Shrinathji Temple

Overview

Shrinathji Temple is a hindu temple dedicated to Shrinathji in Nathdwara.It is considered an important pilgrimage centre by Vaishnavs. Nathdwara is a small town in the Indian state of Rajasthan. Situated at a distance of 48kms in the north-east of Udaipur, Nathdwara is sited on the right bank of Banas River. Nathdwara is famous for its 17th century temple that is dedicated to Lord Shrinathji (Lord Krishna).

The term 'Nathdwara' suggests the 'gate of the lord'. Shrinathji Temple is also known as 'Haveli of Shrinathji' and makes a prominent pilgrimage of the Hindus / Vaishnavas. Nathdwara town is also famous as the Apollo of Mewar.In the town of Nathdwara, Shrinathji temple is the centre of attraction, but the town is also famous for its 'pichhwai' paintings, ivory articles and mouth-watering sweets. One can purchase articles from here as a souvenir of the religious trip to Shrinathji. One must visit this temple to feel the spiritual ecstasy and get the blessings of Lord Shrinathji.

About the Temple

Background and importance of Nathdwara

Situated in idyllic surroundings with the River Banas girdling it towards the West and the North and hills and dales surrounding it on all sides, Sinhad of yore at the time of the advent of Lord Shrinathji- a tiny hamlet inhabited by a few Brahmans and tribes subservient, living in thatched huts, can now Iegimately claim to be a developing town ship with a population of fifty thousand equipped with all modern amenities, pulsating with lift and ceaseless human activity, as a nerve centre of this region. Nathdwara, the present version of the three hundred years old Sinhad. is the seat of the premier Pushtimargiya Shrine of Lord Shrinathji, the cynosure of all Pushtimargiya Vaishanavas and claims its name through him having been variously known in history as Shrinathji Dwar. Shriji Dwar, Shri Nathdwara , and Nathdwara (gateway of Shrinathji) it is a place visited by every Pushtimargiya Vaishanava to lie prostrate and donate and offer in all humality, all that he can spare, out of reverence and veneration towards the Lord.

Shrinathji Temple is one amongst the richest temples of India. It receives millions of rupees as offering to the Lord. The temple authorities possess approximately 500 cows and the milk of these cows, is used for the preparation of sweets and milk products. Among these cows, there is one cow that is considered as Shrinathjis cow. This cow is believed to have come from the lineage, which served the Lord from ages.

Formerly, the temple used to receive wagon-loads of food and these were whispered to be consigned by and consigned to Lord Shrinathji. The temple has food-grinders made of gold and silver. It is also said to have four wells of Desi Ghee. The huge temple complex is divided into many sections, like the main shrine, food, Prasad, Priests lodges and stiching department, where tailors stitch marvelous dresses of Shrinathji.

Structure and Design of the Temple

The temple has been designed in the lines of temple of Nanda Maharaj (Krishna’s father), in Vrindavan. Therefore, it is also known as Nanda Bhavan or Nandalaya (the House of Nanda). Structurally, a kalasha on the shikhara marks the top of the temple, on which seven flags are flown along with the Sudarshana Chakra. The seven flags represent the 7 'houses' of Pushti Marg or Vallabh Sampradaya. The temple is also popularly called Shrinathji ki Haveli (House of Shrinathji). With the mood of worship in Pushti Marg, Shrinathji is not seen as an impersonal God so the worship is not done like in a temple. Shrinathji is seen as Thakorji or Lord of the House or Haveli and Sewa (service) is offered rather than worship. Like a regular household it has a chariot for movement (In fact the original chariot in which Shrinathji was brought to Singhar), a store room for milk (Doodhghar), a store room for betel (Paanghar), a store room for sugar and sweetmeats (Mishrighar and Pedaghar), a store room for flowers (Phoolghar), a functional kitchen (Rasoighar), a jewellery chamber (Gahnaghar), a treasury (Kharcha bhandaar), a stable for horses of chariot (Ashvashala), a drawing room (Baithak), a gold and silver grinding wheel (Chakki).The Nathdwara temple has subsidiary temples dedicated to deity Madan Mohan and Naveet Priya, located in the main complex.

Places worth seeing in the temple include the Moti Mahal, Sudarshan Chakraraj, Dhwajaji, Kamal Chowk, Ratan Chowk, Mani Kotha and the temples of Shri Navnit Priyaji. The Shri Krishna storehouse has silver and golden mills. Apart from that, the Shakghar milk both and the outlets having roses, betel leaf, sweets and clothes as well as the gardens are worth a visit. The temple has three entrances.

The first is through the red door at Chaupati from where the Govardhan worship place can be reached. Surajpol is an entrance exclusively for women and leads to Kamal Chowk through Singhpol. Various religious festivals are celebrated at the temple like Janmashtmi, Phooldol and Diwali. The annakoot ritual is famous worldwide where cooked rice is hurled at the devotees after the ceremony and is 'looted' by them.

About the Deity

Shrinathji is Lord of the Universe. The divine form of Shrinathji, also known as Swarup, is said to be self-manifested. Shrinathji symbolizes a form of Krishna, when he lifted the Govardhan hill, with one arm raised.

The image in the form of a single black marble, where the lord is revealed with his left hand raised and the right hand made into a fist resting at the waist, with a large diamond placed beneath the lips. The idol is carved in Bas-relief out of a monolithic black marble stone, with images of two cows, one lion, one snake, two peacocks and one parrot engraved on it and three sages placed near it. The iconography at the temple has given birth to Nathdwara Paintings..

The servitors of Shrinathji say that the Deity is the original form of Sri Krishna, known as Nikunja Nayaka, "the Lord of the Celestial Bower." Since this form of Lord Krishna includes all others, his devotees see him both as Sri Radhanathji (the Lord of Radha) and as child Krishna. The Deity is, therefore, sometimes entertained with childish toys like spinning tops and silver animals and sometimes offered a herding stick meant for a cowherd boy.

