What exactly is the significance of doing Aarati to God

[Guest guest]

Good Morning. It is said that Arathi means giving relief from evil eyes. We do

so many things to get the children rid of evil eyes on them.

 

We use salt and sometimes we use the groomstick etc., In the same way, we give

Arathi to god as a relief from the evil eyes. This is one of the reasons. May

be there are more. I don't know them.

 

Please get back to me if you have any questions.

 

with regards,

Prasanthi.

[Guest guest]

I think its more to do with Vedic ritual which should have some significance.

For example we keep fruits in front of God and after puja, some part of fruit

is taken as prasad. Same way Fire is shown to god and is taken as a prasad or

blessing from him.. Also pl note Fire by itself is considered to be divine.

sorry if Iam wrong.

 

Sairam

Ravi

[Guest guest]

SaiRam Balraj ji,

 

The "Aa-rathi" at the close of Sai Bhajans is really of profound significance.

The camphor flame has itself has been endowed by Bhagavan with the value and

validity of a grand prayer, the culmination of the hour-long yearning of all

devoted hearts. Bhagavan says, "While it is being waved pray - O Lord! Make the

allotted span of my life as pure, as fragrant and as transparent as camphor; let

it consume itself in the fire, scattering light and the warmth of love to all

around me and at the end of it all, let there be nothing left of me (as the

camphor leaves no ashes or residue) to render me liable to another sojourn

amidst pleasure and pain.". This is the prayer with which every session of

homage to to Sai can appropriately close.

 

SaiRam Aad de Waard

The Netherlands

[Guest guest]

http://www.gosai.com/chaitanya/saranagati/html/vishnu_mjs/arati/arati_2.html

 

Among Hindu rituals there is perhaps no one ritual more well known than the

arati ceremony. Anyone who has visited a Hindu temple has been allured, or due

to insufficient knowledge perhaps frightened, when the lamp of fire passes from

the altar to the congregation and circulates from person to person. The origin

and significance of this colorful ritual speaks of its inner charm and

potential to dispel all fear arising from the ignorance of material

identification.

 

 

(continued from) The Sanskrit word arati literally means "before night." Ratri

(night) when prefaced with the letter a indicates dusk. The waving of the lamp

before the Deity thus implies the dispelling of the night of our material

sojourn with the light of devotion through which God is revealed.

In addition to the lamp, the traditional arati includes other items, which along

with the lamp correspond with the eightfold material elemental constituents. In

the Bhagavad-gita, Sri Krsna mentions these elements thus:

bhumir apo 'nalo vayuh kham mano buddhir eva ca, ahankara itiyam me bhinna prakrtir astadha

"Earth, water, fire, air, ether, mind, intelligence, and material ego, these

eight elements constitute my separated material energy." These material

elements, five gross and three subtle, cover our soul. Corresponding with the

gross material elements are the senses and sense organs: earth-smelling (nose);

water-tasting (tongue); fire-seeing (eyes); air-touching (skin); and

ether-hearing (ears). These five senses make up our physical dimension, while

mind, intelligence, and material ego make up our psychic dimension. Under all

of this we reside, like a diamond in the rough. Although our consciousness is

covered by a mountain of material misconception causing us to identify

ourselves with our body and mind, its potential to shine remains undiminished.

Rituals such as arati are intended to remove the mountain of our misconception,

as well as shed light on our positive potential in a life of transcendental

love.

During the arati, first and foremost the devotee offers himself. In so doing, he

removes ahankara, the material ego. He identifies no longer as the material body

and mind. He identifies not with his personality derived from material

association and experiences, rather with the notion that he is a servitor of

the Deity. Thus in preparation for performing the arati, the devotee will often

perform bhuta-suddhi, a ritual in which one adopts the ego of a servant. He may

think of himself as such in a general sense or, in more advanced stages, in

terms of his particular awakened siddha rupa, the perfected spiritual body in

which he will participate eternally in Krsna's lila. A typical mantra chanted

during the bhuta-suddhi in the Gaudiya Vaisnava lineage is one that Sri

Chaitanya himself chanted.

naham vipro na ca nara-patir napi vaisyo na sudronaham varni na ca grha-patir no

vanastho yatir vakintu prodyan-nikhila-paramananda-purnamrtabdhergopi-bhartuh

pada-kamalayor dasa-dasanudasah

"I am not a brahmana; I am not a ksatriya; I am not a vaisya or a sudra. Nor am

I a brahmacari, a householder, a vanaprastha, or a sannyasi. I identify myself

only as the servant of the servant of the servant of the lotus feet of Lord Sri

Krsna, the maintainer of the gopis. He is like an ocean of nectar, and he is the

cause of universal transcendental bliss. He is always existing with brilliance."

