the Kuldevata/Kuldev as many times as possible or at least once a year.

• For an in-depth study of the procedures to worship Deities in Panchopchar (Five Steps) and
Shodshopchar (Sixteen Steps), interested worshippers may contact us.

About Forum for Hindu Awakening : The Forum for Hindu Awakening (FHA) is a charitable
organization devoted to awaken society to the unique spiritual science behind Hindu Dharma
concepts and practices, to motivate people to live and preserve them and to facilitate the spiritual
progress of humanity.

Importance of substances used in

ritualistic worship
Table of contents

1. What are the various substances used in ritualistic worship?

2. How should the substances placed in ritualistic platter be arranged?
 Some religious rituals are incomplete without the help of other components, for
example, specific substances are necessary in ritualistic worship of God. These
components aiding the religious rituals are an important link in seeking the grace of God
through the medium of religious rituals. Understanding the spiritual importance of each
of these components enhances the bhāv (Spiritual emotion) towards them, thereby
making the religious ritual rich in bhāv. With this objective in mind the spiritual
importance and salient features of the components like turmeric,
vermilion, gandha (sandalwood paste), flowers, akshatā, betel nut,
coconut, Panchakhadya, incense sticks, camphor etc. used in ritualistic worship are
mentioned in this article.

1. What are the various substances used in ritualistic worship?

A. Water of the seven Holy Rivers:

 The Holy Rivers Ganga, Godavari, Narmada, Kaveri, Krushna, Brahmaputra and
Yamuna are considered the seven Holy Rivers. Water from all these seven rivers is
collected in the ritualistic pot, which is used during ritualistic worship. ‘Water from these
seven Holy Rivers has the ability to attract and transmit the frequencies
of Saptadevtas (seven Superior Deities). India is known as the most sattva predominant
place on earth because it is the only country through which all these seven rivers flow.
Many yogis have undertaken penance on the banks of these rivers so as to acquire the
Principles of the Saptadevtas in the Universe. This water from the ritualistic pot is used
for performing the abhishek. The subtle sound frequencies from the ritualistic pot absorb
the frequencies of the Saptadevtas in the water and effectively transmit them into the
atmosphere. Since these subtle sound frequencies have a higher speed and expanse,
the effectiveness of the frequencies of the Saptadevtas transmitted into the atmosphere
through the water of the seven rivers remains in the environment for a longer period.
Since these frequencies are transmitted with the help of the particles of the Absolute
Water element in the water and the particles of the Absolute Ether element from the
sound frequencies in the ritualistic pot, this water can be consumed as tirth (Holy
water). By doing so with bhāv and devotion, the Divine frequencies in this tirth activate
the five vital energies in the form of gases that are in dormant state surrounding the
navel, in the body of the devotee. With the help of these subtle gases these Divine
frequencies spread all over the body of the devotee. As a result, purification of the vital
energy body and vital energy sheath of the embodied soul occurs. Hence,
consuming tirth gives the embodied soul sattva predominant satisfaction and its mind
becomes Blissful and enthusiastic.

B. Cotton vastra

Why is milk or gandha used when making a vastra from cotton? : The
cotton vastra represents the Sushumna nadi of the kundalini (Cosmic energy system)
and the seven cotton beads in the vastra are associated with the seven centres of
the kundalinisystem, in the body of the embodied soul. The cotton thread joining these
beads is the link to the manifest Chaitanya (Divine consciousness)
providing sattva predominant frequencies to the entire body. When the
attributeless Chaitanya in the Absolute zero manifests as per the bhāv of the embodied
soul towards God, its colour is white and shining. In contrast the
attributeless Chaitanya is like transparent water; it is however dormant in this state. The
cotton beads and the thread joining them are the carriers of the manifest Chaitanya in
the body. Milk is used to make the constrictions in this thread because the flow of
manifest Chaitanya is like the flow of milk. When this Chaitanya is provided to these
beads, these bead like centres of the kundalini in the body are activated and the
embodied soul comes into a state of duality and on the strength of non-duality carries
out the functions related to the physical body in the Universe. Use of gandha is
preferable to milk when making the vastra. Due to the coating of gandha the
frequencies of the Deities are activated faster and get attracted to the cotton vastra. By
adorning the Deity’s neck with this sattva predominant vastra, the Deity assumes His
‘with attributes’ form faster and begins functioning for the embodied soul in a shorter
time.

C. Janeu (Sacred thread)

What is the Science in offering the janeu to Deities?

Offering the janeu to Deities means binding the expanse of the brilliance of Deities
in the rounds of the sacred thread and evoking them to function in duality. As
the janeu is made of thread and is charged with energy of a mantra, the frequencies of
sound emitted by it activate the attributeless Principle of God from the Universe. This
then functions for the embodied soul as per its bhāv towards God. The thread
of janeu represents the silver link between God (non-duality) and the embodied soul
(duality). Offering the janeu is an important process of interaction of duality and non-
duality. Wearing this sacred thread after the ritualistic worship endows one with
the sattva predominant Chaitanya of the Deity.

D. Turmeric and Vermilion

Turmeric being a tuber, the frequencies of earth in it are in far greater quantity than
in stems growing above the surface of earth. Vermilion is prepared from turmeric. Since
turmeric and vermilion are offered to Deities, the worshipper benefits from the
frequencies of earth in them, as well as from the frequencies of Deities. Consequently,
the sattva component in him is enhanced and his ability to tolerate raja-
tama (distressing) frequencies also increases.
How to identify pure vermilion? : Constituents of pure vermilion are pure turmeric,
diluted lime powder solution made in water and a small quantity of pure camphor.
Though vermilion is made from turmeric, the odour of turmeric is entirely eliminated
from it and a Divine scent takes its place. The odour of turmeric is evident only when it
is sniffed. In contrast, the scent of pure vermilion is evident up to a certain distance.
Pure vermilion has indigenous humidity and yet is completely dry. Its touch is cold like
that of ice. Pure vermilion is blood red in colour. By applying this vermilion on the
forehead, negative energies are prevented from entering the body through the midbrow
region. In the past eras (Satyayug, Tretayug and Dwaparyug) pure vermilion was
available. With the passing of the eras the sattva component in the vermilion has
gradually waned. In the current times, pure vermilion is scarcely available.’

( To order pure vermilion, send an e-mail to – [email protected] )

E. Gulal
 The Divine energy Principle in the Universe is attracted to the fragrant particles in
the subtle air generated by the gulal. Also the dormant frequencies enriched
with Chaitanya in the atmosphere become mobile because of the gulal. Thus the
worshipper benefits from them.

F. Gandha

‘When gandha is applied to the midbrow region of the Deity in the picture or the
Idol, due to the qualities of the substance from which it is made, its subtle scent and its
specific colour, the Surya nadi of the Deity is activated. Consequently, the Principle of
the Deity is attracted to the photo or the Idol of the Deity in which they get activated.
Amongst the different types of gandhs applied to Deities, ashtagandha and
sandalwood gandha are the most sattva predominant.

G. Perfume

What is the Science in offering perfume to Deities? :

 Fragrance and sound please the Deities. As the frequencies of fragrance are
associated with the Absolute Earth element they give benefit of the Chaitanya at the
physical body level to the embodied soul. Avoid offering perfume with a strong odour for
the following reasons. The frequencies emitted by perfume with a strong odour attract
only the ‘with attributes’ Principle of the Deity whereas frequencies emitted by a mild
and pleasant perfume attract the attributeless Principle of the Deities in the Universe in
a very short time and help the embodied soul to retain the benefit of the Chaitanya for
longer time.

What fragrance perfume should be offered to which Deity?

 FRAGRANCE OF PERFUME FRAGRANCE O
THAT ATTRACTS THE THAT ATTRACT
DEITY DEITY
PRINCIPLE OF THE DEITY PRINCIPLE OF
TO A GREATER EXTENT TO A GREATER

1. Shriram Jai 5. Shri Lakshmi Gulab

2. Hanuman Chameli 6. Shri Ganapati Heena

3. Shiva Kevada 7. Datta Vala

4. Shri Durga Mogra 8. Shrikrushna Chandan

Note 1 : Offer nine flowers to the energy forms of Shri Durgadevi (Primal energy). The
number ‘9’ indicates the actual function in duality of Sri Durgadevi through Her other
forms. Hence, it is appropriate to offer nine flowers to Her forms – Goddess’
Mahakali, Saraswati, Mahalakshmi and Lakshmi.
Why should flower buds not be plucked after sunset? : ‘At Brahmamuhurt, that is
between 4 and 6 a.m., the pavitrake of Deities descend to the earth in greater
proportions. The pavitrake of Deities are attracted only to those flowers which have the
potential to absorb them. The radiance of the Sun causes disintegration of the raja–
tama particles in the atmosphere. Hence, the period before sunset is
more sattva predominant than after it. After sunset the raja-tama predominance in the
atmosphere increases. Consequently, the atmosphere gets polluted due to increased
movement of negative energies. That is why, after sunset the flower buds get
contaminated with raja-tama particles. This reduces their ability to attract pavitrake of
Deities. For this reason the flower buds are usually not plucked after sunset.
 Why should dried or worm infested leaves, flowers and fruits not be used in the
ritualistic worship of God?

 ‘Always offer the best to Deities. They subtly partake what is offered to them and then
pleased with the offering, they bless the devotee.

 The pranvayu in the leaves, flowers and fruits is responsible for the absorption
of sattva frequencies and the specific Deity Principle from the Universe.
The dhananjayvayu from these substances transmits these frequencies and the
Principle. Fresh leaves, flowers and fruits have over
70% pranvayu and dhananjayvayu in them. Thus leaves, flowers and fruits are
storehouses of the sattvikta and frequencies of the Principle. When these substances
are affected by raja-tama components at the subtle level, they get spoilt at the gross
level. Consequently, their capacity to absorb the sattva frequencies and frequencies of
the Principle of the Deity is lowered. No one benefits from use of such substances.
Deities partake the offerings subtly and are not pleased with such offerings and
therefore do not bless the devotee.’

I. Patri (Specific leaves offered during worship)

Which and how many patri should be offered to which Deity? : It is beneficial to
offer the patri of those flower plants which are favourite of the Deity. Patri is related to
the colour particles, whereas the flowers are related to the fragrant particles. The
difference between the colour particles and fragrant particles is given in the following
table.

COLOUR PARTICLES FRAG

1. Characteristic of the frequencies emitted Related to the halo of the Deity Carrier

2. Function To help immediately manifest the sagun form of the Deity To inv

It is necessary to offer five part patri to the Deity. This kind of patri denotes the five
Cosmic elements, that are – the Absolute Earth, Water, Fire, Air and Ether. By offering
five part patri to the Deity, it manifests with the help of the five Cosmic elements and
through the medium of light in a form as required by the embodied soul. The
frequencies emitted by this form are delivered to the embodied soul through the medium
of the frequencies emitted by the flowers. That is why, by offering both patri and flowers
the embodied soul derives maximum benefit from the ‘with attributes’ as well as the
‘attributeless’ Principle of God, that is, of the radiant Principle. Hence, inclusion
of patri and flowers in the ritualistic worship is a must.

J. The Holy basil

Why are the leaves of the Holy basil and bel (Aegle marmelos tree) always pure?
: The Holy basil originally has 50% Vishnu Principle and the bel plant has
70% Shiva Principle. When they are used in the ritualistic worship the Divine Principle in
them increases by 20%. The raja-tama in the environment affects every object. The
enhanced 20% Divine Principle is used in combating the raja-tama in the atmosphere.
The grossly apparent effect of this is that the Holy basil or bel leaves appear dried up or
singed. Nonetheless they continue emitting the Divine Principle originally present in
them. Hence, the Holy basil and bel leaves are always pure. As the Holy basil emits the
Deity Principle constantly, it makes the surrounding environment sacred. That is why a
house with a tulasivrundavan (A small rectangular structure in which the Holy basil plant
is grown) is considered sacred.
K. Akshatā

Akshatā has the ability to attract the frequencies of the five Deities in the Universe
(Ganapati, Shri Durgadevi, Shiva, Shri Ram and Shri Krushna), to activate them, make
them functional and to transmit them with the help of the Absolute Earth and Absolute
Water elements. Hence, akshatā is sprinkled on every component of the ritualistic
worship, so also on the Idol of Deity after
the panchopachār or Shodashopachār pūjā and after activating the divinity in all of
them, they are invoked to become functional. In the absence of any substance in
a panchopchar pūjā, akshatā is used as a substitute. Akshatā is a medium that
encompasses all the Deity Principles and hence is an important all-encompassing
medium in ritualistic worship. Because of the energy in the Deity, when akshatā is
offered to them, benevolent energy and vibrations develops in the akshatā. If a string of
a sitar, among a pair of similar frequency sitars, is sounded then the same sound is
emitted from the other sitars too. Similarly, once frequencies develop in the akshatā due
to energy of the Deity, same frequencies develop in the stock of rice in the house. This
energised rice can then be consumed throughout the year as prasād.
 L. Betel leaf

1. Similarity of characteristics with the subtle frequencies from the region

of Brahma (God in His aspect as the Creator of the universe) : The subtle air
frequencies created due to the friction between the colour particles in the betel leaf
match the subtle air frequencies from the region of Brahma. The sattva frequencies
emitted by the Idol of the Deity are absorbed through the stalk of the betel leaf.
Consequently, the colour particles in the leaf are set into motion. As an effect of this
motion, subtle air is created which is transferred to the tip of the leaf by the particles
related to the Absolute Water element in the leaf and then transmitted to the
atmosphere. These air frequencies have the ability to activate the frequencies of Will of
the required Deity functional in the Universe. Because of these frequencies, the mental
sheath of the embodied soul gets purified and it derives desired benefit.

2. The medium connecting the earth and the region of Brahma : The creeper of betel
leaves is called nagvel (serpentine creeper). The nagvel has the ability to attract
frequencies of the earth and the Brahma region and is considered as a link connecting
the two regions. Since it is sattva predominant, if a menstruating woman plucks betel
leaves, then the creeper dries up. This is because when a menstruating woman comes
in the environment of a nagvel, due to the effect of the friction between the raja-
tama frequencies emitted by her body, the sattva predominant particles in the
environment disintegrate. Hence, the creeper shrivels or black spots appear on its
leaves.

M. Betel nut

There is a perfect blend of particles of the Absolute Earth and Absolute Water
elements in the betel nut. The Earth element particles from the betel nut bind the
frequencies of Chaitanya emanating from the Deity. Then the particles of Chaitanya in
 these frequencies of Chaitanya are activated by the particles of the Absolute Water
element in it. Thus the betel nut serves as the chief medium for the exchange of
frequencies between a Deity and the embodied soul.’

N. Coconut

1. Why is the coconut called ‘Sriphal’, the most auspicious fruit? : The coconut has
the capacity to attract the frequencies of the five Deities namely, Shiva, Shri Durgadevi,
Ganapati, Shriram and Shrikrushna and transmit them as required. Hence, coconut is
considered as the most auspicious fruit – ‘Sriphal’, the most sattva component
bestowing fruit’.

2. Relief from distress of negative energies due to coconut : Coconut has the ability to
attract benevolent (Divine) as well as malevolent (distressing) frequencies. Hence, if a
person is affected by negative energies, a coconut is used to perform the ritual of
removing ‘drishta’ (evil-eye) to relieve his distress. The sound when breaking a coconut
is akin to the destroyer mantra ‘Aum phat’. Because of the sound, the negative energies
run away.

O. Panchkhadya, five fruits and a piece of solid turmeric

There is great importance to the ‘with attributes’ as well as the attributeless levels
in every ritualistic worship. The five Cosmic elements are required for the manifestation
of this form. They are present in the core of the Universe in a dormant form. In
the Panchopachar pūjā, devotion unto God at the level of the Absolute Earth, Water,
Fire, Air and Ether elements is essential. Only then does one get complete benefit of the
ritualistic worship and there is generation of energy that bestows Chaitanya in him. For
the generation of this energy, flowers and leaves (the Absolute Earth element), turmeric
(the Absolute Earth element), five fruits (the Absolute Water element), perfume (the
 Absolute Fire element), Panchkhadya incense sticks (the Absolute Air element) and
coconut (that which generates sound, the Absolute Ether element) are all required. Due
to the emission of frequencies of fragrance through the medium of the flowers, the form
of the Deity in the Universe is attracted to the embodied soul. Through the medium of
the colour frequencies transmitted through the patri (Leaves) it attains a body form for
the benefit of the embodied soul. By offering the five fruits, meaning, due to the
emission of the frequencies of sweet juice (the Absolute Water element), as the
secretion of the internal fluids in the embodied soul is facilitated, its bhāv is awakened.
Due to the awakened bhāv the seven centres in the embodied soul enter an activated
state and imbibe the Chaitanya of the ‘with attributes’ manifest form in the Universe.
The frequencies associated with the Absolute Fire element emitted through the medium
of the perfume activate the Energy of Soul and the energy generated by the sound of
the coconut purifies the atmosphere. The other components in the Panchkhadya –
almonds, walnut and dried dates all have seeds. Hence, the dormant air in their
covering is a good carrier of the subtle Chaitanya emitted by the Deity. Thus
the Chaitanya of the Deity activated by offering of these components percolates deep
into the body of the embodied soul through the medium of the Absolute Air element.
Because turmeric is a tuber and associated with the frequencies of earth, it bestows
grossness to the frequencies of Chaitanya that are activated at the level of five
Principles and thus makes them eligible to be imbibed by the embodied soul. With the
help of these components, even in the absence of the requisite spiritual level of the
embodied soul, the Principle of the Deity functions for it in a short time.

P. The wick in the lamp

The science underlying rolling two wicks into one and placing them in the lamp.

 Two wicks : A symbol of duality

 The common tip formed by rolling the two wicks : The single wick formed by rolling
the two wicks and the common tip is symbolic of the embodied soul’s journey towards
non-duality.

 The flame at the common tip of the two wicks : The radiance manifested and
stationary at the common tip formed by the union of the two wicks is a symbol of the
embodied soul’s non-duality.

Q. Incense stick
 The Deities contain the five Cosmic elements. Of these, the Absolute Earth
element emits fragrance. As this fragrance is very subtle an average embodied soul is
unable to imbibe it. The incense sticks have the ability to imbibe the subtle fragrance
emitted by the Deities. Hence, when incense sticks are lit, the subtle fragrance attracted
from the Deities (in the incense sticks) is also emitted along with its own fragrance. For
example, when the incense stick with sandalwood fragrance is lit, the subtle
sandalwood fragrance attracted from the Deities is also emitted along with the fragrance
of the incense stick. Another characteristic of the incense sticks is that, they imbibe and
emit the Principle of the required Deities in the form of fragrance, for example some
seekers have the spiritual experience of subtle fragrance of sandalwood from the
incense stick of kevada.

R. Frankincense

Frankincense has a strong fragrance. This functions as the destroyer form. The
Principle of the specific Deity gets activated through the fragrance of the frankincense. It
acquires the form of the subtle weapons and combats the raja-tama in the environment.
Consequently, the sattva component in the environment increases. Naturally the
environment and premises are purified. The environment imbibes the subtle-most
frequencies emitted by the Deities to a large extent and the distress due to negative
energies, if any, is reduced by 30%. Thus, obstacles posed by negative energies are
reduced. Hence, frankincense is lit before ritualistic worship and Āratī.

Frankincense completely eliminates the distressing frequencies in the atmosphere

around the site of ritualistic worship and facilitates removal of the obstacle in the
transmission of sattva predominant Chaitanya by the Deity towards the embodied soul.
This Chaitanya is imbibed by the embodied soul in a shorter time.

S. Camphor

The odour of the subtle air generated by burning camphor has the ability to attract
messengers of Deity Shiva to a greater extent. These messengers keep the inferior
negative energies in the premises under control. Their presence also helps in obtaining
the blessings of Deities of a place and premises. The atmosphere created by the subtle
fragrant frequencies emitted by the odour of camphor is similar to the atmosphere of
Deity Shiva’s region. The atmosphere enriched with these fragrant frequencies attracts
frequencies of the Shiva Principle from the Universe, which in turn control the activity of
the negative energies in the premises. As the hindrance of distressing frequencies to
the sattva frequencies transmitted by the ritualistic worship is prevented, the
environment becomes pure and enriched with Chaitanya.

Camphor has fragrance, that is, the Absolute Earth element. When camphor is
ignited, the Absolute Fire element in it manifests. The Shiva Principle in it through the
medium of fragrance and fire is activated to a large extent. Consequently,
the sattva predominance in the environment increases. Due to the fragrance of
camphor, the Shiva Principle enters the body through the breath and destroys the black
energy and black air in the respiratory tract. The fragrance of camphor also helps in
alleviating the disorders of respiration.

T. Offering Naivēdya
 The food items to be offered to each Deity is predetermined. It is said that every
Deity has some favourite food item which is offered as Naivēdya to Him / Her, for
example, kheer or shira for Vishnu, modak for Ganapati, payas for Goddess. The
specific food item offered to a specific Deity attracts more frequencies of that Deity.
When this Naivēdya is partaken as prasād, we benefit from the energy of that Deity in it.

U. Ritual of offering dakshiṇā

What is the Science in the ritual of offering dakshiṇā in ritualistic worship? : By

offering dakshiṇā, a value of sacrifice develops in the embodied soul. From sacrifice,
detachment develops and this in turn gives rise to vairagya (ascetic-like detachment).
Once Vairagya develops, the embodied soul remains in constant communion with God,
even though in the Māyā (the Great Illusion). The foundation of Hinduism is in sacrifice.
That is why learning to sacrifice (by offering money), is the first step in Karmakand form
of spiritual practice. Hence, the ritual of dakshiṇā has inordinate
importance. Dakshiṇā is looked upon as Divine energy, meaning Goddess Lakshmi,
and worshipped. Hence, every act performed is complemented with Divine energy and it
 becomes an act without doership (akarma-karma). Consequently, its fruit does not
create a give and take account; but it is added in the merits (punya-karma).

V. Bhasma, cowdung and water

1. Bhasma : This is related to the Fire element. In Hindu Dharma, bhasma is considered to
be a symbol of detachment and is therefore sacred.

2. Cowdung : This is related to the Earth and Water elements. In Hindu Dharma, the cow
is considered very Holy, because it can absorb the frequencies of all Deities and bestow
divinity.

3. Water : This is considered to be a symbol of the stream of Nirgun (Non-

materialised) Chaitanya. Since water has the capacity to imbibe raja,
tama and sattva frequencies, it is thought to be a medium of destroying all sins.

W. Rangoli (Holy designs made on the ground from white crushed powder)

The importance of drawing rangoli and applying turmeric and vermilion around a
wooden platform or altar : Drawing a rangoli in a sattvik pattern around a wooden
platform or altar before commencing any ritualistic worship helps form a protective
sheath around them, of rapidly moving frequencies emanating from that pattern. The
earth frequencies are attracted towards the frequencies emanating from the rangoli and
are conjoined within its pattern. Through the said pattern, essential sattvik frequencies
are projected towards the embodied soul, which also help in creating a subtle sheath on
the floor and protecting the embodied soul from those projected by the black energies
from hell or the premise. Due to the different patterns of the rangoli, the accumulated
frequencies of different Deities scare the black energies away. The frequencies of
superior Deities in the Universe get easily attracted towards the colour particles related
to the Tej (Absolute Fire Principle) Principle projected from the turmeric-vermilion
offered at the centre of the rangoli. As a result, the capacity to act, the speed and the
outcome of the frequencies projected from the rangoli is enhanced. Hence, to avoid any
possible obstruction from black energies, rangoli is drawn in front of a house, at the
place of worship or around a platform at the time of any ritual.

X. Panchgavya

The Panchgavya creates a protective sheath around the seeker and this restrains
negative energies from posing obstacles in spiritual practice : With the help of the
five Cosmic elements, the Panchagavya attracts frequencies of superior and inferior
Deities; it forms a protective sheath (which is composed of upward and downward
mobile frequencies of Chaitanya on earth and in the atmosphere). This ensures that the
worshipper gets maximum benefit of the Chaitanya emitted from the rituals and
restrains the negative energies from posing obstacles in this process of emission
of Chaitanya during the ritualistic worship. Since a seeker in the initial stages has
less bhāv for God, the Panchagavya serves as a medium of ensuring benefits, by being
conducive to his protection.

2. How should the substances placed in ritualistic platter be arranged?

Before actually commencing a ritualistic worship it important to arrange the

implements and other substances that is part of ritualistic worship. It is appropriate to
arrange them based the level of the five Cosmic elements from the viewpoint of the
science of Spirituality. Such an arrangement balances and coordinates five cosmic
elements that are active in the Universe helping the embodied soul to derive maximum
benefit of the ‘with attribute and attributeless frequencies emitted by the Deity. This
arrangement indicates the journey of the embodied soul from Māyā to Brahman that is
 associated with the five Absolute. An important component of the first level is the
ritualistic platter. The arrangement of the components in the ritualistic platter is
explained ahead.

1. ‘In the ritualistic platter place turmeric and vermilion to the right side
and bukka, gulal and shendur (Black, pink and orange coloured powders used in
ritualistic worship which attract the Deity’s Principle) to the left side of the embodied
soul.

2. The perfume bottle, gandha , flowers, durva and patri should be placed at the forefront
in the platter because the subtle frequencies of the Deities are activated by the
fragrance particles in the perfume, gandha , flowers and also by the colour particles in
the durva and patri.

3. The betel leaves, betel nut and dakshina are should be placed at the other end of the
platter because they are an effective medium of transmission of frequencies of the
Deities.

4. In the centre, place the all-encompassing akshatā. As akshatā becomes the central
portion in the platter, the frequencies of the five superior Deities namely Shiva, Shri
Durgadevi, Shriram, Shrikrushna and Ganapati are attracted to them and are then
transmitted as per the requirement to the other components like vermilion, turmeric etc.
placed around them in a circular manner.’

Temple at Home and Implements used in

the Worship of God
Introduction

Most seekers who follow Bhaktiyoga (Path of devotion) for God-realisation begin
their journey by worshipping a Deity. A temple at home is the basic requirement
for pūjā (Ritualistic worship). Nowadays, the temple at home is designed as per
convenience or as a showpiece without giving much thought to the scientific aspect in
making it. In Spirituality, there are certain scientific aspects underlying every act being
performed in a specific way. In fact, only when each ritual is performed in the specified
meticulous way, can one derive maximum spiritual benefits from it. It is with this
objective that this booklet provides details such as the direction in which the temple at
home should be placed, its colour, shape, aesthetics and arrangement of Deity in it
according to Spirituality.
 This article analyses from the spiritual perspective, how and why by arranging the
implements in a specific way before pūjā, we derive maximum benefit of the Divine
Principle through pūjā. If a devotee understands the significance of the implements,
then it will help him develop bhāv (Spiritual emotion) for them. When we
perform pūjā with bhāv, the worship too will be charged with bhāv and we will benefit
from the Principle of the Deity to a greater extent. Hence, the booklet includes the
spiritual significance of the implements and their special features.

We pray unto the Holy feet of Shrī Guru – ‘Let all those who understand and put
into practice the science elaborated in this booklet get maximum benefit of the God
Principle.’ – Compilers

FAQs about Temple at Home and

Implements used for pūjā
1. Why the temple at home should be placed in the East-West direction?

‘The temple at home should always be in the east-west direction. When the temple
faces the east, the waves emitted by the Deity get activated on the strength of kriyā-
shakti (Energy of action) accumulated in the hollow in the east. This helps
the nirguṇ (Non-materialised) waves of the Deity transform into saguṇ (Materialised)
waves. When the kriyā-shakti from the universe associated with the east-west direction
manifests due to the waves emitted by the Deity, its direction is mostly upwards. The
effect of the upward mobile waves on the environment lasts much longer than that of
the downward mobile waves. Hence, for the effect of the sāttvik (Sattva-predominant)
waves emitted by the Deity to last longer, the direction of the temple at home should be
east-west.

On the other hand, when ichhā-shakti accumulated in the north-south direction

gets activated, it flows mostly downwards. This flow activates the tiryak waves in the
environment. This causes obstruction to the sāttviktā emitting from the Deity and as a
result the benefit obtained by the jīva (Embodied soul) when compared with the first
arrangement is less.’

2. What material should the temple at home be made of to increase

the sāttviktā / positive energy in the house

As far as possible, the temple at home should be made of sandalwood or

teakwood. Sandalwood is expensive and may not be viable for the average individual.
Comparatively, teakwood is cheaper and has better ability to retain and
emit sāttvik (Sattva-predominant) waves. Eventually it is the bhāv (Spiritual emotion)
towards God that attracts the Divine waves to the top of the temple, which are further
dispersed in the house as per the requirement.

3. Importance of retaining the original colour of wood for the temple at

home?
 Though the modern trend is to paint the temple at home with different colours in
the name of decoration, it is ideal to retain the original colour of wood, that is, pale
brown. God operates through two Principles, namely saguṇ Principle
and nirguṇ Principle. Pale brown colour symbolises the border between the saguṇ and
the nirguṇ, meaning the transition phase of the journey from saguṇ to the nirguṇ.
Human beings with Panchatattvās (Five Cosmic Principles) as their constituents fall in
the saguṇ category and the formless God falls in the nirguṇ category. Since a simple
religious act like worship of a Deity amounts to spiritual practice, it helps the jīva in
traversing from the state of saguṇ to nirguṇ, meaning, from duality to non-duality.
Obviously, the pale brown colour of the temple is complementary to this spiritual
journey.

4. What is `Saguṇ` and `Nirguṇ` principle?

God operates through two principles namely Saguṇ Principle

and Nirguṇ Principle. Saguṇ means Materialised and Nirguṇ means Non-materialised.

5. What should be the shape and size of the temple at home for an
average individual?

A three dimensional body is determined by its width x depth x height. When

deciding the shape of the temple at home from spiritual perspective, the dimensions can
be determined from the information given ahead. As per his convenience, a worshipper
can make the temple at home in a bigger or smaller size.
Note: 2’ = 2 Foot

6. In pūjā, why is it preferable to use implements made of copper and

brass?
 A. Stainless steel has the least capacity to absorb the sāttviktā and possibility of
black energy getting attracted is high: ‘Nowadays, many people use stainless steel
implements during worship. Stainless steel has the least capacity to absorb
the sāttviktā and the possibility of black energy getting attracted to it is high. We get
neither the sāttviktā nor Chaitanya from them, nor do they awaken our bhāv. They
hardly provide any spiritual benefit.

B. Copper and brass have better capacity to absorb sāttviktā : In the earlier times,
implements used in worship of Deities were made of copper and brass. Every particle of
these two metals has high capacity to absorb the sāttviktā. Besides, cleaning these
implements everyday with tamarind and lime before pūjā removes the black energy
enveloping them.

C. Special features of copper

 Copper has the capacity to absorb upto 30% the Principle of all Deities.
 Copper has the capacity to absorb the sāttviktā to the extent of 30%. Hence, it is
considered auspicious.

 Copper has the capacity to destroy Raja-Tama components to the extent of 70%.
Hence, keeping a substance (for example, water) in a copper vessel reduces the Raja-
Tama components in water by 70% and the sāttviktā in it also begins to increases.’

Gold is associated with the Tējtattva. Hence, worshippers of

the Gāyatri mantra use implements made of gold or gold dust mixed in Vibhūti in order
to gain control over the Tējtattva. Gold dust activates the Sun channel (in the body)
which is beneficial for worship of Tēj in the body in a shorter time.’

7. Why should the hands be washed if the lamp is touched during pūjā?

‘While performing ritualistic or mental worship of the Deity, the sāttviktā of the lamp
increases. The lamp is offering its light unto the Holy feet of the Deity and thereby
performing its spiritual practice. When we touch the lamp, the Raja-Tama components
from our body enter the lamp. As a result, the sanctity of the lamp reduces. Thus, we
become guilty of having obstructed its spiritual practice. Water is all-encompassing.
When something is offered to water, it reaches the respective Deity in quicker time.
Through the medium of water when our demerits are offered unto the Holy feet of the
Deity, the Deities forgive us.’

8. Why `akshata` are being considered important in a platter of pūjā?

In the middle of the platter place all-encompassing akshatā. Since these are in the
centre, they attract waves of the five superior Deities – Shiva, Shrī Durgādēvī, Shrīrām,
Shrīkrushṇa and Shrī Gaṇapati, and get emitted towards the surrounding substances
like haldī (Turmeric), kumkum (Saffron) etc. as per the need.
9. What are the benefits of arranging the implements and other
constituents of a pūjā, according to the level of panchtattvas?

A. ‘The Panchatattvās are appropriately balanced and controlled and it helps the jīva in
maximising the advantage of the saguṇ and nirguṇ waves emanating from the Deity.

B. The appeal made to the Deities along with prayers before pūjā helps the active
waves of the respective Deity in the universe to take a saguṇ form. Depending on the
constituent of the Panchatattvās present in them, these Divine waves get attracted to
the respective implements in the pūjā and charge them. It is because of these charged
implements, that even the atmosphere surrounding the place of worship gets purified.
Further, the physical body of the jīva standing within the boundary of this purified
environment also becomes sāttvik. The combined effect of the sāttvik body
and sāttvik implements helps the jīva derive maximum benefit from the Divine waves
emitted by the Deity.’

10. Why should the water from the kalash used during pūjā be offered
to tulsī plant and sprinkled in the premises?

‘It is well known that the tulsī plant has great importance in the science of
Spirituality. Purity means more of the Sattva component. Tulsī plant has a higher ability
to attract pure vibrations from the atmosphere when compared with other plants.
Besides, it also emits pure vibrations into the atmosphere throughout the day. When the
water in a kalash charged with Chaitanya is offered to the tulsī plant, along with the
water, the plant also absorbs the Deity Principle present in it. Then along with its
own sāttviktā, the plant emits the Chaitanya back into the atmosphere. As a result, a
sheath of rhythmic vibrations is formed and it helps maintain purity in the premises and
surrounding areas. In a way, this sheath can be referred to as the armour of God.
Sprinkling this water in the premises increases the Divine vibrations within the premise,
thus purifying it.’
11. Why is a metal coin or a betel-nut placed within and then a coconut
placed on a kalash that is used to install a Deity?

A. Placing a betel-nut in the kalash : Betel-nut emits waves of Raja component. By

placing it in water, the sāttvik water becomes Sattva–Raja-predominant.
The Raja component enhances the ability of this water to emit the saguṇ Principle of the
Deity. Also, due to the particles related to Pruthvītattva in the betel-nut, retention
of Sattva particles related to the nirguṇ Principle present in water is facilitated. This in
turn facilitates retention of the sāttviktā in water for longer periods.

B. Placing a coconut on the kalash : When a coconut is placed on the kalash,

through the tip of tuft of the coconut, the Principle of the worshipped Deity gets attracted
to the coconut and gets transferred to the water in the kalash. This act of transfer
generates rhythmic ripples of the waves of Deities. The ripples are very subtle in nature.
Water is more clean and pure, and hence absorbs the Sattva particles in the Divine
waves to a large extent; however, deficiency of the Raja component in the water
reduces its capacity to emit the saguṇ Principle.’

12. What is the importance of blowing a conch in pūjā?

The sound energy generated by blowing a conch activates the subtler waves in the
universe that descend from above, and in a short time cause disintegration of Raja-
Tama particles in the atmosphere. Blowing a conch in a house makes the atmosphere
within pure and Holy; so also the atmosphere surrounding the individual
becomes sāttvik to facilitate his spiritual practice. The individual is able to absorb
better sāttvik waves coming from the Deity.

