Purohitas and Purana Vidwans

- 1 -

Sri Subbabhatta

 

Mulabagal Sri Subbabhatta hailed from a lineage of Raja Purohitas (Royal Purohitas) and belonged to the Badaganadu subsect. He was younger to Sri Venkatarama Bhatta. He was a Rg Vedin but still studied Jyotisha and Dharmashastras under the tutelage of Sri Venkatarama Bhatta, who was a Yajur Vedin. His house neighbored that of Sri Venkatarama Bhatta.

There were about six or seven Smarta[i] homes and about two hundred and fifty or three hundred Madhva homes in that town. There was absolutely no Srivaishnava home except those who arrived there on temporary government duty. These Smarta homes hailed from four different subsects: Mulakanadu, Badaganadu, Seeranadu, and Dravida. Despite this, everyone lived as one family. Of these, the homes of Sri Venkatarama Bhatta, Sri Subbabhatta and ours formed a cluster. If any special occasion or function occurred in any of these houses, the members of all the three families would assemble in that home.

Sri Subbabhatta lost his father during his childhood. His father’s younger brother, Sri Krishanmbhatta took care of the family. Sri Subbabhatta’s mother was Srimati Chennamma, his elder sister was Venkamma and his younger sister was Venkatalakshamma. The man who grinded his entire life to ensure a good future for this family was Sri Krishambhatta.

- 2 -

Sri Krishambhatta

 

It is necessary to narrate Sri Krishambhatta’s life story. He remained a strict and true Brahmacharin till the end of his life. In a niche in his living room, there was a stone sculpture of Ganapati, an ancestral heirloom. After waking up in the morning, the first thing that Sri Krishnambhatta would do was to light the lamp to that Ganapati, offer flowers, chant stotrams and then proceed with the day’s work.

Until Sri Subbabhatta came of age and attained maturity, Sri Krishanmbhatta used to perform Pourohitya. That was the Pourohitya of the market or the business community. The income that ensued from it was sufficient for their family in that era. They also had some land.

Sri Krishnambhatta typically finished his Pourohitya at ten or eleven and return home and take a bath again—in cold water. This was followed by the daily puja at home. Nobody would tell Sri Krishnambhatta to hurry up citing the excuse that it was getting late. He would methodically and slowly chant the Mantras without committing any error in the Swaras.

Post lunch, he would visit Sri Venkatarama Bhatta’s home. After spending about a half hour there, he would head out to various homes in the town and perform the Panchanga Shravana[ii]. He would return home in the evening and perform the Sandhyavandanam and Deeparadhana. Then he would go to the Kashi Visweshwara temple and sleep in the Mantapam there. He didn’t eat at night and would awake at dawn. This was his daily routine.

The personal discipline he had set for himself: to stay away from home as much as possible but to never forget the responsibilities he had towards home. He was completely pure, inside out, akin to a Rishi.

Sri Krishnambhatta didn’t show negligence towards kids. Before I reached an age where I could realize his greatness, I joined kids of my age and composed parody poems on his name and sung them loudly. He would join our party and laugh with us, and if there was an error in the wording of a poem, he’d correct it.

My namaskarams to his sacred memory.

Spirit of Inquiry

 

Kashi Vishwanatha

Sri Subbabhatta was deeply traditional and possessed a calm and gentle disposition. He was in my father’s circle of close friends. If he was struck with something that worried him, he’d call out, “hey Subba,” and seek his advice. He didn’t display a sense of over-smartness; his mind was free from any taint.

He was akin to a true friend to me and worthy of reverence. Among others, he was one who guided me, corrected me. My father believed that I would listen only to Sri Subbabhatta’s words when the efforts of others had failed. It was mostly an accurate belief.

Sri Subbabhatta possessed a spirit of rational inquiry. He had a good understanding of the principles of the Theosophical Society. He would discuss their opinions with me. Sri Subbabhatta was the one who first introduced me to the Vajrasoochikopanishad.

Sri Subbabhatta passed away before he turned sixty. But he remains alive in the memories of everyone who knew him.

- 3 -

Sri Shyamabhatta

 

He was a Rigvedin belonging to the Seeranadu subsect. Not only was he deeply learned, he was an expert in performing both the Poorva and Apara ceremonies[iii]. He was a strict adherent of Karma.

