VISHNU SAHASRANAMAM MEANING IN PDF

This entire compiling was done after the Mahabharata war and Saint Vyasa Mahamuni wrote the entire versus with answers for the queries raised by respective personnel they were part of that time. Every Name of Sri Vishnu has a meaning to it; quite apart - the phonetic vibrations by chanting each Name known as "Nama" and the chain of names known as "Namavali" produces very fantastic results of vibrations that are very essential for humans knowledge and wisdom. What the phonetic sound vibrations create to the chanter or to the one who hears it is very well established by many eminent scholars. Besides, the thought and thinking of a person can also be regulated to divine path. The legend would have it that at the end of the epic Mahabharata war, Bhishmacharya was awaiting the sacred hour to depart from his physical body unto the lotus feet of the Lord. Yudhishtira, the eldest of the Pandavas, was desperately looking for the answers to matters relating to Dharma and Karma.

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Sarva-duhkha-atigo bhavet. Both questions are answered here: - the greatest Dharma is the one Vishnu, who has neither a beginning Aadi nor an end Nidhanam , the supreme Lord "maheshwaram" of the world. He is the very illumining Principle of Consciousness that illuminates all experiences. And yet He has many manifestations and, therefore, He can have infinite names in terms of His manifestations.

Definitions should directly describe the thing defined, and here we have a thousand indirect definitions with which the Real, the Infinite is being indicated in terms of the unreal and the finite. They were collected and strung together into a joyous Hymn to Vishnu, a garland of devotion and reverence, by the poet-seer Vyaasa. Since each of them is thus an indicative definition of the unknown in terms of the known, each term here is believed to rocket-us up into the realms of the divine experience, only when we have lifted our minds towards it through contemplation.

So all living creatures are fit for this easy path. In the Trikutaachala lake, the elephant that was caught by the crocodile is described as having been saved by the Lord Gajendra Moksha. The story of Jadabharata is yet another example. Sankara in his commentary describes here Japa as comprehensive of all the three types. Vishnu Sahasranaama can be employed in performing Japa of all these three kinds.

Exactly 90 names have been repeated in this Great Hymn; and of them, 74 are repeated twice, 14 are repeated thrice, and again 2 of them are found to have been repeated four times. Sometimes, the terms are repeated as such Vishnu- Vishnu, Siva-Siva etc. These need not be considered as a defect, since this Hymn is a chant of His Glory.

In a chant of glory stuti repetitions are acceptable-it is but a style of the emotional heart to repeat its declarations of love. The extra 31 Names are to be considered each as an adjective qualifying Viseshana the immediately following noun. When one makes Archanaa to the Lord the correct dative case is to be used. There are 20 double-names in the first Names and 11 double-names in the second half of the chant.

There is one indeclinable Avyaya word used, and it th should be used in the dative for Archanaa as Sanaat Namah; so too the th Name in the chant, being a plural noun, should be used in Archanaa as Sadbhyo Namah.

It will also be found, as we study the significances of these Divine names, that Vyaasa has employed sometimes masculine gender, on other occasions feminine gender and some other times even neuter gender. Wherever it is masculine. Glory or power devataa that is manifest everywhere, and when the term is in neuter gender, it means Pure Brahman, the infinite Reality.

This Archanaa is generally performed by devotees daily; if this is not convenient they perform this worship at least on their own birth-days, on eclipse days and on the day on which the Sun moves from one zodiac to another the Samkraanti-day.

This performance has been prescribed by the Sastra for warding off troubles arising from the position of planets, anger of the rulers, incurable diseases and ruthless enemies. The highest effect is for purifying the mind and thus gaining more and more inner-poise for the Saadhaka in meditation. This is technically called as Anga-Nyaasa and Kara-Nyaasa. This is a method by which the seeker with wilful thoughts and deliberate physical signs sanctifies himself to be a Divine Temple and installs various sacred deities in himself.

This helps the student to realise that though he is worshipping the Lord as a Goal or an Ideal other than himself bheda or anya , in fact, he is to seek his identity with no traces of differentiation Abheda or Ananya , between himself and the Lord. The final realization is a perfect identity indicated in the Mahaavaakya. Aham Brahmaasmi. However, pundits of ritualism in the South employ the Anga-Nyaasa; and it being such a beautiful act, so very helpful to the seekers, we give here below the most popular one practised widely in the South.