13. How to test the genuineness of a conch?

A melodious sound can be heard when a genuine conch is held to the ear (even
without blowing).
14. Why should a conch be placed with its tip facing the Deity?

The tapering hollow of the conch helps in accumulation of energy emitted by

Deities. When this accumulated saguṇ energy manifests as per the bhāv of the
individual, the waves in it are transformed into waves of the form of high
velocity mārak rays. When this mārak form of energy leaves the conch from the hole at
other end, the rays are converted into circular waves as they enter the atmosphere. The
spread of these circular waves and the duration of their effect on the environment are
more when compared with that of the rays.

The energy emanating in the form of rays has a higher content of

the māraktattva. Hence, to avoid any distress to the individuals, the tip of the conch
must face the Deity. As a result, the circular waves emanating from the opening in the
conch help maintain the required level of mārak form of Chaitanya in the premises for a
longer period. The negative energies fear the conch because of the mārak energy that it
emits.

Method of waving the lit lamp around the

Deity
 Table of Contents

1. Waving a lit lamp

2. Benefits obtained by waving a lit lamp
3. Why is a dhoop (Frankincense) waved first, followed by a lit incense stick and then a lit
lamp?
4. Why should a lit incense-stick or nirānjan be waved thrice?
5. Why should the lamp be waved clockwise only?
6. Why should a bell be sounded while waving a lit incense-stick or a lit lamp?
7. Some practical instructions pertaining to an oil lamp

It is a common practice among Hindus to light a lamp in front of the Deity during
their morning worship as well as during sunset. But not many would know the actual
reasons behind waving a lamp in front of Deities. Let us read this article which explains
why and how do we perform this step as one of the important steps in daily ritualistic
worship.

1. Waving a lit lamp

Performing the pūjā (Ritualistic worship) of a Deity with ātma-jyoti means

performing pūjā in the true sense. Since this is not possible for us, we use a lit lamp (to
symbolise the ātma-jyoti) and perform the pūjā.

2. Benefits obtained by waving a lit lamp

A. Waves of the Deity associated with Tējtattva get attracted towards the flame of an oil
lamp lit for waving around the Deity. Waving this lamp creates a dynamic sheath of
waves of the Deity around the individual. As a result, the individual gets the benefit of
waves emitted by this sheath even after the pūjā.

B. The lit lamp activates waves of Tējtattva associated with the Deity. Waving it around
the individual helps awaken the Ātma-shakti of the individual. Hence, while waving a lit
lamp, an individual sometimes gets the spiritual experience of self-realisation, or
perceives that the flame of the lamp is merging with the flame-like appearance of the
soul.

3. Why is a dhoop (Frankincense) waved first,

followed by a lit incense stick and then a lit lamp?

A. Dhoop : Smoldering dhoop emits waves that are Raja–predominant as well as those
associated with Pruthvītattva and Āpatattva. These waves help activate the waves of
subordinate Deities in the premises. Appeasing subordinate Deities thus helps in
controlling movements of negative energies in the premises.
B. Incense-stick: Fragrance of incense-stick emits fragrant particles. Waving a lit
incense-stick after the dhoop helps in attracting saguṇ waves of the respective Deities
from the universe towards the fragrant particles.

C. Lamp: A lit lamp emits waves that are Sattva predominant and associated with
the Tējtattva. Waving a lit lamp after waving a lit incense-stick activates the Deity’s
subtle-Principle present in the universe. It helps the individual get the benefit
of saguntattva (Materialized) and nirguntattva (Non-materialized) of the Deity as per the
need.

4. Why should a lit incense-stick or nirānjan be waved

thrice?

There are three types of Shakti waves of God – ichhā, kriyā (Action),
and dnyān (Knowledge). As per the need, Deities function in the universe on the
strength of these three waves of Shakti. Waving an incense-stick thrice in front of a
Deity means performing pūjā of these three waves of Shakti, thereby, worshipping the
actual source of Shakti functional through the Deity. Waving thrice helps in activation
of ichhā, kriyā and dnyān waves present in the universe, which in turn helps in
activation of manaha-shakti, Ātma-shakti and chit-shakti (Energy of the sub-conscious
mind) respectively of the individual. On the strength of these 3 Shakti, purification of the
physical and subtle-bodies of the individual occurs simultaneously. Its effect on the body
also lasts longer. If all the acts are performed with bhāv (Spiritual emotion) and an
understanding of the spiritual science underlying every ritual in upāsanā-kānḍa, greater
benefit of the sāttviktā (Purity) is obtained. When a balance of ichhā,
kriyā and dnyān [Chit ] waves is maintained, the spiritual progress of the individual is
faster.

5. Why should the lamp be waved clockwise only?

 When waving a lit lamp in front of the Deity, begin from the right foot of the Deity,
take it up to the face of the Deity and then towards its left foot, meaning, wave the lit
lamp clockwise. This activates the Sūryanāḍi (Sun channel) of the individual waving the
lamp, and improves the ability of his subtle-bodies to imbibe Sattva predominant waves
and subtlemost waves emitted by the Deity.

6. Why should a bell be sounded

while waving a lit incense-stick or a lit lamp?

A. The bell performs the function of mārak (Destroyer) nature. This is why, when
sounded, it awakens the mārak-bhāv in the one who hears it and the individual
experiences a thrilling sensation in his body.

B. Through its sound, the bell emits mārak-shakti (Destroyer energy). This
reduces Raja-Tama components in the environment and reduces the influence of
negative energies. Thus, the obstacles created by negative energies are eliminated.

7. Some practical instructions pertaining to an oil lamp

A. Do not light a ghee (Clarified butter) lamp with the help of an oil lamp: When
a ghee lamp is lit with the help of an oil lamp, the flame of the oil lamp comes in contact
with the wick of the ghee lamp, and the subtle Raja-predominant waves associated with
the Tējtattva emitting from the flame of the oil lamp get transmitted to the wick of
the ghee lamp. Thus, the wick of the ghee lamp gets charged with the Raja component.
This reduces the sāttviktā obtained by lighting a ghee lamp.

B. Change the wick in the oil lamp placed in the temple at home every day: When
the wick of an oil lamp burns, soot collects on it. Using the carbon components
containing Raja–Tama predominant particles hidden in the soot, negative energies
 create a covering of distressing energy around the lamp and reduce the lamp’s ability to
imbibe and emit sāttviktā and Chaitanya (Divine consciousness). Hence, it is a practice
to use a new wick every day.

The correct way of arranging the deities

in the temple at home
Table of Contents

1. Conical arrangement
2. Characteristics and significance of the conical arrangement
3. The Spiritual Benefits of the appropriate management of Deities in the temple at home

1. Conical arrangement
 Arrange the Deities in a conical shape. In front of the devotee performing
the pūjā at the tip of the cone, that is, at the centre, place Shrī Gaṇēsh. To the right of
the devotee place the female Deities beginning with the family Deity followed by sub-
forms of superior Deities and then other female Deities. To the left of the devotee place
the male Deities in the same sequence as right side.

A. The seven superior Deities and their sub-forms

DEITY SUB FORMS OF DEITIES

1. Shrī Gaṇapati –

2. Shrīrām –

3. Māruti Panchamukhī (Five-headed) Māruti (Manifest kriyā-shakti) Dāsmāruti (Ichhā-shakti) Veermāruti (Unmani

4. Shiva Vētāl (Kriyā-shakti)

5. Shakti Nine forms of Shrī Dugādēvī

6. Datta –

7. Shrīkrushṇa Bālkrushṇa (Ichhā-shakti),

Balarām (Kriyā-shakti)

B. Sequence of arrangement of superior Deities

Other Deities should be given preference over the superior Deities – Brahmā,
Vishṇu and Mahēsh, which represent Creation, Sustenance and Dissolution
respectively. The preference should be in accordance with their association with waves
of will, action and knowledge respectively.

2. Characteristics and significance of the conical

arrangement

In a conical arrangement of Deities, the tip represents the Shakti that is active by
manifesting in saguṇ form followed by nirguṇ forms of Shānti (Peace) and Ānand. Shrī
Gaṇēsh, followed by the sub-forms of superior Deities and then the superior Deities
themselves respectively represent the journey of an individual from the saguṇ to
the nirguṇ state. Gradual widening of the cone denotes the wider coverage of nirguṇ.

Shrī Gaṇēsh is placed in the centre. He comprehends the human language (of
sound), hence, He is the Deity who can be pleased first. Shrī Gaṇēsh is a Deity who
transforms the language of sound to language of light and vice-versa. Other Deities
mostly understand only the language of light. Besides, Shrī Gaṇēsh is also associated
with waves of desire. That is why, He conveys the desires of the devotee to
his Kuladēv (Family male Deity) or Kuladēvī (Family female Deity) who then rush to his
help. The Kuladēv or Kuladēvī also plead before superior Deities for fulfilment of their
devotee’s desires, as a result of which, their Principle is activated and functions for the
individual’s benefit.’

3. The Spiritual Benefits of the appropriate

management of Deities in the temple at home

Spiritual experience

Because of the appropriate arrangement of Deities in the temple at home, a

woman that was bedridden for 10 years being able to stand on her feet : I went to
one household in the village of Kharpatti (in Roha Taluka, District Raigad, Maharashtra).
The arrangement of the Deities in the temple at home was not correct. Among the
Deities was also a picture of his deceased father. I said to him, “Shyam, because of the
inappropriate arrangement of the Deities, (spiritual) distress is perceived in your house.
Place in the temple only those Deities which are essential and immerse the rest in
flowing water”. Mr. Shyam immediately followed what I had told him. Thereafter, his
mother who was bedridden for 10 years was able to stand taking the support of the
wall.’ – Mr. Anant Kokabankar, Ghatkopar, Mumbai, Maharashtra.
 Spiritual significance of Implements
used in Pūjā
1. Spiritual significance of Implements used in Pūjā

The implements used in the worship of Deities are outstanding mediums for
transporting saguṇ waves of Deities to the individuals. In this article, we will explain
spiritual benefits of implements used in pūjā.

A. Kalash (Metal pot)

1. At the time of Great Churning of the ocean (known as samudramanthan), Srīvishṇu

carried the kalash with amrut (Divine nectar of eternal life). All Deities dwell in
the kalash. Hence, a kalash is always a part of pūjā.
2. ‘The peculiar shape of the kalash creates a distinct subtle-sound in the void within. The
vibrations resulting from the subtle-sound attract Shiva Principle from the universe. As a
result of these subtle-sound waves, the jīva gets added benefit of the Shiva Principle.’

B. The platter

‘The platter used for placing nirānjan represents Panchaprāṇ in our body. When
performing Āratī, the jīva should have a bhāv that ‘I am performing Āratī with the help of
these Panchaprāṇ.’

C. Bell

The importance of sound from bell and the conch

The peculiar shape of the bell and its clapper attract earth waves which
accumulate in the peculiar shape. When the bell is rung, these accumulated waves from
the atmosphere begin to vibrate and the resultant sound energy attracts the Shiva
Principle, that is, it leads to activation of the Shiva Principle in the universe. These
sound waves are associated with the Shiva Principle. These sound waves are laden
 with Raja component and are destructive in nature, which causes disintegration of
the Raja-Tama particles in the distressing waves emitting from patal (Hell region).

Ringing of the bell purifies the environment in the downward direction below the
surface of the earth; whereas, blowing of the conch purifies the waves in the
environment in the upward direction above the surface of the earth. Hence, both these
activities have a great significance in pūjā. The sound generated by both the
instruments purifies the environment around the seeker, making it sāttvik and conducive
for spiritual practice. This enables the individual absorb maximum sāttvik waves emitted
from the Deity.

1. Bhāv unto God is awakened due to sounding the bell.

2. The vibrations attracted to the pūjā of God are in the nirguṇ (Non-materialised) form. As
a result of sounding the bell, these vibrations take a saguṇ-nirguṇ (Materialised-non-
materialised) form and are then received by the devotees.

3. The clouds of black energy created by the negative energies in the environment are
eliminated as a result of sounding the bell. Similarly, a flow of Chaitanya (Divine
consciousness) comes towards the devotees just like the sunlight.

4. The brass metal converts the superior most sound vibrations created by God (Sounds
emanating from Omkār and other bījmantrās) into inferior sound vibrations that are
beneficial for an average individual.

5. Sound is created when the clapper strikes the edges of the bell. Similarly, vibrations
of Shakti (Divine Energy) and bhāv are created by the sound vibrations, and then
spread into the environment.
6. The sound of implements used in the pūjā (the sound of a bell or a conch etc.) is
beneficial for an individual at the level of Ākāshtattva. Similarly, the sound
of Āratī, hailing, chanting of the Name etc. awakens Divine sentience in the individual
and it is able to establish communion with God.

7. When an individual sounds a bell with intense bhāv, sāttvik vibrations are created by it;
whereas, if the bell is not sounded, Raja predominant vibrations can be emitted by even
a sāttvik ’

D. The conch

Importance of a conch
1. The conch is sounded before commencing pūjā and Āratī. The conch used for the
purpose is left sided (There are two types – Right Dakshiṇvart and left Vāmvart sided
conch.)

2. After a kalash is worshipped, before worship of a Deity, the conch is worshipped;

sandalwood paste is applied to it and flowers and tulsī leaves are offered to it. Then the
worshipper sprinkles water from the conch onto himself by the using a flower and on the
implements used in pūjā. Water from the conch is considered as pure as the Holy water
of river Ganga. This water is also used for abhishēk of the Deity.

3. The conch represents the manifest destructive energy of God.

4. Sound emitted upon blowing a conch destroys disease germs. The sound can also
break ice glaciers. Hence, a conch is not sounded in ice covered areas.

E. A lamp and a nirānjan

The flame of a nirānjan symbolises the ātmajyoti. The jīva should have a bhāv that
the ‘Panchaprāṇ within my body are keeping the ātmajyoti burning and are
offering Āratī to God with this flame’. The five petalled nirānjan displays the relationship
 of the Panchaprāṇ with the ātmajyoti. An earnest prayer made through Panchaprāṇ is
termed as ‘Panchāratī’.

2. The importance of using the old implements in Pūjā

A. Old implements become sāttvik

1. Implements used in pūjā for several years become sāttvik : ‘Use of new implements
in pūjā does not give much spiritual benefit, because their getting activated and
developing the power to absorb sāttviktā takes several years of use
in pūjā or Āratī. Only the immense bhāv of the worshipper can bring about the required
level of sāttviktā within a few months of use. Bhāv in most devotees is less; hence they
should perform pūjā or Āratī with old implements.

2. Proximity to Deity’s Idol: Since these implements are always placed in front of the
Deity, they can absorb Chaitanya and the sāttviktā emitted by the Deity in larger
quantities. These reasons prove that repeated use of same implements benefit the
worshipper. Use of such implements charged with sāttviktā help ‘awaken’ an Idol or an
image of a Deity faster.

B. Effect of old implements

Awakening of bhāv : Use of sāttvik implements help awaken the bhāv of the
worshipper. Many a time, mere handling of the implements awakens bhāv; at other
times even a glance at the implements suffices (to awaken bhāv) with the thought that
‘We are toiling in the sāttviktā. Besides, cleaning these implements everyday with
tamarind and lime before pūjā removes the black energy enveloping them.

C. Special features of copper

1. Copper has the capacity to absorb upto 30% the Principle of all Deities.

2. Copper has the capacity to absorb the sāttviktā to the extent of 30%. Hence, it is
considered auspicious.

3. Copper has the capacity to destroy Raja-Tama components to the extent of 70%.
Hence, keeping a substance (for example, water) in a copper vessel reduces the Raja-
Tama components in water by 70% and the sāttviktā in it also begins to increases.’

The Correct way of arranging the

Implements of pūjā
Levels of arrangement of substances and implements used in pūjā (from bottom
upwards, towards the temple at home)

1. First level

(Leaf on which Naivēdya is offered and the platter used for Āratī):

Implements associated with Pruthvitattva & Āpatattva

 A. Banana leaf used for offering Naivēdya : Offering Naivēdya is the last step
in pūjā. The (Naivēdya carrying) leaf is placed facing downward.
Offering Naivēdya helps please the superior Deities, Deity of the premises and Deity of
the place in shorter time.

B. The platter used in the worship : Place the platter in front of the Idol of the Deity of
worship.

 In the platter, place haldī and kumkum to the right and bukkā, gulāl and shēndūr to the
left of the individual.

 Place a perfume bottle, sandalwood paste, flowers, dūrvā and patri towards the Deity;
fragrance particles in the perfume, sandalwood paste and flowers, colour particles
in dūrvā and patri activate the subtle-waves of the Deity.
 In the platter, towards yourself, place a betel-nut and betel leaves and offering of
money.

 In the middle of the platter place all-encompassing akshatā.

C. The banana leaf with Naivēdya shown in the arrangement above symbolises the
state of the individual. In the actual arrangement do not place the Naivēdya leaf.
Offer Naivēdya only after pūjā has been completed.

2. The second level

Implements associated with Āpatattva – a kalash, a tumbler and a ritualistic

spoon
 Place these implements in the centre. Place the platter in the centre and in it to the
left of the individual, place the kalash and to the right, place implements like the tumbler,
ritualistic spoon that are used in the rituals.

3. The Third Level

Implements associated with Tējtattva

 Nirānjan and incense-sticks : Place them to the right of the individual.

 The ghee lamp : Place to the left of the individual.

 The camphor Āratī : Place it next to the ghee lamp. The camphor Āratī is placed to the
left of the individual, that is, to the right side of the Deity.

 The coconut : Place the coconut in the centre in close proximity to the Deity.

4. The fourth level

Implements associated with Vāyutattva (Absolute Air Principle) & Ākāshtattva

 The conch : Place the conch to the left of the individual.

 The bell : Place the bell to the right of the individual.

5. The fifth level

Implements associated with Tējtattva & Ākāshtattva

Samaī : Place two samaīs of equal height, one on each side of the temple at home.
Preferably use sesame-seed oil to light the wicks in these lamps. The two lamps
symbolise the Chandranāḍī and Sūryanāḍī (Sun channel) of the Deity. The Deities are
mostly affiliated to the Tējtattva. To symbolise this, these lamps are placed on both
sides of the temple at home.

Offering patrī and flowers to the Deity

Table of Contents

1. Offering Patri
2. Offering flowers
3. Mission of the flowers
4. Why do lotus and avla remain pure for 3 days and why should they be immersed in
water thereafter?
 Many people like to decorate Deities with leaves and flowers in temples at their
homes, as it gives a divine look to the Deities. Offering flowers and leaves is in fact
spiritually beneficial to individuals performing their daily worship. Let us find out in detail
through this article, how does this act of beautifying Deities is also spiritually important.

1. Offering patri (Leaves)

Patri should be offered to the Deity before offering the flowers. If patri that has
greater ability to attract a specific Deity Principle is offered to the Deity, it helps the
worshipper obtain greater benefit of the Deity Principle. Given ahead are specific leaves
offered to specific Deities.

 Tulsi (Holy basil) leaves to Shrivishnu

 Bel (Aegle Marmelos Tree) and aghada (Prickly Chaff plant) leaves to Mahadev (Shiva)

 Durva (A fragrant grass) and shami (Indian mesquite) leaves to Shri Ganapati
A. How should durva be offered to Shri Ganapati?

Covering the Idol of Shri Ganapati completely (except the face)

with durva facilitates awakening of the Idol : When the Idol of Shri Ganapati is
completely covered (except the face) with durva, its fragrance surrounds the entire Idol
and collects in the shape of Shri Ganapati in Idol. This makes it easier for the shape of
Shri Ganapati’s pavitraks to get closer to this shape. This is referred to as the ‘Idol
imbibing the same shape (Samakarikatva of pavitraks). This is also known as
‘awakening of the Idol’.

B. For the pavitraks to be sustained in the Idol in greater proportion, it is

necessary to worship the Idol thrice a day and offer durva : The
Ganapati pavitraks last as long as the fragrance of the durva is present. For
these pavitraks to be sustained, durva are replaced thrice a day. That is why; puja is
performed thrice a day.

2. Offering flowers
 A. While offering flowers to the pictures / Idols of Deities placed in the temple at
home, why are flowers offered to Shri Ganapati first and then to other Deities; and
why should the sequence be from bright flowers to white flowers?

While offering flowers to the pictures / Idols of Deities placed in the temple at
home, begin with small bright flowers kept in the platter, followed by medium-size light
colour flowers. Lastly, offer big white flowers. In a conical arrangement, only after
offering flowers to Shri Ganapati at the apex of the cone, at the second level, offer
flowers to the pictures of superior Male Deities. Thereafter, offer flowers to the pictures
of superior Male Deities. Thereafter, offer flowers to the Deity’s Female counterpart or
sub-forms of the Deity.

Moving from the apex of the cone towards the end symbolizes going
from dvait to advait. Conversely, beginning with the small bright flowers and then
offering big white flowers in the end and thereby, merging with the
expansive nirgun (Non-materialized) form of God, amounts to
performing sagun (Materialized) worship through the medium of flowers and attaining
the nirgun. Instead of the shape / size of the flowers, give importance to the sequence
of their colour; because, due to the contact of the colour-waves emitting from the
flowers the specific Deity Principle is awakened sooner.

B. Do not offer petals or decorative flowers to Deities

1. At some places, instead of flowers, petals are offered to Deities, so that there is no
dearth of flowers. However, this is incorrect.

2. Do not offer artificial, decorative flowers to Deities because they do not attract the Deity
Principle; instead, offer fresh sattvik flowers which attract the specific Deity Principle.
C. What is the science underlying offering flowers in a specific number and in a
specific arrangement?

The waves emitting from a Deity, the number of flowers that represent the Principle
of the Deity and the specific arrangement of the flowers associated with that Principle,
all this helps retain the active waves emitting from the Deity in that arrangement and
their emission through the fragrant particles of the flowers as per the need. The Deity
Principle is attracted swiftly to a specific number of the specific flowers. Progressing
through the three paths of Yoga – Karmayoga, Bhaktiyoga and Dnyanyoga, the
individual moves from ‘Many to one’, that is, towards the nirguntattva.

SAPTADEVATA NUMBER OF FLOWERS TO BE OFFERED ARRANGEMENT OF

1. ‘Shiva 0 (Note 2) or 10 Filled and round (Dormant

2. Shri Durgadevi (Note 3) 1 or 9 Hollow and round (Active e

3. Shrikrushna 3 Hollow and elliptical

4. Shriram 4 Hollow and elliptical

5. Hanuman 5 Hollow and elliptical

6. Datta 7 Hollow and rhomboid

7. Shri Ganapati 8 Hollow and rhomboid

Note 1 – By offering flowers in arrangements that attract waves

of ichha (Desire), kriya (Action) and dnyan (Knowledge), greater benefit of the
associated Deity Principle is obtained. (For example, Dnyan waves are attracted
towards a round arrangement; kriya waves are attracted towards an elliptical
arrangement.)

Note 2 – Zero means offering nothing

Note 3 – Female Deities are forms of Adishakti (Primal Energy) Shri Durgadevi. Hence,
the same arrangement and number (of flowers) should be offered to these Female
Deities as offered to Shri Durgadevi. Brahma is not an Upasyadevata (Deity of worship);
that is why, the number of flowers to be offered to Brahma and their arrangement has
not been mentioned. – Editor

Care required while offering flowers in a specific pattern : While offering flowers in
a specific pattern, take care that they are not placed in a disorderly manner. ’Satyam-
Shivam-Sundaram’ (Truth-Purity-Beauty) is one important principle in Spirituality.
Accordingly, instead of placing flowers in a disorderly manner, when they are placed in
an organized and beautiful manner, it helps in attracting the Divine Principle faster. It is
a pleasure to look at such an arrangement. Such a puja (Ritualistic worship) refreshes
the worshippers mind and gives him Anand (Bliss).

3. Mission of the flowers

A. When a flower is offered with its stalk towards the Deity, the vibrations
emitting from the Deity are attracted to the stalk and are then emitted towards the
worshipper : Deity Principle is active in every tree in seed form. When the stalk of a
flower offered to a Deity is towards the Deity, the vibrations emitting from the Deity are
attracted to the stalk. From the stalk, through the medium of the petals, they are emitted
towards the worshipper. The action of the petals here is similar to the blades of a fan.
Just as the breeze spreads because of the rotation of the blades, the petals function in
a similar manner.
 Deity Principles are created in the stalk.

 Deity Principles are active in the voids of the central portion of the flower

 Deity Principles are emitted through the medium of petals.

B. The worshipper receives waves of Shakti in the form of fragrance.

C. Through the picture or the Idol of the Deity, superior level vibrations are emitted;
however, the implements or objects used in Deity worship have very little ability to
imbibe these vibrations and make them available to the worshipper. A worshipper who
has bhav (Spiritual emotion) is able to imbibe them very easily.

D. These vibrations are emitted for 2 to 3 hours by the flowers that have been offered to
a Deity. As the flower becomes stale, there is a reduction in the emission activity.

Nowadays, the custom of offering flowers at the Deity’s feet and offering them on
the head of the Deity has become prevalent. When we offer flowers at the Deity’s feet, it
helps increase sharanagat-bhav unto the Deity. Generation of this bhav is important
from the perspective of the worshipper’s spiritual progress. Hence, it is appropriate for
an ordinary worshipper to offer flowers at the Deity’s feet.

4. Why do lotus and avla remain pure for 3 days

and why should they be immersed in water thereafter?

Lotus emits 40% Goddess Lakshmi Principle and avla emits 30% Brahma
Principle. This emission requires prana-vayu and Dhananjay-vayu. Lotus and avla have
the ability to combat raja-tama for three days. The prana-vayu as well as Dhananjay-
vayulasts in them to the extent of more than 50% for three days. That is why they can
 remain pure for three days. After three days the proportion of prana-vayu in them
reduces to less than 50% and that of Dhananjay-vayu to less than 30%. That is why
they start to dry up. Still they retain the Deities Principle and sattva frequencies upto
10%. Hence, they are beneficial even after three days. By immersing the dried lotus
and avla in water the benefit from the remaining Deity Principle and sattva frequencies
from them reach many more embodied souls after merging with the water.

Method of performing Panchopachār

Pūjā

Table of Contents

Pūjā at the level of karmakānda

1. Applying gandha (Sandalwood paste) & haldī (Turmeric)-kumkum (Vermillion) to the

Deity
2. Offering patrī (Specific leaves) and flowers to the Deity
3. Waving lit dhoop (Frankincense) or lit incense-stick in front of the Deity
4. Waving a lit lamp in front of the Deity
5. Offering Naivēdya to a Deity
6. Different acts to be performed after completion of the Pūjā

Panchopachār pūjā is performed by using 5 different substances to offer to the

Deity. The literal explanation is as follows; Panchopachār = Pancha (Five) + upachār .
Offering the Deity five upachārs – gandha (sandalwood paste), phool (Flower), dhoop,
deep (Oil lamp) and Naivēdya.

This article explains the method to perform ritual of pūjā on a daily basis, along
with imbibing the divine frequencies arising from the ritual.

Pūjā at the level of Karmakānda

1. Applying gandha (Sandalwood paste) &

 haldī (Turmeric) – kumkum (Vermillion) to the Deity

Apply gandha to the Deity with the ring finger of the right hand. Then, offer haldī-
kumkum at the Deity’s feet by taking a pinch of each between the thumb and ring finger
of the right hand. First offer haldī and then offer kumkum.

2. Offering patrī (Specific leaves) and flowers to the Deity

A. Do not offer artificial flowers (made out of paper or plastic or decorative flowers) to a
Deity. Fresh and sāttvik flowers should be offered to Deities.

B. Do not smell the flowers and patrī that are to be offered to the Deity.

C. Patrī should be offered before offering the flowers.

D. Offer leaves and flowers to a Deity that attracts the Principle of the Deity to the
maximum extent. For example, bēl (Leaves of Aegle marmelos tree) to
Deity Shiva and durvā and a red flower to Shrī Ganapati. While offering durvā to the Idol
of Shrī Ganapati, cover the entire body with durvā except the face. Durvā offered to Shrī
Ganapati are changed thrice a day. For this reason, pūjā of Shrī Ganapati is performed
thrice a day.

E. Specific Deities must be offered a specific number of flowers and that too arranged in
a specific pattern. For example, Shrī Ganapati should be offered 8 flowers in rhomboid
shape, and Deity Hanumān should be offered five flowers in elliptical shape. Ensure that
these flowers are not placed in an uneven manner.

F. When offering flowers to the Deities placed in the temple at home, recite the Name of
the Upāsyadēvatā (Deity of worship) and then begin by offering small flowers of dark
colour first, followed by medium-size lighter colour flowers and last, offer big white
flowers. In a conical arrangement of Deities, only upon offering flowers to Shrī Ganapati
placed at the apex of the cone, proceed to the next stage; in the second stage, offer
flowers to other superior Male Deities. Thereafter, offer flowers to the Female
counterpart of the Male Deity followed by the Deity’s sub-forms.

G. Flowers should be offered at the Deity’s feet instead of on the head.

H. While offering a flower, the stalk should be towards the Deity.

3. Waving lit dhoop (Frankincense)

or lit incense-stick in front of the Deity

A. Do not disperse smoke emitting from dhoop with the hands.

B. After waving the dhoop, wave incense-sticks of a specific fragrance in front of the
Deity, which attracts the respective Deity’s Principle to a greater extent. For example,
 wave heena (A kind of herb) incense-sticks to Deity Shiva and rose incense-sticks to
Shrī Lakshmī.

C. The number of incense-sticks required for waving in front of the Deity: In

general, a seeker in the initial stage of Shakti worship should wave five incense-sticks,
those who perform pūjā as part of their duty should wave two incense-sticks and a
seeker who performs upāsanā with bhāv (Spiritual emotion) and devotion should wave
one incense-stick. The incense-sticks should be waved thrice in front of the Deity.

D. While waving dhoop or incense-sticks in front of the Deity, sound the bell with the left
hand.

4. Waving a lit lamp in front of the Deity

A. A lit lamp should be waved clockwise in front of the Deity thrice, while simultaneously
ringing the bell with the left hand.

B. Points to be remembered when lighting a lamp

 Do not use a lit lamp to light another lamp.

 An oil lamp should not be used to light a ghee

 Change the wick of the lamp placed in the temple at home daily.

5. Offering Naivēdya to a Deity

A. While preparing Naivēdya, less amount of red chilli powder, salt and oil should be
used; sāttvik substances such as ghee (Clarified butter) should be used in ample
quantity.

B. Banana leaf should be used for offering Naivēdya.

C. Salt should not be served on the leaf prepared for Naivēdya to a Deity.

D. Keep the leaf (on which the Naivēdya has been served) covered.

E. When offering Naivēdya, first pray to the Ishtadēvatā and draw a mandal (Circle or
protective sheath) on the floor in front of the Deity. Then place the banana leaf (or plate)
containing Naivēdya on this mandal with the stalk of the leaf towards the Deity and the
tip of the leaf towards yourself.

F. While offering Naivēdya, water should be sprinkled clockwise around the banana leaf
or the plate only once (this act is known as drawing a mandal). Water should not be
sprinkled anticlockwise again.

G. The act of offering Naivēdya to a Deity

Method 1 – At the level of karmakānda: Water should be sprinkled on

the Naivēdya with two tulsī leaves. One leaf should be placed over the Naivēdya and
the second leaf should be offered at the Deity’s Holy feet. Then, the eyes should be
closed by placing the thumb of the left hand on the left eye and the ring finger of the left
hand on the right eye. Thereafter, the aroma of Naivēdya should be directed towards
the Deity using the fingertips of the right hand while reciting mantrās associated with
the Pancha – prānās (Five vital energies), namely, ‘Om Prānāya Swāhā, Om Apānāya
Swāhā, Om Vyānāya Swāhā, Om Udānāya Swāhā, Om Samānāya Swāhā, Om
Brahmanē Swāhā’.

Method 2 – At the level of bhāv: Water should be sprinkled on the Naivēdya with
two tulsī leaves, one leaf should be placed over the Naivēdya and the second leaf
should be offered at the Deity’s Holy feet as mentioned above.
Thereafter, Naivēdya should be offered to the Deity by paying obeisance to the Deity
while reciting mantrās associated with the Panchaprānās, namely, ‘Om Prānāya Swāhā,
Om Apānāya Swāhā, Om Vyānāya Swāhā, Om Udānāya Swāhā, Om Samānāya
Swāhā, Om Brahmanē Swāhā’.

H. Thereafter, reciting ‘Naivēdyamadhyepaneeyam samarpayami’, pour little water into

the tāmhan (Round metal dish) from the right hand, and once again recite
the mantra ‘Om Prānāya……’ associated with Panchaprānās. Then, reciting
‘Naivēdyam samarpayami, uttaraposhanam samarpayami, hasta prakshaalanam samar
payami, mukha prakshaalanam samarpayami, water should be released from the right
hand into tāmhan four times.

I. We should have a bhāv that the Naivēdya offered is reaching the Deity and the Deity
is accepting it.

6. Different acts to be performed after completion of

the Pūjā

A. Lighting a karpūr-deep (Camphor lamp): Although the upachār of lighting

a karpūr-deep is not included in Panchopachār pūjā, yet due to the sāttviktā of camphor,
this act imparts greater sāttviktā. Hence, after offering Naivēdya, karpūr-deep can be lit.

B. Sound the conch and perform Āratī of the Deity with bhāv.

C. After imbibing the Āratī, apply Vibhūti (Holy ash) from the origin of the nose to the
mid-brow region.

D. Drink Tīrtha (Sacred liquid) thrice. Take Tīrtha in the middle of the right palm and
drink it. Then, after touching the middle of the palm with the tip of the middle finger and
ring finger, touch the eyes with these fingers. Rub these fingers lightly from the forehead
to the head in the upward direction.

E. In the end, partake Prasād (Holy sacrament) and wash your hands.

Science underlying Panchopachār and

Shodashopachār pūjā
 Table of Contents

1. Creation
2. Importance of pūjā
3. Types of pūjā
4. How many times a day and at what time should the pūjā of the Deity be performed?
5. When is pūjā prohibited?
6. Which direction should the individual face while performing pūjā?
7. Who should perform pūjā?
8. Pūjā of Panchāyatan and Shāligrām
9. What should be the bhāv while performing pūjā?
10. Pūjā performed at the level of bhāv
11. Why should we try to understand the science underlying pūjā?

The basis of sagun (Materialised) upāsanā as per Hindu Dharma is

the pūjā (Ritualistic worship) of Deities. ‘Who has the time for pūjā in busy daily life?’
This is the type of negative outlook many people have. Today, what we see around is
that in the name of pūjā, people just pour water quickly over an Idol,
apply tilak of gandha (Sandalwood paste), offer some flowers and wave an incense
stick. However, can this hurried act be ever called pūjā of God, the one who takes
complete care of our sustenance? Why should God shower His grace upon us? If we
honour God by performing His pūjā in an appropriate manner, just as the respectful way
in which we treat a guest, then God will be pleased with us and shower His abundant
grace upon us. Hence, the scriptures have taught us to abide
by Dharma (Righteousness) in a ritualistic and bhāv (Spiritual emotion) enriched
manner by teaching us to worship God in sixteen sequential steps, such as invoking
God, offering Him a seat, offering Him water to wash His Holy feet etc.
Performing pūjā in this manner is known as Shodashopachār puja, that
is, pūjā performed using sixteen specific substances. Out of these
sixteen upachārs (Specific steps in ritual); the five upachārs, namely, Applying gandha,
Offering flowers, Waving dhoop (Frankincense), Āratī and Offering Naivēdya form
the Panchopachār puja. If it is not possible to perform Shodashopachār pūjā, then one
can perform Panchopachār pūjā.

