Archive for the ‘Dioramas’ Category


This entire posting is composed of 3 parts:(1) Posting: My Notes From Baba’s Museum: Dioramas;
(2) Point of Information: Mosquito: How Gods And Goddesses Are Created;
(3) Prabhat Samgiita #3287;


Most are aware about the magnificent paintings of Lord Shiva and elaborate dioramas of Lord Krsna which Baba has bestowed upon our Ananda Marga society. In particular, this letter focuses on the making and significance of the dioramas depicting Lord Krsna’s life.

Note: For those who may not be aware, dioramas are miniature sculptures that represent an entire scene and this whole artistic yet life-like creation is set inside a glass encasement and put on display.


Like many margiis, by Baba’s divine grace, I got numerous opportunities to visit Madhu Malainca – i.e. Baba’s Quarters in Lake Gardens. On several occasions I was there for gardening projects and other callings etc. While on site at the Baba’s Quarters, there were many things I saw those days – some I understood and some not.

Generally though I did not like to ask any questions. Mostly I thought that, ‘According to His liking Baba will explain or not explain; and whichever way He chooses that will be perfect.’ So like this many of the visits passed by His grace.


Those dioramas about Lord Krsna are very special and that Baba Himself ordered them to be hand-crafted.

Baba had called & paid the top, expert sculptors, artists, and craftsmen of Kolkata and described to them in great detail how they were to make these dramatic dioramas. Baba gave them very elaborate instructions and monitored their progress up to the very last detail. In that way, under Baba’s meticulous direction, those dioramas were made by the finest artisans of Kolkata. Altogether it was a massive project as there were numerous casings of dioramas – each specially designed and hand-crafted with tremendous attention to detail.


In brief, we can say that there are two fundamental reasons why the dioramas were made.

First, Baba has used the dioramas to clarify existing misunderstandings. Specifically, the various religions of the world are filled with dogmas which have led to exploitation, suffering, and stagnation. Not only that, such religions have created a plethora of gods and goddesses – that are numerous and contradictory in nature. The common person does not know what to believe. In His many discourses, especially in His books Namah Shivaya Shantaya and Namami Krsnasundaram, as well as in His dioramas etc, Baba has uncovered these myths and given the real history and dharmic meaning. And verily we see that many of the dioramas clarify half-truths and dogmas propagated by certain religious bodies.

Second, Baba made these dioramas because He wants to get His message and teachings to people through various media. Not everyone reads literary essays; not everyone attends dharmic seminars, especially children & young kids. People learn in different ways. The dioramas are an avenue to present dharmic teachings through a visual display. With a relatively quick look, a person can get the basic meaning of what is going on. But to understand it more deeply, study and critical evaluation is needed. If, however, one is already aware of those related teachings, then the dioramas serve as a quick reference and reminder to the key idea. Thus the dioramas are a way to convey knowledge. Actually, such visual presentations create a deeper imprint in one’s memory as people often organise their thoughts and memories with images, not words.

Nowadays, the various news agencies use diverse media: the written word, television, radio, blogs, videos, podcasts etc. By these avenues, they get their message out to a wide audience. Similarly, one of the medias which Baba has chosen for delivering His message is sculpture in the form of these dioramas.

So these are two fundamental reasons why Baba commissioned artists to create these dioramas.

Following is a description of Diorama #4 for everyone’s knowledge and understanding.


Diorama #4 is so very dramatic. The scene takes place inside one hall of Krsna’s uncle’s house. Three female attendants and a male guard are standing around completely shocked. And the lady of the house is also present. And they are all astonished by one tremendous event. Because there sprawled out on the middle of the floor is one gigantic demonic female monster. She has huge fangs, long claws, over-sized arms, wild eye balls, dinosaur-like feet, and so many other nasty qualities. And this female demon is quite enraged – on her death bed. She is lying on her back with her chest exposed and there on one of her breasts is the baby Krsna.