(Padyavali 74)

In this mantra, Sri Chaitanya dismisses identification with the structure of

varnasrama, the Vedic socioreligious system in which souls are classified in

accordance with their physio/psychological karmic makeup. Reaching beyond

religion, Sri Chaitanya identifies himself as a maidservant of Krsna, the

eternal husband of the gopis. If one can perform the arati with this ego, one

needs not a lamp and oil, for such a perfected sadhaka's eyes darting in

sidelong glances serve as the lamp, and the prema of their hearts the oil.

In the traditional arati ceremony, the flower represents the earth (solidity),

for all fragrance is found therein. The water and the accompanying handkerchief

correspond with the water element (liquidity). The lamp represents the fire

element (heat), the peacock fan the air (movement), and the yak tail camara fan

the ether (space). The incense represents the purified state of mind, and one's

intelligence is offered in the discrimination required with regard to timing

and order. The priest offers these items with the right hand, while ringing a

bell with his left hand. In the Gaudiya tradition, true to its emphasis on the

efficacy of chanting the sacred names of God, the offering of all the arati

items is preceeded by uttering the name of the Deity one is worshipping.

Additionally, the Hari-bhakti-vilasa of Sanatana Goswami and Gopala Bhatta

Goswami states that the blowing of the sankha, or conchshell, before and after

the items are offered is essential. Thus during the arati, the devotee unravels

himself from the entanglement of material nature by offering the Deity all of

the material elements that color his consciousness. In the case of krama mukti

(going step by step through all levels of consciousness, as Gopa-kumara did in

Sanatana Goswami's Brhad-bhagavatamrta), the devotee will meet all of the

deities presiding over the material elements and realize that they are

eternally worshipping the supreme Deity. Those who perform arati can thus

conceive that they are in presence of all of these deities in their purest

expression of devotion to Krsna, an experience witnessed at the time of

liberation.

Arati is both an individual activity performed regularly by the temple pujari

and a public activity that devotees attend with great enthusiasm. During the

arati the sweet aroma of pungent incense pervades the room, lights are dimmed,

and gongs, bells, drums, and cymbals reverberate. Temples are traditionally

illuminated by natural lighting, such as ghee or oil lamps, adding much to the

mystical atmosphere that purifies all the participants.

Three types of purity are necessary for arati. The articles offered must be

pure, dravya-suddhi. The offering procedure must be pure, kriya-suddhi, which

depends on strictly following the instructions of revealed scripture and one's

guru. And finally, the consciousness of the offerer must be pure, bhava-suddhi.

One's consciousness is pure by having a service attitude and absorbing oneself

in meditation. As

bhava-suddhi intensifies, one enters into the spiritual world of Krsna lila, and

the ritual becomes one's reality.

Many temples, which understand their Deity seva to be nondifferent from the

direct service of Radha-Krsna, modify certain aspects of the worship according

to changes in season and climate. During the coldest winter months in

Vrndavana, the Deities are bathed with hot water and a burner of hot coals

heats the Deity rooms. Going for darsana, one sees that gloves, hats,

foot-warmers, shawls, and even earmuffs are offered to most Deities. In the

peak of the hot season, from Candana-yatra to Sarat Purnima, flowers and

incense replace the (hot) ghee lamp at the noon arati in the Radha-ramana

temple in Vrndavana. Many festivals with grand flower arrangements are held,

sometimes with water fountains and fine mists of aromatic scented water cooling

the Deities. Other times, during the last evening arati, musical accompaniment

is played very softly just before the Lord takes rest.

While arati is a ritual that purifies the heart, a ritual leading to higher

reality, it is also a reality unto itself. Such is the nature of bhakti, for

devotion is both means and end. As we have heard, even the gopis perform arati,

thus there is arati for the sadhaka and arati for the siddha. The Gaudiya

Vaisnava lineage advocates the raga-marga, the path of passionate love of

Godhead. As the sadhaka qualifies himself for raganuga sadhana, his orientation

toward the rituals of devotion changes. The path of

raga requires that the sadhaka regularly contemplate the eternal lilas of

Radha-Krsna, and thus in the beginning stages of raganuga bhakti, the sadhaka

thinks of the arati ceremonies throughout the day in relation to the eightfold

daily pastimes of Radha-Krsna. Indeed, it is from these pastimes that the arati

ceremony derives.