We get the benefit of sankalpa–shakti (Energy of resolve) of our Omniscient Sages

only if we perform pūjā as advised by our scriptures. While performing pūjā as
mentioned in the scriptures, utmost devotion and bhāv are equally important. If there is
a lack of love and devotion for God while performing pūjā, then it does not reach Him;
for, God yearns for bhāv.

Offering the upachārs that have been performed strictly as per the science
mentioned in the Scriptures and with an antahkaran full of faith unto the Deity, is
termed pūjā of a Deity. Only then it is as per the expectations of the Deity, and can be
called ‘pūjā’ in the true sense.

1. Creation
A. The acts pertaining to rituals of pūjā were created with the help of the ichhā-
shakti (Energy of will) in the universe: Acts associated with karmakānda such
as pūjā, offering Naivēdya etc. are associated with the ichhā-shakti in the universe.
Depending on the bhāv (Spiritual emotion) of the jīva (individual) while performing these
acts, through the specific act, the jīva receives the waves associated with ichhā-
shakti of the respective Deity.

B. Hindu Dharma is based on sagun (materialised) upāsanā: Fundamentally, Hindu

Dharma is based on karmakānda, meaning, on sagun. The first part of
the Shodashopachār pūjā (Upachār 1 to 8) is the upwards illusory progress of
the jīva from the Kunḍalinī (Spiritual energy), with the objective of attaining
the nirgun (Non-materialised). The concluding part of the pūjā (Upachār 9 to 16) is the
actual progress towards the nirgun through advait (Non-duality) for the purpose of
completing the task.

2. Importance of pūjā

Panchopachār and Shodashopachār teach the jīva to abide by Dharma in a

ritualistic manner. This shows the scientific depth of the upachārs in Hindu Dharma

A. The Deity Principle is attracted towards an Idol due to its specific form;
whereas, this Principle gets awakened due to the sanskārs (Subtle impressions)
such as pūjā etc.: His Holiness Pagnis Maharaj consecrated an Idol at one place. Due
to its form, it already had 2% Deity Principle. He performed pūjā of the Idol every day.
As a result of these regular sanskārs, the Deity Principle in the Idol awakened further
and reached 5%. The Deity Principle is attracted to an Idol due to its form; whereas, due
to sanskārs such as pūjā, the Deity Principle in it is awakened. If the sanskārs are
performed with bhāv, the Deity Principle in the Idol enhances.
B. Obtaining the Deity’s grace: Pūjā pleases a Deity and hence, it becomes easier to
obtain the Deity’s grace.

C. The Chaitanya (Divine consciousness) in the worshipper increases: By

performing pūjā, the worshipper imbibes the Deity Principle. It reduces the proportion
of Raja -Tama components in him and helps increase Chaitanya.

D. Sāttvik waves imbibed from the pūjā help in performing various activities throughout
the day.

E. Purification of the environment: Pūjā helps increase the sāttviktā (purity) of the
environment.
 3. Types of pūjā

Scriptures have mentioned the following four types of pūjā. The first two types are
at the physical level, what we generally term as ‘Dēvapūjā’, while the next two are at the
subtle-level.

A. Panchopachār pūjā (Pūjā of an Idol or a picture): Panchopachār = Pancha (Five)

+ upachār. Offering the Deity five upachārs, that is, gandha (sandalwood paste),
phool (Flower), dhoop, deep (Oil lamp) and Naivēdya.

B. Shodashopachār pūjā: Shodashopachār = Shodasha (Sixteen) + upachār. Offering

the Deity sixteen specific upachārs, including the five mentioned above
in Panchopachār pūjā.

C. Mānaspūjā: Imagining a sagun Idol and worshipping it mentally.

D. Parāpūjā: Worshipping the nirgun supreme Brahman through parā mode of speech.

4. How many times a day and at what

time should the pūjā of the Deity be performed?

Performing pūjā of the Deity is a daily karma (An act). Shodashopachār

pūjā should be performed thrice daily (morning, afternoon and after sunset). If this is not
possible, Shodashopachārpūjā should be performed in the morning
and Panchopachārpūjā should be performed in the afternoon and after sunset.
If trikālpūjā (Performing pūjā thrice a day) is not possible, it should be performed atleast
once in the morning. If performing Shodashopachār pūjā and Panchopachār pūjā is not
possible, then pūjā should be performed by offering atleast gandha and flowers. These
 are the several provisions listed by the scriptures; getting pūjā performed by a devotee
under any circumstance is the sole objective of the scriptures.

Although it has been advised by the scriptures that pūjā of the Deities be
performed thrice a day, in Kaliyug (Era of strife) it has become prevalent that
the pūjā be performed at least in the morning due to the following reasons:

1. Due to the reduction of sāttviktā in Kaliyug, it has also become impossible to

abide by all the āchārs according to karmakānda, which has led to prevalence of
orthodox practices or conservatism: The period in the past was sāttvik, and hence, it
was possible to perform pūjā thrice a day. It eliminated the Raja-Tama-predominant
emissions from the universe and kept the atmosphere pure. However, in Kaliyug,
sāttviktā has virtually disappeared. That is why, it has become impossible to abide by all
the āchārs prescribed by Dharma as per karmakānda. Hence, performing pūjā at least
in the morning with bhāv, has become prevalent so as to maintain
the Chaitanya emitting from the Deity in the premises. In Kaliyug, man has stopped all
devotional activities unto God. That is why, Saints have advised performing pūjā at least
in the morning.

2. In Bhaktiyoga (Path of Devotion) greater importance is given to the intention underlying

every karma, mānaspūjā and chanting.

A. Bhāv and mānaspūjā: As per upāsanākānḍa (Mental worship), greater importance

is given to actually performing a karma at a specific time. However, in Bhaktiyoga
greater importance is given to the intention underlying every karma. That is why; a
method of worship such as mānaspūjā was developed.

B. Chanting: In Kaliyug, karma associated with Māyā gained special importance.

Hence, chanting while performing a karma is considered the best form of spiritual
practice. Since it is not possible to perform pūjā thrice a day, upon performing pūjā once
in the morning, chanting constantly in day-to-day karmās is considered most feasible.
Hence, we find Saints advising that in Kaliyug it is easier to perform spiritual practice of
chanting than performing pūjā according to upāsanākānḍa. This highlights how Saints
follow the Principle that teachings should be in accordance with the times, and try to
bring about the well-being of the society in any period.

5. When is pūjā prohibited?

A. Without bathing or in an intoxicated state.

B. During the 10-day period of soyar and sūtak . [This 10-day period in case
of soyar and sūtak is considered as ashouch (Spiritually impure). On the 11th day, after
purification, pūjā can be performed. However, the head of the family can
perform pūjā only after the 12th day in case of sūtak.]

C. If the lady of the house is menstruating and if the Deities are placed in a room which
is not frequented by her, then any elderly person in the house can perform pūjā after a
bath. If due to lack of space it is not possible to place Deities in a separate room, the
temple at home should be covered with a curtain during these four days (till the end of
the menses). There is nothing wrong in covering the Deities in this way for such specific
reasons. It is a ritual in Vaishnav sect (Worshippers of Shrīvishnu) to cover the Deity
with a curtain for reasons such as ‘The Deity is bathing, the Deity is asleep’ etc. This is
akin to having a separate room for the Deity.

Reasons for covering the temple at home with a curtain when the lady of the house
is menstruating:
 During the period of menses, the Raja component in the woman increases. When the
temple at home is not covered, greater proportion of sāttvik vibrations are emitted by the
Deity. This sāttvik Shakti can cause distress to the woman.

Due to increase in the Raja component in the woman during her menses and due
to the spread of impurity, the premises get charged with rājasik (Raja-predominant)
vibrations. The Deity’s Idol too gets enveloped by these rājasik vibrations. Hence,
refrain from performing pūjā for this period of four days; however, mānaspūjā should
certainly be performed. On the fifth day, purify the premises by sprinkling gomūtra. If
this is not available, use water mixed with Vibhūti (Holy ash) and by waving dhoop, and
then begin performing pūjā as usual.

6. Which direction should the

individual face while performing pūjā?

East has special importance and hence, facing the east is advised while
performing pūjā. Therefore, it is desirable that the temple room be in the east-west
direction.

7. Who should perform pūjā?

A. Regular pūjā: Even though there is no strict rule on who should perform pūjā, in
most cases, the seniormost male in the family should perform the pūjā of Deities
(Deities in the temple at home, Deity of the premises etc.) after a bath. If there is no
male in the family, then the senior most woman in the house should perform pūjā. She
should perform the pūjā by chanting the mantra of the Deity. Once the pūjā has been
performed, it should not be performed again that day. After the pūjā, as far as possible,
all family members should offer flowers to Deities and pay obeisance. As far as
possible, all family members should assemble for the Āratī and sing it with bhāv and in
tune. If this is not possible, then one member should sing the Āratī and the rest should
clap gently. Clapping should not be like it is done to cheer up someone or to applaud
someone.

B. Perspective on the performance of pūjā by a woman whose spiritual level is

less than 50%

Question: It is said that women should not pluck tulsī leaves. According to this rule,
women should not offer tulsī leaves and should not perform pūjā either. Why is that not
so?

Answer: Yes. Women whose spiritual level is less than 50% should not
offer tulsī leaves & not perform pūjā either. Women are more Raja-predominant than
men; hence, when a woman touches tulsī leaves, the nirgun nature of the
peaceful sāttvik waves in tulsī leaves reduces, leading to the generation of heat energy
in them. For the same reason, women should also not perform pūjā. In Kaliyug, the
average spiritual level of a woman is less than 50%.

When the spiritual level of an individual goes beyond 50%, there is an increase
in Sattva component in the body. This reduces the proportion of obstacles caused
through the medium of touch and those caused when tārak – form Sattva-predominant
waves are emitted during pūjā as well as through the tulsī leaves.

Question: Do the scriptures advise that women whose spiritual level is less than 50%
should not perform pūjā?

Answer: It is not mentioned very clearly. This is because women in those times acted
strictly according to Āchārdharma and observed vrats (Vowed religious observances),
fasts, followed the rules of Dharma to the minutest detail and lived a disciplined life. This
automatically inculcated the Sattva component in them through the karma-
associated āchārs and hence, the above rule pertaining to the spiritual level did not
apply to them. The circumstances in Kaliyug are not the same; following
of Āchārdharma has also reduced. Hence, the polluted effect of the touch of
such jīvās was visible on objects that emitted the Sattva component; therefore, the
restriction of spiritual level.

C. Special characteristics of pūjā and vrats to be performed by women

Question: If a woman whose spiritual level is below 50% is not supposed to

perform pūjā, then how is it that there are many pujas required to be performed
exclusively by women?

Answer: In the earlier times, women conducted themselves as per the scriptures with a
disciplined attitude. Since they strictly abided by āchars prescribed in the rituals, they
did not beget any sin; instead, divinity in the form of Shakti (Divine Energy) was
awakened in them, which complemented their spiritual progress. To perform these acts
pertaining to āchārs that is inclusive of pūjā, it was mandatory for them to fast, abide by
all the rules of the specific pūjā; hence, there were separate vrats to awaken Shakti in
women. These vrats were such that they provoked the Raja component in them to take
up tasks. While continuing to abide by Dharma if all the āchārs were strictly followed
and pūjā was performed with bhāv, a woman did not incur the demerit of disrespecting
Deities. Women would perform pūjā abiding by such rules; else, preference has been
given to men for performing regular pūjā.

(Even though it is said that women whose spiritual level is less than 50% should
not perform pūjā, if for some reason the men in the house are not available for
the pūjā, then the women of the house can still perform it. Instead of not
performing the pūjā at all, it is always better that women perform the pūjā. One
principle to keep in mind is that, when pūjā is performed while chanting God’s
Name and with bhāv, it helps maintain the sāttviktā of the pūjā. – Editor)

8. Pūjā of Panchāyatan and Shāligrām

Women do not have the right to perform this pūjā. Hence, if there are no men in
the house, relatives, a priest or neighbours may be requested to perform this pūjā.

9. What should be the bhāv while performing pūjā?

Although Deities exist in the form of Principles, they are worshipped in the physical
form of an Idol or picture. While performing pūjā, if we have a bhāv that we are
worshipping the actual Deity and not merely the Idol or the picture of the Deity,
our pūjā reaches the Deity’s Holy feet quickly. The following incident shows the type
of bhāv His Holiness Bhaktaraj Maharaj had towards His Guru Shrī Anantanand Saish.
Once, His Holiness Bhaktaraj Maharaj wanted to shift the photo of His Guru Shrī
Anantanand Saish from the temple at home (which was close to a road next to
the Ashram) into the newly built hall in the same Ashram premises.

A. He instructed that the photo be carried on the head ceremoniously to the

accompaniment of music. He wanted the photo to be shifted with the same respect as
His Guru would have been moved from one room to another. Due to His bhāv, He did
not consider it to be just a photo, but His Guru in the true physical form.

B. Deity Hanumān is known as the greatest devotee of Shrīrām due to

His Dāsyabhakti (Devotion of a servitor). To inculcate Dāsyabhakti in ourselves, we
should perform pūjā with complete faith and complete surrender.

C. ‘Perform pūjā of God in the heart taking care of every aspect. Imagine that the
picture of the Deity we worship in our heart is reflected in the Idol. While worshipping
 the Idol of Shrīrām, we can meditate continuously on the thought that we are one with
the Shrīrāmtattva’. – Gurudev Dr Kateswamiji.

10. Pūjā performed at the level of bhāv

His Holiness Bhaktaraj Maharaj (Sanatan Sanstha’s seat of faith) used to say, ‘Our
daily rituals like pūjā are worthless if there is no love or devotion in them. Rituals that
are part of karmakānda do not invoke love; however, love can make our whole life as
Holy as a pūjā (that is a part of karmakānda)’. The precise meaning of this statement is
– it is very important to have bhāv towards the Deity while performing its pūjā etc. When
there is bhāv, it is not even necessary that every act be performed strictly according
to karmakānda. Hence, His Holiness Bhaktaraj Maharaj says in one of His bhajans – ‘I
offer the flower of my mind unto Your Holy feet by joining my palms (meaning, paying
obeisance). Only by Your grace, my mouth is eager to sing the sweet song (meaning,
chant Your Name)’. Pūjā at the level of bhāv is a higher level pūjā. Once bhāv begins to
gradually develop due to pūjā at the primary level of karmakānda, one can move to the
higher level of pūjā that is, performing it at the level of bhāv. Some idea on how to
perform pūjā at the level of bhāv can be gathered by understanding the Divine
Knowledge given ahead received by a lady-seeker. A seeker who chants continuously
and who is absorbed in devotion does not even require to perform pūjā at the physical
level.

1. ‘Pray before plucking flowers for pūjā. Pray while plucking flowers for pūjā – ‘O God!
Please guide me which flowers I should pluck so as to serve You’.

2. Always place the Idols / pictures of Deities in the temple at home. When we place the
Deities in the temple at home, the sāttviktā generated from the pūjā is retained there
and is gradually emitted.
3. Pray and tell God about your intention of performing pūjā.

4. After removing the nirmālya express gratitude to God for having

provided Shakti and Chaitanya the previous day.

5. Pray to God to be able to imbibe the Chaitanya that is imbibed by

the gandha and akshatā offered on the previous day.

6. Bathe the Idols of the Deities with the realisation that, ‘I am actually bathing the Deity’.

7. Wipe the Idol gently with the thought that, ‘I am actually wiping the Deity’.

8. Offer gandha and akshatā with the thought that, ‘I am actually

offering gandha and akshatā to the Deity’.

9. Offer flowers to God accompanied by a prayer – ‘O flowers ! Keep giving the Shakti
and Chaitanya you imbibe throughout the day to me too’.

10. Light an incense-stick and pray thus – ‘Let the Chaitanya spread wherever the smoke of
the incense-stick reaches and let me get its benefit throughout the day’.

11. After lighting a lamp in front of God, pray thus – ‘Let the light from the lamp eliminate the
darkness of ignorance from my life’. The lit lamp imbibes sāttviktā from the surrounding
area. This sāttviktā accumulates in the temple at home, and the worshipper benefits
from it.

12. After offering Naivēdya, mix it with the rest of the food, so that those who eat this food
benefit from it.
13. While performing pūjā, keep some water in a metal pot with a lid on it. Drink this water
charged with Chaitanya immediately after the pūjā or within half-an-hour after the pūjā.

14. Perform Āratī using a ghee lamp.

15. Pray to God thus – ‘Please help us perform appropriate spiritual practice, help us
progress spiritually by eliminating all obstacles in our spiritual practice and keep us
constantly aware of how Your grace is constantly being bestowed upon us’.

16. Express gratitude unto the Deity’s Holy feet for providing the opportunity to perform
the pūjā. [While performing mānaspūjā (Mental worship), the seeker can also perform
all the above mentioned rituals.]’

It is true that it is difficult for an ordinary devotee to develop bhāv suddenly;

however, if attempts are made to understand the science underlying various acts
in pūjā, it will help in developing faith in the pūjā and consequently, the Deity. This faith
in turn will develop into bhāv. Hence, in this article, emphasis has been laid on
explaining the spiritual science.

11. Why should we try to understand the science

underlying pūjā?

Only when a worshipper understands the science underlying any act pertaining
to pūjā, he is able to perform the act with complete concentration. Concentration helps
in developing bhāv, and thus the jīva understands the real principle underlying ritualistic
worship. A karma that is directly associated with the pūjā and is based on Dharma,
makes us realise the intention of God, and through that intent, the associated cause-
effect-relationship. Therefore, to understand God’s cause-effect-relationship, we have to
take the help of actual karma in the ritual. The underlying bhāv of a jīva to
obtain Chaitanya from any act depicts the intent, meaning, it takes the jīva to
 meritorious karma. The resultant grace of God is the fruit that the jīva obtains from
God’s cause-effect-relationship, meaning, God’s intent. Later, as this jīva performs
every karma with a bhāv of generating Chaitanya, the sanskārs (Subconscious
impressions) on its subconscious mind are eliminated in a short period, and the jīva is
purified.

FAQs related to Substances used in

Ritualistic Worship
Table of Contents

1. How to identify pure vermilion?

2. What is the significance of rubbing the sandalwood on a stone slate with both hands
when the use is for Deities, but with only one hand when the use is for a corpse?
3. Why is turmeric and vermilion not added when making gandh?
4. Why are only unbroken rice grains used as akshata in ritualistic worship?
5. Why is white akshata offered to Lord Satyanarayan and Shiva and usually
red akshata (tinted with vermilion) offered to Ganapati and other Deities?
6. Why is the tulsī (Holy Basil Leaf) used when offering Naivēdya to God?
7. Why is a white betel nut more beneficial than a red one?
8. Why is the money in the ritual of offering dakshina, placed on two betel leaves along
with betel nut or coconut?
9. Why is a banana leaf used to offer naivedya to a Deity?
10. What is the Science in offering jaggery and grated coconut to God?

Hindu Dharma provides an opportunity to do spiritual practice to individuals at

various spiritual levels. In the initial stages of Spirituality, an individual benefits more by
doing ritualistic worship. If the why and how of each aspect of the ritualistic worship is
understood, it helps generate bhāv when performing the rituals. This article lists
frequently asked questions about ritualistic worship and the spiritual science behind the
rituals. Performing rituals with bhāv will help in deriving maximum spiritual benefits of
the performed rituals.

1. How to identify pure vermilion?

 Constituents of pure vermilion are pure turmeric, diluted lime powder solution
made in water and a small quantity of pure camphor. Though other vermilion is made
from turmeric, the odour of turmeric is entirely eliminated from it and a Divine scent
takes its place. The odour of turmeric is evident only when it is sniffed. In contrast, the
scent of pure vermilion is evident from a certain distance. Given ahead are some
characteristics of pure vermilion.

 Pure vermilion has indigenous humidity and yet is completely dry.

 Its touch is cold like that of ice.

 Pure vermilion is blood red in colour. It has high iron content.

 By applying this vermilion on the forehead, negative energies are prevented from
entering the body through the midbrow region.

In the past eras [Satyayug (The first in the cycle of four Eras since the origin of the
universe), Tretayug (The second in the cycle of four Eras since the origin of the
universe) and Dwaparyug (The third Era in the cycle of four Eras since the origin of the
universe)] pure vermilion was available. With the passing of the eras the sattva (One of
the three components in the universe, signified by purity and knowledge) component in
 the vermilion has gradually waned. In the current times, pure vermilion is scarcely
available.’

(Note: To order pure vermilion, send an e-mail to – [email protected] )

2. What is the significance of preparing the sandalwood paste on a stone

slate using both hands for Deities, and using only one hand for a
corpse?

A. Preparing sandalwood paste for Deities using both hands

Holding the sandalwood with both hands is indicative of devotion with expectation
stemming from duality. When done with both hands the posture activates the Sushumna
nadi (The central channel of the spiritual energy flow system, which extends from the
base of the spine to the top of the head) that is conducive for spiritual progress. Thus, in
spiritual practice according to the Karmakand (Path of Ritualistic worship) importance is
given to making gandh with both hands.

B. Preparing sandalwood paste for a corpse using only right hand

When preparing gandh (sandalwood paste) for applying to a corpse, only the right
hand should be used. This is because using the right hand to make the paste signifies
the act of actually performing a deed with the help of the right channel, that is, Surya
nadi (The sun channel), representative of the Energy of action.

Given ahead are spiritual reasons for using only the right hand to make gandh for
corpse.

 Preparing gandh for a corpse is an act of performing the necessary deeds for the subtle
body and giving it further momentum with the help of the Energy of action made
functional through the right hand.
 It also means praying for the further momentum of the subtle body aided by the Energy
of action of these action frequencies.

 This posture activates the Surya nadi in the body of the embodied soul preparing
the gandh and as a result the raja (One of the three basic components in the universe,
signified by activity, passion) frequencies emitted by the gandh enter the corpse.

 The sub-units of vital energy dormant to some extent in the corpse are thereby activated
and thrown out of it or their disintegration to some extent is facilitated. Otherwise
negative energies can make use of these sub-units of vital energy dormant to some
extent in the corpse and take control of the subtle body.’

3. Why is turmeric and vermilion not added when making gandh?

If turmeric and vermilion are added to the gandh, due to the raja frequencies
emitted by the turmeric and vermilion, so also due to the particles of Absolute fire
element emitted by the vermilion, the sattva particles in the gandh disintegrate. This
destroys its sattva predominance, which means the gandh becomes raja predominant
because of turmeric and vermilion. When rubbing sandalwood on a stone slate to
make gandh, due to the friction, the movement of raja particles in the turmeric and
vermilion gain further momentum and the residual sattva particles in the gandh can
undergo disintegration. Hence, turmeric and vermilion should not be added when
making gandh.

4. Why are only unbroken rice grains used as akshata (usually smeared
with kumkum) in ritualistic worship?

When an object is broken or cut, its ability to attract distressing energies from the
Universe is enhanced. It gets loaded with raja-tama (One of the three components in
the universe, signified by inertia and ignorance) particles. Consequently, there is a
possibility of an embodied soul suffering from distress due to negative energy or a
negative energy entering the physical body of the embodied soul. That is why in
Hinduism special importance is given to wholeness of objects. Breaking an object
signifies a tama attitude. Such an act is forbidden in religious rituals. If instead of
unbroken rice grains, broken rice grains are used as akshata their ability to attract the
Principles of superior Deities in the Universe is automatically reduced. Consequently,
the benefit of the Principles of superior Deities to the worshipper is reduced. Naturally
the bestowal of grace and blessings by the Deities on the worshipper is also reduced.
Hence, it is appropriate to use akshata of unbroken rice grains in the ritualistic worship.

5. Why is white akshata offered to Lord Satyanarayan and Shiva and

usually red akshata (tinted with vermilion) offered to Ganapati and other
Deities?

Red akshata represents the manifest, with attributes, destroyer energy of God,
while white akshata represents the manifest, attributeless, saviour energy of God.

A. White akshata:
 White akshata represents extreme detachment, meaning, a symbol of spiritual practice
without expectations.

 Generally white akshata is used to attract frequencies of the main superior Deities,
maximally related to the attributeless. These frequencies from the Universe are subtler.

 Since the Principles of Satyanarayan (Vishnu) and that of Shiva are associated with
frequencies of fundamental action and knowledge respectively,
white akshata representing worship of the attributeless, are used in their worship.

B. Red akshata:

 Red akshata represent spiritual practice done with expectations.

 The Principle of Ganapati or the Goddesses gets attracted to red colour faster than
other colours.

 The akshata tinted with vermilion are subtle.

 All colour particles have greater ability to attract the ‘with attributes’ frequencies of a
Deity. Hence, red akshata are preferred in the worship of Lord Ganapati or
Goddess Durga.

6. Why is the tulsī (Holy Basil Leaf) used when offering Naivēdya to
God?
 A. Offering Naivēdya to a Deity

When tulsī leaves are used for offering Naivēdya to a Deity, it reaches the Deity
faster, Naivēdya becomes sāttvik and the possibility of attacks due to negative energies
reduces

The tulsī plant has a greater ability to attract sāttviktā from the atmosphere and
effectively emit it towards the jīva. It also has a greater ability to attract
the Krushṇatattva in the universe.

Benefits

1. By using tulsī leaves for offering Naivēdya, the subtle-waves emitting from
the sāttvik food are imbibed by the leaves. Thereafter, by offering the tulsī leaves
enriched with the subtle-waves to the Deity, the Deity Principle is easily able to absorb
these waves. In this way, the food offered by us easily reaches the Deity through the
medium of tulsī leaves and this helps in pleasing the Deity faster.
2. When a tulsī leaf is placed on the Naivēdya, the covering of Raja–Tama particles on it
reduces. Due to the sāttvik waves emitting from the tulsī leaves, the environment
around the Naivēdya gets purified, and the possibility of attacks by negative energies on
the Naivēdya reduces.

3. When a tulsī leaf is placed on the Naivēdya with bhāv, due to its inherent qualities the
leaf imbibes the Chaitanya emitting from the Deity and effectively transmits it into
the Naivēdya. Consuming such Naivēdya helps the body of the jīva to obtain waves
of Chaitanya.’

7. Why is a white betel nut more beneficial than a red one?

White betel nut is raja-sattva predominant, it has the ability to attract superior
deities and emit more sattva predominant frequencies and also transform more,
the nirgun frequencies into frequencies ‘with sagun’ compared to the red betel nut as
the red betel nut is more raja-tama predominant can attract inferior deities.

The white betel nut is conical on top, the subtle air in it is directed upwards, the
frequencies emitted from the betel nut are also drawn in the upward direction to a
greater extent. This helps in the creation of subtle ceiling of sattva predominant
frequencies in the environment. The Cosmic element associated with the subtle
particles emerging from the frequencies emitted is Apa-tattva (Absolute Water
principle). Due to the emission of the water particles, the atmosphere is cool and the
mind feels enthusiastic. As the frequencies are rhythmic and regular, there is
consistency in the energy emitted by them. There is increase in the predominance
of raja particles in the Pranmaykosh (Vital energy sheath)

The red betel nut is flat on top, the motion of the subtle air in it is downwards, the
emitted rays are also drawn in the direction of the patal (Nether region). Thus the effect
of the sattva predominant frequencies in the environment lasts for shorter time. The
cosmic element being Pruthvi-tattva, the earth particles are gross; the subtle covering
created by them on the floor is in the downward direction, due to which there is
heaviness in the environment. As the frequencies are irregular, there is no consistency
in the energy emitted by them. There is increase in the raja-tama particles in the Pran-
deh (Vital body)

The white betel nut is used in all types of ritualistic worship and in auspicious
ceremonies to obtain the benefit of the sattva frequencies emitted by the Deities, while
the worshippers of the Aghori (An order of mendicants, who roam around with a skull in
one hand and burning coals in the other) path use the red betel nut, that attracts and
emits raja-tama vibrations to create a model of a person. Then with the help of their
knowledge of mantras, they perform rituals on it and fulfill their Energy of Will

It is evident that white betel nut is more sattva predominant and superior when
compared to a red betel nut. That is why it is more beneficial to use it in the ritualistic
worship.

8. Why is the money in the ritual of offering dakshina (Offering in cash or

kind, especially one given to a Brāhmaṇ after a ritual), placed on two
betel leaves along with betel nut or coconut?
 The money
in the ritual of offering dakshina is never given by itself. It is important to place it along
with betel nut or coconut on the betel leaves. In this process, the dakshina functions in
the form of Divine energy, whereas the betel nut or coconut functions in the form
of Shiva. In a way Shiva-Shakti are offered a place for their mission, that is, in a way a
seat is offered to them. The betel leaves are always placed in pairs, because two
signifies duality in the mission of Shiva- Shakti. In this way, the worshipper offers a seat
to Shiva-Shakti in the form of betel nut or coconut and dakshina on the betel leaves and
prays that they function in ‘with attribute’ form.

9. Why is a banana leaf used to offer naivedya (Food offered to the Deity
as part of ritualistic worship) to a Deity?
 The subtle frequencies emitted by colour particles in a banana leaf are associated
with the Absolute Water element to a greater extent. The sound generated from the
subtle movement of these colour particles is analogous with the subtle sound generated
from the ritualistic bell. Because of this subtle sound, the requisite Principles of superior
Deities from the Universe associated with the Absolute Ether element are attracted
faster into the banana leaf. The colour particles in the banana leaf associated with the
Absolute Water element lend momentum to the Principles of the superior Deities.
Consequently, the food items offered to the Deity on the banana leaf also receive the
superior Principles of the Deities. Consumption of this naivedyapurifies the vital energy
body and the vital energy sheath simultaneously.

10. What is the Science in offering jaggery and grated coconut to God?

Jaggery signifies the vital energy and grated coconut signifies the embodied soul,
that is, the gross body of the embodied soul. The embodied soul and vital energy is to
 be offered to God through the medium of jaggery and grated coconut. The vital energy
in the form of jaggery is bound by the coating of the grated coconut, that is, the gross
body. The vital energy is related to the soul, whereas the embodied soul is related to the
physical body. The embodied soul assumes duality through the medium of the vital
energy and performs the mission of non-duality. Jaggery is sweet. The embodied soul
that has eliminated its ego has the bhav (Spiritual emotion) of sweetness that draws
everybody towards it. Thus, the embodied soul easily attains oneness with the
comprehensiveness of God. As the mission in non-duality is based entirely on
comprehensiveness, there is especial importance of the bhav of sweetness in the form
of jaggery. That is why the vital energy also merges into the comprehensive light of
God. Offering of jaggery and grated coconut is a symbol of this process. The embodied
soul is meant to surrender its body consciousness through the medium of grated
coconut and its ego in the form of vital energy through the medium of jaggery and
merge into non duality. Hence offering of jaggery and grated coconut is advocated in
the ritualistic worship.

How to offer Naivēdya to the Deity/God?

Table of contents

1. Offering Naivēdya
2. What are the steps in offering Naivēdya?
3. Food prepared as Naivēdya
4. Why should the Naivēdya be kept covered before offering it to a Deity?
5. When offering Naivēdya to the Deity, how should the banana leaf (on which
the Naivēdya is served) be placed and what is the reason?
6. Offering Naivēdya to a Deity
7. Deity consuming the Naivēdya
8. The time required by the Deity to consume Naivēdya
9. The subtle effects on the substances offered as Naivēdya to the Deity and the bhāv of
the substances
10. Spiritual experiences regarding Naivēdya
11. Method of serving dishes in a Naivedya offered to a Deity
 It is a common practice in Hinduism / Hindu Dharma to offer food to the Deities
during ritualistic worship or puja at home or temples. This offering is called as Naivēdya.
It signifies the actual gross state of the individual. Offering Naivēdya is the last step
in pūjā. At that time, the individual is in a state of complete surrender unto the Deity;
hence, the (Naivēdya carrying) leaf is placed facing downward. Offering Naivēdya helps
please the superior Deities, Deity of the premises and Deity of the place in shorter time.

After offering the Naivēdya, the Deities subtly accept it afterwards this offering is
called as Prasad, which is partaken by everyone. In this article, we will explain the
spiritual significance and various aspects of this act.

1. Offering Naivēdya

A. What should be the bhāv (Spiritual emotion) of the individual who

offers Naivēdya? : Bhāv is important when offering any food item to a Deity. Greater
the bhāv of the individual offering Naivēdya, greater is the possibility of the food being
accepted by the Deity. While offering Naivēdya, we should have a bhāv that
the Naivēdya being offered by us is reaching the Deity and the Deity is accepting it.

B. Offering Naivēdya : The food items to be offered to each Deity is predetermined. It

is said that every Deity has some favourite food item which is offered as Naivēdya to
Him / Her, for example, kheer or shira for Vishnu, modak for Ganapati, pāyas for
Goddess. The specific food item offered to a specific Deity attracts more frequencies of
that respective Deity. When this Naivēdya is partaken as prasād (Holy sacrament), we
benefit from the energy of that Deity in it.

2. What are the steps in offering Naivēdya?

A. First step : Offering Naivēdya merely as duty.

B. Second step: Offering Naivēdya as expected by the Deity that is, ‘with bhāv’.

C. Third step: As the seeker evolves spiritually, his ego reduces and the proportion of
unmanifest bhāv increases. Hence, the thought, ‘I offer Naivēdya to the Deity’ reduces
and he obtains greater benefit of the Chaitanya emitting from the Deity.

3. Food prepared as Naivēdya

A. Why should salt not be served in the plate / leaf used for
offering Naivēdya?: Salt is associated with Pruthvītattva (Absolute Earth Principle)
and Āpatattva (Absolute Water Principle) and hence, the proportion of Raja -
Tama predominant waves attracted to it is greater. Therefore, pinch of salt should not
be served in the plate / leaf used for offering Naivēdya. However, items prepared using
salt can be offered to the Deities.

B. Why are sāttvik (Sattva-predominant) dishes prepared for Naivēdya?: Use

minimum quantity of chilli, salt and oil when preparing dishes for Naivēdya, since these
substances are Raja-Tama predominant. Use more of ghee, since it is sāttvik. It makes
the other substances sāttvik too. Serve as many sāttvik dishes as possible in the plate /
leaf used for offering Naivēdya, since such food items have a greater ability to imbibe
the sāttvik waves emitting from Deities in the form of blessings.

4. Why should the Naivēdya be kept covered before

offering it to a Deity?

When covered, the emission of waves from the food items into the atmosphere is
controlled.
Explanation: Naivēdya items are prepared from sāttvik substances, and
hence, Naivēdya as a whole too becomes sāttvik. Generally, the environment in Kaliyug
is Raja-Tama predominant. If the Naivēdya is left uncovered, there is greater possibility
of it becoming Raja-Tama predominant. Hence, it is better to cover the food.

5. When offering Naivēdya to the Deity, how should the

banana leaf
(on which the Naivēdya is served) be placed and what is
the reason?

Naivēdya is offered to a Deity on a banana leaf. When compared with the stalk of a
banana leaf, its tip has greater ability to emit sāttvik waves. Sāttvik waves emit from the
tip of the banana leaf like a fountain. These fountain-like waves help in reducing the
proportion of Raja-Tama components in the environment around the jīva. Hence, while
offering Naivēdya to the Deity, the stalk of the leaf on which the Naivēdya is served
should be towards the Deity and its tip should be towards us.