By the entire scene one can understand that this is the famous moment which Baba has recounted numerous times where the evil secret agent Putana put poison on her breast in an attempt to kill the baby Krsna. But Krsna being well aware of Putana’s evil ways had to save Himself so He bit into her breast thus making the poison go into Putana’s blood – thereby killing the female spy Putana.


So what is the righteous reason behind Baba’s depiction in Diorama #4 where He presents one woman, Putana, as one evil, scary monster.

In reality, Putana was an intelligence agent (undercover spy) so surely she looked like a motherly lady. Because if really Putana looked like a monster then none of Krsna’s family members would have allowed her to go near the tender young baby Krsna. To be effective, spies always must fit in naturally and be able to perfectly play the needed role. As a top-calibre spy, certainly in real life Putana looked like a caring, loving mother etc. In His diorama, Baba designed the image of Putana in a way that clearly reflects her standard of mind and intent.

In each and every art form or media of creative expression, the artist has a special technique for presenting their subject. In literature, a writer can directly state, “Putana was an evil-minded and demonic lady.” And by this way the reader will understand. Similarly, a painter has their special technique – through the use of colours and facial expressions etc – for expressing that Putana was a bad and nasty lady. In that same manner, Baba ordered the sculptor of this diorama employed visual effects to present the idea that Putana was a demonic creature whose sole intention was to murder Lord Krsna. That is why Putana was sculpted with fangs and claws etc. This was Baba’s artistic way of conveying His dharmic message about the demonic-minded Putana.


Here the main point is Baba is teaching everyone where dharma lies. That is the secret behind the presentation of all His dioramas – and certainly diorama #4 as well. Because Baba wants to teach sadhakas the truth that Putana is an evil being and that Krsna was perfectly justified in killing her in self-defense. And the best way to capture this is to present Putana as some demonic character. This art form was used to clearly and graphically portray her mental state and depraved actions.

By this way everyone will understand that Putana is some horrid creature. Otherwise if Putana was displayed in her actual physical appearance, then after seeing the normal figurine of Putana, ordinary people will not be able to understand the nature her deeds. When in fact Putana really was a wretched creature.

“[Putana] took a different path, the negative path – they [Putana and other intelligence personnel] wanted to destroy the very nucleus of the universe, Lord Krs’n’a, the greatest treasure of humanity.” (1)

Thus Putana’s entire character was very black – negative and evil-minded. From start to finish she was dastardly. That was her inner nastiness; she was an enemy of dharma. So to depict her in a befitting way Baba has chosen to apply demoniacal traits to her physical body. And by that way everyone – even children – will reach the dharmic conclusion that Putana was one scary figure who got the negative death that she deserved. By this way no innocent observer will mistakenly sympathize with Putana. Rather all will be pulled forward on the path of dharma; and the enemies of dharma will be exposed naked. That is the beauty of Baba’s dioramas about Lord Krsna. Such clairvoyant depictions put a spotlight on the path of dharma for everyone to follow.


By this entire scene Baba is also paving the way for how we are to move ahead. He has created one pathway for us all to follow. Because during His advent He has not at all depicted His own greatness; rather He has explained Lord Krsna and Lord Shiva through His comprehensive books – Namah Shivaya Shantaya & Namami Krsna Sundaram – and by these dioramas etc. But about His own Self and His own life experiences, Baba has not said much. That He has graciously left for us to do. Thus Baba has bestowed that honour on His devotees and He has shown us how to spread the grandeur of Parama Purusa in the right way.

So just as He has done in those dioramas, we should also apply all the artistic, theatrical, and literary talents of the humanity to highlight His greatness and at the same time employ those same talents to reveal the nastiness of those who opposed dharma. So when we present the life history of Shrii Shrii Anandamurti ji we should honor Him and reveal the sinister intentions those who tried to hurt and defame dharma – such as Indira Gandhi, Jytoi Basu etc. Our writers and artists must depict despotic rulers like Indira Gandhi in the darkest way possible – using claws and fangs etc. By this way it will be perfectly clear to one and all that Indira Gandhi was wretched and negative like Satan. Because those who oppose dharma are enemies of the humanity.