Sri Shyamabhatta’s elder son Vamanabhatta and I were of the same age. Both our thread ceremonies took place on the same day. Sri Shyamabhatta was considerably well off. He owned a house and had some land. He managed all of his financial affairs with great competence and intelligence. He never sought any benefit from anybody.

Each time his memory surfaces, the most praiseworthy facet that stands out is the Phalahara Puja [literally, Puja performed with offerings of fruits] that used to take place in his home on every Dwadashi (twelfth day). About ten or fifteen Brahmanas would be present. Elaborate Veda Ghosha (chanting the Vedas) would take place till about two or two-thirty in the afternoon.

Then the Phalahara Puja would commence.

Four varieties of Avalakki; puffed rice laddoos; a vast array of sandige; rasayana or fruit salad; kosumbari—and several other delicacies. At the end, he would offer the Dakshina. After the elders had finished eating this Phalahara, they would loudly proclaim, “Sri Rama is now content,” rubbing their bellies. As they prepared to leave, Sri Shyamabhatta’s consort, Srimati Narasamma would signal to me, “you sit here for a bit.” Round Two of my Phalahara would commence. She knew that I was a bit of a glutton.

Sri Shyamabhatta was a gentle benefactor who led a spotless life.

- 4 -

Hebbani Sri Ramachandra Shastri

 

He hailed from the Mulakanadu subsect. He had a great mastery over the Ramayana, Mahabharata and Bhagavatam. His skin tone was flawless, he had an excellent physique and a pleasing voice. Together with these qualities, he was endowed with a pure conduct and tranquil character.

Hebbani is a village situated about fifteen or twenty miles from Mulabagal. It appears that it had been populated by a great number of Vidwans in the past. A renowned Vedic Vidwan named Sripati Bhatta had lived there. Several of the great Madhva scholars who settled in Mulabagal originally hailed from Hebbani. Hebbani Seshacharya, Hebbani Srinivasacharya, and Hebbani Ramannacharya were among the notables.

Sri Ramachandra Shastri would visit Mulabagal to recite the Puranas. The recitation was in Telugu. The Telugu poet Potana’s Bhagavatam and the Ranganatha Ramayana were his primary texts. Sri Shastri would select some portion, set it to a raga and sing it aloud. Then he would expound on its meaning in detail. His dazzling oratory, the vivid style of description and his facial expressions and hand gestures that matched them—all this mesmerized the audience. Typically, his Purana session lasted from seven-thirty or eight in the evening to ten-thirty or eleven in the night. He concluded the session with a poem whose meaning can be summarized thus:

Today’s session was made possible because of the munificence of Sri X. God will bless the magnanimity of the person who will make tomorrow’s session possible.

The word “session” in this case meant Naivedya offered both in the morning and evening.

As soon as he finished this poem, the Vaishyas would come forward eager to be the first to offer their Naivedya. The Purana session would take place in the marketplace, amidst the Vaishya Mandali. The Vaishyas of that town were wealthy. And attached to Dharma.

Sri Ramachandra Shastri would stay at our home. He has given me immense joy by narrating countless stories and Upakhyanas. Some of the stories that he narrated from the Mahabharata have supplied extraordinary mental strength during testing times in my life.

This is the English translation of the fourth chapter of D V Gundappa’s Jnapakachitrashaale: Vol. 5 – Vaidikadharma Sampradayastharu.

Notes

[i] Smarta is one of the main sects among Brahmins who follow the Advaita Vedanta school of Adi Shankara. Other sects include Madhva and Srivaishnava who respectively adhere to the traditions propounded by Sri Madhvacharya and Sri Ramanujacharya.

[ii] A practice of reciting aloud the current year’s fortunes as recorded in the Panchangam or the Hindu almanac. This includes things like ratio of income and expenses for all moon signs, good and bad occurrences, taxes and so on.

[iii] Poorva ceremonies typically include ceremonies and rituals performed on auspicious occasions such as the naming ceremony, wedding, and even general occasions such a Yaga, Puja and so on. Apara ceremonies include any ritual ranging from the death ceremony to the annual death rites or Shradda.

Author(s)

About:

Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.

Translator(s)

About:

Sandeep Balakrishna is a writer, author, translator, and socio-political-cultural analyst. He is the author of "Tipu Sultan: The Tyrant of Mysore" and "The Madurai Sultanate: A Concise History." He translated Dr. S L Bhyrappa's magnum opus "Avarana" into English.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...