Arrangement of food items (naivedya) on banana leaf:

 The banana leaf with Naivēdya shown in the arrangement above symbolises the
state of the individual. In the actual arrangement do not place the Naivēdya leaf.
Offer Naivēdya only after pūjā has been completed. For convenience, before
commencing pūjā, move the platter to the right of the panchapātra and ritualistic spoon.

6. Offering Naivēdya to a Deity

A. Why are tulsī (Holy basil plant) leaves used while offering Naivēdya to a Deity?

When tulsī leaves are used for offering Naivēdya to a Deity, it reaches the Deity
faster, Naivēdya becomes sāttvik and the possibility of attacks due to negative energies
reduces.
1. Characteristic features of tulsī: The tulsī plant has a greater ability to
attract sāttviktā from the atmosphere and effectively emit it towards the jīva. It also has
a greater ability to attract the Krushṇatattva in the universe.

2. Benefits

1. By using tulsī leaves for offering Naivēdya, the subtle-waves emitting from
the sāttvik food are imbibed by the leaves. Thereafter, by offering the tulsī leaves
enriched with the subtle-waves to the Deity, the Deity Principle is easily able to absorb
these waves. In this way, the food offered by us easily reaches the Deity through the
medium of tulsī leaves and this helps in pleasing the Deity faster.

2. When a tulsī leaf is placed on the Naivēdya, the covering of Raja-Tama particles on it
reduces. Due to the sāttvik waves emitting from the tulsī leaves, the environment
around the Naivēdya gets purified, and the possibility of attacks by negative energies on
the Naivēdya reduces.

3. When a tulsī leaf is placed on the Naivēdya with bhāv, due to its inherent qualities the
leaf imbibes the Chaitanya emitting from the Deity and effectively transmits it into
the Naivēdya. Partaking such Naivēdya helps the body of the jīva to obtain waves of
Chaitanya.’

B. While offering Naivēdya during pūjā (Ritualistic worship) or before a meal, how
many times is water sprinkled around the Naivēdya plate / leaf, what is the
method of sprinkling water & why is it sprinkled?

1. Act: While offering Naivēdya, sprinkle water around the plate / leaf only once in a
clockwise manner (to make a manḍal. Do not sprinkle water in an anti-clockwise
manner, because this activates the dormant tiryak (Raja-Tama-predominant) waves in
the universe and a dynamic sheath of these distressing waves is created around the
 plate. Due to the waves emitting from this sheath, the Tama component in
the prāṇamaya-kosha (Vital energy sheath) of the jīva increases, which makes it
restless.

2. Benefits

1. Inability of the dissatisfied subtle-bodies and inferior negative energies to

consume the Naivēdya : ‘When the manaha-shakti of an individual is not awakened
adequately while offering Naivēdya, due to absence of emission of the collective energy
of the individual’s manaha-shakti, the attraction-waves emitting from the food gain
momentum in a haphazard manner. The unsatisfied subtle-bodies (that have desire for
food) are attracted through the medium of the waves of attraction emitting from the food
and they consume the Naivēdya. Hence, there is a possibility of the food getting
charged with Tama particles. To prevent this, make a manḍal with water before
offering Naivēdya to the Deity. By making a manḍal clockwise, the waves of attraction
emitting from the food gain momentum within this manḍal and start moving in the
upward direction due to the cover provided by the upward emission of
the Āpatattva (Absolute Water Principle). This makes it difficult for inferior negative
energies to consume the food easily.

2. Reduction in the possible distress caused by negative energies through the

medium of food: Waves emitting from the manḍal drawn around the plate converge
towards the centre below the plate, which activates the unmanifest energy of the
associated Deity present in the centre, and are once again emitted into the environment
from the centre. This helps in creation of a covering of subtle sāttvik waves on the plate.
Hence, while eating the food, the distressing waves emitted by negative energies
present in the environment are obstructed from spreading into the body through the
medium of food. Similarly, due to the sāttvik waves emitting from the water, the black
 covering of Raja-Tama-predominant waves that has formed on the food is also reduced
to some extent.

3. Sāttviktā (Purity) spreading rapidly in the body: In this way, we get the benefit of
eating sāttvik food. The subtle air generated from the waves emitting from
such sāttvik food is imbibed quickly by the cells of the body and the sāttviktā generated
by the food spreads quickly in the jīva’s body.

C. Difference between the manḍal drawn with water and rangolī around the
plate: Sometimes rangolī is also drawn around the plate. The purpose of
a manḍal drawn with rangolī and a manḍal drawn with water is the same. The only
difference is in their efficacy and the level of the emission of waves. The manḍal drawn
with water functions at a subtler level when compared with that made from rangolī.
Since rangolī may not be easily available everywhere, generally a manḍal is drawn with
water around the plate.

D. Why should the eyes be closed while offering Naivēdya to a Deity?: The sight of
food leads to a desire to eat it. To avoid this and be able to offer pure Naivēdya devoid
of any desire to the Deity, eyes should be closed while offering Naivēdya to a Deity.

E. The methods of offering Naivēdya to a Deity

 Method 1 – At the level of karmakānda (Spiritual practice of rites, rituals and

observances performed at the physical level): After sprinkling water on
the Naivēdya using two tulsī leaves, place one on the Naivēdya and offer the other leaf
at the Deity’s feet. Then, while reciting mantrās such as ‘Prāṇaya swāhā…’ etc. direct
the aroma of the Naivēdya towards the Deity with the fingers tips of the right hand.
Science underlying this act is as follows – ‘Since the act helps emit waves
of Panchatattva (The five Cosmic Principles – Pruthvī, Āpa, Tēj, Vāyu and Ākāsh) from
 the tips of the fingers, it helps us obtain the waves of specific Deities associated with
the Panchatattvās from the universe as per the need at the same time.

Compiler: Why is Naivēdya offered to the Deity from below to the upward
direction? Sāttvik waves of superior Deities are active in the upper strata of the
atmosphere. The auspicious ritual of pūjā is one that involves invoking Deities in the
upward direction and materializing the Principles of Deities associated with
the Tējtattva (Absolute Fire Principle). Hence, this process is associated with
the sagun (Materialized). The daily pūjā is an auspicious act and hence, Naivēdya is
offered to the Deities (Idols or pictures) from below to the upward direction.

Performing actions with the right hand is auspicious and hence, a Deity is invoked with
the right hand. The act of taking food to the Deity’s mouth symbolizes devotedly
touching the Principle of the Deity and awakening the Deity. It is essential that the
medium used for touching the Deity while awakening it should also be sāttvik, equally
sensitive and symbol of the kriyāshakti (Energy of action). That is why, the act of
holding a tulsī leaf and taking the hand higher towards the Deity’s mouth is performed.
The hand moves in the upward direction and the vibrations of the Deity too are activated
at the subtle level to a greater extent in the upper atmosphere. That is why the act of
taking the morsel in the upward direction towards the mouth is given precedence. This
act is associated with the sagun, meaning, equal importance is given to bhāv as well as
action. Greater importance is given to action in the inferior sagun, while greater
importance is given to bhāv in the superior sagun.

 Method 2 – At the level of bhāv: Upon sprinkling water on the Naivēdya with
two tulsī leaves, place one leaf on the Naivēdya and offer the second leaf at the Deity’s
Holy feet. Then, while reciting mantrās such as ‘Prāṇaya swāhā…’ etc.,
offer Naivēdya to the Deity.
 F. Upon offering Naivēdya to a Deity, why should we place a
coconut, dakshiṇā (Offering in cash or kind) and betel leaves in front of the
Deity?

For getting rid of doership in the pūjā, a coconut, dakshiṇā and betel leaves are
offered to the Deity after the Naivēdya: ‘After offering Naivēdya to the Deity, in the
end the jīva has to surrender its karma that has been generated from a sense of
doership during the pūjā by placing a coconut, dakshiṇā and betel leaves in front of the
Deity.

1. Coconut symbolizes sāttvik karma in the pūjā.

2. Dakshiṇā symbolizes worldly desires.

3. Betel leaves symbolize the available karmabhūmi (Activity area) for pūjā rituals.

G. Why is dakshiṇā kept in the form of coins in pūjā? : Generally, in the initial
stages, an individual is expected to give dakshiṇā in the form of wealth, since offering
wealth is easier for him. That is why, dakshiṇā is given in the form of coins in pūjā.

7. Deity accepting the Naivēdya

First, the Deities activate the Ākāshtattva (Absolute Ether Principle) present in
them, because it helps awaken the other Principles. Next, as per the
need, Vāyutattva and Tējtattva are awakened. Deities accept the Naivēdya through the
medium of these awakened Principles.

1. When Naivēdya is placed in front of the Deity, they accept it through the Vāyutattva.

2. Since fire is kindled in homa-havan (Fire-sacrifice performed to appease Deities), the

Deities accept the Naivēdya through the awakened Tējtattva in them. When
 the Naivēdya is accepted by the Deities, due to their subtle touch it gets transformed
into Prasād (Holy sacrament).

8. The time required by the Deity to accept Naivēdya

It takes only a few seconds for the Deity to accept Naivēdya.

9. The subtle effects on the substances offered

as Naivēdya to the Deity and the bhāv of the substances

The concluding ceremony of the Sankashṭī Chaturthī vrat was performed on

19.11.2005 at the residence of a family in Marcel, Goa. The analysis based on subtle-
knowledge of the ritual was performed by Sanatan’s seeker Ms Madhura Bhosale.
‘Analysis based on subtle-knowledge’ is that which is understood without the help of the
five sense organs, mind and intellect. Various aspects perceived by Ms Bhosale about
the Naivēdya and other substances used in the pūjā are given ahead.

1. ‘I felt that after fruits had been offered as Naivēdya to the Deity, their sāttviktā increased
by 5%.

2. The sāttviktā of the substances such as coconut, grains and fruits kept in
the pūjā increased and Chaitanya was emitting from them. I felt peaceful while looking
at them.’

3. Perceiving bhāv of the fruits and flowers: ‘During analysis based on subtle-
knowledge, sometimes it is perceived that bhāv of the fruits and flowers has awakened,
that they are feeling grateful etc. This is because of the reflection of the bhāv of the
seeker in the fruits and flowers which are already sāttvik.’ – Athavale

10. Spiritual experiences regarding Naivēdya

A. The taste of halwā (A sweet dish prepared with semolina, sugar and ghee)
improving merely by offering it as Naivēdya to His Holiness Bhaktaraj Maharaj: ‘On
the day of Gurupourṇimā (Full moon day of the month of Āshāḍha, also called Vyas
Pourṇima) in 1999, we decided to perform Gurupūjan at home and leave for the venue
of Gurupourṇimā programme by 10.00 a.m. However, since we were in a hurry in the
morning, the halwā (Indian sweet) I prepared did not turn out to be good. There was no
time to make it again, therefore, we offered the same halwā as Naivēdya to the photo of
His Holiness BhaktarajMaharaj (fondly known as Baba) and performed the pūjā. Then,
my mother offered me some halwā as Prasād on my palm. I ate it and said to my
mother, ‘The halwā has been prepared well and tastes just like the Prasād of
‘Satyanārāyaṇ pūjā’. Hearing this, my mother kept the vessel with the halwā in front of
me. Upon tasting the halwā in the vessel, I realised that there was a lot of difference
between the halwā as Prasād and the halwā in the vessel.’ – Mrs Arati Nadkarni,
Ponda, Goa.

11. Method of serving dishes in a Naivēdya offered to a

Deity

There is no major difference between serving food to people and as Naivēdya to a

Deity. The only difference is that no salt is offered to a Deity, whereas when serving
food to people, salt is served first in the plate.

After offering Naivēdya (usually in small quantity), mix it with the rest of the food,
so that those who eat this food benefit from it.

Why are tulsi leaves used while offering

naivedya?
 Contents

 1. Importance of patri in puja ritual

 2. Tulsi
 2A Why are women prohibited from gathering tulsi leaves?
 2B Why are tulsi leaves used while offering naivedya to a deity?
 3. Durva
 3A What is the difference between durva and common grass?
 4. Bilva patra (leaf of aegle marmelos)

Namaskar! We heartily welcome you all for this Satsang (spiritual meet)! Before we
commence this Satsang let us pay obeisance at the Holy feet of Sadguru (spiritual
master) so that by His grace the very objective of this Satsang is fulfilled. Please pay
mental obeisance to your personal icon of faith and recite as follows:

गगगगगगगगगगगगग गगगगगगगगगगगग गगगगगगगगगग गगगगगगग: ग

गगगग गगगगगगगग गगगगगगगग गगगगग गगगग गगगगग गग: गग
 Path of devotion describes nine types or modes of devotion unto God. The
ritualistic worship of a deity is one of them. Just as the flowers have an important place
in the ritualistic worship of deities, various leaves also have a significant place. Besides
if we offer them with devotion and spiritual emotion then their significance is even more
enhanced. Therefore in Srimad Bhagavadgita Shri Krushna says ‘if anybody offers me
even a leaf with full devotion and bhav then I accept it by manifesting myself in gross
form. This declaration by the Shri brings two things to our notice. First is that devotion
and spiritual emotion have important role in our life and secondly every action of ours
should be performed with full understanding of the science underlying it. In
this satsang we will try to understand the science of offering leaves to deities and their
effects.

1. Importance of patri in puja ritual

Patri is related to the coloured particles. The deities’ principles get attracted to the
leaves because of coloured particles. The leaves or patri have the capacity to attract
and emit the deity principle. Some of the patris constantly emit the deity principle which
helps in continuous purification of the surrounding atmosphere. Only that patri which
has more capacity to absorb the respective deity principle should be offered to the deity.
That is the reason it is said that only that patri which is ‘liked’ by the deity is to be
offered to Her / Him.

Generally five types of patri or leaves are to offered to deities during a puja ritual.
The five patris represent the five great cosmic elements of the Universe namely earth,
water, fire, air and ether. The deities are in the form of light. The principles of deities get
activated with the help of the five elements. These deity principles are rapidly attracted
towards patris when they are offered to a deity.
 Patris of Tulsi are mandatory in the ritualistic worship of Shri Vishnu,
Shri Krushna and Pandurang, Bilvapatri is mandatory in the ritualistic worship of
Shri Shiva and durvas in the ritualistic worship of Shri Ganapati.
In karmakanda (spiritual practice with physical body) the availability
of tulsi, bel and durva is mandatory. In addition the place of worship is decorated with
some special leaves. For example the bough of mango leaves tied on the entrance of a
house is a very common sight. Ritualistic worship of a deity is incomplete without the
use of patris. The leaves of five trees namely Pipal (Ficus
religiosa), Audumbar (glomerous fig tree), Ashok (Jonesia Asoka), mango,
and Vat (ficus indica) are of special spiritual significance in religious rituals. They are
known as Panchpallav (pancha=five, pallav=leaf).

In some special worships of a deity, various types of leaves are offered to a deity
and this particular worship is known as patrapuja. Among the various types
of patris which are mandatory in the articles of puja, tulsi is one.

2. Tulsi

Tulsi is a sacred plant. It has been mentioned in Skandapuran that some of the
drops of nectar fell on the earth during the process of Samudramanthan (churning of
ocean). Tulsi was formed out of them. It was handed over to Shri Vishnu by Shri
Bramha. Tulsi is liked by Shri Vishnu and hence it is specially offered to Shri Vishnu.
While citing the importance of Tulsi it has been mentioned in Padmapuran that offering
flowers made of gold, stones and pearls do not have even one sixteenth of the
importance of Tulsi! Sins of even many eras are destroyed by sight, touch, meditation,
obeisance, planting and use of Tulsi. All deities reside in the plant of Tulsi from its roots
to the tip. It constantly emits the principles of deities and purifies the surrounding
atmosphere. It is even said that whoever has a garden of Tulsi in the front yard of his
house makes the surrounding nine miles area (yojan) as pure as river Ganga.
 The unmanifest and subtle most Vishnu principle is absorbed through the stem
of Tulsi leaf and is then converted into Krushna principle and goes on flowing through
the stem.
 Chaitanya is activated at the base of the Tulsi leaf and is projected into atmosphere in
the form of circles. This chaitanya simultaneously flows through the vessels of Tulsi leaf.
 The particles of Shakti (divine energy) are also present in the leaves of Tulsi.
 The particles of chaitanya and Krushna principle are transmitted into atmosphere
through the inflorescence.

Now our readers must have realized the spiritual benefit of offering Tulsi leaves to
a deity during puja ritual. The effect of plucking such sacred Tulsi leaves has been
described thus in Skandapuran, गगगगगग गग गगगगगगगगगगग गगगगगगगगग
गगगगगगगग: ग- Tulsi ye vichinvanti dhanyaste karapallavaaha’ means blessed are
those hands who pluck tulsi leaves for the puja. Thus by knowing the importance of
gathering the tulsi leaves for puja our faith in tulsi must have been enhanced to a great
extent.

So let us now see some useful precautions to be taken while gathering Tulsi
leaves.

 Do not pluck the leaves singly, pluck them in pairs

 Pluck the tip of tulsi consisting of leaves without shaking the plant.
 When a manjiri (inflorescence ) is plucked then it should contain leaves.

If we pluck the tulsi leaves while simultaneously chanting the name of our favourite
deity and with utmost respect and with proper method, the spiritual benefit received
through the puja ritual multiplies a million times.

2A Why are women prohibited from gathering tulsi leaves?

As specified in Dharma texts, women have a high proportion of raja component

when compared to men. There is generation of heat energy in the dormant and
serene sattvik frequencies present in the tulsi plant by the touch of women which leads
 to decrease in its sattvikta (sattva quality). Hence they are prohibited from gathering or
plucking the tulsi leaves.

2B Why are tulsi leaves used while offering naivedya to a deity?

Thus we have learnt about the gathering of tulsi leaves which imparts spiritual
benefits. We often see that while offering naivedya (food offering) to a deity it is offered
with the help of two leaves of tulsi. One of them is kept on the naivedya while other is
offered to the deity. Let us now understand as to why tulsi leaves are used while
offering naivedya to a deity.

Tulsi has the greater capacity to absorb and

emit sattvik and Krushnatattva frequencies present in the universe. Therefore use
of tulsi while offering naivedya imparts two benefits.

 The tulsi leaf used while offering naivedya absorbs the subtle frequencies emitted from
the food. When this tulsi leaf is offered to the deity, the deity principle rapidly absorbs
the frequencies present in the leaf.
 There is subtle covering of raja-tama present in the atmosphere around the food to be
offered to the deity as naivedya. When a tulsi leaf is kept on the food,
the sattvik frequencies emitted from the tulsi leaf reduces this covering. Besides the
atmosphere around the plate or banana leaf meant for serving the naivedya gets
purified. This retains the sattvikta of naivedya for a long period.

Thus the tulsi leaf is used for offering naivedya for receiving the grace of the deity
by pleasing Him/Her. Therefore there is a rich tradition of offering prayerful obeisance
to tulsi plant loved by Shri Vishnu every morning and evening as mark of gratitude
because it is a destroyer of negative energies and a purifier of the atmosphere.

3. Durva

Durva has greater capacity of attracting and constantly enhancing principles of

three deities namely AadiShiv, AadiShakti and AadiGanesh. The combined flow of all
 these three principles in durva is called Durvas. When this flow enters the idol of a deity
its vital energy becomes manifest. This is called ‘awakening of idol’. In order to sustain
this awakening, durva are offered on the idol of Shri Ganesh three times in a day in
quantity of 21 or its multiple during ritualstic worship of Shri Ganesh. The number 21 is
made up of two complete numbers namely 2 and 1. The addition of 2 and 1 gives
number 3 which is symbolic of three primal principles (aaditattva).

Generally tender shoots of durva are used in puja ritual of a deity. These tender
shoots have highest capacity to absorb principles of deities present in the dew drops
fallen on their leaves. This benefits the worshipper. If durva bear flowers, they are not
used in puja ritual. Flowering plant denotes the ripeness. Ripening causes decrease in
the vitality of the plant. This further reduces its capacity to attract the frequencies of
deity principle. To further know durva from a spiritual standpoint let us understand it in
the subtle dimension.

 The point where three leaves of durva meet together, divine energy is activated and is
emitted in the form of circles of chaitanya.
 Ganesh principle gets activated in the space of the stem.
 This activated chaitanya is then emitted from the leaves and their tips.

The speciality of durva is that the process of receiving the principles of deities starts
from the roots.

3A What is the difference between durva and common grass?

We just saw that durva has maximum capacity to absorb and emit three primal
deity principles. Common grass does not have such capacity and therefore it is not
helpful to increase the sattvikta. The vibrations entering and leaving the common grass
are illusory that is they appear just like common vibrations but are deceptive. To
understand this point let us see it in the subtle dimension.
 In the roots of common grass the raja component is more active and is emitted through
the leaves.
 Due to the presence of raja component in common grass there is flow of illusory
vibrations through it and these are then emitted out.

Some people offer common grass to the deity mistaking it for durva. This does not
accrue any benefit to the worshipper. If durva is not available every time
then akshatas (unbroken rice grains) having the all encompassing property should be
offered to the deity. Even scriputures say, ‘गगगगगगगगगगगगग गगगगगगगग
गगगगगगगगग’ ‘Saklopchararthe akshtan samrpayami’ meaning akshtas can be
offered in place of all substances. When akshatas are offered with full faith and spiritual
emotion then we can get the benefit of frequencies of deities.

Let us proceed further with same faith and spiritual emotion towards one
more patri and that is bilva patri or bel leaf.

4. Bilva patra (leaf of aegle marmelos)

There is mention of bilva tree in such ancient scriptures as Atharvaved, Aitereya

Bramhan and Shatpath Bramhan. It is a sacred tree having sacrificial importance. The
leaves of this sacred tree is generally trifoliate. This trifoliate leaf is symbolic of Trikal
(three states in time), Trishakti (Volition, action and knowledge), three lingas and three
syllables of Omkar. It is offered to Shri Shiva.

The proportion of sattva component is more in bilva patra and hence it has more
capacity to absorb and emit sattvik frequencies. This has various effects. One of them is
the reduction of raja-tama particles present in the atmosphere. A sattvik leaf like bilva
patra when brought in proximity of a person suffering from negative energy distress then
the black energy present within him is reduced.
 Whenever a person is affected by the distress due to negative energies then his
control over his physical body, mind and intellect is reduced and control of negative
energy increases. Such a person when comes in contact with an environment not
conducive for negative energy for instance in a sattvik environment then there is a battle
between the negative energy and the satva predominant environment. This battle can
manifest at various levels. The manifestation can vary from such simple thoughts like
running away from the place to destructive thoughts also. Sometimes the negative
energy may manifest in gross form like sudden burst of anger, shouting, throwing
articles and may indulge in any type of destructive act like actually breaking and
plundering articles etc. To understand this further let us see the effect of keeping a bilva
patra in front of a person affected by negative energy distress.

The person is visibly distressed when the bilva patra is taken in hand and applied
to the neck and head. Thus we have seen the gross effect of bilva patra on the affected
person affected by negative energy.

 The unmanifest-manifest frequencies of chaitanya of Shiva form are attracted to

the bilva patra and absorbed there.
 The unmanifest subtlemost frequencies of Shiva principle and frequencies
of chaitanya are emitted from bilva patra in the form of circles.
 Their effect take place on the subtlemost energy of the negative energy and the
black energy is disintegrated.
 Frequencies and particles of divine energy are projected towards the negative energy
from bilva patra.
 This energy then reduces the amount of black energy emanating from the negative
energy.

Thus up till now we have been introduced to the subject of sacred leaves
like tulsi, durva and bilvapatra. Similarly we also became acquainted with the effect
of sattvik leaves on individual and the environment. Let us pray that whatever things we
have been introduced to in this satsang will be remembered and applied correctly during
a puja ritual so that we can obtain the blessings of deities and thus spiritually benefitted.
 Why are mango leaves kept in the kalash
during puja ritual?
Contents

 1. Ritualistic worship
 2. Arrangement of deities in the temple room according to spiritual science
o 2.1 Why should Shri Ganapati be kept in the centre?
 3. Articles used in ritualistic worship
o 3.1 Importance of copper as compared to other metals in ritualistic worship
 4. Usage of kalash in ritualistic worship
o 4.1 Why are mango leaves or betel vine leaves kept in the kalash ?
o 4.2 Why is the water stored in the kalash either poured under the Tulsi plant or sprinkled
in the premises?

Namaskar! We heartily welcome you all for this Satsang (spiritual meet)! Before we
commence this Satsang let us pay obeisance at the Holy feet of Sadguru (spiritual
master) so that by His grace the very objective of this Satsang is fulfilled. Please pay
mental obeisance to your personal icon of faith and recite as follows:

गगगगगगगगगगगगग गगगगगगगगगगगग गगगगगगगगगग गगगगगगग: ग

गगगग गगगगगगगग गगगगगगगग गगगगग गगगग गगगगग गग: गग

1. Ritualistic worship

Every religious ritual of Hindu Dharma consists of various components. Every

component has its own significance and these components have their own special
design that is the shape, height and breadth of every component is fixed or unique. The
reason underlying such a design is that the every component should be able to absorb
the chaitanya (divine consciousness) present in the atmosphere. Besides the objective
of spiritual science or scriptures is to make that component conducive and
complimentary for the man to receive the divine consciousness.

When we see around with this point of view we find that people do perform puja and
mental worship (upasana); they do have spacious temple rooms in their home but since
their actions or rituals are not according to spiritual science due to ignorance, they do
not get the desired benefit. Therefore in the case of worship, action at every level
starting from temple room has to be according to spiritual science. It is essential that our
temple room be sattvik. As far as possible it should be made up of teakwood and its
colour should be wooden. The orientation of temple room should be in east-west
direction. There should be no Kalas (a small dome shaped structure with a pointed end)
above it. We have to take into consideration all these factors.

2. Arrangement of deities in the temple room according to

spiritual science

Every Hindu has his seat of faith. We do have idols and images of the deities in our
temple room so that we remember our icon of faith constantly and thus firmly establish
our seat of faith. However we do not get the expected benefit. That is because we do
not know as to what is essential for us.

While observing this we have to take into consideration one more point and that is we
should not do the arrangement of idols or images in a temple room according to our
whims and fancies. We have to be aware of the fact that the arrangement should be
correct from the point of spiritual science.

In some sects the deities are arranged in temple room in what is

called Panchayatan form.The word Panchayatan consists of Panch which means five
and Ayatan which means house. The five main deities considered here
are Shri Vishnu, Shiva, Shri Ganesh, Devi and Sun deity. In this type of arrangement
one of the five deities is considered as Chief deity and is offered a central seat and rest
of the four deities are placed in four directions around it.

Now let us see what is essential for us from a spiritual perspective:

Many a times it so happens that we have many images of deities in our temple room but
the images of family deity (Kuldevata) and Ganesh are missing. If that is so then we
have to set up images of family deity and Ganesh with utmost devotion. If according to
the family traditions we are also involved in the worship of such deities as BalKrushna,
Hanuman and Annapurna or such superior deities as Shri Shiva or Durgadevi, then we
should keep their images too.

The language of human beings is in words which is a language of ‘sounds’ while the
language of deities is of ‘light’. Shri Ganapati does the function of converting our
language of sound into the deities’ language of light and vice versa; therefore it is
essential to set up an image of Shri Ganapati in the temple room.

We all know that in the beginning of all functions religious or otherwise Shri Ganapati is
invoked first and worshipped because he is destroyer of vighnas or obstacles. The other
reason being through Him our prayers to the deities reach them faster.
2.1 Why should Shri Ganapati be kept in the centre?

Now let us see how the arrangement of deities in the temple room be. According to
spiritual science the arrangement should be in the form of cone.

We have to keep the image or picture of Shri Ganapati in the centre. Then towards our
right hand side the images of female deities such as Family Deity is kept. Then images
of other deities like Annapurna, Durgamata are kept one behind the other. On our left
we have to keep images of male deity that is male family deity. Then such images of
deities like Hanuman, Balkrushna etc. are arranged one behind the other.

Sometimes we may find that in an image male deity and female deity are together. For
example Seeta-Ram, Lakshmi-Narayan etc. In a picture where the female deity is on
the left side of male deity then it is assumed that she is giving blessings to her devotees
along with her Shri. This is her savior form. In such a picture the male deity is
considered the main deity and such a picture is kept to the right hand side of Shri
Ganapati. In some pictures the female deity is shown on the right side of the male deity.
This is her destroyer form. In such a picture the female deity is considered to be the
main deity and is kept to the left of Shri Ganapati.

There are mainly two forms of a deity: Saviour and destroyer. The form which blesses
the devotee is called Saviour or Tarak form . Such a deity is generally shown to be in
blessing mudra (certain hand gestures) for example Devi Mahalakshmi.

The form of Devi who kills the demon for example Mahishsur Mardini, who killed the
demon Mahishasur is an example of destroyer form of Devi. We have to keep the
picture of that form of deity in the temple room in which we are going to worship Her or
Him.
After knowing the science underlying the arrangement of deities in the temple room our
viewers must have had some doubts in their minds. So let us see what are the answers
to such doubts.

A. One of the doubts may be that whether it is correct to have number of deities
in the temple room?

It is prudent to have a limited number of deities in the temple room. Here we have to
remember that according to science of spirituality we need to come from many to one.
One who is a disciple that is who has already acquired a spiritual guide or Guru and is
staying alone then he should keep only Guru’s photo or picture in the temple room.

According to the holy verse ‘Gurur Bramha Gurur Vishnu Gurur Devo
Maheshwaraha | Guru Sakashat Parabramha tasmai Sri Gurave namaha |’ guru is
everything and the only thing for a disciple. That is why he should keep only Guru’s
photo or picture in the temple room.

B. If other family members have faith in any other deity then what is to be done?

If Guru is a man then His picture or photo has to be kept on the immediate right side of
Shri Ganapati and then the image of male family deity is to be kept besides it followed
by other male deities as mentioned previously. When the Guru is female then Her
picture or photo has to be kept on the immediate left side of Shri Ganapati and then the
female family deity to her left followed by the pictures of other female deities as
mentioned before.

So up till now we have understood about the arrangement of deities in a temple room
according to spiritual science. We hope that you will be definitely doing the arrangement
of deities in your temple room according to the spiritual science as described in
this satsang so that you will be benefitted spiritually. By following such arrangement you
will have spiritual experiences which are beyond mind and intellect.

3. Articles used in ritualistic worship

As we move next the important action is ritualistic worship of deities. In this age of strife
called kaliyug the worship of the path of devotion is recommended. Each person
following the path of devotion has an important part of worship and that is ritualistic
worship of deities or puja. If ritualistic worship is done with spiritual emotion then we get
more benefit of deity principles. In order to get the grace of the deities with the help
of puja, the articles like platter of puja, lamp, bell and conch are the important useful
components.

Let us now see about the articles used in ritualistic worship of deities. They are the
tools used for the ritualistic worship of our adorable deity. There are subtle frequencies
of deities present in the atmosphere. The articles or tools of puja or rituialistic worship
are an excellent medium of receiving and transferring them to the worshipper. That is
the importance of these tools from the spiritual science point of view.

We are quite familiar with various tools used in puja ritual such as kalash ( a copper
pot), copper plate, spoon (achamani), a cylindrical copper vessel
(panchapatra), abhishekpatra (a vessel meant for giving holy bath to the idol of
deity), tilak ( sandalwood paste), naivedya (food offering), Cups meant for
putting Panchamrut (five substances like sugar, milk, honey, curds and clarified butter),
a platter, the stand for inserting incense sticks, Pancharati (a type of lamp with five
edges meant for waving), bell and basket meant for keeping flowers. The metal articles
are mostly made up of gold, silver, bronze, copper or brass.

3.1 Importance of copper as compared to other metals in ritualistic

worship
Now a days use of stainless steel is prevalent. But it has less capacity to
absorb sattvik frequencies as compared to the metals mentioned before. Therefore the
worshipper derives minimal benefit.

Thus we have seen that the metal articles are mostly made up of gold, silver, bronze,
copper or brass. But amongst them copper is most important. Let us see its specialties.

According to science of spirituality the articles prepared from copper have an important
place in deity worship. This is because copper has 30% capacity to imbibe sattvikta (the
quality of sattva) when compared to other metals. Besides it has also 70% ability to
destroy the raja–tama. Just as copper has the ability to absorb the sattvik frequencies of
deities, it has also capacity of transmitting them. Thus it becomes rich in divinity in a
short period. The sattvik frequencies of deities are then transferred to other components
of puja. Therefore copper is considered an auspicious metal.

It has been seen that some people use metal articles descended down the family
lineage. Here the question may arise as to how appropriate is this from the view point of
spiritual science?

The effect of spiritual emotion of a worshipper towards the God is exactly reflected in
the puja tools. Currently most of the people are lacking in such spiritual emotion.
Therefore the new tools used by them do not have the ability to absorb the sattvikta.
When such articles become old after many years of use in puja and aarti only then they
develop such capacity to absorb sattvikta. Therefore the use of new articles is not that
beneficial.

Up till now we came to know about the articles in brief. Now let us see some of them in
details.

4. Usage of kalash in ritualistic worship

Kalash ( water vessel) is an auspicious symbol of Hindu culture. It was generated during
the Samudramanthan or great churning of ocean. Shri Vishnu held Kalash filled with
nectar during Samudramanthan. All deities reside in the kalash. Therefore it has an
important place in puja ritual. Let us understand this with the help of a subtle drawing.

There is a certain space in the kalash which generates subtle sound vibrations which
are of white colour. The manifest principle of a deity having yellow colour is seen getting
attracted to the kalash. The blue circles seen inside the kalash is indicative
of aap element (absolute water element). The circles and particles of chaitanya (divine
consciousness) are seen projecting from the medium of kalash.

Now let us see why is water used in a kalash and why is it that the leaves of mango tree
or that of betel vine are kept in it?

4.1 Why are mango leaves or betel vine leaves kept in the kalash ?
The kalash is used for creating seat for invoked deities during the puja ritual. First it is
filled with water and then leaves of mango tree or that of betel vine are kept in it. These
leaves are known as leaves of deity’s seat. The deity principle gets maximally attracted
to these leaves of seat. The water inside the kalash keeps this seat pure till the ritual
of Pranapratishta (invoking deity into an image, idol, coconut or betelnut). Thus the
invoked deity principle stays for a long period.

In this kalash betel nut or some coins are then put. Thereafter a coconut is set up on the
mouth of the kalash. The tuft of coconut attracts the deity principle from the atmosphere
and it is then transmitted to the water in the kalash through the body of cococnut.

The water is pure and clean to the highest extent. That is the reason it is able to attract
the sattvik particles of frequencies of deities. But it contains less quantity
of raja particles and therefore has poor capacity to project the sattva particles.

Putting a coin is symbol of sacrifice. Through this medium there is sacrifice of wealth
and jiva (embodied soul)’s attachment is reduced. This qualifies the worshipper to
benefit more from the sattvikta of puja ritual. A copper coin is put in the kalash. The
copper has more capacity to project sattvik frequencies. It helps in emanation
of sattvik frequencies present in the water into the atmosphere.

Also a betel nut is kept in the kalash meant for puja ritual. Betelnut
enhances sattva and raja components in the water of the kalash. This increases the
capacity of the water to emit manifest principle of deity.The betel nut contains particles
related to absolute earth element which are useful in binding of sattva particles related
to sattva component.This then easily helps in retaining the sattvikta of water for along
time. Five precious stones like pearl, diamond, emerald, blue sapphire, ruby and gold
are also added to the water of kalash. The five precious stones and gold have capacity
to attract and emit the principles of five superior deities. This benefits the worshipper.
But with changing times the use of five preious stones and copper is reduced and
replaced by alloys which are spiritually of less benefit.