Legend and stories

Arrival Of Shrinathji At Nathdwara

Once, while Shri Gusainji was in his way to Dwarka , he saw a very lovely spot in Mevar, Rajasthan, called Sinhad and mentioned to Harivanshaji, “In the future, Shrinathji will reside here. As long as I am here, Shrinathji will not leave the Govardhan Hill.”

Shri Gusainji then stayed there for two days. The King of the region, Shri Udaya Singh, came for his darshan and presented him with one hundred gold coins. Shri Gusainji blessed him with one of his shawls. After the king accepted it, he bowed to Shri Gusainji and returned to his palace. Later his queen came. She was the daughter of the princess Mirabai. Ajabkunvari, took initiation from Shri Gusainji decided to head on to Dwarka, Ajaba fainted at the thought of separation from him. Then Shri Gusainji told her, “I cannot live here, but Shrinathji will daily come here and allow you His Darshan.”

Afterwards, Shrinathji daily came from the Govardhan Hill to Mever to appear before Ajaba. After playing the board game Choper with her, Shrinathji would return to the Govardhan Hill. One day Ajaba requested, “ In your Comings and Goings to Mevar from the Govardhan hill, You are very troubled. Live here on Mevar, then I can always see You.”

Shrinathji replied, “As long as Shri Gusainji remains on the earth, I Will not leave the Govarthan Hill. Afterwards, I will Definitely come to mevar and will stay here for many years. Then, when Shri Gusainji again appears in his lineage, I will return to Braja and will play at the Goverdhan Hill for many Years.” Saying that, Shrinathji returned to the Goverthan Hill.

Many years later, Shrinathji remembered that He was supposed to move to Mevar and thought, “I Must go to Mevar. But Shri Mahaprabhuji has established My temple on the Goverthan Hill, so the lineage holders will only agree to the move Mevar.”And hence he forced Aurangzeb to attack the temple and he then with Navneetpriyaji & all balaks left for Mevar which is now called Nathdwara.

The idol of the Lord Krishna was being transferred to a safer place from Govardhan to protect it from the anti-Hindu, iconoclastic and barbarian destruction of the Mughal ruler Aurangzeb by the Head Goswami of the 1st House of Pushti Marg in 1669, Shri Dauji Maharaj.When the idol reached the spot at village Sihad or Sinhad, the wheels of bullock cart in which the idol was being transported sank axle-deep in mud and could not be moved any farther. The accompanying priests realised that the particular place was the Lord's chosen spot and accordingly, a temple was built there under the rule and protection of the then Maharana Raj Singh of Mewar.Shrinathji Temple is also known as 'Haveli of Shrinathji’ (mansion).The temple was built by Goswami priests in 1672.

Legend

It is believed Shrinathji used to travel to Mewar to play dice with a Princess by the name of Ajab Kauri. She was upset whenever her beloved Shrinathji would go back to Vraj and asked him to stay with her in the palace. Lord Shrinathji said that one day He would make her palace His home. This palace is the current temple of Shrinathji. Presently, Shrinathji is worshiped by priests from this kul (genealogical descendants) of Vallabhacharya, in all Havelis around the world, which have also been established exclusively by them. Economy and livelihoods in Nathdwara town revolve around the Haveli, the term used for the temple probably because it was situated in a fortified mansion, or Haveli, once a royal palace of the Sesodia Rajput rulers of Mewar.

Shrinathji was quite popular with other medieval devotees, as well, as there were preachers who founded Shrinathji temples in present-day Pakistan (Dera Ghazi Khan). This was done by Shri Lalji Maharaj and his deity of Shri Gopinathji and Shri Dauji of Dera Ghazi Khan, earlier a part of undivided India and not far from here. Shrinathji was even worshiped as far away as Russia (in the lower Volga region) and other places on the Central Asian trade routes. Tradition holds that Shrinathji would return to Govardhan some day with a new temple at Puchri in Govardhan.

History of Shrinathji

A cow from Shri Krishna’s herd, climbs the Govardhan Hill and drops her milk on top of a mysterious black arm on the top of the hill. Every day, in the afternoon, she continues to lag behind the rest of her herd to perform her ritual over the protruding arm. Her owner, unaware of her devotion begins to wonder why the cow’s milk giving capacity has reduced. One day he follows her and discovers her secret rite with Shrinathji. The year marked is 1409 and Shrinath’s appearance upon the hill seizes the attention of the local brajvasis. They are amazed that whatever they desire is given to them. For this they only need to pray to the raised arm.

The story of Shrinathji is the amazing history of His worship, travels and lilas. Shrinathji's manifestation and the subsequent developments were originally revealed by Shri Gokulnathji, the grandson of Shri Mahaprabhuji Vallabhacharya who appeared in India in the year 1479 on exactly the same day that Shrinathji’s face appeared from hill. Shrinathji stayed on the Govardhan Hill for as long as Shri Mahaprabhu, his son Shri Gusainji and his seven sons lived on the earth. Shri Gokulnathji was Shri Guisainji’s illustrious fourth son and composed an ocean of devotional literature mostly in Sanskrit and Braja language. The portion of this text the reveals Shrinathji’s travels from the Govardhan Hill to Mevar all occurred after the lifetime of Shri Gokulnathji.

The “lila” of Shrinathji is a subtle mixture of the spiritual and material worlds. Wherever Shrinathji appears false distinctions are removed. This is the non-dualist vision of Shri Maha-prabhuji Vallabhacharya who saw everything as Krishna and nothing but Krishna. He went on to explain what Shrinathji manifested in form. The wisdom that is required to enter into the realm of Shrinathji has been laid down by Shri Mahaprabhuji, the incarnation of Shrinathji’s face.

Who could describe his “lila” better than his main partner Shri Mahaprabhuji, who on one level is an Acharya – who empowers the devotional heart while on the divine level is Shri Svaminji, Shri Krishna’s consort. The combination of a playful God and an insightful guru who illuminates the arena with lightning bolts of Vedant wisdom has allowed the plays to begin.