Beside this deep significance, even though it be only for the time being, the student is also given a sense of purity and sanctity in himself.

Just as a devotee feels highly inspired in the divine atmosphere of a sacred temple, so too, after the Anga-Nyaasa, however shattered we might have been, before we entered the Pooja-room, we can artificially work ourselves up into a divine mood of peace and purity. The body itself is rendered as the temple of the Lord, wherein the various limbs become the altars upon which, with a heart of love and faith, the devotee invokes and installs various deities.

In this process, in order to bring the full blast of the sacred suggestions to him, the repetition of each of these mantras is emphasised by a corresponding physical sign. The idea is only, as we have already explained, to establish the correct mood for devoted contemplation. Great mantras of deep spiritual significance and sublime Vedic dignity are not mere poetic compositions by mortal fallible intellects. When a. Such statements when contemplated upon by lesser seekers, they too, in the spiritual cadence of these mantras, get unconsciously uplifted into realms unknown, and there they come to live a world of experiences unfrequented by the ordinary multitudes.

Such Rishis themselves admit that they did not manufacture, compose or create the mantra, but they had a revelation or vision Darsanam of the mantra. The Mantra- Drashtaa, the Rishi, is the guru of the seeker, who is seeking his path with the help of that particular mantra.

The Rishi of a mantra is installed at the roof of the head and the seeker, in his seat of Vishnu-Sahasranaama-chanting, Symbolism Anushtup Chandah The metre "chandah" in which the revealed mantra comes to the teacher is also mentioned because it orders the discipline that should be followed while chanting the mantra. Anushtup is the name of the particular metre in which this thousand-name- chant on Vishnu is sung.

Sri Vishvaroopo Mahaavishnur-Devataa Lord Vishnu of the form of the entire universe of variegated names and forms Vishva-roopah is the deity of the mantra.

Vishnu is the theme of the chant. The Lord of Vaikuntha is the altar at which the devotee is preparing to offer himself in humble dedication and utter surrender. Devakee-nandanah srashteti Saktih Every deity is a manifestation of the mighty Omnipotency of the Supreme. The creator and sustainer Srashtaa of Dharma, the son of Devaki Devakeenandana , is the manifested power "shaktih" of the Almighty.

Symbolism: This creative power of righteous-ness and peace is installed at the navel naabhi point, and, therefore, the fingers come down from the heart region to the navel.

Sankha-bhrit nandakee chakree iti Keelakam The mighty Creative Power invoked and established on the navel region cannot be as such conceived by the mind. This is only to show how the total cosmic Power, expressed in terms of our present understanding as creation, sustenance, and destruction, is but a manifestation of the Lord. Nandaka, the sword that punishes to bring joy Nandana into the community and the destruction, without which evolution is impossible, is represented by the concept of the Discus Chakra.

Here it is also to be noted that the blowing or the conch represents speech; wielding the sword represents action and the discus that takes off from Him at His will, represents his thoughts.

Thus this great Power installed at the navel expresses itself in the world through speech, action and thought. Here it is to be carefully noted how: the Guru is kept at the roof of the head, the Veda metre in the mouth, the Lord in the heart, the Power in the navel and, thereby, the seeker himself becomes so sacred that he prostrates unto himself by holding his own feet.

Saarnga-dhanvaa-gadaa-dhara iti Astram Whenever there is a large wealth in a box it becomes a treasure and it is locked and safely protected; when this divine installation has taken place, and therefore, the body has become the Temple of the Almighty, and therefore, it has become a scared treasure house to be protected.

But the seeker himself has no power to protect, and so, he invokes the very weapon Astra of Vishnu, the protector of the world, to stand by for the defence of the sanctified bosom. These two form the artillery of defence; which are manned by the Lord himself. Symbolism: At this moment when this mantra is mentally chanted, it is significant that the student lifts the palm away from the feet, and with the stretched out index and middle fingers of the right palm snaps them on the open left palm.