Now let us see as to why the water stored in the kalash is either poured under
the Tulsi plant or is sprinkled in the premises after the conclusion of puja.

4.2 Why is the water stored in the kalash either poured under the Tulsi
plant or sprinkled in the premises?

We are all familiar with the immense importance of Tulsi in Ayurved and spirituality.
The purity means predominance of sattva attribute. Tulsi has more capacity to attract
pure vibrations from the atmosphere than any other plant. It also emits sattvik vibrations
in the atmosphere all the twenty four hours. The Tulsi absorbs the deity principle
when chaitanya enriched water when poured under it and then emits them along with
its sattvik vibrations. This creates the envelope of vibrations of deity and the
atmosphere around the premises remains pure. This is form of divine armour. Similarly
when water from the kalash is sprinkled in the premises, the vibrations of deity principle
are emitted in high proportion in the premises and helps in its purification.

Thus up till now we have learnt about the kalash and the substances kept in it during
a puja ritual.

Why is ghee lamp preferred to oil lamp

during puja ritual ?
 Contents

 1. Importance of lamp in Hindu Dharma

 2. Characteristics of oil and ghee lamps
o 2.1 Effect on the worshipper as per Kundalini Yog
o 2.2 Effect on the subtle sheaths of the worshipper
o 2.3 Spiritual experience imparted by oil and ghee lamps
o 2.4 Why only ghee prepared from cow’s milk should be used?
o 2.5 Points to be considered while using a lamp
 3. Should electric bulbs be used instead of ghee lamps?
 4. Five wicks and single wick lamp
 5. Why should a straight wick be used as compared to puffed up wick?

Namaskar! We heartily welcome you all for this Satsang (spiritual meet)! Before we
commence this Satsang let us pay obeisance at the Holy feet of Sadguru (spiritual
master) so that by His grace the very objective of this Satsang is fulfilled. Please pay
mental obeisance to your personal icon of faith and recite as follows:

गगगगगगगगगगगगग गगगगगगगगगगगग गगगगगगगगगग गगगगगगग: ग

गगगग गगगगगगगग गगगगगगगग गगगगग गगगग गगगगग गग: गग

Worship of a deity is a subject of faith for all of us. We build a temple room in our house
and decorate it well. We also keep the images or idols of the deities we like and perform
daily puja (ritualistic worship).We purchase the articles of puja according to our
capacity. We are also quite familiar with such articles like kalash (a water vessel
generally of metal), shankh (conch), a copper plate, a copper vessel, a small spoon, a
lamp etc. Every article of puja has its own significance. Let us understand the
significance of an important article of puja that is lamp.

1. Importance of lamp in Hindu Dharma

The lamp has its own special place in Sanatan Vaidik Hindu Dharma. It is a form and a
symbol of Tej (Absolute fire principle). The lamp is invoked as, ‘गगगग गग
गगगगगगगगगगग ग’ meaning the lamp leads us from darkness towards light. It burns
only to give message of peace and light to the man. This is its greatness. In
this Satsang we shall try to understand what the scriptures have to say about the lamp.
Amongst the articles of puja the lamp is an important article. The following mantra which
is recited during the ritual of puja explains its significance.

गगगगगगगगगगगगगगगगगगगग गगगगगगगगगगगगगगगगगगग: गग
गगगगगगगगगगगगगगगगगगगगगगग:गगगगगग गगगगगगगगग गग

Meaning: O Deity of lamp, you are of the form of Bramhan (the absolute truth). You are
full of radiance. You never wither. Please bestow me health and good progeny and
please fulfill my wishes.
 2. Characteristics of oil and ghee lamps

Agni Puran clearly states that only oil or Ghee (clarified butter) be used in the lamp
meant for puja and no other combustible substance. According to the Science of
spirituality the lamp with clarified butter is more sattvik (spiritually pure) as compared to
lamp in which oil is used. This is an important aspect which we will try to understand in
details. So let us see the difference between the the lamp in which Ghee is used and
the one with oil.

Generally the use of oil is more prevalent than that of Ghee. The oil containing lamp
kindles longer while the ghee containing lamp kindles for a short period. Now let us see
the difference from the spiritual view point.

 Ghee lamp has more capacity to attract the sattvik vibrations present in the surrounding
atmosphere as compared to oil lamp.
 The oil lamp can attract the sattvik vibrations spread over a maximum distance of 1
meter while the ghee lamp can attract sattvik vibrations spread over
till Swarga Lok (heaven)
 When the oil lamp stops burning the predominance of raja particles in the atmosphere is
enhanced and lasts for half an hour. On the other hand when the ghee lamp stops
burning the impact of sattvikta (the quality of being sattvik) on the atmosphere is
experienced even after four hours.

Now let us see the characteristics of kindled lamps containing oil and ghee from spiritual
angle with the help of a subtle drawing. Here we have to take into consideration the fact
that while the vibrations of a subtle drawing are three dimensional we see them in the
subtle drawing in a two dimensional form. For example the sphere will appear as a
circle. Now let us look at the subtle drawing:
The yellow coloured circles seen in this drawing emit divine consciousness (chaitanya)
in the atmosphere. The red coloured circles are of radiant energy. The burning flame is
emitting frequencies full of Tej tattva (absolute fire principle) in the atmosphere. The red
particles which you see here are the emitted particles of energy. So you have seen in
this drawing how a oil lamp emits energy in the atmosphere. Now let us observe the
subtle drawing of ghee lamp. The blue colour just besides the flame is indicative of
spiritual emotion (bhav). The yellow circles which you see here are of chaitanya in the
form of Tej tattva projecting in the atmosphere. You can also see the red particles and
rays consisting of energy projecting into atmosphere.
 2.1 Effect on the worshipper as per Kundalini Yog

Now let us see the effect of both types of lamp on the worshipper.

 The oil lamp generates a subtle armour of inferior quality around the worshipper while
ghee lamp generates a subtle armour of superior quality.
 The subtle frequencies emitted from the oil lamp activate the Mind-energy (Manashakti)
of the worshipper whereas the subtle frequencies emanating from the ghee lamp
activates soul energy of the worshipper.

According to yogic path of Kundalini Yog there are seven principle chakras or energy
centers in the human being. These chakras influence practically every aspect of human
being including physical body, mind and intellect. The oil lamp is effective in purification
of Muladhar and Swadhishthan Chakra only to certain extent but the ghee lamp
purifies Manipur and Anahat chakras to a significant extent.

Just as there are seven chakras in the human body, there are paths for the flow of vital
energy (chetana). These are called as Nadis or channels. The three
principle nadis are Chandra nadi (Moon channel), Surya nadi (Sun channel)
and Sushumna nadi. When Chandra nadi is active the person perceives coolness. The
activation of Surya nadi imparts energy to the person. The Sushumna nadi is activated
when the person starts progressing spiritually. The oil lamp activates the Surya nadi of
the person while ghee lamp activates only that nadi which is essential to the worshipper
in a particular action.

2.2 Effect on the subtle sheaths of the worshipper

According to the science of spirituality the body which is visible to our eyes is
called Annamaya Kosha or food sheath. Besides this there are four
other Koshas namely Pranmaya Kosha or vital air sheath, Manomaya Kosha or the
mental sheath, Vidnyanmaya Kosha or sheath of intellect and Anandmaya Kosha or
bliss sheath. The Pranmaya kosha is a seat for the Pancha pranas (five vital air
elements) which provides energy to the gross body. The second Manomaya kosha is
the seat of emotions. The third Vidnyanmaya Kosha is the seat of intellect and the
fourth Anandamaya Kosha is the seat of Soul which is of the nature of existence,
consciousness and bliss (satchidananda). Even these subtle sheaths or koshas are
affected by the oil or ghee lamps. The oil lamp imparts power to the raja particles in
the Pranamaya kosha which makes the individual restless. The ghee lamp strengthens
the sattva particles of Pranamaya kosha and Manomaya Kosha and as a result of this
the jiva (individual, embodied soul) becomes peaceful,stable and happy.

2.3 Spiritual experience imparted by oil and ghee lamps

Now let us compare the spiritual experiences obtained due to oil and ghee lamps. But
before that let us understand what we mean by Spiritual experience or Anubhuti. We
are used to appreciate this world through the media of five sense organs namely nose,
ears, eyes, tongue, skin , mind and intellect. This is known as experience. But when we
experience something without the participation of all these then it is known as spiritual
experience. Now let us compare the spiritual experiences obtained due to oil and ghee
lamps. The oil lamp gives us spiritual experience of Pruthvi tattva (absolute earth
 element) and Aap tattva (absolute water element). For example if we get an experience
of fragrance without the actual presence of an object which can impart such fragrance
then it is a spiritual experience of Subtle fragrance or gandha. The fragrance is related
to Pruthvi tattva. The example of spiritual experience of Aap tattva is dwelling sweet
taste in the mouth.

When we see subtle light or vision of a deity then it is an example of spiritual experience
related to Tej tattva or absolute fire element. When we experience a feeling of touch
without any external reason then it is a spiritual experience related to Vayu tattva or
absolute air element. The ghee lamp gives spiritual experience of Tej tatva and Vayu
tattva to the worshipper.

2.4 Why only ghee prepared from cow’s milk should be used?

Generally any oil lamp emits frequencies consisting of raja particles but the sesame oil
emits some sattva frequencies also. Therefore the lamp with sesame oil is
comparatively more sattvik. However the ghee lamp emits the sattvik frequencies in
maximum amount compared to any oil lamp. Here we have to remember one thing that
it is useful to use ghee prepared only from the cow’s milk in the lamp lit in front of Deity.
This is because in such ghee the Deities’ principles are already existent. Such a ghee
which is dominant in sattva component emits luminous figures in the atmosphere. Such
luminous figures are forms of Tej tattva or absolute fire element. Thus even though the
use of ghee is recommended because of its capacity to emit
maximum sattva frequencies, we can use sesame oil lamp if the use of ghee is not
possible because of financial restraints or otherwise.

2.5 Points to be considered while using a lamp

Now let us see the points to be noted while actually using a lamp.

 Do not kindle an oil lamp with a ghee lamp and vice versa
 Do not kindle one lamp with another similar lamp. For example if there are
two niranjans (a type of lamp) in an arti platter then do not light one niranjan with
another niranjan. Similarly do not light one pillar of lamps with another.
 Sometimes while performing puja we unknowingly touch the lamp. We should
immediately wash our hands then. This is because when we worship a deity
the sattva component of the lamp increases. When we touch the lamp the raja-
tama particles from our body enter the lamp by way of touch. This reduces the purity of
the lamp. The water has the property of encompassing everything. Anything which is
offered to a deity through the medium of water reaches Him/Her faster. When we wash
our hands we are one way dissolving our sins in the water. The spiritual practice of
water is to assimilate in itself sins done by all. The extremely merciful Deities absolve us
from our defects when we offer them at their feet through the medium of water.

3. Should electric bulbs be used instead of ghee lamps?

Now a days we see electric bulbs in use during the puja ritual instead of ghee lamp.
What is the difference between two from the point of view of Spiritual science?

Some people may be finding it funny to worship a lamp of oil or ghee when the modern
scientific era has offered us so much glitter by way of electrical bulbs. But our ancestors
have given priority to the worship of lamp after profound experience and through the
attitude of gratitude. Let us now compare the electrical bulb and the lamp with ghee.
The light emitted from the electrical bulb blinds our eyes while the gentle flame of ghee
lamp reminds us of Atma-Jyoti or flame of soul. The electrical bulb makes us
extroverted and then the mind runs towards external objects. The ghee lamp makes us
to look inwards. Thus we have seen the difference between the electrical bulb and ghee
lamp. Now let us see the subtle drawing of an electrical bulb.
We can see here that via the medium of electrical current black frequencies are entering
into the electrical bulb. These then activate frequencies dominant in tama component.
The electrical bulb emits circles of tama component. In addition we can see that
colliding black particles are emitted in the atmosphere.

4. Five wicks and single wick lamp

There are other varieties of the lamps also such as lamp with a single wick and lamp
called niranjan wherein five wicks are used. The Niranjan with five wicks is symbolic of
duality that is the manifest energy of a deity, whereas the lamp with a single wick
attracts sattvik frequencies. The lamp with five wicks attracts waves with destroyer
property and dominant in raja component. The niranjan with five wicks denotes the
relation of Panchpran (five vital air principles) with the Atmajyoti (flame of
soul). Niranjan is used for waving Pancharati. Every single flame of niranjan is symbolic
of Atmajyoti. Pancharti means invocation of God with the help of panchpranas. While
performing Pancharti we should have such a spiritual emotion that the Atmajyoti is
kindled in me with the help of five panchaprans present in the body and I am performing
the arti with such flame.
 5. Why should a straight wick be used as compared to
puffed up wick?

Now let us understand about straight wick and wick with one end puffed up (fulwat).
During puja ritual a lamp is offered at various steps of the ritual according to purpose.
For example performance of arti. Two types of wicks are used in the lamp namely
Puffed wick and straight wick. Nowadays a puffed wick is used in a ghee lamp
or niranjan and used as lamp of worship. The wick is puffed up from below to offer it
stability to stand in the center of niranjan. The puffed wick is used in a ghee lamp. This
type of wick is relatively of recent origin.The second type of wick which we all are
familiar with is straight wick. Two straight wicks are joined together like a thread and
used in a lamp. Not only there is difference between the two on a gross form but also on
spiritual level.

 The lower portion of the fulwat is puffed up while the straight wick is whole like a thread.
 The fulwat is representative of various raja thoughts in the mind while straight wick is
symbolic of detachment and also represents the thread which
joins Panchaprans with Atamjyoti.
 When a fulwat is kindled the inferior deities are attracted to it while the straight wick
when kindled attracts principles of higher deities.
 The frequencies emitted by the fulwat are of circular form while those emitted by straight
wick are in the form of waves.
 The colour of the divine consciousness emitted by the fulwat is reddish yellow while that
emitted by straight wick is of yellow colour.
 Sattvik earth frequencies get attracted towards fulwat while more sattvik frequencies
moving in the upward direction are attracted towards straight wick.
 The atmospheric frequencies get momentum due to fulwat while their momentum is
slowed down by the use of straight wick.
 An armour of Pruthvi (absolute earth element) and Aap tattva (absolute water element)
is generated around the worshipper by use of fulwat while straight wick generates an
armour of Tej tatva (absolute fire element) around the worshipper.

According to science of spirituality Tej tattva is more powerful than either Pruthvi
tatva or Aap tattva. As a result the use of fulwat imparts heaviness to the physical body
while the use of straight imparts cheerfulness to mind.
 Thus we have seen the difference between the fulwat and straight wick and also why it
is important to use straight wick.

Why is shankh blown before start of

puja?
Contents

 1. Importance of conch (shankh) as per scriptures

 2. Blowing of shankh in puja ritual
o 2.1 Effect of energy emitted from blowing of shankh
o 2.2 Correct method of blowing shankh
 3. Shankhini
 4. Ritualistic worship of shankh
 5. Important points to be noted while using a shankh
 6. The bell
o 6.1 Effect of energy emitted from the bell
 7. Difference in sound vibrations of bell and shankh

Namaskar! We heartily welcome you all for this Satsang (spiritual meet)! Before we
commence this Satsang let us pay obeisance at the Holy feet of Sadguru (spiritual
master) so that by His grace the very objective of this Satsang is fulfilled. Please pay
mental obeisance to your personal icon of faith and recite as follows:

गगगगगगगगगगगगग गगगगगगगगगगगग गगगगगगगगगग गगगगगगग: ग

गगगग गगगगगगगग गगगगगगगग गगगगग गगगग गगगगग गग: गग

In the previous spiritual meets we have understood the arrangement of temple room
and the importance of it from the view point of spiritual science. We have also seen the
spiritual significance of various articles of puja such as kalash, lamp etc. Similarly we
have also come to know the importance of ghee lamp, its effect on the worshipper, the
difference between the straight and puffed wicks in Sanatan Vaidik Hindu Dharma. The
science underlying the importance of copper articles in puja ritual was also explained.
We hope that you must have tried to take the benefit of the spiritual science explained in
these Satsang by actually putting it in practice.

In this Satsang we shall make you familiar with other articles of puja namely, ‘bell
(ghanta) and conch (shankh)’ from the standpoint of spiritual science.

1. Importance of conch (shankh) as per scriptures

First of all let us see the importance of shankh. According to our ancient scriptures that
is Puranas, the shankh was originated during the Churning of ocean (Samudramanthan)
by the Deities and Shri Vishnu held it in the form of weapon. As per a holy verse which
is regularly chanted during the puja ritual it is mentioned that by the command
of Shri Vishnu the deities Moon, Sun and Varun are stationed at the base of the shankh,
the deity Prajapati on its surface and all the places of pilgrimage
like Ganga and Saraswati in its front portion. Yet another specialty of shankh is that the
vibrations emanating on blowing it destroys the disease causing germs in the
atmosphere. That is the reason it has a important place in Ayurved and medicine.

Let us see a subtle drawing which explains us the importance of shankh.

In this subtle drawing we can see that the yellow coloured circles of chaitanya are being
emitted from shankh in the atmosphere. The subtle blue coloured dots depicting
devotion are projected like rays in straight line. The pink circles are formed of particles
of bliss (anand) and they are constantly active.

The shankh are of two types, namely, left turned shankh and right turned shankh. When
the shankh is held with its spout pointed up, its spirals coil towards your right then it is
right turned shankh and if the spirals coil towards your left then it is a left turned shankh.
Generally a left turned shankh is preferred for the puja ritual. Now days so
many Shanks of different shapes are available in the market. There are some figured
works also on their surface. Thus one gets confused as to how a genuine shankh be
identified? The simple test is that without blowing the shankh if you hear pleasant sound
when you bring it near to your ear then it is a genuine one.
2. Blowing of shankh in puja ritual

The shankh is used in two ways in a puja ritual. One for blowing before the start of ritual
and other for actual puja ritual. The shankh which is used for blowing should not be kept
for puja.

Blowing of shankh has special significance in puja ritual. It has been mentioned in
‘Varaha Puran’ that one should not open the door of temple without first blowing
the shankh. The left turned shankh is blown before the start of puja or performance
of arti. There are three types of frequencies in the atmosphere
namely sattva dominant, raja dominant and tama dominant. Among them
the raja dominant and tama dominant frequencies generate distressing vibrations.
The sattva dominant frequencies get attracted to the place of puja ritual but these
frequencies are opposed by the raja and tama dominant frequencies so that they do not
reach the place of puja and thus the flow of sattva frequencies is hindered.

When the shankh is blown before the start of puja energy is emitted from the shankh.
This energy reduces the strength of distressing frequencies. Besides a protective
armour of chaitanya (divine consciousness) is formed around the articles of puja.

There is another benefit too. That is when the shankh is blown the activated energy of
Shri Vishnu in the universe gets attracted towards the place of worship which is not only
beneficial to the person who is blowing the shankh but also to all those who hear it.

Just as the shankh is blown before the start of puja, it is also blown before an arti. The
objective behind this being to sustain the deity’s chaitanya attracted to the place
of puja ritual and the pure atmosphere generated because of the sattvik frequencies, for
a long period.

2.1 Effect of energy emitted from blowing of shankh

Let us see how the energy is emitted from the blowing of shankh and what exactly
happens with the help of a subtle drawing. Here we have to take into consideration the
fact that while the vibrations of a subtle drawing are three dimensional we see them in
the subtle drawing in a two dimensional form. For example the sphere will appear as a
circle. Now let us look at the subtle drawing:

As soon as the shankh is blown the frequencies of divine energy (shakti) are emitted
into atmosphere due to sound generated. These energy frequencies are seen in red
colour. Along with these energy frequencies yellow circles of chaitanya are also
projected in the atmosphere. You can also see the pink particles of Bliss being emitted
in the atmosphere. This increases the proportion
of shakti (energy), chaitanya and anand in the environment and that is why the negative
energies get distressed and run away.
Thus it has become clear to us the importance of blowing shankh during puja ritual. The
blowing of shankh makes the atmosphere holy and pure and conducive for the spiritual
practice (sadhana) of the individual. Thus it becomes easier for an individual to receive
maximum sattvik frequencies emanating from the deities.

2.2 Correct method of blowing shankh

We have seen that because of blowing of shankh the frequencies consisting raja–
tama particles are destroyed and at the same time the saviour and destroyer principle of
a deity is awakened. Now let us see the correct method of blowing the shankh.

First slightly raise your neck and bend it little backwards and keep the mind focused.
Take a deep breath and start to blow with increasing intensity. One should keep in mind
that blowing of shankh should be completed in one single breath. When the shankh is
blown in this way Sushumna channel of the individual gets activated and it helps in
keeping a correct balance of raja and sattva particles related to Tej and Vayu elements.
This awakens the saviour and destroyer principle of a deity according to the need.
3. Shankhini

There is another type of shankh which is neither supposed to be blown nor kept in
the puja ritual. It is called female shankh or shankhini. Its surface is rough and thorny. It
does not emit pleasant sound. Let us now see why a female shankh or shankhini is not
used for blowing as per the science of spirituality.

There are several crisscross circles on the inner surface of shankhani. When you blow
through it these circles create obstruction in the interrupted flow of sound vibrations.
The sound vibrations when generated rub against these circles thereby producing
distressing frequencies. These new distressing frequencies further activate the
distressing frequencies already present in the atmosphere. Both the vibrations from
the shankhani and those from the negative energies present in the atmosphere get
attracted towards the place of puja and make the surrounding atmosphere impure. That
is the reason shankhani is not used in the usual puja ritual. However the worshippers
following the Aghori Vidya (worship to accumulate black energy) use the shankhani for
attracting negative energies at the start of their worship.

4. Ritualistic worship of shankh

During puja ritual the shankh is kept in a specific way. The pointed portion is directed
toward the deity.

The frequencies of chaitanya and energy emanating from the images of deities get
attracted to the pointed portion of shankh. You can also see the blue coloured
Shri Krushna principle getting attracted towards shankh which is producing a armour
of Krushnatattva around shankh. The yellow coloured chaitanya is also attracted and
spreads inside the shankh. The red coloured frequencies of energy are revolving in the
space of shankh in a circular fashion. The frequencies of energy and chaitanya are
emitted from the other end of shankh which purifies the atmosphere and thus benefits
the worshipper.

When the shankh is kept with its pointed portion towards the deity then the house gets
the energy emitted from the other end in required amount. Now let us know about
ritualistic worship of shankh.

A shankh is filled with water prior to actual puja of a deity and following
the puja of kalash. Then it is ritualistically worshipped by offerings of sandalwood paste,
flowers and Tulsi leaves. After the shankh puja the worshipper sprinkles the water filled
in shankh on himself and the articles of puja. The water filled in shankh is considered as
pure as water of Ganga river. It is also used for giving holy bath (abhishek) to the
deities.
 5. Important points to be noted while using a shankh

Now let us see some useful points about shankh

 Never use shankh meant for blowing in a puja ritual. They should be different.

 Never offer water to the deity by shankh used for blowing.

 Do not keep two shankhs for worship in a temple room.

 Never touch the Shiva pindi with shankh during a puja ritual.

 Never use shankh for giving holy bath to deities Shiva and Sun.

6. The bell

In the ritual of puja deity principles are attracted at the place of worship or in the idol
with the help of various methods. The deity principle is then received by the worshipper
participating in the puja. The articles used in the puja ritual work as an important
medium of attracting the deity principle. That is the reason these articles are worshipped
first to activate the divinity in them. Bell is one such an important article.

The bell is used mainly at two places – One which we use in our temple room and the
other we see in the temples. First of all let us understand about the bell we use in our
temple room. Nowadays we come across articles of puja made up of various metals.
They even have different artistic designs on them. As per the science of spirituality the
bell should be made from either copper or brass. The carving of images of Garud or
Nandi is allowed according to scriptures.

The Sound generated by the bell should be gentle and sweet. In a puja ritual the bell is
used during such sub-rituals as waving Frankincense (dhoop) and Lamp as well as
while performing arti for creating gentle sound. In a puja ritual what is the importance of
sound and what happens on spiritual level can be understood by looking at a subtle
drawing. The subtle drawing means a drawing which tells us about the subtle process
which is going on at spiritual level about whatever we see with the gross eyes about an
object or action.

6.1 Effect of energy emitted from the bell

Let us now see how the energy is emitted from the bell and what exactly happens with
the help of a subtle drawing.

The dome shaped body of the bell and the clapper when strike with each other create
circles of chaitanya which are projected in the atmosphere. The sound generated
simultaneously also emits frequencies of chaitanya predominant
in Akash tattva (absolute ether element). We can see them in yellow colour. The stroke
of clapper emits red coloured divine energy rays. The particles of divine energy which
spread in the atmosphere and are of red colour are also seen here. The divine energy
and chaitanya generated by the sound of bell drives away the negative energies.

During a puja ritual as mentioned in scriptures when we do puja of bell as an initial part
of puja, the bell is gently rang and following holy verse is recited,

गगगगगगगगगगगगगगगगग गगगगगगगगगगगगगगगगगगग गग

The purport being, ‘I am ringing this bell to invoke Deities and to drive away demons.’

7. Difference in sound vibrations of bell and shankh

Now you must have understood the importance of bell and ringing of bell. It must also
have been clear that the purport of the holy verse and the knowledge obtained through
the medium of subtle drawing match with each other.

One point is clear from the information we have got up till now that sound vibrations are
created in every puja ritual with the help of two articles namely shankh and bell. Sound
vibrations produced by shankh is called Shankhanad while that of bell is known
as Ghantanad.

The common property of both of them is they purify the atmosphere. The only difference
is that while the sound vibrations from bell purify the atmosphere in the downward
direction while that emanating from shankh purify the frequencies active in the upward
direction. Hence both of them are very important in a puja ritual.

Why are puja articles arranged in

specific five layers?
Contents
 1. Arrangement of puja articles
 2. First layer of arrangement of puja articles
o 2.1 Plate for offering sacrament
o 2.2 Plate for puja
o 2.3 Why are unbroken rice grains used as akshatas?
 3. Second layer of arrangement of puja articles
 4. Third layer of arrangement of puja articles
o 4.1 Why is arti plate of camphor kept to the right of deity?
o 4.2 Why is coconut is called as the most holy fruit?
 5. Fourth layer of arrangement of puja articles
 6. Fifth layer of arrangement of puja articles
 7. Benefits of arranging puja articles according to layers of five cosmic elements

Namaskar! We heartily welcome you all for this Satsang (spiritual meet)! Before we
commence this Satsang let us pay obeisance at the Holy feet of Sadguru (spiritual
master) so that by His grace the very objective of this Satsang is fulfilled. Please pay
mental obeisance to your personal icon of faith and recite as follows:

गगगगगगगगगगगगग गगगगगगगगगगगग गगगगगगगगगग गगगगगगग: ग

गगगग गगगगगगगग गगगगगगगग गगगगग गगगग गगगगग गग: गग

In last few satsangs we have seen the important role played by articles such as kalash,
lamp, shankh, bell ( ghanta) and other ingredients in the ritual of deity’s puja. We have
also learnt their spiritual significance. For example the articles in use for many years are
more beneficial from the spiritual view point. Since these articles are constantly exposed
to Deity their sattvikta or purity increases and hence the divinity.

However nowadays we see that the articles used in puja ritual are not kept clean or are
kept anywhere. Can then divinity develop in such articles? The answer is ‘no’. One feels
cheerful if the articles used in puja ritual are clean. We also feel peaceful and feel close
to them. The use of such articles awakens our spiritual emotion or bhav. The bhav in
simple term means faith in some object or individual. The faith developed in our mind
towards these articles and their constant use helps to enhance our spiritual emotion
towards God.

If the arrangement of these articles during the puja ritual is also appropriate then it is
spiritually more beneficial. According to spiritual science every article of puja has to be
kept in a particular place during a puja ritual as that place has its own spiritual
significance. Therefore when we keep all these articles in a particular way and in a
praticular place then the spiritual benefits of puja ritual are enhanced. In this satsang we
are going to see the arrangement of the puja articles and their spiritual significance. To
begin with let us learn about the arrangement of puja articles.

1. Arrangement of puja articles

We have seen before that the spiritual benefit of clean articles is beneficial for
awakening of spiritual emotion. In the same fashion the proper arrangement of them
also gives us spiritual benefit. Nowadays we see that these puja articles are kept
anywhere on the right or left side according to our convenience. But this not correct
according to spiritual science. The expected spiritual benefit will not accrue if we keep
articles as per our wish.
There are five layers of arrangement of the puja articles. What are these layers and
what is the desired place for each article is shown in this diagram. If we look from the
top then the arrangement of articles would appear in five layers like this. The first layer
consists of plate for offerings (naivedya) and another for puja. The second layer
consists of Kaalash (water pot), Jalpaatra (a cylindrical pot for water) and Aachmani (a
spoon meant for performing aachman – siping of water).

According to the drawing we just saw, the worshipper should keep the copper platter in
the front and kalash to the left of it and jalpatra and aachmani to the right of it. These
articles are all related to the water element and hence water from these articles is used
for various sub-rituals of puja. Now we let us see the third layer of arrangement of these
articles.

As shown in this diagram arti plate containing camphor and oil-lamp should be kept on
the left side of worshipper and incense sticks and niranjan (a type of lamp) to his right. A
coconut is kept in the center right in front of Deity image. Fourth layer has conch
(shankh) on the left side of worshipper and a bell on the right side. In the fifth layer keep
two long lamps of equal height on both sides of temple room. These lamps are
generally of metal brass.

Now the question arises as to why such an arrangement of five layers? The
arrangement of the puja articles is based on five cosmic absolute elements namely
absolute earth, absolute water, absolute fire, absolute air and absolute ether. Now the
next question comes to mind is why it is based on these elements? Therefore now it will
be useful to understand some things about relationship between this arrangement and
the five great cosmic elements. Akash means space. From Akashtattva (absolute
ether), vayutattva (absolute air) was formed. Vayutattva created Tejtattva (absolute
fire). Tejtattva gave birth to Aaptatva (absolute water)
and Aaptattva created Pruthvitattva (absolute earth). In short all the last four elements
are formed out of Akash or absolute ether or space. While we do spiritual practice we
get spiritual experience of earth element first followed by Aaptattva and so on till we get
spiritual experience of Akashtattva. Beyond the experience of Akashtattva we get the
spiritual experience of God principle.

From this it must have been clear now that the arrangement of the puja articles is
representative of the five great elements active in the universe. It also represents the
sojourn of the individual from absolute earth element to absolute ether element during
his spiritual practice.

2. First layer of arrangement of puja articles

2.1 Plate for offering sacrament

First part of first layer is a vessel or plate meant for offering sacrament and the second
part is plate for puja. This layer of puja articles is representative of combined earth and
water element. To offer a sacrament is a sub-ritual of puja. The worshipper is totally
surrendered at the feet of deity at this time. Therefore the vessel or plate of naivedya is
given a place in downward direction. Offering sacrament to a deity pleases Superior
deities, deity of premise and deity of a place faster. Whenever possible It is always
beneficial to use banana leaf instead of metal vessel while offering naivedya to a deity
because it is more sattvik ( spiritually pure).

Now let us see how naivedya is to be served on a plate or banana leaf. At the center of
the leaf from below upwards- spicy rice, ordinary rice to be eaten with dal, sweet rice
and at the top rice with curds. On the left part of leaf from above downwards- piece of
lemon, chutney, raita (a type of salad), papad, pakoras and roti. On the right part of leaf
from above downwards – Mattha (a typeof spicy buttermilk), kheer, dal and vegetables.
This is the way the naivedya leaf is to be arranged. It is to be remembered that always
keep the tip of the leaf towards you while serving naivedya for the deity and never serve
salt in the naivedya. The salt is related to earth and water elements and therefore has
the capacity to attract more raja-tama frequencies. Hence the salt should not be served
in the plate or leaf meant for naivedya.

Thus we understood the arrangement of leaf meant for naivedya. You must be thinking
that since the sub-ritual of offering naivedya follows the actual ritual of puja, why it is
considered here in the beginning? The explanation is that at the end of puja ritual the
worshipper is in a state of total surrender and the naivedya is symbolic of it. Therefore
please do not arrange the leaf for naivedya in the beginning of puja ritual. It has to be
arranged in the end.

2.2 Plate for puja

In the plate meant for puja, on the right hand side of worshipper turmeric powder (haldi)
and vermillion (kumkum) are kept and on to the left Bukka (a black coloured powder
prepared from tale (a metal), gulal and sindoor. In the front portion of the plate a bottle
of attar (a fragrant essence of flowers), a small plate of sandalwood paste, flowers
and durva (a type of fragrant grass) and other leaves. We are aware that attar,
sandalwood and flowers have fragrance. The subtle particles of the fragrance are
known as gandhkan. Similarly there are subtle particles of colour in leaves and durvas.
The frequencies of deity principle are activated through the medium of these subtle
particles of fragrance from attar, sandalwood paste and flowers and subtle particles of
colour present in leaves and durvas. In the lower portion of the plate keep pan-
supari (betel leaf and betel nut) and some coins as dakshina (offerings of money). We
can keep a coconut in place of betel nut. Two leaves of betelleaf, betel nut or coconut
and dakshina are kept together. Betel leaf, betel nut and coconut have the highest
capacity to emit subtle frequencies of deities. The two leaves of betel leaf are
representative of God and its activated energy that is Shiv and Shakti. They are invoked
to work on a manifest (sagun) level. In the center of the puja plate unbroken rice grains
are arranged in small heap.

2.3 Why are unbroken rice grains used as akshatas?

Now we shall learn about why the rice grains used as akshatas have to be
unbroken. akshatas are all encompassing. They attract the subtle frequencies of five
principal deity namely Shiv, Shakti, Shri Ram, Shri Krushna and Shri
Ganesh. akshata is the central point of puja plate. akshtas also perform the action of
transmitting the deity frequencies to other ingredients kept in the plate. If the rice grains
used for preparing Akshatas are broken then their capacity to attract the principles of
higher deities is automatically reduced. This deprives the worshipper of higher deity
principles. As a consequence the grace bestowed on the worshipper is also reduced.
That is why the rice grains should be intact because the broken grains are indicative of
dissolution (laya). When the akshtas are offered to a deity the energy of the deity is
transferred in it and favourable vibrations are generated in akshatas. (When any object
is broken or cut, its capacity to attract distressing frequencies in the universe is
enhanced and thus it gets charged with raja-tama particles. The emitted frequencies
from such an object increases the chances of the individual to get susceptible for the
attacks of negative energies or even get possessed. That is the reason Hindu religion
gives so much importance to any object being intact. Breaking of any object is indicative
of tama attitude. Such an attitude is prohibited in ritualstic worship. When any one of the
two strings of a musical instrument having equal frequencies is stretched then the
vibrations generated in it induce exactly similar vibrations in the other. In the same
fashion when the Akshatas are charged with divine frequencies then similar vibrations
are generated in the store of rice grains in the house. Thus the rice which is charged
with divine energy can be consumed throughout the year as holy sacrament (prasad).

3. Second layer of arrangement of puja articles

This layer is related to aaptattva or absolute water principle. The articles used in this
layer are kalash, a small cylindrical pot for water and a spoon for performing aachman.
The water is clean and pure and hence is able to receive maximum amount of
frequencies of deities. Therefore the kalash, cylindrical pot and the spoon are kept in
the center of temple room. The water kept in the kalash maintains the correct balance of
the five great elements. Generally a copper plate is kept in the centre and kalash is
placed to its right while the cylindrical pot and spoon are kept to the left.