The eternal daily lila of Krsna is divided into eight sections that comprise the

twenty-four hours from sunrise to sunrise. It is in the sunset pastime that the

arati ceremony has its origins. At sunset Krsna returns from the forest with

his friends and calves. The sun sets with embarrassment, acknowledging Krsna as

the light of lights, who lights both day and night, defeating the splendor of

the sun. All the residents of Vrndavana have been waiting impatiently for him

throughout the day. Were it not for Krsna's friend Madhumangala and his

appetite, Krsna might not return home, so absorbed he is in his sportive play

with his friends. As he approaches the village, Nanda Baba, his father, sees

him from the rooftop of his house and signals to all of his dear son's arrival.

Decorated with the dust of the pasturing grounds raised by the hooves of his

calves, Krsna appears more beautiful than when he left that morning. Mother

Yasoda collects him in her arms, mildly admonishing him for his tardiness. She

praises Madhumangala for bringing him home, as mother Rohini brings a ghee lamp

to inspect Krsna's body for scratches incurred in his sportive forest play

(although in fact they may be due to his secret rendezvous with the gopis ).

The lamp dissipates the night and enhances the union of Krsna and his devotees,

dispelling the pangs of their separation. From this lila, just before night,

arati has its eternal beginning. The lamp of his devotees' love is thus held to

the Krsna sun and that love-lamp itself is thus further illumined.

During the ritualistic day of the sadhaka, the day begins with mangal arati, one

and a half hours before sunrise. This time corresponds with nisanta lila, the

end of night and the waking of Radha and Krsna in the bowers of Vrindavana.

While the beginning sadhaka views the arati as the end of the long night of his

material slumber, and the dawning of his day of service to sri guru, the siddha

envisions his soul's participation in the lila, assisting those waking

Radha-Krsna and helping the divine couple to reach their homes before the

sunrise speaks of their secret love to all. As ordinary souls dread the end of

night and slumber on in ignorance,

the sadhaka rises early to conquer the ignorance of sleep. Yet the ultimate

soul, Radha-Krsna, dreads the sunrise in the lila of love, for it brings to a

close the union of Radha and Krsna and gives rise the pangs of their daytime

separation, in which their secret paramour love must remain hidden. Thus it is

stated in Sri Gita:

ya nisa sarva-bhutanam tasyam jagarti samyamiyasyam jagrati bhutani sa nisa pasyato muneh

"What is night for all beings is the time of awakening for the self-controlled,

and the time of awakening for all beings is night for the introspective sage."

(Bg. 2.69)

It is said in the Vedas that proportionate to the removal of darkness, the light

of knowledge awakens in one's heart, and to that extent kama, the heart's

longing, is destroyed. Yet it appears that in Vrindavana this is just the

opposite. When the darkness of night comes to an end, the light of daybreak

only increases the desire of Radha and Krsna to be united again. The customs of

Vraja are beyond the reach of even the Vedas ! What is day for the sadhaka is

night for those not treading the spiritual path. Yet what is day for the

sadhaka is at the same time night for the siddha who lives in the lila of

Radha-Krsna. The sadhaka takes joy

in rising early to the new day, while the siddha laments in transcendental

ecstasy over the separation of Radha-Krsna that the rising of the sun mandates.

This transcendental lamentation is most desireable, and awakening to this ideal

is mangal arati, the most auspicious arati of all.

Nisanta-lila: Pastimes at the End of Night

The brahma-muhurta, beginning an hour and a half before sunrise is the most

spiritually auspicious time of day. The first and foremost arati of the day,

mangala-arati, is performed during this time period, sometimes as early as 4

a.m. Any devotional activities performed during this time are greatly enhanced

in terms of their spiritual potency and acquired benefits. Thus attendees are

recipients of a heightened spiritual upliftment especially manifest during the

brahma-muhurta. It is the pujaris good fortune to awaken the Deities by the

melodious recitation of auspicious verses while gently massaging the Deities

lotus feet.

Visvanatha Cakravarti Thakura has written in his Gurvastaka, a popular song

revealing the exalted position of the spiritual master, that one who

meticulously sings this song daily during the brahma-muhurta achieves spiritual

perfection. Mangala-arati corresponds with the awakening of Sri Sri Radha and

Krsna in their forest nikunja (grove) slightly before the rising of the sun. As

their loving pastimes close

for the night they hurry to their respective homes. Sadhakas meditate deeply at

this auspicious time of day on this important pastime and the strong feelings

of separation of Radha and Krsna as they part company. Sincere devotees who are

eager to increase their devotional dedication, faithfully attend mangala-arati

without fail.