A charioteer has to guide every step of every horse in order that the chariot be safe, and the travel be pleasant. Of the sense organs, the eyes "netram" are the most powerful and once they are well guided, all others also follow their heels.

When Lord Vishnu, the charioteer, Himself is installed in the eyes "netram" , the individual is safe "rakshobya" in his spiritual pilgrimage.

Symbolism: Therefore, invoking the Divine Driver, with reins in his hand Rathaangapaani , He is installed in the pair of eyes, and at the moment of mentally chanting this, both the eyes are touched by the tip of the fingers. Trisaamaa saamagah saameti Kavacham He Tri-Saamaa who is glorified by all the three "tri" types, of Saama songs Deva-Vrata-Prokta , He who is the very theme that is glorified by the Saama songs Saamagah , He whose glory itself is the manifested Sama Veda Saama , He is none other than the Supreme This great Lord is installed a, an armour "kavacham" to wear for self-protection.

Symbolism: While chanting this in the mind the seeker first touches with the tip of his finger, of each arm, the same shoulders, and afterwards crosses the arm, in front of him making fingers of each palm touch the other shoulder-as if he is actually wrapping himself and wearing the divine armour. Anandam brahmeti Yonih The Supreme "para" Brahman, the Infinite Bliss "anandam" is "eti" the very womb Yonih from which the universe has emerged out.

The procreated world of endless variety has only one Eternal Father, and this source is immaculate Bliss. When this is chanted the seeker installs the Bliss Infinite at the very place of procreation in himself. It is a spot in this great divine temple of the body, wherein is the one source, from which the world has emerged out, manifesting itself as the power of procreation Taittireeya.

Visvaroopa iti Dhyaanam The entire band of experience gained through the instruments of the body, mind and intellect in terms of perceptions, emotions and thoughts together is indicated by the term Visva. He, who has manifested to be the total world of experiences Visva , must therefore be Visvaroopah.

The cosmic form of the Lord Visvaroopa is the total universe. Thus to meditate Dhyaanam upon Him as the whole universe, is a method of installing Him in our intellect. Symbolism: At this moment the student locks his fingers and sits in meditation.

Ritam sundarasnah kaala iti Dikbandhah Truth Ritam , the lord, and his weapon, the discus, called Sudarsana, and his annihilating power, Time Kaala -these three are the mighty forces that guard this scared temple of life in the seeker at the outer frontier of his world of influence Dik-Bandhah.

Symbolism: At this moment the student snaps his middle finger with the help of his thumb and runs his palm around his head. Sree-mahaa-vishnu-preetyarthe jape Viniyogah Having thus installed through sankalpa the Lord in himself and having come under the protecting wings of the mighty lord, here is the declaration how he is going to employ himself in it. Now the question is: with what motive should be undertake this chanting? The answer is in the very statement that it is only for the grace Preetyarthe of Sree Maha Vishnu.

Symbolism: After chanting this declaration in the mind, the saadhaka, takes a spoon of water Teertham in his right palm and pours it on the floor in front of him. A true seeker is not desire-ridden for material satisfaction, and, therefore, he can have only one intention-the grace of lord, which will manifest in him as contemplative power. At this juncture this makes him inspired sufficiently for higher meditation upon the truth as indicated and directed by the thousand terms in Sahasranaama.

When this is properly performed with a right attitude and devotion, the student gains identification saaroopya with the Lord of his heart, at the outer levels of his personality.

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Who is the greatest Lord in the world? By eulogising whom can a person reach auspiciousness peace and prosperity? By worshipping whom can a person reach auspiciousness peace and prosperity? What is, in your opinion, the Greatest Dharma of all Dharmas? All matter animate and inanimate reside in him, and he in turn resides within all matter. The compound is of the Bahuvrihi type and may be translated as "having a thousand names".

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Sarva-duhkha-atigo bhavet. Both questions are answered here: - the greatest Dharma is the one Vishnu, who has neither a beginning Aadi nor an end Nidhanam , the supreme Lord "maheshwaram" of the world. He is the very illumining Principle of Consciousness that illuminates all experiences. And yet He has many manifestations and, therefore, He can have infinite names in terms of His manifestations.

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