If divinity is not felt in the world, it becomes a place to either exploit or renounce. Shrinathji's lila shows a third way, that is to neither want only, enjoy or pridefully renounce. For the bhatas, Shrinathji was not a stone image but a living divinity who interacts and plays with his bhatas. It is believed that sometimes he leaves the temple to play chess with a bhakta, at other times he remains awake the entire night to listen to their music. Shrinathji through his power of grace descended into the world of His bhaktas and made it divine. Vallabhacharya speaks of the blessed bhakta’s aspirations in his “Subodhini” in the words of Krishna’s beloved:

“We experience Krishna with our eyes; we feel Him through all of our senses. Hari is the desire, the festival of our hearts. To behold Krishna’s form is the ultimate reward. To have conversations with God, To behold Him, to mingle and embrace Him To please Him, To serve Him, To touch Him, To taste the nectar of His lips. Is what we live for. We need to thoroughly enjoy Hari Until ever hair on our bodies Stands erect with bliss.”

The lila of Shrinathji is the joyful unspoken approach. Some say that God cannot be seen. Others says that no one can live after seeing his face. The bhaktas of Shrinathji have not only seen his face, some have embraced Him and even tasted the nectar of His lips. The rules have changed, Shrinathji is unrestricted, he can do, not do, or do what is neither doing or not doing. Shrinathji empowers souls with grace and this enables them to withstand the force of His love.

When God is lawful, attainment is gained by following His words. When His power of grace is present, accomplishment is through His blissful form. Shrinathji is a grace-filled divinity, the balanced abode of contradictions. He is a child, yet supports the world. He wants flowers from a lotus pond and at the same time, is the pond and the lotus. Shri Krishna is everything yet distinct. Playful, yet for those who consider Him to be totally full, total devoid, or any combination of the two, so He becomes. Although immovable, He plays according to the wishes of his bhaktas.

A study of the lila of Shrinathji is a journey towards understanding Eastern theism. It has the ability to embrace all aspects of divinity, both personal and abstract. He is unknown to even the creator yet will appear and dance for a glass of butter-milk. Shrinathji is the form of “ras”. The bliss manifestation; His every ornament expresses a total view. He is the perfect combination of Vedant and poetry, of insight and dance, of form and formlessness, of world and heaven. Him the opportunity to express His refined creation and it is graceful. When His presence charges the world with a sacredness there is no longer any need to discard it in the process of enlightenment.

When the Gopis heard the song of Shri Krishna’s flute, many of them left their homes and went to meet Him in the forest. Others who could not leave their homes because they were stopped by their husbands, sat down and meditated upon Him in their hearts and left their material forms upon attaining Him. Shri Mahaprabhuji explains that even though they put an end to their karmas and attained liberation, they were not as blessed as those who were able to engage in dalliance with Hari here in the world. The blessed Svaminis who were able to bring Hari into their world speak out in the Bhagavata-

“O friends, we know the reward of imbibing Balaram and Krishna Playing their flutes as they Herd their cows through Vrindavan forests. It is the fruit of having eyes. It is the endowment of the senses. Having experienced this we now have no use For any other enlightenment or liberation.”

To behold Shrinathji with eyes or better yet with all the senses is the bhakta’s enlightenment. It was with this view in mind that Shrinathji appeared from the hill.

Shri Mahaprabhuji explains that those who have appeared from Shrinathji’s mind wander according to their limited view. Others who have manifested from His speech try to locate God through His words. Those that have come forth from His bliss form appear in this world to join in His lila. They are grace filled ones and surround Shrinathji.

Krishna as Shrinathji

Krishna decided to appear as Shrinathji in a five foot stone image from the depths of the Govardhan Hill. He came to life on the Govardhan Hill for His special devotees. During the times of Shri Vallabhacharya and Shri Gusainji, Shrinathji actually came to play with the bhaktas. Their exchanges created a unique history, an eternal one that appears in the world. Beyond the effects of time and karma it arises where Brahman expresses Brahman according to the devotion of His bhaktas. In this and karma it arises where Brahman expresses Brahman according to the devotion of His bhaktas. In this remarkable locus, Shrinathji celebrates the mutual enjoyment which occurs between Bhagavan and the bhaktas. A bit of that play is spread throughout these pages. Submersion into the ocean of ras. The nectar sarovar, comes from “darshan”, the direct vision of divinity. This type of devotion arises with the wisdom that can separate not only milk from water but more importantly poison from nectar. After this arising, if one is fortunate to avoid the pride of attainment, a sensitive and overwhelming love for Hari arises. This is called bhakti or devotion and liberation is given along the way towards entrance into the realm of Hari, the lila locus.

“Darshan” is part of the devotional process. Darshan has been spoken of in four different ways. Darshan of hari can be experienced in the heart, through celestial voice, in a dream. When SheeNathji appeared during the times of Shri Mahaprabhuji, he appeared in front of too many bhaktas in his most direct and rare fashion, right before them.

In the Bhagavata Gita, when Krishna showed Arjuna His expansive universal from, Arjuna could not sustain the intensity of the darshan. Arjuna’s hair stood on end he prayed to have the darshan withdrawn. Shrinathji’s darshans are never so awesome, they are sweet.

The nectar form of Shrinathji appeared to a number of bhaktas during the times of shri Mahaprabhuji and shri Gusainji. Many other remarkable meetings have been disclosed in the accounts of Shri Mahaprabhuji’s and Shri Gusainji’s disciples. By the time Shrinathji Decided to Move to Mevar to fulfill the wish of one of his bhaktas, the only person Shrinathji freely conversed with was an elderly woman by the name of Gangabai. She is a central figure in the story and is Shrinathji’s voice for the rest of the world. Every time Shrinathji’s chariot gets stuck she comes to rescue with a direct messege from Shri Krishna Himself.

Although in the age of struggle God almost never appears personally before the bhakta there are some bhaktas like Gangabai who break the mold, bhakta poet Nandadas explains:

In three other eras, the Lord appears before the bhakta but not in this age of struggle. So Rup Manjari had to meet Krishna in a dream what one desires day and night He bequeaths. Even if the scriptures say He is most unattainable, From pure love one can come Exceedingly close to God. This union is not found in talking but in undertaking. A lamp shine not by discussion but only when it is lit.