This is the dynamic task which Baba has shown us how to do. And by this way we can glorify dharma and guide the humanity where dharma lies. So on this point – like so many others – we should follow His all-knowing example.


Here below is Baba’s dharmic description of this monumental and historical event which ultimately was depicted in Diorama #4. By Baba’s below analysis we can easily understand that Putana was one evil woman.

“Why did the child Krs’n’a kill Putana? She was a member of the intelligence department…Putana was one such female intelligence agent employed by [the demonic] Kansa, king of Mathura… Krs’n’a did not plan to go to them and kill them, but He was obliged to strike back in self-defense when they made an attempt on His life. He could easily have killed Pu’tana’ Ra’ks’asii with his occult powers, but He did not. Putana attempted to suckle Krs’n’a after applying poison to her breast, but Krs’n’a bit her breast sharply, and the poison got into her bloodstream, and she died. Even nucleus of the universe, Lord Krs’n’a, the greatest treasure of humanity. Vraja Krs’n’a had to kill them as a last resort. He did not kill them for the sake of killing, but to counteract their evil tendency to destroy human solidarity.” (2)

Similarly Diorama #4 represents the exact same dharmic idea that the demonic woman Putana who tried to murder the baby Krsna was a completely horrible person. And by depicting her as one enraged demon then everyone can understand that indeed this lady is negative. And that it was needed for Krsna to kill her – because of her bad deeds.

And we A’nanda Ma’rgiis should do the same for Baba by glorifying His divine advent and presenting His nefarious opponents like Indira Gandhi as beastly monsters. Then even simple people can easily recognize the dastardliness of Indira Gandhi as well as understand & appreciate Baba’s greatness and glory.


“When the movement is towards the sentient force, that is, when the mutative force overpowers the static force and the sentient force overpowers the mutative force, in that case the psychic movement is called psycho-spiritual. This type of movement gives birth to true art and science; whereas that knowledge which creates numerous obstacles and problems for the human society is not at all wisdom, but merely the expression of mean propensities of mind. When nothing great is created, then cheap sentiments emerge for low-grade art, literature, architecture, sculpture.” (3)


“The human mind has two main functions: thinking and recollecting. The human being is predominantly a mental being. So the greatness and excellence of human beings lies in their thinking capacity, intellectual subtlety and brilliance, and wisdom. Human beings, in the process of expressing their creative faculties, externalize the colourful and varied ideas of their psychic world in a variety of ways: on canvas with colours and brushes, in poetry and literature with the strokes of their pens, and in sculpture with the subtle use of hammers and chisels. Their philosophical ideas, their scientific observations and experiments, and the study and analysis of various branches of knowledge are exclusively within the psychic preserve of the human mind, and have been honoured as the golden harvest of the psychic realm. But if there is a lack of pramá in the psychic sphere, then many omissional and commissional mistakes and defects are bound to enter into their art, architecture, literature, philosophy, science and other branches of human knowledge. Dance may lose its rhythm, painting may lack proportion, music may lose the harmony of its melody and rhythm, and in the various branches of literature there may be an overgrowth of the parasitic weeds of immature expression.” (4)



“Sculpture, which are considered to be the subtlest of all the arts, that we find the true expression of the wonderful aesthetic quality of the human mind. In the calm stillness of a painting or sculpture, everything has to be vividly expressed – laughter and tears, hopes and fears, gestures and language. Indeed, painting and sculpture beautifully bridge the gap between the mundane and the supramundane.”
“In painting and sculpture, as in drama, the question of naturalness or unnaturalness arises, and here, too, the same answer holds true: the mode of expression must be chosen to suit the sentiment expressed. In fact, to raise the question of naturalness or unnaturalness in painting is absolutely unfitting. At the time of giving physical expression to his or her mental image, the artist is not bound to reproduce a particular part of the body according to physiological science. Giving form to a thought or idea is what is important; the artist is not a teacher of physiology. Bringing thought or idea into the world of form is his or her artistic sádhaná.” (5)