4. Third layer of arrangement of puja articles

This layer contains the articles related to absolute fire element or tejtattva. Here
the niranjan and incence sticks are kept to the right of worshipper and oil or ghee lamp
and arti plate with camphor on to the left. The incense stick or Udbatti is kept to the right
of worshipper. The deities consist of five elements. Out of these
elements pruthvitattva or earth element emits fragrance. This fragrance being very
subtle cannot be received by ordinary individual. The udbatti or incense stick has the
capacity to absorb the subtle fragrance emitted by the deities. Thus when an udbatti is
lighted the subtle fragrance of deities is emitted along with its own fragrance. For
example when an udbatti having its own fragrance of sandalwood is burnt the subtle
fragrance of sandalwood emitted from deities is also absorbed in it and the emitted in
the surrounding atmosphere.

‘Ud’ is basic root in Sanskrut. ‘ud’ also means manifestation. The frequncies of
fragrance of udbatti move in a upward direction and are active in that direction. The
main manifest source of these frequencies is called as ‘udi’. The word udbatti is derived
from the distortion of the word ‘udi’.

4.1 Why is arti plate of camphor kept to the right of deity?

Now let us understand the spiritual science underlying keeping of arti plate of camphor
to the right of deity. The right side is the seat of Sun channel or Surya naadi. The
activation of Surya naadi awakens the divine energy or Shakti. The right hand direction
of a deity contains the marak or destroyer principle of the deity. Destroyer means the
one which destroys unwanted, tama predominant things. The performance of
camphor arti emits destroyer type frequencies of fragrance. The atmosphere laden with
frequencies of fragrance attracts frequencies of Shiv principle present in the universe.
These Shiv frequencies then destroy the unwanted and impure frequencies in the
atmosphere which gets purified thus. The atmosphere at the place of worship becomes
full of chaitanya or divine consciousness. This explains why the arti plate of camphor
should be to the right of deity or to the left of worshipper. Also the strong fragrance
emitted while the camphor is burnt has greater capacity to attract
the Shivganas (servant deities of Lord Shiva). The presence of Shivganas helps us to
obtain the blessings of deity of place (sthandevta) and deity of premise (vastudevta)
The fragrance of camphor when inhaled leads to decrease in the severity of respiratory
diseases. The Shiv tattva enters the wind pipe through the medium of breath because of
the fragrance of camphor.
4.2 Why is coconut is called as the most holy fruit?

The coconut is kept near and right on front of deity and centrally placed. The tift of
coconut should be directed upwards. When a puja ritual is correctly performed the
frequencies of five principal deities present in the universe namely Shiv, Durga, Shri
Ram, Shri Krushna and Shri Ganapati are activated and get attracted towards the tuft of
coconut. The same frequencies are then emitted back into atmosphere as per the need.
These frequencies are emitted in the form of fountain and help in purification of
atmosphere. Therefore the coconut is called as the most Holy fruit or Shri Phal that is it
bestows maximum purity or sattvikta. This can be better understood with the help of a
subtle drawing.

5. Fourth layer of arrangement of puja articles

This layer is related to absolute air principle or Vayutattva. The two articles here
are Shankh (conch) and bell (ghanta). Shankh activates destroyer form of energy of a
deity and it is kept to the right hand side of a deity or to the left of worshipper. The bell
activates the saviour or tarak form of energy of a deity and is therefore kept to the right
of worshipper that is to the left hand side of the deity. The left side is a seat of Moon
channel or Chandra naadi. The activation of Chandra naadi imparts coolness. The bell
is clapped during the time of arti for its pleasant sound. We have already learnt enough
about bell in the previous satsang. Now let us see the last or the fifth layer of
arrangement of puja articles.

6. Fifth layer of arrangement of puja articles

This layer is related to akshtattva or absolute ether principle. It includes two long lamps
of equal height kept on both sides of temple room. When two long lamps of equal height
are kept continuously lit with sesame oil on both sides of temple room, the energy of
action of that particular deity is activated due to raja predominant sesame oil. These two
lamps are representatives of Sun and Moon channels. Since the deities are more
related to the tejtattva or absolute fire element the two lamps are also symbolic of that.

Thus we have seen that the arrangement of the puja articles is symbolic of five cosmic
absolute elements namely absolute earth, absolute water, absolute fire, absolute air and
absolute ether. From akashtattva (absolute ether), vayutattva (absolute air) was
formed. Vayutattva created tejtattva (absolute fire). tejtattva gave birth
to aaptatva (absolute water) and aaptattva created pruthvitattva (absolute earth). In
short all the last four elements are formed out of akash or absolute ether or space.
Thus akashtattva is all encompassing and assimilates all the principles. The pointed
upper portion of the temple room is related to akashtattva and the frequencies emitted
from this part of temple room manifest with the help of five elements as per the need of
individual and work for him.
 7. Benefits of arranging puja articles according to layers of
five cosmic elements

Thus uptil now we have seen the arrangement of puja articles. Once we have arranged
the articles in this fashion it is easier to begin puja by shifting the plate of puja to the left
of cylindrical copper pot and spoon. Now let us see the benefits derived by arrangement
of the ingredients and articles of puja according to layers of five cosmic elements. There
are main five benefits:

 This type of arrangement leads to correct balance of all the five cosmic elements which
helps the worshipper in receiving the chaitanya emitted from the deity to the maximum
extent.

 When the worshipper invokes the deities in the beginning of puja it becomes easier for
them to arrive at the place of puja in the form of frequencies with the help of five cosmic
elements.

 These divine frequencies then charge every ingredient used in puja and the surrounding
atmosphere also becomes purified.

 The forth important benefit is such arrangement does have an positive effect on the
worshipper and increases his sattvikta.

 Such an arrangement creates sattvikta in both the worshipper and the articles
of puja thereby spiritually benefitting the worshipper through the puja ritual.

Here we conclude this satsang. We pray at the Holy feet of Guru that let everyone take
the benefit of the science of arrangement of puja articles as explained in this satsang by
actually applying it.
 Why is a specific flower offered to a
deity?

Contents

 1. Importance of flowers in puja ritual

 2. Why is a specific flower offered to a deity?
 3. Why should one only offer fresh flowers to the deity?
 4. Why it is not advisable to pluck buds after the sunset?
 5. Which flowers should be offered to a particular deity?

No puja ritual of a deity is complete without use of flowers. If we know such things as
which flowers or leaves are to be offered to a particular deity, in what numbers and their
spiritual benefits then we will get more benefit from puja ritual. So let us start with an
important ingredient of puja articles namely flowers.

1. Importance of flowers in puja ritual

 There are subtle frequencies of deities active in the atmosphere. These frequencies are
attracted towards certain flowers. These frequencies are then emitted back into
atmosphere and are then known as ‘pavitrak’. Before we come to the topic of spiritual
benefits of offering flowers, let us first see the difference between frequencies
and pavitraks.

 The subtle principle of deities attracted to a flower from space is called frequencies
while the same deity principle when gets emited into atmosphere is called as pavitrak.
 The frequencies are subtle most and comparatively more unmanifest (nirgun) form of
deity principle while a pavitrak is the subtle and manifest form of the same deity
principle.

Let us now see the subtle drawing of a Hibiscus flower

 The Ganesh principle present in the universe gets attracted towards the central space
of the red coloured Hibiscus flower and is emitted in the form of circles.
 The Ganesh principle which is absorbed by the stem of the flower gets emitted through
the petals in the atmosphere.
 The stamen of the flower absorbs the Ganesh principle present in the atmosphere and
emits the particles which donate vital energy or pranshakti.
 The Hibiscus flower is of raja-sattva nature. As a result divine energy (shakti) and divine
consciousness (chaitanya) are emitted from its petals.

Thus this subtle drawing must have made it clear to our viewers as to how the
frequencies of deity principles are attracted towards flower and how through the
medium of various parts of flower the same deity frequencies are emitted in the
atmosphere in the form of pavitraks. Thus it is quite clear that the emission or projection
of deity principles and pavitraks is a process taking place at a spiritual level. The effect
of this process is multifold. One of this is reduction in the strengh of raja-tama principle
present in the atmosphere.

The negative energies present in the atmosphere get distressed due to the deity
principle pavitraks projected by the sattvik flowers. Their tama component dominated
energy is either reduced or gets destroyed. In short the sattvik flowers fight with the
negative energies present in the atmosphere by emitting frequencies of deity principles.
Such flowers when brought into contact with a person suffering from the distress of
negative energy then the negative energy which might be troubling the person subsides.

To understand this topic clearly we will have to first know the distinction between
‘Negative energy’ and ‘black energy’. There are some distressing energies in the
atmosphere which trouble us. They are subtle in nature. They are called ‘negative
energies’. The energy of deities is known by the terms such as chaitanya (divine
consciousness), bliss(ananda) and shanti (peace) while the energy of negative energies
is known as ‘black energy’. The deities are sattva predominant while the negative
energies are tama predominant!

A deity looks after our welfare whereas negative energies does harms us. When a
person is severely affected by the negative energy distress, his control over his mind,
body and intellect reduces and that of negative energy increases. This affects the
thoughts, emotions etc of the person. Such an affected person when come in contact
 with an atmosphere predominant in sattva component then there is friction between the
positive sattva atmosphere and negative energy. This can manifest in various forms.
This may be in the form of a simple thought of leaving the place.

2. Why is a specific flower offered to a deity?

Normally we have a concept that a deity is to be offered only that flower which he/she
likes. But is it really so? Let us see the actual reason according to science of spirituality.

A flower has a particular colour and a special fragrance. On a subtle level the colour
and fragrance particles present in the flower have a capacity to attract the principles of a
specific deity which benefits the worshipper. That is the principle behind offering specific
flowers to a deity and not because they like it.

To cite some examples white flower like that of Dhatura is offered to Shiva, red coloured
flower like Hibiscus for Shri Ganesh, and red coloured flowers for Shri Durgadevi also. If
the worshipper has more spiritual emotion for these flowers then the frequencies of
deities get more activated through the medium of these flowers and work for the
worshipper directly.

3. Why should one only offer fresh flowers to the deity?

According to religious scriptures on the science of spirituality, only proper and best
objects should be offered to a deity and the flowers are no exception. Therefore the use
of dried out flowers or those infested with insects are prohibited in the ritualistic worship
of a deity. There are two reasons for this according to spiritual science:

 Whatever we offer to a deity is accepted by the deity on a subtle level and then They
get pleased and bless us. Therefore whatever we offer to Them has to be best.
 The capacity of a flower to absorb and emit the frequencies of deity
and sattvik frequencies gets reduced if it is dry or infested with insects.
 Another important thing is that it is also prohibited to offer the flower which is already
been offered (nirmalya) that is which has become stale. The basic science underlying
this is that the flowers are used mainly for their colours rather than their fragrance.
When the flowers become stale its colour changes. And as the colour changes the
reception of frequencies of deity decreases and later stops. Therefore we have to offer
fresh flowers to a deity on a daily basis after removing the flowers offered on the
previous day. Besides this there are other prohibitions applicable to flowers to be
offered to a deity.

 We should not offer a flower which we have touched to the body, have handled with left
hand or have taken smell of it.
 We should not offer a flower which is without any fragrance or has very strong fragrance
has fallen on the ground or on unclean surface.
 A flower which is not bloomed up fully, or has its petals withered should not be offered.
 It is not advisable to offer flower buds to deities as per spiritual science.
 Flowers stolen from another’s house thus making them unhappy are not to be offered.
 The flowers which are wrapped in the leaves of arka (rui or calatropis) or rend leaves
should not be offered to a deity.
 It is prohibited to offer flower which is dipped or washed in water.

Thus it is to be noticed that such flowers when offered may be actually harmful rather
than being beneficial. Therefore it can be seen that an appropriate substance when
offered in appropriate form as mentioned in the scriptures to a deity helps us to get
more benefit of deity principles and it also leads to purification of the place of worship.

Up till now we have seen the prohibitions to the flowers being offered to a deity. Now let
us see some exceptions to the prohibitions

 Flower buds are not offered to a deity but lotus is an exception.

 The flowers brought from the house of a gardener can not be called as stale.
 Though we do not wash the flowers with water by dipping them but we can always
sprinkle them with it.

4. Why it is not advisable to pluck buds after the sunset?

 The life cycle of the living beings runs according to the cycle of nature. Taking this into
consideration the right time for every thing in our life has been considered
in Sanatan Hindu Dharma. Similarly there is definite time for plucking of flowers
according to scriptures. Nowadays some people collect buds by plucking them on the
previous evening. But this incorrect as per the science of spirituality. Now let us
understand why it is not advisable to pluck buds after the sunset.

At Bramha muhurta the pavitraks of deities are projected on a large scale on to the
earth. These pavitraks get attracted on a greater scale towards those flowers who have
the capacity to attract pavitraks of particular deity. The sunlight causes the
disintegration of raja-tama particles present in the atmosphere. Therefore the
atmosphere before the sunset is more sattvik as compared to that after the sunset.

After the sunset the strength of the negative energies in the atmosphere increases
which leads to increase in the distressing frequencies in the atmosphere. Therefore the
buds are covered by raja-tama particles. Thus their capacity to attract the deity principle
is reduced. Hence the buds should not be plucked after the sunset.

However there are some exceptions to this rule. For example there are some flowers
whose buds start opening at the sunset itself like those
of bela, chameli and rajanigandha etc. These buds eagerly wait for the Bramha
muhurta. It is as if they are eager to surrender themselves at the feet of the deity. These
flowers have more fragrance when compared to other flowers. That is why the deity
principles get attracted towards these flowers in large amount.

Now let us see the important rules of plucking flowers.

 Do not pluck the flowers without taking bath

 Do not pluck flowers for puja ritual with your shoes on.
 Express gratitude to the plant from which you are going to pluck the flowers.
 While plucking flowers for puja ritual pray to the deity that the objective of offering the
flowers for puja be fulfilled.
 Pluck only that number of flowers as is necessary for the the puja ritual. Do the chanting
of your favourite deity while plucking the flowers.

5. Which flowers should be offered to a particular deity?

Thus we have seen why a particular flower is offered to a particular deity, what is the
appropriate time of plucking the flowers according to science of spirituality. The spiritual
science has also shown us that a particular deity needs to be offered a particular flower
in particular number. Let us understand this with the help of the points below.

 Shri Durga devi should be offered either 1 or 9 Jasmine flowers

 Shiva should be offered 10 flowers of Rajnigandha
 Shri Ram should be offered 4 flowers of Jai.
 Shri Hanuman should be offered 5 flowers of Chameli
 Shri Krushna should be offered 3 flowers of Krushna Kamal.

Thus we have up till now learnt about flower which is an important ingredient
of puja material. We hope that you will bring into practice whatever topics to which you
are introduced today while performing puja ritual by keenly paying attention and thus
derive spiritual benefit out of it.

How does the growing of Tulsi help in

making premise pleasant?
 Contents

 1. Deity of a premise (vastudevata)

o 1.1 Definition and meaning
o 1.2 Mission
o 1.3 Energy of the deity of a premise
o 1.4 The plot of land on which a house is constructed
o 1.5 An actual premise
o 1.6 Idols
o 1.7 Types of premises
o 1.8 Science of premises (vastushastra)
o 1.9 A premise and the four classes (varnas)
o 1.10 Spiritual causes for distressing frequencies in a premise
o 1.11 Comparative importance of the causes of distressing frequencies in a premise
o 1.12 Distress experienced by those living in an improper premise
o 1.13 Remedies to make a premise pleasant
o 1.14 Feeling distressed in a pleasant premise
o 1.15 Effects of spiritual practice on a premise
o 1.16 Effects of saints on a premise
1. Deity of a premise (vastudevata)

1.1 Definition and meaning

A premise (vastu) refers to an open space enclosed by four walls irrespective of

whether it has a roof. The presiding deity of this place is called the deity of the premise.
Frequencies within a premise are not perceived outside it. For instance a subtle
fragrance in a room is not experienced outside the threshold of that room.

Other Names: Vastudev, Vastupurush. The earth is the consort of the Vastupurush.

1.2 Mission

The deity of a premise is the centre of energy of the premise. Its mission is to endow
energy to any pleasant or distressing event occurring there. It is believed that the deity
of a premise says, ‘So be it (tathastu)’ to whatever is uttered there. Hence one should
not utter abominable words in the house.

1.3 Energy of the deity of a premise

In the ancient times there were no houses. Man lived in the forest. As he began
constructing houses he experienced that some houses brought good fortune and
happiness while others caused distress. This is how the science of premises
(vastushastra) came into existence. Before understanding the difference between
pleasant and distressing frequencies generated in a premise let us first understand how
these frequencies are created in it. There are three kinds of frequencies in an empty
premise. [Detailed information on such frequencies is given in point ‘Guardian deity of a
territory (kshetrapaldevata)’.]
A. Frequencies arising from the floor of a premise ascend towards the sky. Frequencies
emitted from land shaped like a cow’s mouth (gomukhi), a tiger’s mouth (vyaghramukhi)
or a donkey’s mouth (gardabhamukhi) correspond to the shape and its basic qualities.

B. The ‘360 frequencies’ travel in a premise in a circular fashion.

C. Frequencies due to thoughts of those constructing the premise, those visiting and
residing in the premise, strike the walls and ceiling and get dispersed everywhere.

Refer to numbers 1, 2 and 3 in figure ‘A’.

Due to the interaction of these three types of frequencies the overall movement of
frequencies in the premise becomes haphazard. The result is utter confusion. (Refer to
figure ‘B’.)

1.4 The plot of land on which a house is constructed

A. The magnetic field: Any wall of a plot or a house should be facing north-south like
the pointer of a compass.

B. Shape and its effects as per Vastushastra

 Effects Shape Effects

drangular Opulence 2. Rectangular Serenity and

bliss

ngular Problems 4. Circular Loss of

pertaining to wealth

government or

legal matters

agonal Distress 6. Rhomboid Distress

an oblong Maritial 8. Like a half Fear of being

mrudang) discord moon troubled by

thieves

a Buddhist Tremendous 10. Like a Death of a

ery amount of platter brother

stress

iptical Difficulties in 12. Like an Illnesses of

business hourglass the eyes

transactions shaped drum

(damaru)

C. Length and breadth

 Land influenced by the moon: The distance between the northern and southern borders
is more than that between the eastern and western borders. This land brings fortune.
Akin to the Moon channel (Chandra nadi) it bestows tranquility.
 Land influenced by the sun: The distance between the northern and southern borders is
less than that between the eastern and western borders. This land brings misfortune.
Like the Sun channel (Surya nadi) it brings distress.
 D. The mouth of a cow and that of a tiger

 The mouth of a cow: The entrance to this plot of land is narrow while the hind part is
broad. This land bestows opulence and mental peace.
 The mouth of a tiger: The entrance to this plot of land is broad while the hind part is
narrow. This land torments and destroys the owner.

E. Adjacent land: A small plot of land between two large plots causes distress because
frequencies of the bigger plot affect the smaller one markedly.

F. Ascent and descent in the land

 Favourable

1. Ascent in the east – south-east and descent in the west -north-west

2. Ascent in the south – south-east and descent in the north- west

3. Ascent in the south-west – south and descent in the north – north-east

4. Ascent in the west and descent in the north-east – east

5. Ascent in the south-east and descent in the south-west – north

6. Ascent in the north and descent in the south-east, north-west and south-west

7. If the south, west, south-west and north-west directions have ascents then that land
is called the back of an elephant (gajaprushtha). This land is perpetually inhabited by
deity Lakshmi.

8. When the land has an ascent in the centre and a descent in all other directions, the
land is called the back of a tortoise (kurmaprushtha). This land always bestows
opulence.
 Distressing

1. Ascent in the north-west – west and descent in the east – south-east

2. Ascent in the north-west – north and descent in the south – south-east

3. Ascent in the south and descent in the south-west

4. Ascent in the north-east and descent in the west

5. Ascent in the south-west, north-east and north-west and descent in the south-east

6. Ascent in the north, south-east and west and descent in the south-west

7. Ascent in the south-west, south-east, north and descent in the east

8. Ascent in the south-west and descent in the south-east and north-west

9. If the land has an ascent towards the east, south-east and north-east and descent
towards the west it is referred to as the back of a demon (daityaprushtha). Such land is
always poverty-stricken.

10. If the land is longer in the east-west direction and there is an ascent between the
north and the south then it is called the back of a serpent (nagaprushtha). Here fear of
death is imminent.

G. Other physical aspects: Land which has ascents and descents, is thorny, has a
polluted atmosphere and distressing surroundings proves distressing.

H. Roads and pathways

 Favourable
 1. Surrounded by roads on all sides is the best

2. Surrounded by roads on three sides

3. With roads towards the west and the north

4. With roads towards the east and the north

5. With a road towards the north

 Distressing

1. With a road towards the south

2. With roads towards the east and the south

A road leading to a plot of land and ending before entering it is called vithishula.
However if it turns instead of terminating then it is not called so. Preferably one should
not choose a plot of land with an ascent.

I. Land on a mountain: Terrain at a high altitude can prove problematic. There can be
shortage of water.

J. Temples: A temple should not be located opposite or close to a plot of land because
the sattva component from it can make the raja predominant individual living
there sattvik (sattva predominant). If this happens he could face losses in business !
However for a seeker a temple certainly proves beneficial.

K. Rivers, lakes and ponds: If a river or a well is situated in the north-eastern part then
it is favourable. A continuous flow of water opposite the main door of the house causes
loss of wealth. Open gutters too cause problems. A well should be situated behind and
 not in front of a house. Lakes or ponds should not be situated in the middle of a plot of
land because if subordinate deities like the seven asaras come to inhabit it, then
distress is experienced.

L. Trees and pillars: Since there are chances of spirits living on trees and pillars these
should not exist opposite a house.

M. Hillocks: If a hillock is situated to the south-west then it is ideal. However if it is

situated in the north-eastern direction then it causes spiritual descent.

N. Crematorium: If a crematorium is situated close to a dwelling then the spirits from

there, sorcerers (tantriks) visiting it, etc. may be the cause for distress.

If a road, tree, pillar, well, temple, rotating wheel (e.g. a water wheel), etc. are situated
at a distance of more than twice the height of a premise then they are harmless.

O. Miscellaneous: Materials (such as bamboo, cement, etc.) used in construction,

position of the tulsi plant in the courtyard of the house, the neighbours, etc. also affect
the frequencies in a premise. Just as frequencies in a particular room of a house can be
distressing so also frequencies in a particular region of a city can be so.

This makes one thing clear that instead of performing the ritual of Vastushanti after
construction of a house it would be wiser to consider the above factors before building it
or arranging the furniture in it. Similarly it is important to decide what to build on which
plot, for instance a school, a factory, etc.

P. Testing a plot of land

 Gross
 1. Dig a small pit in the ground and fill it with water completely. If after approximately an
hour water still remains in the pit then it is auspicious. Wealth is generated in that
premise. If no water remains then the potential of the plot is moderate.

2. Throw a small fragrant flower into the pit and pour water over it. If the flower
continues to float and moves around then the land is auspicious.

3. Fill the pit with the same mud dug from it earlier. If some mud remains after filling the
pit then the land is auspicious whereas if the pit is not completely filled with that mud
then it is inauspicious.

4. Take a dog to the plot and let it loose. If the dog barks persistently or roams around
sniffing the ground then the land is inauspicious.

5. When walking on the plot if a small child falls down or cries continuously then the plot
is inauspicious. On the other hand if the child plays continuously or moves around
happily then it is auspicious.

6. Land inhabited by animals like rabbits or mongooses is good while that inhabited by
wild animals like tigers and lions is bad.

 Subtle: If it is possible to consult someone who perceives subtle frequencies then one
should listen to him. Then one need not consider the above gross factors.

Thus when buying a plot of land one should choose one which is basically good. If when
buying it, adjustments in measurements, etc. are made deliberately to fulfill the above
criteria then it does not prove beneficial.

1.5 An actual premise

 A. Material used in construction: Frequencies generated in a premise depend upon
the building material such as stone, mud, cement, etc. used. Stone and mud have a
greater potential to attract pleasant frequencies than cement.

B. Doors

 The main door should preferably face eastwards, not southwards.

 The main door should be attractive and well decorated.
 The doors in a house should be even in number.
 The other doors should be shorter and of a lower quality than the main door.
 The doors should not be broken or infested by termites.
 The main door should be decorated with auspicious symbols such as Om, Shri, svastik,
the auspicious pot (kalash), etc. drawn with a mixture of turmeric, vermilion (kumkum),
urine and dung of a cow. This prevents distressing energies from entering the
house. Rangoli (designs with powder of soft, white stone) drawn in front of the door also
bestows the same benefit.

C. The kitchen: This should face the south-east direction since it is the direction
of Agni, the deity of fire. If situated in other directions the problems which may have to
be faced are enumerated below.

 East: Worries of moderate intensity

 West: Residents of the house are constantly ill and sorrowful
 South: Lord Yama’s direction. Fear of death for the man or the woman who is the head
of the family
 North: Constant quarrels in the house
 South-west: Fear of thefts and remaining issueless
 North-west: Sudden loss of wealth
 North-east: Constant burden of debts

To avert problems caused by such faulty directions the placement of rooms in the house
should be as follows.

गगगगगगग गगगगगगगगग गगगगगगगग गगगगगगगगगगगग ग

गगगगगगग गगगगगगग गगगगगगगग ग गगगगगग गग
 Meaning: The temple in the house should be situated to the north-east, the
bathroom to the east, the kitchen to the south-east and the storeroom to the north.

D. The toilet: It should be situated to the south.

E. Premises in the context of cities: In a city the presidential mansion should be

situated in a prominent place towards the north-west of the city.

1.6 Idols

Neither idols nor the description of this deity is available.

1.7 Types of premises

1. A house, 2. A palace, 3. A hermitage (math), 4. An auditorium, 5. A godown, 6. A city

with shopping centres, lanes, etc.

1.8 Science of premises (vastushastra)

According to this science the deity of a premise is referred to as the Vastupurush. In this
context Vastupurush means the soul of the premise. It manifests in a specific gentle
manner and has nine sensitive points. They should not be traumatised, that is
appropriate frequencies should be present there. Mandal refers to an outline or a
heavenly (subtle) design. The territory of a deity of a premise (vastupurushmandal) is
constituted by the land, the deity of the premise and the mandal. In other words it is the
imprint of demons who have fallen on the ground. (Generally since a premise is raja–
tama predominant the form of energy in it is akin to that of demons, not deities.) In the
text Taittiriya Sanhita this is termed as ‘yadnyatanu’ meaning the body (tana) of the
sacrificial fire (yadnya). It is also termed as the Universal Being (Vishvapurush). From
the architectural point of view the territory of a deity of a premise has the following three
layers.
  The great absolute ether (maha akash): The absolute ether existing in the entire
universe
 Absolute ether in a house (gruha akash): The space enclosed within four walls and a
roof
 Absolute ether in a pot (ghata akash): The space enclosed in a vessel. The human body
has also been referred to as a vessel.

These three layers of absolute ether should be concordant and proportionate. Ultimately
the space taken from the great absolute ether, that is the house where one lives and
works should have a definite proportion.

1.9 A premise and the four classes (varnas)

When constructing a premise the class of the person who is going to live there should
also be considered. For example a premise proves favourable to a Brahman (priest) if it
generates sattvik (sattva predominant) frequencies while for a Kshatriya (warrior) if it
emits rajasik (raja predominant) ones.

1.10 Spiritual causes for distressing frequencies in a premise

If a visitor feels uncomfortable in someone’s house one can infer that at that point of
time that premise is impure or that the resident of that house has been troubled in the
past or will undergo severe distress in the future. Distressing frequencies are
experienced in a hospital, police station, prison, a place where evil transactions are
carried out, a place where a murder has occurred, a crematorium, etc. because the
individuals there are either unhappy or with evil attitudes.

1.11 Comparative importance of the causes of distressing frequencies in

a premise

Importance %

of land 2
oundings 1

mise 2

dents within 70

mise

pose of the 5

ers 20

100

1.12 Distress experienced by those living in an improper premise

A. Physical illnesses such as disorders of the stomach, rheumatism, paralysis, etc.

B. Psychological problems such as anxiety, depression, etc.

1.13 Remedies to make a premise pleasant

A. The ritual of entering a plot of land (bhukhandpravesh vidhi): After buying a plot
of land, that is after one procures the document of its legal ownership before entering
the plot as its owner one should wholeheartedly offer obeisance to God using fragrant
flowers, in the north-eastern direction. Thereafter circumambulating the entire plot one
should enter it through the main entrance touching the right big toe to the ground. Such
an entry is beneficial.

B. The ritual of Vastushanti: ‘Ritualistic worship of a premise performed to appease the

deity of the premise (Vastupurush) and to make the constructed house propitious to the
owner with respect to longevity, health, overcoming obstacles, wealth, etc. is
called Vastushanti.’(1) During this ceremony sixty-four yoginis are installed in
the vastumandal. Assuming that the deity of the premise is masculine various deities
have to be installed in different parts of its body. During the worship, in the centre of
the vastumandal, in the south-eastern direction of the house, in a large room a pit is dug
and a box in which seven types of food grains, a mixture of rice and curds, flowers,
moss and an idol of the deity of the premise are placed, is buried in it. Thereafter at a
predetermined auspicious moment (muhurt) the house-warming is performed.

The gold or copper seal of the deity of the premise buried during the ritual
of Vastushanti attracts frequencies which ascend through the floor of the house. As
shown at number 1 in the figure below they unite at the deity of the premise and from
there gain momentum as they are emitted collectively. That is why the ‘360 frequencies’
(as shown at number 2 in the figure) and frequencies of human thoughts (as shown at
number 3 in the figure) travel rhythmically in a particular fashion in the premise. This
converts the chaotic ‘noise’ generated by frequencies to ‘sound’. Thus these
frequencies prove to be pleasant and are endowers of happiness and propitiousness.

Substances buried in the ground are referred to as nikshep. During the ritual
of Vastushanti the idol of the deity of the premise is buried in the south-eastern
direction. (When performing a ritual called Sthiralakshmi some people bury the idol,
coins, etc. in the western direction.) ‘One should take care to see that the site of burial
of the deity is not littered with garbage. The custom of paying obeisance to the deity of
the premise during ritualistic worship should be observed. Whenever possible
throughout the year ritualistic worship in five (panchopchar puja) or sixteen steps
(shodashopchar puja) should be performed. On the day that the ritual of Vastushanti is
performed the house should not be kept closed. One should stay there for some days.
Ritualistic worship of the premise should be performed every ten years. At that time
excluding burial of the deity of the premise, all other rituals should be performed.

‘The Matsya Puran (265.10/11) quotes that in the context of a house, a fire sacrifice of a
premise (vastuyadnya) needs to be performed under the following five circumstances –
1. When laying the foundation of the house or planning the construction, 2. When
raising the first pillar of the house, 3. When fixing the first door, 4. During the house-
warming ceremony (Gruhapravesh), 5. When performing the ritual of Vastushanti to
ward off evil or distressing energies.

In modern times the ritual of house-warming has been attributed a considerable amount
of importance. It is performed at an auspicious moment (muhurt). The ritual
of Vastushanti is performed on that day. Grahamakh is a part of the ritual
of Vastushanti. It includes placing a box of burnt bricks in a pit dug in the north-eastern
corner of the house. Seven types of food grain, moss, flowers, etc. are placed in that
box. The owner of the house enters the house along with his wife, sons
and Brahmans (priests) to the accompaniment of music, carrying a pot (kalash) filled
with water. That pot is then placed on a heap of food grain. This is followed by the ritual
of Punyahavachan. The Brahmans are served meals after they bless the host. The host
then dines along with his close friends.’(2)

C. The ritual of Udakshanti: ‘Performing the ritual of Udakshanti along with or within a
short period of performing Vastushanti is equally important. There are negative
influences on water and food in the house due to various impurities such as seclusion
due to a birth or death in the family (soyar-sutak) and menses of women in the
family. Udakshanti should be performed to overcome them. The scriptures state
that Udakshanti too should be performed atleast once a year.’(3)

D. The personalities of residents in a premise should be pleasing. If not they should

improve themselves. 30% of the defects in a premise occur on account of the residents
themselves.

E. Keeping the doors and windows open: The innermost sanctified room of a temple
(gabhara) has no windows and even its entrance is very small. This is to prevent the
pleasant frequencies inside the temple from escaping. Contrary to this in the
present Kaliyug since in most families there are conflicts, to facilitate the escape of
distressing frequencies created thereby it is advisable to leave the doors and windows
open. One will be able to appreciate easily the distress experienced by staring at any of
the walls in a house.

F. Substances possessing distressing frequencies or those which attract distressing

energies should not be kept in the house, e.g. a black doll.

G. One should neither perform experiments such as the planchet with the help of subtle
bodies nor of any distressing subtle energies as sometimes the subtle bodies or
distressing energies might remain in the house. If at all one wishes to perform such
experiments they should be done in the open air.

H. Eliminating defects in a premise: First look at each of the figures given below for a
minute each and decide with which one you feel pleasant and with which one you feel
distressed and then read the following section.
 25% – 30% of the participants felt distressed looking at figure ‘A’ and did not feel so with
figure ‘B’. The practical benefit of this is as follows. Often a room built at a corner where
two roads intersect is of type ‘A’. Naturally distressing frequencies are created in it.
Since the building is already constructed it is not possible to make any alteration in the
shape of the room. If a cupboard is placed in the corner as shown in figure ‘B’ then the
frequencies in that premise change.

Draw two figures as shown in figure ‘A’ on a white paper. Paint one pink. Look at each
figure for one minute each. Decide with which one you feel pleasant or distressed and
only then read the section ahead.

Twenty-two people were attending a satsang (spiritual meeting). Their answers in this
experiment are given below in a tabular form.

Figure on the
hat? The pink figure
white paper

sant 4 9

ressed* 7 2

hing 11 11

22 22
 * Distress can appear in the form of heaviness of the head, discomfort, fear, aversion,
tremors of the body, etc. This will make one realise that painting the premise with the
right colours can transform the distressing frequencies from it into pleasant ones.

When such a change was made in someone’s house it became

so sattvik (sattva predominant) that when a guest who used to drink alcohol in the same
house earlier was offered a drink, he vomited it within ten minutes of consumption and
said, ‘I don’t know why but today I do not feel like drinking alcohol at your place’. Such
changes can at times eradicate distressing frequencies completely and at times only
partially.

Further information on frequencies generated from various shapes is given in ‘Science

of Spirituality: Chapter 8 – Yantra’.

I. If the deity of a premise is tranquil then the frequencies there are pleasant. The
proportion of both, vital energy (pranshakti) and oxygen in that premise is more.
A tulsi plant assists in raising the vital energy and oxygen in the atmosphere.

J. Comparative importance of various remedies

dy Importance

al of entering a plot of land 2

al of Vastushanti 10

al of Udakshanti 2

ping the doors and windows open 2

minating defects in the premise 2

experimenting with energies 2

dents within a premise having a 30

g personality

itual practice of residents of the 30

ts by saints 10

hers (growing plants like tulsi) 10

100

1.14 Feeling distressed in a pleasant premise

An individual who was visiting us in Mumbai slept on a bed on the first night. After
sometime due to discomfort he slept on the mattress spread out on the floor. The
following night he had insomnia even on the floor. So on the third night he refused to
stay with us. He was possessed by some distressing energy and hence could not
tolerate the pleasant energy present in that premise.