The inner Shrinathji appeared when the light of bhakti is lit and sets the bhakta’s world aflame with devotion. The desire to meet Shrinathji expands until even Shrinathji cannot contain it and then He appears from the bhakta’s joyful heart in front of him or her. It is the direct darshan. The brilliance of bhakti illuminates the heart and creates a clear inwards recognition that Overflows into the outward world.

Worship of Shrinathji

What makes the worship of Shrinathji unique is that it evolved from his bhakta’s inner experience and then manifested into a sacred world wherein Shrinathji become adored. The movement between the inward and outward experience of Shrinathji reveals the two-fold nature of “ras”, Shrinathji’s loving nectar. His nectar mood of love embraces union and separation. This movement between union and separation supports, nourishes and heightens the ras, the elixir of devotion. Shrinathji is the Lord of ras, Shri Mahaprabhuji describes His from His lips are sweet His face is sweet His eyes are sweet His heart is sweet Shrinathji likes to play. Although one may argue that God needs nothing yet it is the desires of the bhaktas that create his personality. They make Him full and complete his nature. When God is lawful, the soul falls under His control but when He’s filled with grace He falls under the domination of the bhakta’s devotion. Shrinathji’s bhakta kumbhandas was a devotee of grace. He was so attached to Shrinathji that he would never even look at another from Krishna. One night h was tricked into leaving the area of Shrinathji’s temple and was led to Gokul where the image of child Krishna resided. As the sun rose, he saw Gokul before him and realizing he was far away from his beloved Shrinathji he ran back to Shrinathji’s temple some fifteen miles away, Although Shrinathji normally arises at 5 am., on that day because kumbhandas was not there to sing for him, he did not wake up until His bhakta returned several hours after sunrise.

We also see how Shrinathji on more than one occasion stops His chariot until some desire, sometimes rather childish, is fulfilled. Once he brought his chariot to a stop and said that he would not move until someone brought him lotuses from nearby pond. At another point in his adventure Shrinathji refuses to move until the braja vasi’s insult him. Krishna as jagat guru explains in the Gita that he corresponds to the way people worship him. This keeps Shrinathji in a continual process of becoming. He is filled with magical virtues and the bhaktas keep bringing forth His different manifestation according to their personal sentiments of devotion. Their “bhava”.

Limitation does not diminish Shrinathji’s glory. It is through limitations that anything of value is attained. Without one pointed focus in yoga there is no attainment. To limit in the devotional sense means to contain Krishna within the walls of a home, within one's heart. Limitation means to make Krishna one's own. All pervasive Krishna never really appears or moves.

The bhakta Dayaram express the grace filled view Beloved of all life, I humbly request: "Let me savor the nectar of devotion. Give your knowledge to those Who follow the path of emancipation I have no interest. O Lord, liberation never even enters the minds. Of your special servants. With delight I daily gaze at your Krishna. The great joy that wells from you within my heart Could never arise from being In absolute unity with you where the pleasures of a married woman Remain totally unknown Even in a dream."

Goswamiji’s comments on this poem

“Shri Mahaprabhuji teaches that this entire Universe is a sport, a play of Bhagvan, the Super Soul. We are all conscious beings and are able to eloquently express the nature of that Lila. We can also perfectly within that Lila setting while playing out own individual roles. Hari has filled us with a sense of me and mine for the purpose of being able to carry out our own activities and also to express our roles within that Lila. This is the greatest boon of life, to have the lila bhava – fill our actions, activities, understanding and love. If we do not vibrate with that Lila bhava then there is no greater curse.

“Within every situation, our dharma, practice and the way we lie as well as our sense of me and mine can either be healthy or can be harmful to our special development. Worldly attachment is like mud and devotion is like the lotus. Our awareness of Pusthi is the dawn that makes the lotus blossom within the mud of the world. The worldly wandered is the one who enjoys only the mud around the lotus… if one forgets God and start to simply enjoy the world, that can never be devotion. To just accept, God is everywhere and relax.

With that idea is also not ideal. One must relish creation while one is playing and eating, sleeping and awaking. It should all be filled with Krishna. This is the way of the Braja Bhaktas and is the height of the Pusthi Devotion”

A key to understanding ShreeNathji’s Appearance is to grasp the Relationship Between the world, Brahmin, who is all pervasive and effulgent and the personal Krishna. The Brilliance of Shri Mahaprabhuji’s teaching is seen in how he brings unity into all realm. He is the incarnation of fire and fire is speech. It is through words that Shri Mahaprabhuji’s ties together the three-fold nature of world, Brahman and ShreeNathji’s. To do so, he uses the Ganges river to demonstrate his point. When the non-differentiated view that embraces Krishna as everything is attained then the position of ShreeNathji’s can be deciphered, otherwise is a risk of confusing ShreeNathji as a mere lifeless idol.

Shri Mahaprabhuji’s words

“According to the vedas, Akshara Brahman, the undifferentiated Brahman becomes the world and it should be understood in terms of the two forms of the Ganges River. One from is water. The other form is the majestic form, which grants enjoyment and liberation and is worshiped by those who follow the lawful way. Understand Akshara Brahman in a similar way. But sometimes the Goddess form is seen by the one who practices bhati and perceives due to the water’s special qualities no difference between the river and the Goddess. This perception is not in all, but it is there for those who have an extraordinary desire for the water. This perception is known from both the scripture and experience. Like the Ganga waters, so is the world; like her spiritual powers, so is Akshara Brahmin; and like the Goddess, so is Krishna.”

Shri Mahaprabhuji’s says that for the development of devotion one needs a pure view that embraces a oneness between the material world and the source of the world, what he calls Akshara Brahman. Akshara Brahman is that glorious Brahman devoid of name form from which all of this came to be. Akshara Brahman is full as well as voiced. Where the real mystery arises is the Deity of Akshara Brahman?