“Painting and sculpture, the two subtlest art forms, are the most lacking in popular encouragement and sympathy. It may be argued that in countries where idolatry is prevalent, sculptors have been able to preserve their art due to popular support, and the problem of their subsistence is thus being solved without government aid. Is this not, some say, the most significant sign of popular support? I cannot persuade myself, however, that the people of idolatrous countries are connoisseurs and patrons of sculpture. There is no doubt that the people of such countries buy images from the image-makers, but they do this due to the inspiration of their religion and not out of love for art. If love of art were their motivation, then they would certainly not throw those symbols of art into the water after worship. The situation is different where people buy images of metal, wood or stone to permanently establish a deity in their homes; but there, too, the buyer’s intention is not to encourage art. Although they pay some attention to the beauty and sweetness of the image, they do not give a free hand to the sculptor to create it as he or she wishes and the artists’ work remains confined within the boundaries of the religious eulogies to particular gods; they seldom have any opportunity to display their own original ideas. Hence the observation that the people of idolatrous countries patronize art by buying images is not correct – they only help to preserve a particular class of artists.”
“In order to encourage the art of sculpture, sculptors should be given full freedom as artists, or else their creations will be mere made-to-order, commonplace things. These artists should be free to sculpt images of human beings, animals, natural objects and all natural and unnatural events. Then, freely giving shape to new ideas, they will go on producing new gods every day, and the dhyána mantras of the gods will evolve around the products of their art. Then alone will art find its justification. The artists’ creations will not remain confined within the four walls of the temples, but will rather be in close contact with the common people in all spheres of social life. Statues, deities and other creations will attain a place in every field of life – in homes, drawing rooms, clubs, schools, parks, and indeed, everywhere. Sculpture must also be popularized by occasionally holding exhibitions.” (6)


“Keeping this refrain in mind, they must continue in their relentless effort to fight against the seemingly indomitable might of hundreds and thousands of obstacles which are deeply rooted in age-old superstitions that are firmly entrenched in petty selfishness. Their pens may break into pieces, their brushes may be compelled to draw only lines of water on the canvas, and their histrionic flows may end in mute protests, yet their efforts must continue unceasingly. Each of their petty defeats shall be strung together as pearls in the garland of victory.”
“When for age after age society spins in the murky eddies of evil and vice, when individual and collective knavery masquerades as intelligence, when hypocrisy, bribery and fraud are the yardsticks for measuring the ability to lead – it is then that the genuine followers of Bháratii [the goddess of learning] must struggle on in spite of constant humiliation. Only taunts and insults will be their fate. Those who are afraid of these insults are incapable of offering anything really lasting to humanity. How can people who lack moral strength, under whose feet the soil is not hard and strong, invite anyone in to a cool, refreshing shelter and impart happiness to them? It may be possible to drag oneself through life by sucking the blood of others like social parasites, but this will not bring fulfilment to either sáhityikas or their readers.”
“The artist or sáhityika who assumes the responsibility of leading humanity along the path to light from the caverns of darkness will have to heed the road signs on that path. It is not possible to guide others with mere cheap, superficial knowledge, like a half-baked pandit who reads a half-a-dozen books and then spouts a few mouthfuls of grandiloquence, and who has obtained a doctorate by plagiarizing others’ works. Rather it is necessary for the sáhityika or artist to have a keen and vigorous insight, without which all their endeavours will prove fruitless. Merely juggling words or depicting defects in society will not satisfy the hunger of the human mind – and such creations of art are indeed valueless for social progress as well. One must know the path, and one must also know how to move on it. If those who have not comprehended what the form of society will be, allow the trends of the past that have shaped the present to proceed unchecked, they can never lead society to the path of perfection. They will in fact thrust society into darkness in the name of social reform; they will encourage license in the name of freedom. Instead of modelling a woman after the ideal of a goddess, they will mould the image of the goddess after the ideal of a harlot.”
“Sáhityikas are epoch-makers and so they are the sages and seers of society. They cannot afford to forget their dignified calling even for a moment. They are the messengers of the mute masses, the guardians of society. Their slightest mistake may result in catastrophe, and even a small amount of caution may open up many new possibilities. So a person whose thought and expression is not restrained had better not meddle with the practice of art.” (7)