1.15 Effects of spiritual practice on a premise

‘I used to meditate in a particular room for several years. Consequently that room
became even more powerful than this room of yours. Of course that room of Mine is
unique ! Anyone who meditates in that room can hear the chanting that I practised then,
even today.’ – Swami Muktanand (4)

1.16 Effects of saints on a premise

 There are immensely pleasant frequencies in places inhabited by saints such
as Swami Svarupanand of Pavas, Gondavlekar Maharaj of Gondavle or at
the samadhis (tombs) of saints (e.g. the samadhi of Shri Gajanan Maharaj of Shegaon).

Why is every mantra chanted with

‘svaha’ while offering oblation in
sacrificial fires?
Contents

 1. Akashdevata (deity of absolute ether)

 2. Vayudevata (deity of absolute air)
 3. Tejdevata (deity of absolute fire)
o 3.1 The Sun deity
o 3.2 Agnidev (deity of fire)
 4. Apadevata (deity of absolute water)
o 4.1 Meaning
o 4.2 Mission
o 4.3 Idols
o 4.4 Associated deity : Varun (deity of rain)
 5. Pruthvidevata (deity of absolute earth)
o 5.1 Origin and meaning
o 5.2 Some other Names
o 5.3 Special features
o 5.4 Ability and manifest energy
o 5.5 Idols
o 5.6 Spiritual practice
o 5.7 Forms
o 5.8 Spiritual experience
 6. Guardian deities of the directions (dikpal)
o 6.1 Origin and meaning
o 6.2 Other Names
o 6.3 Directions and their guardian deities
o 6.4 Mission and special features
o 6.5 Science behind the idol
 7. Grahadevata (deities of planets)
Main deities associated with life on the earth

The deities of absolute ether (akash), absolute air (vayu),

absolute fire (tej), absolute water (apa) and absolute earth
(pruthvi) given below represent the five main cosmic
elements. More information on them is given in ‘Science of
Spirituality : Chapter 24 – Creation of the Universe’.

1. Akashdevata (deity of absolute ether)

A. Mission and special features

 Absolute ether (akash) is one of the five cosmic

elements. All the cosmic elements originate from the
absolute ether element and finally merge into it.

 Rainfall and its effects on the earth is the first function

of the deity of absolute ether. It is because of rainfall
that creation occurs. In other words the deity of
absolute ether is life-endowing. It is mainly considered
as the deity of creation.

 Death occurs when lightning strikes. Thus it is also the

bestower of death.

 Ability and manifest energy

Ability : Creation 75%, sustenance 20% and
dissolution 5%
Manifest energy : 10%
B. The idol : Idols of this deity are not found anywhere.
This is but natural because absolute ether is colourless
and formless.

2. Vayudevata (deity of absolute air)

A. Creation : The Rugveda (10.95) states that absolute air

(vayu) was created from the first breath of the Absolute
Being. Absolute air originated from absolute ether (akash).
It is the deity of the cosmos (antariksha). The words
absolute air (vayu) and air (vata) are used synonymously.
Nevertheless absolute air is the deity and air is one of the
five cosmic elements. Absolute air is always associated
with Lord Indra and air with rain.

B. Mission and special features

 The absolute air element is the symbol of the principle

of speed as well as the principle of vital energy and the
regulator of the energy of action (kriyashakti). The five
vital energies and five sub-units of vital energy are
considered the ten forms of absolute air
(Yogadarshan). It is because of its velocity that this
deity is believed to possess the speed of the mind.

 Creation of food, nurturing creation and bestowing all

living beings with strength, etc.

 Ability and manifest energy

Ability : Creation 60%, sustenance 10% and
 dissolution 30%
Manifest energy : 10%

C. Science behind the idol : According to

the Vishnudharmottar Puran the idol of the deity of
absolute air should have two arms, a scarf draped around
the neck with each end held in either hand, clothes blown
by the impact of air, a gaping mouth and dishevelled hair.
Other holy texts state that the idol possesses four arms.
Sometimes the deity appears seated on a throne or a
deer. It has a thousand beautiful eyes and an effulgent
chariot. A thousand horses draw the chariot. It holds a
flag, a staff or a goad in the hand. In some idols the upper
two arms hold a fan and a flag and the lower two are held
in postures (mudras) depicting a blessing and assuring
protection.

3. Tejdevata (deity of absolute fire)

The deity of absolute fire has three forms, the sun in the
sky, lightning in the atmosphere and fire on the earth.
(Indra is considered the deity of the sky, Varun the deity of
the atmosphere and Agni the deity of the earth.) Of these
the Sun deity and the fire deity are the two main forms
worthy of worship.
3.1 The Sun deity

This deity is not the sun in the sky, but is the one from
which the basic absolute fire element is created. Some
 contexts also refer to the visible sun which symbolises the
subtle sun.

A. Other Names: The Sun deity has several Names.

Twelve of them are names of the adityas. When
performing suryanamaskar (the solar bent posture) the
following twelve Names are chanted : 1. Mitra, 2. Ravi, 3.
Surya, 4. Bhanu, 5. Khaga, 6. Pushna, 7. Hiranyagarbha,
8. Marichi, 9. Aditya, 10. Savitru, 11. Arka and 12.
Bhaskar.

The word aditya (आआआआआआ) is derived from adi (आआआ)

and atya (आआआआ). Adi means from the beginning
and atya means till the present moment.

The table below gives the Names of the Sun deity suitable
for chanting in different months. If the Name of the Sun
deity which matches the month is considered as 100%,
then in comparison the other Names are of only 95%
importance for that month.
n Month Name of the Sun deity

mer Chaitra Dhata

Vaishakh Aryama*

nsoon Jyeshtha Mitra

Ashadh Varun

Shravan Indra
 Bhadrapad Trivasvan

ter Ashvin Parjanya

Kartik Pusha

Margashirsha Anshuman

Poush Bhag

mer Magh Tvashta

Phalgun Vishnu

* Aryama is the deity which endows eyes with the radiance

of the sun.

B. Creation: There are several references about His birth

as the son of Indra, the son of Mitra-Varun, the son of
Som, the son of Indra-Som, the son of Indra-Vishnu, the
son of Indra-Varun, the son of Agni and Dhata and that of
Agniras.

C. Mission and special features

 Priest of the deities

 Creation of the universe

 The life of all living beings is dependent on the sun as

it gives both radiance and light.
  The Sun deity eliminates physical illnesses and
endows longevity.

 The chariot of the Sun deity has one wheel and seven
horses. Serpents are the reins. The chariot flies
through the sky without touching the ground. Its
charioteer, Arun does not have legs. Despite this due
to His sattva component the Sun deity is constantly
able to travel through the entire sky, that is why poets
have praised Him. When the chariot of the Sun deity
approaches the earth the charioteer is seen first and
only then the Sun deity. That is why the advent of
dawn that is rise of Arun (arunoday) occurs before
sunrise (suryoday) !

 Ability and manifest energy

Ability : Creation 40%, sustenance 10% and
dissolution 50%

The rotation of the sun is akin to this. Its stage of

‘sustenance’ of 12 noon lasts only for a short period. The
stage of ‘creation’ preceding it and the stage of
‘dissolution’ following it lasts for a longer duration.

Manifest energy : 10%

Information on surya frequencies is given in ‘Science of
Spirituality : Chapter 20 – Holy festivals, point –
Gudhipadva’.
D. Science behind the idol: In the ancient times the image
of the sun was represented by carving or drawing a round
dish with rays of sunlight. It was during the reign of
the Mouryas and the Shrungas that idols in a human form
began to be used in ritualistic worship. Temples of the Sun
deity were mostly constructed during the reign of
the Gupta dynasty. One comes across these temples in
Gvalior, Mandasaur, Indore, Multan, Konark, Kashmir,
Khadayat (Gujarat), Patan, Gaya, Jhashi, Nashik,
Aurangabad, etc.

E. Family

 Consorts: According to the Rugveda – Usha,

Pratyusha, Sandnya and Chaya

According to the Matsya Puran – Radnyi, Savarna, Chaya

and Suvarchasa

 Sons : Nasatya, Dastra (Ashvinikumars), Revant,

Vaivasvat Manu [deity of making an offering to
ancestors (shraddhadev)], Yama, Yamuna,
Savarni Manu, Shani, Tapati, Vishti, Prabhat and
Revat

 Charioteer and elder brother : Arun

 The one who carries a staff : Raja and Shrosh

 Writer : Pingal
  Guardian deities of the entrance (dvarpal) : Kalmash
and various birds from creation

 Adityas : The twelve months of the year have

one aditya each and they assist the sun in governing
the cycle of Nature. (Aditya is also a Name of the Sun
deity.)

 Deities in the retinue: ‘Mitra is a Vedic deity. Based on

the quality of “governing the path of the sun”, in
the Brahman holy text Mitra is associated with the day
and Varun (deity of rain) with the night. In literature on
rituals of five sacrifices (yadnyas) Mitra is referred to
as the white and Varun as the black animal. This will
illustrate how Mitra and Varun were considered as
deities of the day and night respectively. The indistinct
statement in the Vedic texts which states that Mitra is
the Sun deity is supported by the holy text, Avestya of
the Zoroastrians.’(1) The sun seen on the earth is
referred to as Mitra. Mitra acquires frequencies of
radiance through a series of suns beginning from the
basic Sun deity. All the satellites of the sun acquire
vital energy (pran) or radiance (tej) from the Sun deity.

F. Spiritual practice of the Sun deity

1. Intolerable: First chant any Name of the Sun deity and

then the Name of any superior deity which one has not
 chanted before, each for two minutes. Record both the
spiritual experiences. Then read the section below.

At two satsangs (spiritual meetings) there was no seeker

who had been chanting Lord Pandurang’s Name. After
chanting the Names Pandurang (of a superior deity) and
Ravi (of the Sun deity) the resultant spiritual experiences
are recorded in the table below.
Chanting of Felt Felt Felt
g Total
which Name? pleasant distressed* nothing

Ravi 7 7 10 24

Pandurang 7 0 17 24

d Ravi 8 8 9 25

Pandurang 6 1 18 25

* Palpitations, exhaustion, feeling radiance or burning in

the eyes, inability to concentrate, etc.

The reason for distress after chanting the Name of the

Sun deity in contrast to that of Pandurang is that the
former is spiritual practice of the absolute fire (tej)
element. One is not distressed by undertaking spiritual
practice of the absolute fire element and spiritual progress
occurs successfully only if spiritual practice of the absolute
earth (pruthvi) and absolute water (apa) elements is
completed before it.
 2. Worship of the sun and moon : Before reading the
section below chant Chandra (a Name of the Moon deity)
and Surya (a Name of the Sun deity) each for two minutes
and record your experience.

At a satsang seekers experienced the following after

chanting Surya and Chandra.
ing of Felt Felt Felt
Total
Name? pleasant distressed nothing

29 2 10 41

ra 4 4 33 41

The table above will illustrate that the moon is not a deity
worthy of worship. This is because the moon is the deity
which activates the mind whereas a seeker wants exactly
the opposite, the dissolution of the mind. For that, worship
of the sun proves beneficial.

3. Other types : The Samba Puran provides information on

spiritual practice of the sun. Akin to
the Shaiva and Vaishnav sects a sect of worshippers of
the sun had been founded. Later this sect adopted the
attitude of sorcerers (tantriks). The ritual
of sandhya performed in the morning and mystic prayers
(upasthan) are types of spiritual practice of the
sun. Suryanamaskar (the solar bent posture) is also
performed. When performing it, along with the posture
(asan) and pranayam (regulated breathing) one also
acquires the benefit of chanting the Names of the Sun
deity simultaneously. The Gayatri mantra is also a form of
worship of the Sun deity.
3.2 Agnidev (deity of fire)

A. Mission and special features

 Providing the path for dispersion of deities from the

absolute ether (akash) element to the site of the fire
sacrifice (yadnya).

 Every spiritual rite (sanskar) is performed in the

presence of fire. In the Indian scriptures of deities,
Agni is accorded status only next to Indra, the king of
deities. In the Rugveda, Agni is referred to as the
presiding deity of the home (gruhapati) and an
excellent guest. He is the liason between deities and
man. Since it is He who delivers the oblations offered
in the fire (havi) by man to deities in every spiritual rite
He is invoked on the altar (sthandil) first. The Name of
Agni used in every spiritual rite varies. After the ritual
of invoking Agni, oblations are offered to the principal
deities through it and then the respective spiritual rites
are performed.

 Presiding deity of the south-western direction

B. Science behind the idol: The idol has three eyes, four
teeth and four arms. It sports a beard and smoky grey
clothing and is red in complexion.

C. Family

 Consorts : Svaha and Svadha

‘Svaha : She is one of the consorts of Lord Agni. When

performing a sacrificial fire (hom), at the end of
a mantra an oblation is offered after
chanting svaha because it is believed that a sacrificial fire
bestows benefits only if svaha is uttered in this way. When
praying to Agni, Sage Grutsamad says, “O Agni deliver the
oblation offered through the fire amidst chanting of the
word svaha to deities” (Rugveda 2.3.11).

Svaha is the daughter of Daksha and Prasuti and the

consort of Agni. She acquired the ability to deliver food to
deities because of Her austerities. She gave birth to four
sons namely the three fires Pavak, Pavaman and Shuchi
and Svarochish Manu (Brahmavaivarta Puran 2.40).

The Devibhagvat narrates Her story as – Lord Vishnu

manifested in the form of a sacrificial fire so that deities
would get food. Brahmans began to offer oblations in that
sacrificial fire. However Agni would not deliver that part of
the oblation to the respective deity. Hence the deities
approached Lord Brahma once again. Then He meditated
upon the female deity (devi) and She manifested Herself
in the form of a woman. Lord Brahma named Her Svaha
and instructed Her to deliver oblations which were offered
in the fire amidst chanting of Her Name to the deities. She
accepted the task. Then Agni married Her and She bore
three sons, their names being Garhapatya (the fire
worshipped in the home), Dakshinagni (the fire placed in
the south) and Ahavaniya (the sacred fire lit for a specific
spiritual purpose). Since then Brahmans began to offer
oblations suffixing svaha to the mantra and deities began
to receive their share of oblations. When offering an
oblation the Name of the deity is chanted along with the
dative case. For example ‘Indraya svaha’ means ‘I offer
this oblation to Indra’. It is said that Svaha should be
worshipped with the mantra “Om rhim shrim, vahnijayayai
devyai Svaha’
(आ आआआआआ आआआआआ आआआआआआआआआआआ आआआआआआ आआ
आआआआ आ)”.’(2)

 Vehicle : A chariot drawn by four parrots

D. Spiritual practice: Hindus and Zoroastrians worship

Agni.
Agnihotri : He is the one who performs the ritual
of agnihotra, that is concentrates on Agni and keeps a fire
lit in his home throughout his life. He ritualistically
worships
the Garhapatya, Ahavaniya and Dakshinagni fires
everyday in the morning and evening.
Some agnihotris offer oblations to the Garhapatya fire in
the morning and evening and to
the Ahavaniya and Dakshinagni only during the day. The
sacred fire is offered oblations twice, at sunrise in the
morning and after sunset in the evening. In the morning,
an oblation is offered to the Sun deity and in the evening
to Agni. Agnihotris also give offerings to all living beings
and the seven great sages (saptarshis) along with the fire.
An agnihotri couple has to carry the fire with it even during
travel. An oblation offered to it consists of sacrificial
firewood (samidha), milk and water.

4.1 Apadevata (deity of absolute water)

4.1 Meaning

Absolute water (apa) is one of the five cosmic elements. It

is considered as a deity. Its visible forms are water, a river
or a fluid.
4.2 Mission

 Creation of animate and inanimate Nature

 Overcoming disease

 Cleansing and purifying others, washing away dirt

 It is invoked to liberate oneself from immoral acts,

demerits and curses.
4.3 Idols

Idols of this Vedic deity are not found anywhere.

4.4 Associated deity : Varun (deity of rain)

A. Origin and meaning: Sayanacharya has derived this

word Varun (आआआआ) from vru (आआ) meaning to
encompass or envelope. Varun is the one who entraps
sinners in bondage or envelopes them like darkness.

B. Other Names: Pracheta, Pashi, Yadsampati, Appati

(master of water).

C. Mission and special features

 Control over reservoirs of water

 ‘Not only is the Vedic word asur (आआआआ) meaning

demon far more ancient than
the Sanskrut word sur (आआआ), but is also the root
word. Asur is derived from two words asu (आआआ)
and r (आ). R means the one who has mastery over
something. He is thus the one who possesses asu, the
element of supernatural power which is fluid in nature.
Deities, man, animals and all other objects in the
universe possess this emotion (rasa) of supernatural
power and on account of it all of them are able to
sustain themselves and carry out activities. This
energy of emotion of supernatural power itself is the
Great Illusion (Maya) of Varun. This illusion is the
 energy possessing the qualities of planning, liberating
(nirvan) and creating.’(3)

 According to the Purans Varun is the presiding deity of

the western direction and of the region of serpents
(naglok).

 Ability and manifest energy

Ability : Creation 50%, sustenance 40% and
dissolution 10%
Manifest energy : 10%

D. Science behind the idol : He is depicted as big bellied,

has four arms and is seated on a chariot drawn by seven
swans. He holds a lotus and a noose in the two right
hands and a conch and a casket filled with gems in the
left. His consort, Gouri is seated on His left lap
and Ganga and Yamuna, the two rivers are depicted
standing on His either side (Vishnudharmottar Puran).

E. Family

 Consorts : Varuni, Jyeshtha and Shitatoya

 Son : Maharshi Bhrugu. Bhrugu acquired knowledge

about the principle because of which spirits survive
and into which they merge, from His father. At that
time though actually it was nightfall, it appeared like
twilight. Hence Varun is considered as the deity of the
night or the deity of the apan vital energy.
F. Ritualistic worship : ‘During ritualistic worship of any
deity, Varun is invoked onto a pot (kalash). It is customary
to invoke Varun after installation of a pot and to worship
Him at the beginning of various spiritual rites such
as Punyahavachan and several other rituals performed to
avert evil or to acquire good fortune.’(4)

5. Pruthvidevata (deity of absolute earth)

5.1 Origin and meaning

‘Prath (आआआआआ) meaning pervasive is the root from which

the word pruthvi (आआआआआआ) has been derived.
“आआआआआआ आआआआआआआआ आआआआ आआआ” meaning “that
which is pervasive is the pruthvi” is how the absolute earth
has been defined.’(5) Pruth (आआआआ) means particles. Thus
the earth, pruthvi (आआआआआआ) is the one which is
composed of several particles. Absolute earth is one of the
five cosmic elements and is considered a deity.
5.2 Some other Names

Bhu, Bhuma, Bhumi, Vishvambhara, Dharitri, Kshiti,

Vasudha, Mahi, etc. are some of its Names. Bhuma is the
one who expands and nurtures. Since this phenomenon
occurs on the earth she is called Bhuma.
5.3 Special features

A. Qualities: Tolerance and forgiveness. The earth

endures the cruel acts of evildoers, pardons them and
even nurtures them. In the context of evildoers it is said,
‘आआ आआआआआआआआआआ आआआआआआआआआआआ आआआआआआआआ
आआआ आआआआआआआआआआआआ आ’ meaning animals in human
form (unrighteous people) on the earth (mrutyulok)
become a burden to it.

B. Fragrance: This is a feature of the earth.

5.4 Ability and manifest energy

Ability : Creation 10%, sustenance 20% and dissolution

70%
Manifest energy : 10%
5.5 Idols

One does not come across idols of this deity.

5.6 Spiritual practice

A. The earth is worshipped in the form of snake holes.

This form of the earth is referred to as Santeri. The form of
the earth as Bhumaka is ritualistically worshipped by
performing ritualistic worship of the kitchen platform.

B. Although we consider the earth as a deity we touch Her

with our feet, walk over Her, dirty Her, etc. Hence every
morning after waking up, before placing the feet on the
ground the following prayer is recited.
‘आआआआआआआआआआ आआआआ आआआआआआआआआआआआआआआ आ
आआआआआआआआआआआ आआआआआआआआआआ आआआआआआआआआआ
आआआआआआआ आआ आ
Meaning : I offer obeisance to You O deity of the earth,
the consort of Lord Vishnu who is donned with clothes in
the form of the sea and has breasts in the form of
mountains. Forgive me for touching You with my feet.’(6)

C. Lord Vishnu is the sustainer. The earth too performs

the same function. Hence She is considered as Vishnu’s
consort. At times Shridevi (Lakshmi) and Bhudevi (deity of
the earth) are depicted on either side of the idol of Lord
Vishnu.
5.7 Forms

The earth becomes a mother only after becoming ‘moist’.

Hence in the verse (stotra) Shrisukta with reference to
mud and moisture it is said “because of you She bore
progeny and became a mother”. The lotus is associated
with both muck and moisture.

 The menstruating woman (ambuvachi) : Rajaha (आआ:)

means minute particles and rajasvala (आआआआआआआ)
means the woman undergoing menses. According to
the Krushiparashar (6th century A.D.) a farmer who
wishes to grow a crop is prohibited from sowing seeds
for three and a half days between the end of
the Hindu lunar month of Jyeshtha and the beginning
 of Ashadh because at that time the earth is
menstruating. If this rule is violated then it amounts to
a sin and that individual gets destroyed. Based on the
date (tithi) during the period between the end of
the Mruga and the beginning of the Ardra lunar
asterisms (nakshatras) for three days, the earth is in
Her menstrual cycle. This state is referred to as
‘ambuvachi’. According to the regional variation these
days vary.

1. In the Indian state of Assam the temple of the female

deity Kamakshi is kept closed for three days from the sixth
(shashthi) / seventh (saptami) day till the tenth (dashami) /
eleventh (ekadashi) day of the bright fortnight of
the Hindu lunar month of Ashadh. On the fourth day after
ritualistic worship the temple doors are opened. To signify
menstruation of the deity, on that day, devotees are given
a piece of red cloth as offering (prasad). The ‘Sat’ [seventh
day (saptami)] festival is celebrated here.

2. In Kashmir the festival of radnyisnapan, bathing of the

earth, the consort of the Sun deity after Her menstruation,
is celebrated from the fifth (panchami) to the eighth
(ashtami) day of the dark fortnight of the Hindu lunar
month of Chaitra.

3. In Keral in India the rituals

of Tripukharattu and Ucharal are performed in the month
of January or February in which for three days the house,
courtyard and garden are neither swept nor watered or
smeared with cowdung.

4. In Orissa in India in the last few days of the Hindu lunar

month of Jyeshtha or the first one or two days
of Ashadh the festival of rajotsav (menstruation) is
celebrated.
 The mother / nurturer: Obeying the directives of Sage
Jamadagni, Parshuram beheaded His mother,
Renuka. The head is worshipped as the female deity
Yallama and the body as Bhudevi, Lajjagouri, Lanjika,
Yogambika, Nitambini, Kotavi (kot means nude),
Chinnamasta, etc. Lanjika refers to the great birth
passage (mahayoni) of the entire universe. Only the
body represents creation and the organs of
sustenance. The female deity is primarily the deity of
Nature and its nurturer too. That is why She is
worshipped in the form of the birth passage which
represents creation and the breasts which represent
nurture.

 Nirruti : ‘आआआआआआ: आआ: आआआआआआआ’ means Nirruti is

the one in whom the path to know the ultimate truth is
deficient. She is the deity of death. She exists in the
form of a pot (kumbha). Formerly a dead child used to
be buried in a pot. A pot resembles an uterus. It
suggests that birth occurs through the womb and that
after death once again one has to return to the womb.
5.8 Spiritual experience

‘Baba (H.H. Bhaktaraj Maharaj): Spiritually the moon too is

considered a great deity. The moon is the deity of the
mind and imparts tremendous amount of Serenity (Shanti).
Your trip to the moon must have had a great impact on
your mind.

Edgar Mitchell: Of course the moon makes the mind

tranquil. But in this journey to the moon the most
fascinating experience that I had was the vision of the
earth from the moon.

Baba: What effect did that have on you?

Edgar Mitchell: I think I can describe that vision as “a

glimpse of an experience of the soul, an experience of
non-duality between the soul and the universe”. I
experienced that for approximately three hours.’(7)

6. Guardian deities of the directions (dikpal)

6.1 Origin and meaning

The word dikpal (आआआआआआआ) has been derived from two

words dik (आआआआ ) meaning direction and pal (आआआ)
meaning sustainer and protector. Dikpal is thus the deity
who guards and protects the directions. Origin and
meaning of the word disha (आआआआ) is given below.
  Dish danayati (आआआआ आआआआआआ) – the medium
through which one gets what one desires.

 Da dan (आ आआआ) – that which endows

 Di druk (आआ आआआआ) – the medium through which one

can view.

To understand what one gets from a direction let us see

what it generally consists of.

 Sattva frequencies come from the main directions –

north, south, east and west and consist of pure
particles (pavitraks).

 Raja frequencies come from the north-east, north-

west, south-east and south-west sub-directions.

 Tama frequencies are emitted by the downward

direction arising from the centre of the earth.

Things associated with frequencies are obtained from the

respective directions.
6.2 Other Names

Dishasvami and Lokpal

6.3 Directions and their guardian deities
 The table given below gives information on the eight main
directions and their guardian deities (dikpal). According to
some schools of thought the downward and upward
directions are also included in the directions taking their
number to ten. They have their own guardian deities. At
times the eight directions are spoken of in the context of
the eightfold Prakruti and pure particles arising from the
eight directions.
Guardian
What does
deity of
ion Complexion Arms the hand Vehicle
the
adorn?
directions

irections

Indra Yellow Two A vajra and Airavat (the

breasts divine white

elephant)

t Varun White Two A noose of Crocodile

serpents and

a conch

h Yama Black Two A staff and Male

a spear buffalo

h Kuber Yellow Two A goad and Man

a mace

ediate directions
h-east Agni Crimson Two A wooden Billy goat

eya) spoon

(srucha)*

and a water

pot

(kamandalu)

h-west Nirruti** Blue Two A sword Corpse

rrutya) and a staff

h-west Vayu – – – Deer

avya)

h-east Ishan – Two –

A skull and
anya)
a trident

* It is used in a sacrificial fire (yadnya).

** Refer ‘Nirruti’
6.4 Mission and special features

Though sattva frequencies are emitted by all the eight

directions, their proportion varies. Stand facing each of the
four walls of a room, not knowing the directions for one
minute each. Record your experience and then read the
following paragraph.

There were 34 seekers at a satsang (spiritual meeting).

When they performed this experiment the following
spiritual experiences were recorded.
hat? East West South North

sant 15 11 3 24

ressed 8 6 10 2

hing 11 17 21 8

34 34 34 34

This will explain why a seeker should not face southwards

during spiritual practice. Due to frequencies coming from
the southern direction the master of which is Yamaraj
(deity of death), distress is experienced and spiritual
progress does not occur smoothly. Contrary to this, since
facing the east or north makes one feel pleasant, spiritual
progress also occurs smoothly.

If an individual finds all directions distressing then most

probably he is a psychiatric patient and if he finds all of
them pleasant then his spiritual level is more than 60%.
(The spiritual level of an average individual is 20%.)

Mission and special features of guardian deities of various

directions are given below.

 East: Light, heat, life, happiness and prosperity

 West : Darkness, cold, death and destruction

 South : The direction of Lord Yama and

inauspiciousness
  North : Spirituality and attainment of heaven
(svargalok) after death
6.5 Science behind the idol

Eight guardian deities of the directions have been

described in the Purans and Tantra texts. They do not
have temples of their own.

7. Grahadevata (deities of planets)

Origin : ‘आआआआआआआआ आआआआआआआआआआआ आआआ’ or

‘आआआआआआआआ आआआआआआआआआआआ आआआआआआ आआआ’
means planets (graha) are those which adopt specific
velocities or afflict embodied souls with the motive of
endowing them with auspicious or inauspicious
results. Surya (Sun), Chandra (Moon), Mangal (Mars), Bu
dh (Mercury), Guru (Jupiter), Shukra (Venus), Shani (Satu
rn), Rahu (the dragon’s head) and Ketu (the dragon’s tail)
are the nine main planets. Although according to the
physical sciences the sun is a star, in astrology from the
point of view of bestowing results, it is considered as a
planet. The moon is a satellite of the
earth. Rahu and Ketu are not separate planets, but the
points of intersection of the orbits of the earth and the
moon. After the three planets Uranus, Neptune and Pluto
were discovered they were named Prajapati, Varun and
Indra respectively and their auspicious and inauspicious
results were also described.
 Information on planets
Merc- Dragon- Dragon
Sun Moon Mars Jupiter Venus Saturn
ury ’s head ’s tail

s Aditi- Atri Bhumi- Chandra Angiras Bhrugu Surya Sinhika In

Kash- Bhara- Jaimini

yap dvaj family

Kaling Chur- Avanti Magadh Sindhu Soura- Paithan Kush-

Bhoj-
ning of shtra dvip
kat
the

celest-

ial

ocean

r Masc- Femi- Masc- Neuter Masc- Neuter Feminine Neuter

Femi-
uline nine uline uline
nine

Red White Red Green Yellow White Black Smoky Smoky

Kusu- White Crim- Blue Yellow Multi- Black Blue Black

mbi son colou-

red

Ksha- Vais- Ksha- Vaishya Brah- Brah- Lower Shudra Shudra

triya hya triya man man class

of

mahar,
 etc.

Fire Water Fire Earth Ether Water Air – –

Sattva Sattva Tama Raja Sattva Raja Tama Tama Tama

Pung- Salty Bitter Mixed Sweet Sour Insipid – –

ent

Copp- Gems Gold Alloy Silver Pearl Iron Lead Bronze

er

Day Day Night Day – Day Night – –

and and

night night

6 mo- Sec- Day Season Month Fort- Year – –

nths ond night

(pak-

sha)

East South North North- South- West South- –

North
east west east
-west

Agni Jal Skan- Keshav Indra Indrani Brah- – –

da ma

Ekac- Mace Divine Sword, Staff Staff Bow, – –

 hakra Energy shield arrow

(discus (Shakti) and and

) , mace mace plough

and

plough

Bones Blood Nerves Skin Fat Semen Musc- – –

les

Auspi- Ausp- Inausp- Auspi- Auspi- Auspi- Inaus- Inausp- Inausp-

cious icious icious cious cious cious picious icious icious

Ruby Pearl Coral Emerald Topaz Diam- Sapp- Gomed Lasany

ond hire

Seven Eleven Ten Four Ninteen Sixt- Twent- Eighteen Seven-

thous- thou- thou- thou- thou- een y three thousand teen

and sand sand sand sand thou- thou- thou-

sand sand sand

– Perfo- chanting Perfo- Perfo- Chanting Chantin

Perfo- Readi-
rming mantras rming rming mantras mantras
rming ng the
 the of the the the and and
the verse
ritual planet ritual ritual giving giving
ritual Shani-
- of on of of donatio- donatio
of mahat-
Graha- Monday Graha- Graha- ns to a ns to a
Graha- mya on

shanti, shanti, and shanti, shanti, Satur- manga manga

Vishn- Vishn- Wed- periodic perio- day & (indivi-

usaha- usaha- nesday readings dic re- ritualis- dual of

sranam sranam of the adings tic wo- a low

& & Guru- of the rship commu-

chant- chant- charitra Guru- acco- nity)
ing mpan-
ing and chari-
mantr- ied by
mantr- chanting tra &
as of the
as of mantras chant-
the ritual
the of the ing
planet of spr-
planet planet mantr-
kling
as of
with
the
oil,
planet chant-

ing

mantr-

as of

the

planet

Spiritual practice: Temples of the nine planets are found in

Bangal, Orissa and other places in India.
What is the Science behind
offering the sacred thread (janave)
to deities?

Offering the sacred thread to deities means binding the expanse of the
brilliance of deities in the rounds of the sacred thread and evoking It to
function in duality. As the janave is made of thread and is enriched
with mantra-energy, the frequencies of sound emitted by it activate the
attribute less principle of God from the universe. This then functions for the
embodied soul (worshipper) as per its spiritual emotion towards God
through the medium of the ‘with attributes’ frequencies. The sacred thread
represents the silvery link between God, that is, non duality and the
embodied soul, that is, duality. Offering the sacred thread in ritualistic
worship is an important process of interaction of duality-non duality.
Wearing this sacred thread after the ritualistic worship endows the wearer
 with the sattva predominant divine consciousness of the deity.’ – Pujya
(Mrs.) Anjali Gadgil

How to arrange the components

of the ritualistic platter?

Before actually commencing the ritualistic worship it is important to arrange

the tools and other components of the ritualistic worship. From the
viewpoint of the Science of Spirituality it is appropriate to arrange them
based on the level of the five cosmic elements. This is because such
arrangement balances and coordinates the five cosmic elements that are
active in the universe. This helps the embodied soul (worshipper) to derive
maximum benefit of the ‘with attributes’(sagun) and
attributeless (nirgun) frequencies emitted by the deity. Such arrangement
indicates the sojourn of the embodied soul from the Great
Illusion (Maya) to Brahma associated with the absolute earth to the
absolute ether elements. An important component at the first level is the
ritualistic platter. The arrangement of the components of the ritualistic
platter is explained further.

1. ‘In the ritualistic platter turmeric and vermilion is to be placed to the right of
the embodied soul and bukka, gulal and shendurto the left.
2. The perfume bottle, fragrant paste (usually sandalwood paste),
flowers, durva and leaves (patri) are to be placed at the forefront in the
platter. The subtle frequencies of the deities are activated by the fragrance
particles in the perfume, sandalwood paste, flowers and also by the colour
particles in the durva and leaves.
3. The betel leaves, betel nut and the money to be offered in the ritual of
offering money (dakshina) are to be placed at the lower end of the platter
 because they are an effective medium of transmission of frequencies of the
deities.
4. In the center, the all encompassing unbroken rice grains are to be placed.
As the unbroken rice grains become the central portion of the platter, the
frequencies of the five superior deities namely, Shri Shiva, Shri Durga, Shri
Shriram, Shri Shrikrushna and Shri Ganapati are attracted to them. They
are then transmitted as per the requirement to the other components, e.g.
vermilion, turmeric, etc. placed around them in a circular manner.’

5. Seven sacred rivers of India

– What is the spiritual
significance ?

6.
7. The seven sacred rivers referred to here are, the Ganga, Yamuna,
Godavari, Saraswati, Narmada, Sindhu and Kaveri. Water collected
from these seven sacred rivers is put in the ritualistic pot, which is
used during ritualistic worship. ‘Water from the seven sacred rivers
has the ability to attract and transmit the frequencies of seven
superior deities. (Lord Shiva, Lord Shrirama, Lord Shrikrushna,
Lord Maruti, Lord Ganapati, Lord Datta and Goddess Durga). India is
known as the most sattva predominant place on the face of earth
because all these seven sacred rivers flow only through it.
Many yogis have undertaken penance on the banks of these rivers so
as to acquire the principles of the seven superior deities in the
universe. This water from the ritualistic pot is used for the
consecration of the idol of the deity by sprinkling on it (abhishek). The
subtle sound frequencies from the ritualistic pot absorb the
frequencies of the seven superior deities in the water and effectively
transmit them into the atmosphere. Since these subtle sound
frequencies have a higher speed and expanse, the effectiveness of
the frequencies of the seven deities transmitted into the atmosphere
through the water of the seven rivers remains in the environment for
longer periods. Since these frequencies are transmitted with the help
of the particles of the absolute water element in the water and the
particles of the absolute ether element from the sound frequencies in
the ritualistic pot, this water can be used as holy water (tirtha). If
consumed with spiritual emotion and devotion, then due to the divine
frequencies in this holy water the dormant five vital energies
surrounding the navel in the body of the devotee are activated. With
the help of these vital energies these divine frequencies spread all
over the body of the devotee. As a result purification of the vital
energy body and its sheath of the embodied soul (worshipper) occurs
and the devotee derives sattva predominant happiness and
enthusiasm from it.
 The le
Name of the Ability to attract and transmit principle of Sensation on contact with frequencies
attrib
river the deity in water
princi

1. Ganga Lord Shiva Cold Attribu

2. Godavari Lord Shriram Cool Attribu

Attribu
3. Yamuna LordShrikrushna Cool-hot
(in equ

‘With
4. Sindhu Lord Hanuman Hot-cool
(in equ

‘With

5. Saraswati Lord Ganapati Luke warm (more

Kaveri

6. Kaveri Lord Datta Hot ‘With

7. Narmada Goddess Durga Very hot ‘With

8.
9. Note 1 : The rivers have been arranged in the order of the level of the
principle of the associated frequencies.
10. The differences between ‘with attributes’-attributeless (in equal
proportion) and attributeless-‘with attributes’ (in equal proportion) is
explained in the table below.