Going back to the Ganga, Shri Mahaprabhuji explains that the Ganga Goddess can be seen on her banks by the Bhakta who understands not only the Ganga waters that increase and decrease according to the season, but who can also understand the nature of Ganga as a holy place. Knowing her as a holy place and feeling her unseen divine attributes, there arises in some the rare opportunity to come face to face with Ganga as a Goddess. This appearance is due to devotion. It lets the blessed bhakta understand with their senses, Krishan as the material manifestation. They see Him as undifferentiated through their wisdom and through their bhati as Krishan, shree nathji himself. This allows then lila entrance. It makes them “jivan muktas”- liberated living beings.

Many claim that Akshara Brahman can have no deity, that all from arise from a disturbance. They go on to conclude that the final purity is achieved in absolute oneness. The pure vedic mind embraces Divinity in every manifestation, it knows God as personal and nirguna, beyond material qualities. He is allowed to play everywhere and is never demoted. He plays with those who understand his three-fold nature of world, Akshara Brahman and Krishna. The festival truly begins when the bhaka embraces the ecstatic merging of knowing and feeling then the mind and heart travel the same path. Then there is humble knowledge and unconditional love for the Deity. When the bhava becomes intense it makes the hue of Krishna appear like a rain filled cloud, ready to burst upon the bhakta’s world.

This all bring us back to shreenathji’s raised arm that appeared to a cow in the year 1409. ShreeNathji’s favorite game is lila. The play that is ever increasing with bliss and devoid of fatigue. It is his product, program and pleasure. It is his indistinguishable omnipresent and almost perfectly blissful impersonal self, comes forth creation. The lila players who take part in creation live in the world yet are witness. They are waiting for ShreeNathji to return at the end of the afternoon from the forest with his Cows. They are witness and have a rare passion for him.

ShreeNathji appeared on the Govardhan Hill to uplift all while Shri Vallabhacharya’s presence is to establish lila connection for the pushti or lila souls. His son Shri Vitthanathji Gusainji later embellished the seva of Shreenathji established by Shri Mahaprabhuji and his elaborate tradition continues today. Millions of people come to visit Shreenathji. They crowd His chambers and, flow with the tide, as they push their way in and out of the darshan area, often one can only stay before ShreeNathji as long as the darshan flow allows. Suddenly one is pushed out of the arena while the crowd chants, “ Giriraja dharana ki jai”, “Glories to the one who held up the Govardhan Hill.”

Today Shreenathji lives in nathdwara near to Udaipur in Rajasthan. The town is totally centered around him. ShreeNathji’s Full name is Shri Govardhan Nathji. Tradition tell us not take the name of our guru, wife, husband, close friend or personal Deity. For this reason Govardhan Nathji is called Shreenathji.

Shreenathji who used to make the trip from the Govardhan Hill to Rajasthan to play with his Bhaka Ajaba now daily goes from Rajasthan back to his Beloved hill. His Bhaktas feel that he spends the night there in the caves and groves around the mountain. His Bhaktas feel that he spends the night there in the caves and grives around the mountain. His presence there is honored every night with His ornamentation at Mukharvinda, Just in front of Shri Mahaprabhuji’s temple at jatipura. After the evening arti, lights are waved, the ornamentation is removed and ShreeNathji disappears into the hill. All that remains is the face of the Govardhan stone upon which the ornaments and form of ShreeNathji was Presented.

ShreeNathji’s worship is eightfold. He is awaken, adorned as a cow lad and then offered lunch. In the afternoon he is called for the afternoon darshan of Uttaphan and then offered Fruit. Afterwards ShreeNathji returns from the forest at “sandhya Arti” and then prepares for his evening lilas.

ShreeNathji’s account reads like a Purana, a divine history filled accounts that could only happen in devotional realms. The beauty of ShreeNathji is that he likes to be treated naturally. He is not a God that resides on high but a young lad who rushes back to the temple when he hears his beckoning conch call. Once, in his haste to return to his temple on time, a piece of his garment got caught on a tree. When Shri Gusainji came to know how the tear happened he informed the other worshippers not to open the temple doors immediately after the conch is blown. He explains that need to wait a few minutes so that Shreenathji can leisurely make his way back to the temple.

The development of seva, the devotional worship is a continuous process that revolves in the minds and hearts of his bhakas. Shreenathji plays with the bhaktas and leads them from the awareness of his divinity to the consciousness of relationship. He then further inspires then to enter fully into his alliance and finally appears to them in a personal manner. This account of Shreenathji and his Bhaktas creates a space where devotional creation can come to life; they reveal to us a very personal devotional development. With this bhava I present my translation of ShreeNathji’s appearance.

History of Nathdwara

Vajranabha, Lord Krishna’s great-grandson, installed this Deity 5,000 years ago. The same Deity (known then as Gopal) was worshiped by MadhavendraPuri in Vrindavan. Rana Raj Singh of Mewar brought Sri Nathji to Nathdwararound 1669.

The story of how Gopalji was discovered is described in the CaitanyaCaritamrita. It was MadhvendraPuri who came to Govardhan Hill and, after he went around the hill andbegan preparing for the evening rest near GovindaKund, a local cowherd boy visited him with apot of milk. The beautiful boy made Srila Madhavendra Puri forget his hunger and thirst. MadhavendraPuri asked the boy how he knew he was fasting, and the boy replied that he resided in this vil­lage and in his village no one fasts.

That night in a dream the boy lead Madhavendra to a bush and explained that he was in the bush and suffered from severe cold, heat, rain, and wind. So Madhavendra was thus instructed to find the deity with the help of the local villagers. Gopalaji had been hidden in the bushes and was discovered by Madhavendrapuri.

After the deity's installation, a structure was made for Him on top of Govardhan Hill. The deity of Gopalaji stands with His left arm raised in the air in the pose Krishna took when He lifted Govardhan Hill as an umbrella to protect the local residents from the fierce rains sent by the demigod Indra.

Many people came to the place, named Jatipura (meaning "the home of the Yati or jati –the Sanyasi monk" in reference to MadhavendraPuri), to see and worship Gopalaji. Then a member of the royal family constructed a temple for the deity. After some time, the deity appeared in a dream and ordered Madhavendra to go to JagannathaPuri to get sandalwood, which could be used to cool the deity who was still feeling hot from being in the ground for so many years. So Madhavendra left Jatipura to perform this service.