At His lotus feet,

1. Namami Krsnasundaram, Disc 19
2. Namami Krsnasundaram: Disc 19
3. A Few Problems Solved – 5, Heterogeneity in Aesthetics
4. A Few Problems Solved – 8, Pramá – 1 / Dynamic Equilibrium and Equipoise
5. A Few Problems Solved – 1, The Practice of Art and Literature
6. A Few Problems Solved – 1, The Practice of Art and Literature
7. A Few Problems Solved – 1, The Practice of Art and Literature

The section below demarcated by asterisks is an entirely different topic,
completely unrelated to the above material. It stands on its own as a point of interest.


Mosquito: How Gods And Goddesses Are Created

In India, this is the typical way in which gods and goddesses are created. Wherever the masses are not well-educated then they are prone to superstition. And when superstition sprouts these types of gods and goddesses are created to resolve the issues and problems of the common people. This is the typical formula. All such gods and goddesses were created in this way: Durga, Sarasvata, Vishnu, Laksmii, Ram, Ganesh, Hanuman, Kali, Surya, Jagannath, etc.

“In many cases people are devoted to upadevatás out of fear and sometimes they are worshipped in the hopes of obtaining something. Banabibi [The Lady of the Forest] is there to save one from the grasp of the tiger. Besides her, there is Dakśińa Ráya; out of fear of cholera people worship Olái Cańd́ii; out of fear of smallpox they worship Shiitaládevii; out of fear of snakes, Manasá. These are all upadevatás. The women of a household will sometimes worship Lakśmii year-round to bring happiness in the family; Śet́erá as well as Suvacanii is worshipped in the ritual peace ceremony; Śaśt́hii and Niila are worshipped to bring welfare to one’s children; and out of fear of illness Shmashánkálii and Rakśekálii are worshipped. In Sanskrit they are all classified as upadevatás because they are not Parama Puruśa, the object of meditation in the spiritual world. Besides these, there are many other upadevatás such as Mangalacańd́ii, Áshánbibi, Satyapiira, etc. Upadevatás are also called folk [laokik] gods and goddesses. Some of them have dhyána mantras and some do not; some of them also have dhyána mantras in the local or state language and some do not have that either. In many cases the gods and goddesses of the Buddhist and Jain eras came or are coming to be worshipped as upadevatás in the post-Buddhist and post-Jain eras. Those spiritual aspirants who follow the paths of knowledge, action and devotion, of course, do not bow their heads to upadevatás. They practise the sádhaná of the singular Parama Puruśa.”
“Some people call ghosts upadevatás out of excessive fear, that is, they accept them as minor gods and goddesses lest they be angered by being called ghosts. In Sanskrit, however, the word upadevatá is not used to mean “ghost” – for ghosts the word apadevatá is used. Upa means “near” and apa means “just opposite”. Apadevatá means “one whose nature is just opposite to that of a god”.” (Shabda Cayanika-2, Discourse 9)

Here is an excerpt from a recent news article about what is going on in India. At present, in Jharkhand’s Bokaro district, there is an outbreak of malaria and mosquito-related diseases.

“Hundreds of suspected dengue [& malaria] cases have been reported in the district. The health department is yet to wake up. We have sought a shield from the ‘mosquito god’ and tried to appease it by…” (Times of India)

Here is a link to the full newspaper article…

Prabhat Samgiita #3287″A’ka’she a’loke bhese ja’y tava mahima’ri katha’…” (PS 3287)


O’ Parama Purusa, You are the most magnificent One. The tale of Your glory and grandeur is floating and permeating throughout each and every molecule of the vast, blue sky and in the effulgence – everywhere. O’ my Lord, Your story,
the story of the ever-present, Ancient One, is glittering in all the realms: in both bhuloka and duloka – in the physical and spiritual worlds. Baba, You are so gracious.