‘With attributes’- attributeless Attributeless-‘with

(in equal proportions) (in equal proportio

1. The principle that manifests ‘With attributes’. The ‘with attributes’ ‘With attributes’ wit

when becoming functional appears with the help of the attributeless attributeless, a small

Functioning by the ‘with attributes’ with the Functioning by the ‘

2. Functioning
help of the attributeless attributeless with the

3. Level of the frequencies Subtle Subtler

4. Spiritual experiences Energy Bliss

5. Potential and expanse of the
Less More
frequencies

6. Speed of the frequencies High Low

Towards conversion into more ‘with

7. Attraction of frequencies To go towards the at
attributes’

11. (Divine knowledge received through the medium of Mrs. Anjali

Gadgil, 21.11.2004, 7.01 p.m.)
12. Presently water from the seven rivers is not easy to procure. If it
is unavailable for putting in the ritualistic pot, then one may use
ordinary water. When filling the ritualistic pot with ordinary water
the mantra ‘Gange cha Yamunechaiva’ is recited to invoke the seven
rivers.

Importance of lighting the lamp in functions

July 13, 2014Social actsSocial acts
Hindu Dharma gives a lot of importance to a lamp. We would have come across many
occasions where a ceremonious lamp has been lit. Even an average individual would
feel a divine presence after lightening the lamp. Let us understand through this article
how lighting of lamp purifies the environment as well as invites Divine waves to the
premises.

1. Implied meaning of lighting a ceremonious lamp

A. Lighting a lamp amounts to awakening the atmajyoti (Glow of the soul) within oneself.

B. The serene aura around the lamp represents the atmaprakash (Light of the soul),
while the Raja-predominant light of the lamp represents the atmatej (Radiance of the
soul). Atmatej is symbolic of the activated sagun (Materialised)-shakti (Energy) of God,
whereas atmaprakash symbolizes the functional Sankalp-shakti (Energy of resolve) of
God behind the Tej (Absolute Fire Principle).

2. Importance of lighting a ceremonious lamp

A. Activation of the Sankalp-shakti of God

When any function is commenced by lighting of a lamp, with the help of atmajyoti, the
respective Deity Principle is invoked from the Universe and a prayer is offered for the
waves of the Deity to be present at the venue. This activates God’s Sankalp-shakti and
the task is accomplished.

B. Creation of a protective sheath around the venue

Due to the movement of the Raja particles emitted by the flame of the lamp, the nirgun
(Non-materialised) kriya-lahari (Waves of action) of God from the Universe get
converted into Sagun Raja-predominant kriya-lahari and the strength of Kriya-shakti of
God helps in the formation of a protective sheath of these kriya-lahari around the venue.

Thus, by lighting a lamp, in a way we purify the premises. Due to the circular radiant
waves emanating from this protective sheath and having motion, superior level (more
powerful) negative energies cannot enter the venue. Thus, the desired task is
accomplished with Divine blessings and without any obstruction.

C. Protective covering (Subtle-effects) created while

performing the ritual of lighting a lamp

A Spiritual Perspective

Thus, by lighting a lamp, in a way we purify the premises. Due to the circular radiant
waves emanating from this protective sheath and having motion, superior level (more
powerful) negative energies cannot enter the venue. Thus, the desired task is
accomplished with Divine blessings and without any obstruction.

3. Spiritual science underlying lighting a

ceremonious
lamp and breaking a coconut when inaugurating a
programme on the stage
 A. Breaking a coconut

Breaking a coconut during inaugration

Before erecting a stage, when performing Bhumipujan (Worship of the earth), a coconut
is broken to purify the area and to destroy the distressing vibrations. Where the stage is
already set, a stone is placed in front of the stage, prayers are offered unto the
Sthandevata (Deity of the place), followed by breaking of a coconut. When any
programme is being arranged on the stage, purification of the premises is mandatory,
else, negative energies can create obstacles in the programme, such as delay in
commencement of the programme, a feeling of restlessness in the hall etc. When the
Sthandevata is invoked with a prayer, His waves disperse in all directions through the
medium of water in the coconut. This makes it possible to obstruct the speed of
distressing vibrations arriving at the venue. Thus, the programme is completed without
any obstacles. – A Scholar (Through the medium of Mrs Anjali Gadgil, 20.1.2005)

Click on the below Subtle Drawing / Picture for a larger

view !
Inaugration by breaking coconut.

1. Positive vibrations: 4%’ – H.H. Dr Athavale

2. ‘Proportion of vibrations: Chaitanya (Divine consciousness) – 1%, Shakti – 3% and

disintegration of distressing energy – 2%

3. Other points
A. Coconut has more capacity to attract all the three components namely Sattva , Raja
and Tama . Therefore, it is used for puja (Ritualistic worship) as well as for removal of
drushta (Casting off the evil-eye).

B. Purification of environment due to the vibrations of Chaitanya and Shakti emitted by

the broken coconut and also the disintegration of negative vibrations in the premises
attracted due to its capacity to attract all the components: While inaugurating, a coconut
is hit on a stone and broken. At that time, the vibrations of Chaitanya and Shakti present
in the coconut rapidly disperse into the environment and the environment is purified. At
the same time, the negative vibrations present in the premises too get attracted to the
coconut due to its power of attraction and they are disintegrated through its medium.

C. The sound created while breaking the coconut drives away the negative energies in
the premises.

D. If an individual performs the action of breaking the coconut with bhav (spiritual
emotion), he receives vibrations of Shakti.

E. Breaking a coconut during inauguration of a premise accomplishes both the actions,

that is, emission of Sattva-predominant vibrations and disintegration of black energy.
Similarly, a protective sheath is formed around the premises and Divine Principles are
attracted to it.

– Ms Priyanka Lotlikar, Sanatan Sanstha (22.7.2010)

B. Lighting a ceremonious lamp

The stage is also called ‘the seat of knowledge’. Through the speaker on the stage, it is
the God Principle that actually performs the service of imparting knowledge. The lit lamp
symbolizes the atmajyoti, which is eternally knowledge bestowing. This flame burns
perpetually to enlighten all individuals with the knowledge of Brahman (God in His
aspect as the Creator of the universe), to ferry them across Maya (The Great Illusion).
Lighting the lamp is in a way, an invocation of the waves of knowledge that are
activated on stage. It also means keeping the waves of knowledge, generated on the
knowledge imparting stage constantly active, through the medium of the flame of the
lamp.

C. Lighting of the ceremonious lamp after breaking a

coconut

Breaking of a coconut creates an obstruction in the movement of negative energies, and

lighting of the ceremonious lamp signifies welcoming the Divine waves active on the
Dnyanpeeth (Seat of knowledge) and appeasing them. Hence, first, the Sthandevata is
invoked by breaking a coconut with a prayer to keep the negative energies in the
premises under His control. Then, the ceremonious lamp is lit so that the waves emitted
by the lamp restrict the movement of more powerful negative energies, and the mission
of imparting of knowledge from the stage is accomplished.

D. After lighting the ceremonious lamp, breaking the

coconut is not necessary

Divine waves emitted by a coconut are predominantly associated with the Pruthvi
(Absolute Earth) and Apa (Absolute Water) tattvas (Principles). On the other hand,
those emitted by a lit lamp are predominantly associated with the Tej-tattva. Thus, the
coconut has the ability to repel less powerful negative energies (related to the Pruthvi
and Apa tattvas), and the lit lamp has the ability to repel the more powerful negative
energies (related to the Tej-tattva). Obviously, a coconut need not be broken after
lighting a lamp on the stage.

WHY DO WE LIGHT A LAMP?

Content
o Introduction
o Etymology of lamp
o Importance of lamp
o Lighting lamp as one of the sixteen steps of worship
o Types of lighted lamps
o Donation of Lamp
o Types of lamps used for various deities
o Ethic related to lamp
o How Flame of lamp should be
o Various types of lamps
o Deepamala and Deepavruksha
o Why we light lamp
Introduction
In almost every Indian home a lamp is lit daily before the altar of the Lord. In some houses it is lit at
dawn, in some, twice a day - at dawn and dusk and in a few it is maintained continuously. All
auspicious functions and moments like daily worship, rituals and festivals and even many social
occasions like inaugurations are performed with the lighting of the lamp, which is often maintained
right through the occasion.
Etymology of lamp
Lamp is known as Deepa in Sanskrit. The basic form of the word is √Deep which means to shine.
Etymology of the word Deepa can be given as गगगगगगग गगगगगग गग गगगग गगग गगगग, the
one which is light and enlightens others is known as Deepa.
Importance of lamp
Lamp is the form of fire and luster. It is the symbol of man’s discovery of fire. Initially fire was
maintained in the fire place which helped primitive man in various ways. With the help of fire man
could conquer all other animals. The lamp is the smaller version of the fireplace.
As fire helped man in various ways during his development, it obtained importance in his life. Lamp,
being a minor version of fire, also has importance because ‘it is a source of light’. Hence it also
acquired religious importance. It is considered as the form of fire and sun.
गगग गगगगगगगगगगगगगगगगगगग गगगगगग गगग गगगगगगग ग
गगगगग गगगगगगगग गगगगग गगगगगगगगगगगग गग ग
Deepa suryagnirupastvam tejasam teja uttamam gruhana matkrutam
pujam sarvakamaprado bhava
O lamp you are the form of Sun and fire. You are the best among luster. You accept my
worship and fulfill all my wishes.
In Kalika Purana the importance of lamp is narrated by Shiva to Parvati as,
गगगगग गगगगगग गगगग गगगगगगगगगगगग गगगगगग ग
गगगगगगगगगगगगगग गगगगगगगगगगगगगगगग
गगगगग गगगगगग ग
 Deepena lokan jayati dipastejomaya smrutah chaturvargaprado
deepastasmaddeepam yajet priye
Due to lamp we can obtain victory over people. Lamp is lustrous. It is the giver of Darma, artha,
kama and moksha. Hence O dear, lamp should be lighted.
In Skanda purana, to light a lamp or to donate one at temple or an auspicious place is mentioned as
a virtuous act.
Lighting lamp as one of the sixteen steps of worship
Due to religious importance ‘lighting lamp’ is included among the sixteen steps of worship. During
worship lamp should be lighted in front of deity. Daily lamp should be lighted in front of house deity
and tulasi plant in the courtyard by reciting following verses,
गगगगगगगगगग गगग गगगगगग गगगगगगगगगगगगगगगगगग ग
गगगग गगगग गगगगगग गगगगगगगगगग गगगगगगगग
गग ग
Deepajyotih param brahma deepajyotirjanardana deepo haratu
papani sandhyadipa namostu te
O evening lamp, you are the supreme soul and you are the lord Vishnu. Let your light
remove our sins.
गगगग गगगगग
गगगगगगग गगगगगगग गगगगगगगग ग
गगगगगगगगगगगगगगगगगगगग
गगगगगगगगगगगगगगगगगग गग ग
Shubham karoti kalyanam aarogyam dhanasampada
shatrubuddhirvinashaya dipajyotirnamostu te
O the flame of lamp, I salute you, for the wellbeing, health, prosperity and also for the
removal of evil thoughts.
Types of lighted lamps
During the worship of deities or any auspicious work a lamp is lit. This lamp is called as Sthapitadipa
which means the witness lamp for that work.
During some worships, lamps are made of dough of flour is used. The flour which is used for making
lamps is either rice, wheat or Bajra. Such lamps are known as Pisthadipa. Pishthadipas are used
during some vows Divyachya Amavastya, Magalagouri and in a ritual namely airanidana in marriage
in Maharashtra.
In India a lamp is waved around a person known as Aukshana. It is mainly for increasing life span of
that person. This act is performed by lighting lamps an auspicious act.
Kalidasa mentions about the lamp called Vajiniranjana in Raghuvansh, one of the poems. It is a
lamp used for making aarati or aoukshana of horses before starting for wars. (4.25)
Donation of Lamp
Due to religious importance ‘donation of lamp’ is considered as virtuous act. It is said that in the
month of Kartika one who lights the lamp in front of Vishnu obtains punya and his ancestors
becomes free from worldly life.
One should donate lamp on Narakachaturdashi to avoid the pain of hell. It is celebrated on the 14th
day of the second half of the Ashwin month. This was the day on which the demon Narakasura was
killed by Krishna. Before death Narakasura asked for a boon stating that from that day onwards on
the day of Naraka chaturdashi those who have a spiritual bath before sunrise will not undergo the
suffering of hell. Hence it is advised to take a spiritual bath before sunrise on this day and also
donate a lamp on this day.
Donation of lamp also symbolizes bestowing knowledge to others.
Types of lamps used for various deities
There is a custom among Indians to light a lamp in front of the deity and pray for knowledge and
prosperity. It is said that daily morning and evening lamp should be lit in the home sanctum. The one
who lights lamp in the evening goddess Lakshmi bestows wealth on him.
Continuous lighted lamp in front of deities is known as Akhanda Deepa. Continuous lighted lamp in
the Shiva temple is known as Nandadeepa. At all the Vishnu and his incarnations temples
Kakadarati is performed. Kakadarati is the aarati performed at early morning. People offer lighted
lamp in Drona in the Ganga River.
Ethic related to lamp
Lamp has very high religious importance. Hence one should not misbehave with it. It is said in
Mahabharata, the person who steals the lamp which is kept in front of god, becomes blind or a
person who put off the lamp gets squint in his eyes. One should not make a lighted lamp fall down.
Lamp should not be placed on the ground. It should be placed on some base, because earth cannot
bear the heat of the lamp.
How Flame of lamp should be
Core of the lamp is the flame of the lamp. Hence there are certain criteria for identifying good flame
of lamp. The flame of a lamp should be continuous, oily and it should be of red cum orange cum
yellow in colour. How a flame of lamp should not be is given in flowing verse,
गगगगगगगगगगगगगगगगगगगगग गगगगगग गगगगगगगगगगगगगगग गगगगग ग
गगगगगगगगगग गगगगगगगग गगगगगगग
गगगगगगगगगगग ग ग
Rukshairlakshmivinashah syat shvetairnnakshayo bhavet atirakteshu
yuddhani mrutyuh krushnashikhasu cha.
The flame of lamp is dry then it is the symbol of poverty; if white then of scarcity of food; if
dark red then for war and if black then for death.
Various types of lamps
Initially sacrificial place was the abode of fire. Then the concept of abode of fire took a form of lamp
in minor scale. This technical evolution resulted in various types of lamps.
It is said that the lamp should be wooden or of iron, terracotta or coconut shell. Archaeological
excavations of various sites in India give evidence for stone and terracotta lamps. Then the lamp of
various metals evolved. Earlier metal lamps were the imitation of the terracotta lamps. Metal lamps
are more durable than other material. Hence it became so popular. Due to popularity so many
carvings and ornamentation were experimented on the metal lamps. There is mention of silver and
golden lamps in Mahabharata and Ramayana.
Initial shape of lamp was like Arghyapatra that is circular with pinched corner to place string. Such
type of lamp we get in terracotta as well as in metals. Then various shapes of lamps emerged
according to need like standing lamp, hanging lamp. These were highly ornamented as per the wish
of buyer.
Niranjana is small and short lamp which can be placed on the base and also very easy to handle.
Technically wick of the lamp can be placed straight in this lamp. Hence Niranjana produces less
soot. The less production of soot is suggested by the name of the lamp as Niranjana. Anjana in the
word means soot.
Samai is standing lamp. It can be placed on the base and little difficult to handle. Samai is a lamp in
which more than one wick can be lighted. Wicks can be lighted on the periphery of the lamp. Center
portion of the Samai is decorated with circular rod or animal or bird or lady. Wick can be placed
horizontally in the Samai.
Lamanadeepa is the lamp meant for the hanging. Technically it is similar to Samai.
Pancharati is the also the group of five lamp with handle. It is used for Aarati. It is very easy to
handle. Handle of the lamp is highly decorated with so many motifs such as snake, fish, woman, etc.
occasionally hundred or thousand wicks at a time can be lighted in the Aarti.
Deepalakshmi is very special lamp. Concept is every lamp has deity of itself. This deity is named as
Deepalakshmi. In such lamps deity is depicted either riding on the elephant or bird or lion and by
holding lamp in her hand.
Deepamala and Deepavruksha
Deepamala and Deepavruksha are very distinct and beautiful types of lamps. Both are composite
lamps in which so many lamps can be lighted at a time.
Deepamala is a stone or wood pillar which is made for keeping lamps. It is a type of sculpture which
is commonly seen in Maharashtra and some parts of South India. It normally exists in front of
temples. Height of pillar is usually 10 feet and it is circular, hexagonal or octagonal by cross section.
It is conical towards top. Small niches from bottom to top around the pillar are meant to place lamps.
Constructing Deepamala or lighting it is considered as auspicious and many people follow it as a
part of vow.
Deepavruksha literally means the tree of lamps. There will be one branch with sub-branches which
will have provision to keep lamps. There are Deepavruksha with hundred and thousand lamps in
many temples of South India
Lamp can be lit using any fuel. But lamp which is lit in front of deity should be lit using Oil and ghee.
The wicks which are used for lamps are of two types. Fulvata is the straight wick with round bud at
bellow. Fulvat should be used with ghee only in Niranjana. Another long straight string type wick is
commonly used in other lamps with oil.
Why we light lamp
Light symbolizes knowledge, and darkness, ignorance. The Lord is the ‘Knowledge Principle’
(chaitanya) who is the source, the enlivener and the illuminator of all knowledge. Hence light is
worshipped as the Lord Himself. Knowledge removes ignorance just as light removes darkness.
Famous saying from Upanishad- गगगग गग गगगगगगगगगगग Tamaso ma jyotirgamaya highlights
that going towards the lamp or a flame is going towards knowledge. As lamps remove the darkness
knowledge removes the darkness of ignorance.
The Importance of Lamp in Hindu Culture

by G. Venkatesh
In our Hindu culture, lighting a lamp denotes dispelling away darkness. The lamp
is, in most Indian languages, called as “Jyoti”. When we pray to Goddesses by
lighting a lamp, the belief is that we will be richly rewarded with tremendous
prosperity. Married women or girls of marriageable age are always advised to
light a lamp and pray for the welfare of their family, pray for marriage to a good
boy, pray for motherhood. In reality, it is said that Goddess Rajarajeshwari
resides in the lamp – she represents the combined form of Durga, Lakshmi and
Saraswathi.

Propitiating the Deepalakshmi (in the form of Rajarajeshwari) with vermillion,

flowers, and stotras every Friday can give you benefits that cannot be described
in words.

Look at this stanza from Lalitha Sahasranamam

“Om Suvasinyay namah

Om Suvasin archanapreethayay namah”.

The philosophy of the lamp is profound. We light away lamp to drive away
sadness and welcome happiness with open arms. You want to acquire knowledge
and drive away ignorance, so we pray to Deepalakshmi.

Bottom portion of the lamp: (lotus seat): Lord Brahma

The middle pipe of the lamp: Lord Venkateswara
The portion where oil/ghee is filled: Rudran
The portion where wick settles: Lord Maheswara
The end of the wick: Sadashiv
Ghee/Oil: Natham

Lamp, as mentioned earlier, represents Durga, Saraswathi and Lakshmi.

The 5 faces of a lamp denote the 5 qualities that a woman needs to have:

 Affection
 Intelligence
 Resoluteness
 Patience
 Caution

The portion where the oil is filled indicates the mind of the woman.
When you light a lamp, all the five qualities of the woman gets prominence.
So, when you light a lamp, you light your soul. It helps us in developing our
intellect.

Nowadays, you can see many people (including males) lighting lamps in temples
or donating oil to the temple or donating a lamp to the temple. Lighting a lamp in
the temple brightens your life. If we light a lamp in our homes every evening and
pray by reciting a few shlokas, it will make our lives shimmer like the lamp.

Guidelines:
1. When you show the lamp during aarthi, rotate the lamp in the form of
“OM” from the foot till the head at least thrice.

2. Ghee/Oil or a mixture of oil and ghee can be used to light the lamp.

3. Lamp is always a good omen – if someone gifts you a lamp, accept it whole-
heartedly. If the lamp flickers, it is an auspicious sign.

4. At the least, light a lamp in front of Devi Maa every Friday with till oil.

5. During the Karthik month, lighting lamps in the front of homes is

considered to be very powerful.

6. Always smear the lamp with vermillion and sandal powder.

7. Offer flowers to the lamp.

8. Pray to Lord Ganesha and then your family deity before lighting the lamp.

Significance of Lighting Lamp at temple

Why do we light lamp?

In almost every Indian home a lamp is lit daily before the alter of the Lord. In some houses it is lit

at dawn, in some twice a day - at dawn and dusk - and in a few it is maintained continuously

(Akhanda Deepam).All auspicious functions commences with the lighting of the lamp,which is
often maintained right through the occasion. Light symbolizes Knowledge, and darkness igno

rance.The Lord is the “Knowledge principle” who is the source, the enlivened (lively or spirited)

and the illuminator of all knowledge. Hence light is worshiped as the Lord himself. Knowledge

removes ignorance just as light removes darkness. Also knowledge is a lasting inner wealth by

which all our achievement can be accomplished. Hence we light lamp to bow down to knowl

edge as the greatest of all forms of wealth.

The oil or ghee in the Lamp symbolizes our visions or negative tendencies and the wick,the ego.

When we lit by spiritual knowledge, the visions get slowly exhausted and ego too finally perishes.

The flame of the Lamp always burns upwards,Similarly we should acquire such knowledge to

take us towards higher ideas.

Following points to be noted while lighting lamps:

The Lamp can be lit by Ghee or Oil.

Lighting with Cow’s Ghee destroys poverty, gives good Health, Peace and Bliss.

Sesame Oil / Gingelly Oil destroys evils, helps in elimination of difficulties.

Lighting with Castor Oil helps to acquire fame, name and happiness in the family.

Lighting with Neem Oil, Illupai Oil (Mahua tree) gives Wealth.

Panchadeepa Oil:

This is extremely suggestible to light Lamps to nullify all evil effects in home and keep peace by

eliminating evil eye, bad thoughts, Illness and poverty.

This Oil is the Combination of Coconut oil / Gingelly oil, Castor oil, Neem oil, Illupai oil (oil from
Mahua tree) and Cow's Ghee.

*We should not use Groundnut Oil for lighting lamp.

The Cotton Wick (thiri) is best as it would give Prosperity and all good fortune.

The Banana stem fibre Wick removes offences before God and ancestral curse.

The Lotus stem fibre Wick removes karma from previous birth.

The White Maddar plant of the bark Wick increases the wealth and dispels misfortunes
New Yellow Cotton cloth Wick obtains Grace of Devi’s blessings.

New Red Cotton cloth Wick removes any marriage and child bearing obstacles.

The Lamp lit towards the EAST removes Sorrow and Evil.

The Lamp lit towards the WEST removes Debt and Enemies.

The Lamp lit towards the NORTH achieves all over success as the most preferable

direction.

Never Light a Lamp towards SOUTH, being regarded as inauspicious.

Always use Two wicks for lighting Lamp.

Single wick gives general benefits and success.

Two wicks blesses with harmony and success.

Three wicks blesses with Progeny.

Four wicks will bring all round success and extravagant victuals.

Five wicks bless us with Akhanda Aishwaryam or Wealth in all aspects.

Six wicks bless us with Knowledge and Renunciation.

After lighting the lamp don’t rub the excess oil on you hair, (it will make you lose your wealth)

Never keep any lamp directly on the Kolam (Rangoli). Always keep it on a plate(can be brass,

silver or steel). If you like keep a few grain of raw rice below the Lamp. After head bath, one

should remove the head towel before even lighting the lamp.

Lemon Deepam (Lamp) should not be light at home at all, Only in temples. Those who Light

LEMON LAMP will excel in studies, un-married will find a good partner, married ladies will have

happy married life and their families will prosper, the childless couple will be blessed with child

and prosperous life.

Those who Light the ASH GOURD LAMP will be supportive for those who have sufferings and

Dhoshas.

Those who light COCONUT LAMP will be propitious for child birth and brings good Fortune and

wealth

Lighting a CLAY LAMP using black pepper tied in a small red cotton cloth like ball using

Gingelly oil will destroy afflictions resulting omissions and possible stays awake at night is freed

from great sins.

PRAYER WHILE LIGHTING THE LAMP

Shubham Karothi Kalayaannam - Aarogyam Dhana - Sampadhaa

Shathru - Buddhi - Vinaashaaya Deepa - Jyothr - Namosthuthe

Deepaaa - Jyothi: Para - Brahma: Dheepa - Jyothir - Janardhana

Dheepo Harathu me Paadam Dheepa - Jyoythir – Namosthuthe

I salute the one who is the Light of lamp that brings auspiciousness, prosperity, good health abundance of

wealth,and the destruction of the intellects enemy.

I salute Brahma: the sustainers of the creation, in the form of this light , I salute the lord may he destroy afflict

tions resulting from omissions.

Pra Dakshinam

Pra - the letter “Pra” removes all fears and worries

Da - the letter “Da” blesses with Moksha / Renunciation.

kshi - the letter “kshi” removes all kinds of diseases.

nam - the letter “nam” blesses with all round prosperity and wealth.

Pra Dhakshinam mens circumambulating the temple, as a part of worshipping. There are cer

tain rules for doing Pra Dhakshinam .

In shiva temples, one should not circumbulate in full circle inside the temple. it’s because of the

Gomukhi is never crossed.Gomukhi is the place where the water after anointing (Abhisheka

thirtam) would be flowing north wards out. The Pra Dhakshinam must be started the Dhwa

jastamba in clock wise direction. While observing this one must walk slowly chanting the Lords

name. DuringPra-Dhakshinam on must hold hands together, and our thoughts should be mainly

on God, thus we chant Ashotra or any short verses of the Deity

Certain rules may be applicable while doing number of Pra Dhakshinam for a deity.

ONE TIME for Sri Lord Ganapathy.

TWO TIMES for Sun God

THREE TIMES for Shiva

FOUR TIMES for Maha Vishnu

FIVE TIMES for Mother Goddess

SEVEN TIMES for “Aryal” (Peepul tree). Should be done in the morning.

*Doing PraDhakshinam TWENTY ONE TIMES to any deity is sanctified

*During Abhishekam and Alankaram Of the Deity one should not do Pra-Dhakshinam*

THE IMPORTANCE OF LIGHTING A LAMP IN HINDU FAMILIES:-

HARI SARVOTHAMA - VAYU JEEVOTHAMA
Light usually refers to visible light.The main source of light on earth is the sun
Light symbolizes knowledge and Isana is the origin of knowledge. Knowledge is the everlasting
wealth that is capable of removing ignorance just as the light removes darkness. An oil lamp is lit to
bow down to knowledge as the greatest of all forms. The oil or ghee in the lamp symbolizes our
vasanaas or vices and the cotton wick, the ego. When lit by spiritual knowledge, the vasanas get
slowly exhausted and the ego too perishes. The flame of a lamp always burns upwards and similarly
one should acquire such knowledge as to take us towards higher ideals.
Traditionally the lighting of the lamp is also a part of Bhutaaradhana (element worship).
Lighting a lamp for Agni
Placing water for Jala
Incense stick smoke for Vayu
Sandal paste, Bhasma, vermilion for Prithvi
Deep meditative prayer for Akasha.
It's a tradition to light a lamp first before starting any auspicious events or rituals. Light symbolizes
the absence of darkness, grief & unhappiness. Almighty's divine grace is spread all over the house
by lighting the lamps. God’s first and foremost appearance is in the form of Light which we call as
'Divya Jyotir' or "Divine Light".
Before starting our daily prayers, we light the Oil lamp by chanting a shloka:
Subham Karoti Kalyanam, Arogyam Dhana Sampadah, Shatru Buddhi Vinashaya
Deepa Jyotir Namostute.
‘ I salute the One who is the lamplight that brings auspiciousness; prosperity, good health,
abundance of wealth, and the destruction of the intellect’s enemy (6 enemies - Kama, krodha, lobha,
moha, mada and matsarya)’.
After lighting the lamp we chant the following shloka or prayer:
Deepajyothi Parabrahma, Deepajyothi Janardhana, Deepo me hara tu paapam, Deepa Jyothir
Namostute
I salute the Brahman, the sustainer of the creation, in the form of this light. I salute the Lord, may He
destroy afflictions resulting from my omissions and commissions.
Cotton Wicks and their significance:
Single wick (Eka Mukha Deepam) for normal benefit.
Two wicks (Dwimukha deepam) brings harmony and peace in the family and relatives.
Three wicks (Trimukha Deepam) Blesses with progeny.
Four wicks (Chathurmukha deepam) brings allround prosperity and Sumptuous food.
Five wicks (Panchamkukha deepam) showers akhanda aishwaryam or Wealth.
Six wicks (Shanmukha deepam) blesses with Akhanda Gyana (Knowledge) & Vairagyam
(Renunciation).
Directions for lighting lamps and their importance :
North - For success in all ventures undertaken. Most preferable direction to place and light a lamp.
East – For good health and peace of mind.
West – For freedom from debts and victory over enemies
South - Never light a lamp in the south direction. It is considered inauspicious.
In our Hindu culture, lighting a lamp denotes dispelling away darkness. The lamp is, in most Indian
languages, called as “Jyoti”. When we pray to Goddesses by lighting a lamp, the belief is that we will
be richly rewarded with tremendous prosperity. Married women or girls of marriageable age are
always advised to light a lamp and pray for the welfare of their family, pray for marriage to a good
boy, pray for motherhood. In reality, it is said that Goddess Rajarajeshwari resides in the lamp – she
represents the combined form of Durga, Lakshmi and Saraswathi.
Propitiating the Deepalakshmi (in the form of RajaRajeshwari) with vermillion, flowers, and stotras
every Friday can give you benefits that cannot be described in words.
Look at this stanza from Lalitha Sahasranamam
“Om Suvasinyay namah
Om Suvasin archanapreethayay namah”.
The philosophy of the lamp is profound. We light away lamp to drive away sadness and welcome
happiness with open arms. You want to acquire knowledge and drive away ignorance, so we pray to
Deepalakshmi.
Bottom portion of the lamp: (lotus seat): Lord Brahma
The middle pipe of the lamp: Lord Venkateswara
The portion where oil/ghee is filled: Rudran
The portion where wick settles: Lord Maheswara
The end of the wick: Sadashiv
Ghee/Oil: Natham
Lamp, as mentioned earlier, represents Durga, Saraswathi and Lakshmi.
The 5 faces of a lamp denote the 5 qualities that a woman needs to have: Affection- Intelligence-
Resoluteness-Patience-and Caution
GUIDELINES-
When you show the lamp during aarthi, rotate the lamp in the form of “OM” from the foot till the head
at least thrice.
Ghee/Oil or a mixture of oil and ghee can be used to light the lamp.
Lamp is always a good omen – if someone gifts you a lamp, accept it whole-heartedly. If the lamp
flickers, it is an auspicious sign.
At the least, light a lamp in front of Devi Maa every Friday with till oil.
During the Karthik month, lighting lamps in the front of homes is considered to be very powerful.
Always smear the lamp with vermillion and sandal powder.
Offer flowers to the lamp.
Pray to Lord Ganesha and then your family deity before lighting the lamp.
In almost every Indian home lamp / Villakku is lit daily before the Altar of the Lord. In some house it
is maintained continuously -KAMATCHI - AKHANDA -NANDHA -DEEPAM All auspicious function
commence with the lighting of the Villakku, which is often maintained throughout the function.
The lamp can be lit by Ghee or oil . Sesame oil / Gingely oil destroys all evils. lighting with castor oil
brings joy to the relatives. We should not use Groundnut Oil.
Neem oil, Ghee, Iluppai( A tree name..In English it is called as Mahua ) oil gives wealth. For Kula
Deivam - Ghee, Castoroil, Neemoil, Coconutoil, Iluppaioil. For Goddess Mahalakshmi--ghee. Lord
Ganesha--coconut oil. Lord Narayana--sesame oil
The Cotton wick (Thiri) is best as it would give Prosperity. And wick made out of New Yellow cloth
gives Devi's blessings.
The Lamp lit towards the east removes Sorrow and Evil , West removes Debt , Enemies.
Always use two wicks for lighting the Lamp.
After lighting the lamp dont rub the excess oil on your hair; (it will make you loose your wealth)
general beleif. Also rubbing in your own dress is also not good.So keep a piece of cloth in your pooja
room and rub the excess oil in it .
Never keep any lamp directly on the kolam. Always keep it on a plate (can be brass, silver not steel).
If you like keep a few grains of raw rice below the lamp - this is necessary only when you do vilakku
poojai etc & not necessary everyday.
As soon as you finish namaskarams, shlokas etc, it is customary to keep a dot of milk on either side
of the burning lamp after which you can put it off. After it burns for a minimum 30 mts, you can put it
off, there is nothing wrong.
After head bath, one should remove the head towel before even lighting the lamp .
Lemon (Elumichai) vilakku lighting should not be done at home at all. It is to be lit only in temples.
There is no harm in lighting the usual villakku at rahu kalam & chanting Durga shlokams, particularly
on tuesday & friday at home.
Why do we light lamp in front of Deities in the evening?
The transition period (sandhikāl) is the period of 48 minutes, that is, two ghatikās, before the sunrise
and after the sunset. The transition period is Raja-Tama predominant. Influence of negative energies
is more in this period. To get protection from these, Dharma has given importance to abiding by
Conducts (āchārpalan) in this period. Scriptures have described various Conducts (achars) to be
performed in the evening, so that there are good impressions (sanskārs) on man and he becomes
equipped with good achars, he is able to perform spiritual practice (sādhanā) in addition to getting
protection from the negative energies.
The light symbolizes knowledge, illuminating and “en-lighten-ing” us. The light emanating from the
ghee lamp removes darkness, ignorance and evil. The light or knowledge shows us the way out of
our problems, fears, tensions, and unhappiness. The light of a ghee lamp is believed to bring in
prosperity, as knowledge or wisdom is the greatest form of wealth. The wick is a symbol of energy
and light where alight emits brightness.
THANKS FOR THE SOURCES :-
1.http://www.wikipedia.org/
2.https://in.answers.yahoo.com
3. http://http://www.hindujagruti.org
4.www.boloji.com
5.www.indusladies.com
6.http://www.astropeep.com
7.http://sanskritdocuments.org/
--- Asha Gupta ---