When Madhavendra arrived in Remuna, north of JagannathaPuri, he stopped at the temple of Gopinatha. Here the priests offer a thick sweet milk preparation (Amritakeli) to the deity. Madhavendra wanted to try some to understand how to prepare it so he could make it to offer his own deity in Vrindavan. Because of his desire to taste the food that was offered to the deity, he felt that he was a great offender and left the temple. That night the deity spoke to the temple priest in a dream and explained that He had hidden a cup of sweet rice behind His dress, and the priest should getit and find Madhavendra Puri to give it to him. The priest than went and found the cup of sweet rice behind the deity's dress. Tak­ing the cup, the priest went and called out for Madhavendra until he found him. Madhavendra became spiritually ecstatic to receive the prasadam. After that, the deity in Remuna became known as Ksira-chora-Gopinatha, or Gopinatha who stole the sweet rice.

After this Madhavendra went to Jagannatha Puri and got about eight pounds of san­dalwood and some camphor for his deity in Jatipura. On his way back, he again stopped to see Gopinatha at Remuna. That night his deity,Gopalaji, appeared to him in adream and explained that there was no difference between His body and the body of Gopinathain Remuna. Therefore, smearing the sandalwood on the body of Gopinatha would be the same as smearing it on the body of Gopalaji and His body would be cooled. So Madhav­endra did this every day untilall the sandalwood and camphor was finished. A few monthslater Madhavendra Puri left this world and his Samadhi tomb is located in Remuna a few minutes away from the Ksira-cora-Gopinatha temple.

After the disappearance of MadhavendraPurifrom this world, the worship of Lord Gopalaji at Jatipura was taken over by SrilaVallabhacarya, who had been initiated in the disciplic succession coming from Sri Vishnuswami. It was during this time that Gopalaji started being called Sri Nathji by the devotees.

As with other deities who were moved from Vrindavana to escape the fanatic Muslim Aurangzeb's destruction of Hindu temples, Lord Sri Nathji was moved to the land of Mewar from Jatipura. The deity was first moved to Agra where the devotees kept Him in secret for six months, and then moved Him farther west. As the deity was being moved, He reachedthe spot at village Sihad or Sinhad, the wheels of bullock cart in which the deity was being transported sank axle-deep in mud and could not be moved any farther. The accompanying priests realized that the particular place was the Lord's chosen spot and accordingly, a temple was built there under the rule and protection of the then Maharana Sri Raj Singh. This is the place that later developed into the village of Nathdwara.

The followers of Pushtimarg assert that the deity's arm and face first emerged out of the Govardhan hill, and thereafter, the local inhabitants (Vrajavasis) under the spiritual leadership of MadhavendraPuri started the worship of the Gopal (Krishna) deity. This Gopala deity was later termed as Shrinathji. Thus, MadhavendraPuri is attributed to discovery of the deity of Gopal near Govardhana, which was later adapted and worshiped by Vallabhacharya as Shrinathji. Initially, MadhavendraPuri, carried out the worship of the deity's upraised arm and later, the face. Shrinathji was originally worshipped in a humble shrine at Jatipur village near Govardhan and subsequently, moved to a larger temple on top of the hill. According to Pushtimarg literature, Shrinathji appeared to Shri Vallabhacharya, in the HinduVikramSamvat year 1549 and directed the Vallabhacharya to proceed to the Govardhan Hill to begin worship.Vallabhacharya made arrangements for the worship of this deity, and this tradition was carried forward by his son, Vitthalnathji.

Festivals and Rituals at the Temple

Devotees throng to the shrine in large numbers during occasions of Janmashtami and other festivals, like Holi and Diwali. The deity is treated like a living image, and is attended with daily normal functions, like bathing, dressing, meals called "bhog" and the resting times in regular intervals. Since, the deity is believed to be the infant Krishna, accordingly, special care is taken. The priests in all Havelis are Brahmins under the Guru's who are the kul (descendants) of Vallabhacharya, the founder of this deity's idol at Govardhan hill, near Mathura.

The main attractions are the Aartis and the Shringar, i.e. the dressing and beautifying of the idol of Shrinathji which changed seven times daily, treating it as a living person, adorning it with the appropriate dresses for the time of day or night. The intricately woven shaneels and silk cloth have original zari and embroidery work on them, along with large quantities of real precious jewellery. The formal prayers are offered with diya, incense sticks, flowers, fruit and other offerings, with local instruments and devotional songs of the Shrinathji, according to the demand of the time and occasion. The view of the idol after the parda (curtain) is removed is called jhakhi.

The largest festival at Shrinathji is Annakuta. It commemorates the past when the people of Vraj worshipped the Govardhan Hill. Thousands of people come during this festival. As a part of celebrations 2500-kilo hill rice is offered to the Lord. Then the temple gates are closed. In the evening the gates are opened and people start looting the rice prasad. Diwali is also an important festival here, because it is one day before the Annakuta festival.

Arti / Pooja / seva

Shrinathji Seva

Shrinathji temple, worship (puja) is replaced by servitude (seva). The temple priests change the vestments and ornaments of Shrinathji daily with love and reverence. It is believed that he appears to his devotees in many forms: the divine child inspiring parental love, the flute playing good in the forests of Vrindavan luring maidens with the melody of his flute.