Prata-lila: Morning Pastimes

After returning home and being awakened by Mother Yasoda, Krsna bathes and milks

the cows, sometimes meeting Radha for pastimes at the Yamuna River. Here they

may enjoy an early morning light meal, like sweets (Bala bhoga ). Srimati

Radhika leaves for Nandagram to cook for Krsna in Mother Yasoda's kitchen.

Similarly, after mangala-arati, sadhakas bathe the Deities, dress Them and feed

Them various nicely prepared sweets and other preparations. Deity seva includes

many opportunities for service of the highest order. Cooking many varieties of

tasty foodstuffs to offer the Deities is a most important service, for this is

reserved for Krsna's best servitors, Srimati Radharani, Mother Yasoda

and their most qualified associates. Cleaning is another very important

service--for cleanliness is next to Godliness. In the advanced stage of

devotional service, one continuously remembers these eternal daily pastimes of

the Lord and His associates, while engaging in their various Deity sevas.

Purvahna-lila: Forenoon Pastimes

Returning home once again, Krsna bathes and dresses for the forest, simply and

elegantly with many flowers and other natural things such as peacock feathers,

valuable jewels and gunja-bead malas. He wears a vaijayanti garland composed of

at least five different colored flowers, which is always long enough to touch

his knees or feet. Krsna decorates other parts of his body such as his head,

neck and chest extensively with flower garlands. He then appears for his

morning meal cooked by Sri Radha, after which he goes to the forest of

Vrndavana with his cows and cowherd boy friends. Srimati Radharani also goes to

the forest on the pretense of performing surya-puja, worship of the sun, but in

actuality Her sole purpose is to meet Krsna at Radha-kunda. Sadhaka's meditate

on these pastimes as they dress the Deities of Radha and Krsna in a mood of

preparation for a day of forest sporting and perform the morning dhupa arati.

Enthusiastic devotees eagerly await the darsana of the Deities in Their nicely

dressed state with multicolored silken dresses adorned with beautiful jewelry

and aromatic

garlands of flowers.

Madhyahna-lila: Midday Pastimes

The noon raja-bhoga offering of a full meal to the Deities is their main

offering of the day and corresponds to Krsna's lunch-often a forest feast send

by Mother Yasoda. This happens amidst many wonderful and enchanting amorous

pastimes with Sri Radha and her charming associate gopis in the many wonderful

groves of Radha-kunda. At the time of the offering of these foodstuffs to the

Deities, devotees traditionally sing the Bhaja Bhakata-vatsala, Bhoga-arati

song of Bhaktivinoda Thakura for the pleasure of the Deities--a heartfelt

expression of

Krsna's enjoyment of the innumerable tasty preparations offered.

Aparahna-lila: Afternoon Pastimes:

Awakening from a midday rest (Utthapana ), Krsna joins the Surya puja disguised

as a pujari and then returns home to bathe and dress for the evening. Similarly

the Deities are awakened from Their afternoon rest, offered a light snack and

arati.

Sayam-lila: Dusk Pastimes

The Sandhya-arati takes place at twilight, the sandhi or joining of day and

night, just after the evening offering of foodstuffs. It is the time when Krsna

takes his evening meal and after milking the cows takes rest. This is perhaps

the most festive arati of the day with many enthusiastic visitors in

attendance. This arati is also called the Gaura-arati by Gaudiya Vaisnavas, for

they absorb themselves in thoughts of the arati of Sri Chaitanya Mahaprabhu

singing the Kiba Jaya jaya gauracander song, vividly describing this arati.

Pradosa-lila: Evening Pastimes

The last darsana of the evening is called aulai darsana, arising from the Hindi

word meaning to call or holler "last darsana." Krsna will no longer be

available publicly--retiring to his inner chambers for the night, only to leave

for his nightly rendevous with Sri Radha and close associates.

Nakta-Lila: Midnight Pastimes

Lord Krsna's most confidential pastimes take place at night in the bowers of

Vrndavana. Here He engages in many wonderful lilas with His beloved gopis such

as rasa-lila, water sports, amorous pastimes and sleeping. Devotees, realizing

the inherent sweetness of this service, are happy to dress the Deities in

nightclothes and after offering a light refreshment and short arati, invite the

Deities to take rest.

A perfect way to end the day."...always look at the positive side of things... " sri sathya sai

sairamdoris (AT) (DOT) es