Krishna Yajurveda Ghanam Pdf 427
Krishna Yajurveda Ghanam Pdf 427
the ghanam stotram is the most intricate, and hence the most hard to chant. it is to be learnt in the morning and the same is chanted in the evening as well. the day starts with the recital of the ushasthi of the day and the kalyana of the morning. the chants are a tad longer than the others, and are of the shorter variety. they are performed to the jasmine flower which, like the water lotus, is a symbol of the ambrosia of the gods. the ambrosia is only given to the righteous or the virtuous. the stotras from the krishna yajurveda are the most palatable because they are easy to chant. this is because they are laden with mantras in the form of padams, kramams, jathai s and so on.
the word ghanapaadigal is a combination of ghanam and the title ghanapaadigal. ghanam is a sanskrit word that means putting the mind together, coordinating or combining all the sanskrit syllables in a way that makes it a complete word. the study of ghanam is called ghanapada. ghanapaadigal is a title that is also bestowed upon a veda scholar who can chant the entire samhita part of the krishna yajur veda in the ghanam format. i was fortunate to learn this from the great guru of ghanapada from the shankara matham in mumbai. my guru, shri ganesh ghanapaadigal, was a rare soul who was a scholar of ghanapada in addition to being a highly qualified ghanapaadigal. he was a man of immense scholarship and was the only person to be conferred with the title ghanapaadigal twice. the following is the record of his second conferment of the title:
from the shravan yatra to the mauni yatra, to the bali yatra, to the autumnal ganga yatra, to the late autumnal ganga yatra, to the uttarayanam, to the month of ramanavami, to the yudhishthira yatra, the ghanapada study of the ghanam of the krishna yajur veda was conducted in all of these places. the ghanam was taught in the veda paathashaala in the ganga vihar, in the gana kalyana mandapam in the chitra sabha in the chitra sabha in the siddhanta gana sabha, in the veda vyasalaya in the pravachana sabha in the ganesh matham in the ghanapada mandapam in the krishna matham and in the shankara matham in the shankara matham.
Like the dhruva and bhima achuta, the practisers of Ghanam chanting are a self-contained community and they live and die with this mantra and everything else. Therefore, the reasons for practicing such a difficult form such as Ghanam are manifold. For all and sundry to chant such a mantram will confer merit. But it is not a source of religious wisdom. With or without this knowledge, we can all chant the shloka and even do it with great fervour. But one would not understand the contents of the Vedas without having first understood the meaning of the shloka.
After completing the Sankara and Siddanta veena recitals, my Guru taught me a very vast repertoire of Sanskrit recitations, which he had been given by Sadasiva. Among these forms of recitation, his favourite one was the Ganam. He was amazed by the vast possibilities of this form of recitation and thrilled to such a great extent that he immediately gave my name as his student. I remember his enthusiasm very well because Guru was such a great teacher that it became next to impossible to learn from him. Because of Guru’s enthusiasm, I will start with Ghanam recital. In this form of recital, the reciter, i.e. the guru uses his voice to facilitate the goddess and allows the goddess to flow into him, thereby dictating the mantras.
In my Guru’s limited understanding of the art of recital, he gave the mantra in an upbeat, animated tone, which got me hooked. Guru was obsessed to make me realise the fact that Ghanam is a rare form of recitation and he would use his voice in such a way that he made the goddess flow into him. In his recitation, he would be standing with both his feet on a small platform and would be holding a leelachaar or the tamboolam of the Goddess. I remember he would say that this platform and leelachaar were left over from the epic-enthusiast Makhin Deva who had recited the Ghanam. He would say that he had learnt a lot from him. On the day of Guru’s departure, he had given the Ghanam recital to me. After he left, a well-built fellow, who was a regular visitor to our shakthi petha, also came and learnt to recite Ganam from me. After he left, the remaining members of the satsang simply got up and went about their business.