Manorath - Shriji Manorath

No	Manorath Name	Current Nyochhawar
1	Full Day Manorath	Rs.18,000.00
2	Full Rajbhog	Rs.11,000.00
3	Half Rajbhog	Rs.7,500.00
4	Quarter Rajbhog	Rs.6,000.00
5	Mangal Bhog	Rs.1,250.00
6	Shayan Bhog	Rs.1000.00
7	Gaumataji	Rs.6,670.00
8	Sudarshan Bhog	Rs.250.00
9	Makhan Mishri	Rs.250.00

Manorath - Priyaji Manorath

No	Manorath Name	Current Nyochhawar
1	Priyaji Rajbhog	Rs.1,400.00
2	Priyaji Palana	Rs.4,500.00
3	Priyaji Makhan Mishri	Rs.250.00
4	Priyaji Adhiki Samagries and other Manorath	Contact Samadhaniji for details

Manorath - Madan Mohanji Manorath

No	Manorath Name	Current Nyochhawar
1	Madan Mohanji Rajbhog	Rs.400.00
2	Madan Mohanji Adhiki Samagries and other Manorath	Contact Samadhaniji for details

Manorath - Shakghar Samagri Shriji

No	Manorath Name	Current Nyochhawar
1	Shakghar - Kaju	Rs.8,000.00
2	Shakghar - Pista	Rs.11,000.00
3	Shakghar - Badam	Rs.9,500.00
4	Shakghar - Mesu (Badam)	Rs.9,500.00
5	Shakghar - Mesu (Kaju)	Rs.8,000.00
6	Shakghar - Duranga	Rs.10,000.00
7	Shakghar - Tiranga	Rs.9,500.00
8	Shakghar - Chandrabata	Rs.5,810.00
9	Shakghar - Dabra	Rs.900.00

Manorath - Shakghar Samagri Priyaji

No	Manorath Name	Current Nyochhawar
1	Shakghar - Kaju	Rs.5,500.00
2	Shakghar - Pista	Rs.7,700.00
3	Shakghar - Badam	Rs.6,600.00
4	Shakghar - Mesu (Badam)	Rs.6,600.00
5	Shakghar - Mesu (Kaju)	Rs.5,500.00
6	Shakghar - Duranga	Rs.7,700.00
7	Shakghar - Tiranga	Rs.6,600.00
8	Shakghar - Chandrabata	Rs.6,600.00
9	Shakghar - Dabra	Rs.900.00

Temple Timing

5:00 am to 7:00 pm.

Darshan

Darshans or glimpses of Srinathji can be sought 8 times in the day, individually known as Ashtaya, the 8 darshans are Mangala, Shrungar, Gwal, Rajbhog, Uthhapan, Bhog, Sandhaya Aarti and Shayan. In each of them the leelas (divine manifestations) of the Lord are described and harmonized with His daily routine.

Mangla - 05:30 AM to 06:15 AM

This is the first darshan of the day.The name Mangla underlines auspiciousness of beginning the day with a glimpse of lord. In winter this darshan takes place before sunrise, while in summer, it is later.

During Mangla darshan, the main doors of the sanctum are kept closed and are only opened after the customary initial rituals. This ensures that the drowsy divine child is not startled by large crowds rushing in to see him. It also accords with the mood of the darshan, which is bala bhava, the feelings of a parent concerned about a child's well - being another idea underlying the closed doors is that the svarupa should not be tempted to play with his young companions as opening doors might tempt him to run out!

In summer, Shrinathji is clad simply in an adbandha, a light dhoti. In winter, he keeps warm with a quilted coat. His flute is not placed in his hand, for it is felt that if he were to play it early in the morning, everyone would be enchanted and all work would come to a standstill! Arti is offered to Shrinathji during this darshana. This ritual banishes the evil spirits which hover around in the darkness of the night, seeking to cause harm. This morning darshana is dedicated to the memory of paramandadas, one of the asthachhapa poets. The kiratans Sung at this time are in one of the classical morning ragas - Lalita, Bhairava or Vibhasa.

Shringar - 07:15 AM to 07:45 AM

The next darshana follows the first by hour and is called shringara. Shrinathji is dressed carefully from head to foot, and a garland of flowers is placed around his neck. A Mukhiya holds a mirror in front of him so that he can satisfy himself that, he is well dressed. This is his play hour like that of any other child, and he is offered dry fruits and sweets representing food brought to him by his beloved gopis. This explains why he is called gopivallabha

It is only after this meal that Shrinathji's flute is placed in his hand, so that he can delight Swamiji - Shri Radha - with the tunes she loves. The ragas sung during this darshana are Ramakali, Gunakali and Bilaval. The poet Nandadas is considered the main singer.

Gwal - 09:15 AM to 09:30 AM

Third darshana takes place at the hour when the lord takes his cows to pasture. The Mukhiya of the Gaushala (Cowpen) of Nathdwara visits Shrinathji at this time to inform him that all his Cows are well. He is then offered makhan mishri, a light dish with a milk base. The refreshments offered at gwala darshana have to be light, since the lord is believed to have already eaten the comparatively rich foods offered to him by the gopis earlier. Neither flowers nor his flute are shown during this darshana it is assumed that he will be playing with his cowherd friends.

Rajbhog - 11:25 AM to 12:15 PM

The main meal of the day is offered to Shrinathji at Rajabhoga. Vitthalnathji, the son of the founder of Pushti Marga, has planned this as the most elaborate darshana of all. A temple priest ascends to the terrace prior to the darshana and calls out, 'Mala Begi Laiyo!!' (bring the garland quickly). This loud call heard over a wide area, dates back to the time when Shrinathji was at Mount Govardhana. The flower garden of the temple used to be located at Chandra Sarovar, Nathdwara. 'The call for the Garland' is the signal for the darshan to be opened to the crowds waiting to catch a glimpse of the lord. The rhythmic sound of drums is heard, excitement mounts, and the doors are flung open.

Shrinathji is seen in all his regal splendor, holding lotus in one hand and wearing an elaborate garland. Beeda (folded betal leaves containing spices), are placed near him, along with a pitcher of water, his beloved flute, cane to play with Genda (Ball) and a mirror. Fine perfumes are sprinkled over the kalash on the roof, and the air is redolent with its scent.

At the end of this darshana the load retires for three hours. This period is known as Anavasara. Recalling his siestas with Swaminiji in meadows of Vrindavana.The chief kirtanakara of this darshana is Kumbhanadas.

Utthapan - 03:40 PM to 04:00 PM

During the afternoon, around 3.30 p.m., Shrinathji is aroused from his nap. A Conch is blown, it is time for him to return home with his Cows. The vina is played followed by kirtana. Surdas, the celebrated blind devotee, mystic and poet, is supposed to be the chief singer of this darshana.

Bhog - 04:45 PM to 05:00 PM

Sixth darshana of the day takes place an hour after Utthapana. A light meal is served to Shrinathji. A Chhadidara stands guard formally dressed in a Pagha (Turban), a Pataka (Sash) and a Gheradar Jama (A Garment with a Flaring Skirt). He holds a staff and wears a golden kada, anklet. The Chhadidara's function is to inform Swaminiji of Shrinathji's arrival, so that she can obtain his darshana and arrange to milk the Cows.

Shrinathji is fanned and a morchhala is waved beside him to remove the possible effects of the evil eye cast while he has been in full view of many people. The main singer for this period is Chaturbhuadas.

Aarti - 05:15 PM to 06:00 PM

Sandhya Aarti is the evening darshana. This darshana takes place at dusk, when krishna use to bring his Cows home from the fields. The predominant mood is matrubhava (motherly love). The fear of any ill effects resulting from his wonderings in the woods and protects from harm.After the day’s exertions, his garments now are light. He is offered his flute so that he can enchant his devotees and his Cowherd friends.

To signal end of the day, sudarshana chakra on the roof of the haveli is offered consecrated food, and the seven Dhvajas (flags) are wrapped round their sticks until the next day. Chhitaswami is considered the chief musician for this darshana.

Shayan - 06:45 PM to 07:15 PM

Final Darshana of the day commences only after rasoiya boli, when the priest ascends the terrace of the haveli and calls out - Cook, come early the following day. After this, drumming heralds Darshana. Since it is time for Lord to retire, various eatables are offered to Shrinathji. A singer praises lord in his kiratana, which may take form of an expression of a beloved's emotion and is offered to both Shrinathji and Swaminiji. Paan-Beeda (betal leaves with spices) are again offered to him.

As Shrinathji is about to retire for the night, various arrangements have to be made. His bed chameber is readied for him, with a container of food, a pitcher of drinking water and Paan-Beedas. It is supposed that Shri Radha will join him during the night, her garments and jewels too are kept in readiness.

A carpet is spread on the ground leads from the image of Shrinathji to his bed chamber. It is presumed that he will walk on it in his spiritual, subtle form. The wooden platforms places in Doltibari for the devotees to stand on during darshanas are removed. This ensures that Shrinathji does not encounter any obstacles at night. To enjoy his lilas with his beloved gopis, if he desires the canopies stretched over the open courtyards to protect people from the scorching afternoon sun are also removed. This darshana is usually not held for the six months, from Chaitra Shukla 1 to Ashvin Shukla 9, when Shrinathji is suppose to visit Vraja and reveal himself to the Vrajavasis(residents of vraja).The chief singer of this darshana is Krishanadas

Prasad and offering

The awesome chappan bhog is offered to Lord Shri Nathaji over here every day. There is a ghee well at this temple popularly known as Ghee ka Kuan where all the chappan bhog is prepared.

Accommodation

Facilities available

• Food available for purchase.
• Bathroom facilities.
• Camera/Video are not allowed.
• Wearing of shoes/footwear allowed.
• There is no facility of Lockers/Storage.

Best time to visit

October to March.

Length of visit

More than three hours.

Things to Carry

Camera, Plenty of water.

Rare Facts

Non-Hindus are allowed to visit this temple, but not foreigners.The temple's inner sanctum where the idol of Srinathji is placed, is opened only eight times a day when devotees throng to catch a glimpse of the sacred form of the Lord. Everything in the inner temple, right from china to silver/ gold-ware, paintings, wall hangings, clothes and furniture, are reminiscent of the old times and its heritage. In the temple, enshrined is a unique image of Lord Krishna, which has been sculptured from a single piece of black marble. An interesting fact relating to the famous temple is that the temple servants still wear the clothes and costumes of the bygone era.

Significance

The main attractions are the Arties and the Shringar. The formal prayer offered with diya, incense sticks, flowers, fruit and other offerings with local instruments and devotional songs of the Lord according to the demand of the time and occasion. The intricately woven shaneels and silk cloth with real original zari and shredded work done upon them along with tones of real jewelers, which are of antique value, looks dazzling. The view of the idol after the pardha (curtain) is removed is a spectacular sight that is simply mesmerizing leading to a melee (gully) of visitors, crowding divine lord. The mystic, spirited aura of India comes alive.

Near by Attractions

Other Temples

1. Navneet Priyaji Temple

2. Vitthalnathji Temple

3. MadanMohanji Temple

Other Tourist Attraction in Nathdwara

Rajsamand Lake

Rajsamand Lake is positioned 66 kms in the north of Udaipur. This amazing Lake is well-known for its embankments which are decorated with carved cenotapgs and arches. The waters of the lake sparkle with the light of the sun during sunset.

Nav Chowki

Nav Chowki is situated in Nathdwara on the banks of the lake, it has beautifully carved 'chhatris' and arches and is lined with marble.

Accessibility

Airport

The nearest airport to Nathdwara is Udaipur, which is at a distance of about 60 km away. Regular buses and taxis ply to Nathdwara from Udaipur. Many domestic airlines connect the city to most of the major cities in India including Kolkata, Jaipur, Delhi and Mumbai.Regular flight services are available from Udaipur to Delhi and Mumbai. Taxi services are offered at a rate of Rs 700 from airport to Nathdwara city.

Railways

The nearest Railway Station is Mavli Jn. which is 30 kms. far from Nathdwara and Udaipur City Railway Station is 50 kms. far from Nathdwara Town. Regular Trains from Udaipur City and Mavli Jn. are available for Ahmedabad, Gwalior and Jaipur and also available alternate day for Mumbai & New Delhi. The Udaipur -Bandra (Mumbai) and Udaipur New Delhi Trains are proposed to be six days in a week.

Road

Nathdwara is a small town in the Indian state of Rajasthan. Situated at a distance of 48kms in the north-east of Udaipur.State Government and Deluxe buses connects Nathdwara with all major tourist station of Rajasthan. City Bus station is 1.5 km.

Temple Address

Shrinathji Mandir,
Nathdwara, Rajasthan - 313 301.