O’ Ancient, Divine One, You are eternally, ever-new. You are always, intrinsically with everyone – just like their vital force, just like their pra’na. You always remain present in my feeling, ideation, and intuition. For that reason this eternal longing of my heart is for You and You alone.

O’ Parama Purusa Baba, with the flow of effulgence You color my mind, and You are sitting in the depths of my ideation playing Your divine flute in the deep core of my heart. You are so compassionate: You do not neglect or overlook anyone. You graciously goad everyone towards divinity; You show everyone the path which leads to immortality.

O’ my Lord, O’ Baba, please shower Your causeless grace; I surrender at Your lotus feet…

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Baba says, "The Cosmological Nave is called Krs'n'a, because He attracts everything. Krs'n'a means "the supreme charmer", "the supreme attracter", who attracts everybody towards Him with the help of His -- what? His supreme flute. That supreme flute is Krs'n'a. He creates universal acoustic waves, and those waves bring people towards Him; that is why He is called Krs'n'a

Date: 19 Nov 2009 06:02:37 -0000
From: “Gregory Hamick”
To: am-global@earthlink.net
Subject: Mystery in the Field of Devotion


“A’ka’shabhara’ a’jake ta’ra’…” (P.S. 2523)


The sky of this amavasya night is filled with the stars. The sweet
breeze, like nectar, is blowing mildly. The mind is floating from the known
to the unknown world in divine ecstasy– towards its destination. Ensconced
in His ideation, my mind is getting lost.

The lily flower is constantly looking towards the sky; the aroma of
flowers is emanating all around. They have forgotten their awareness about
their own existence. And remain restless in the attraction of one call.

In Your longing I am sitting alone and counting the stars. I understand
that by Your grace I have lost myself in this beautiful atmosphere and the
attraction of Your love. You are ever gracious You are always remaining by
my side and guiding me. Baba, on this amavasya night my heart is yearning
and longing for You…


In His each and every expression and action Baba is goading and guiding our
minds towards a more subtle & deeper understanding– in all the spheres of
life: physical, psychic, & spiritual etc. This every AM sadhaka knows.
Thus when Baba has personally supervised and guided the best artists of
Bengal to create specially hand-crafted, detailed dioramas depicting the
lives of Lord Krsna and Lord Shiva, then we know that those dioramas must
hold great significance and value.


One time, however, I was visiting Tiljala and looking at those very
dioramas of Krsna and Shiva in Baba’s special museum room. On that
occasion, some others present were commenting how many of the dioramas
which Baba designed depicting Lord Krsna were of a similar style as those
ritualistic paintings made by dogmatic Hindu communities.

And as we all know, in those ritualistic scenes, the dogmatic Hindus
regularly portray Krsna as a remarkably charming and attractive youth who
lovingly cared for and maintained close and intimate relations with the
young maidens of Vrindaban. Krsna is commonly shown this way in religious
Hindu pictures.

So when Baba’s own approach in His personally designed dioramas about Krsna
is similar in presentation, then that raises some highly intriguing
questions. Please consider the following.


In our Ananda Marga, Baba is very strict about male-female relations.
Nearly everything in our Marga is distinguished and divided according to

First and perhaps foremost is that there is a totally distinct and separate
department in AMPS exclusively for women– i.e. WWD (Women’s Welfare
Department). That stands as one monumental way in which everything on the
organisational plane is done separately between males and females.

Then in our AM education system, all of the instruction imparted after
primary level is done in single-sex classrooms and homogenous learning
institutions. In AM schools, males have other males as their peers and are
taught by male teachers etc. And same is the case for female students.

Plus sadhana instruction in AM is only given from male to male and from
female to female. Dadas handle the initiations of all the brothers; and
Didis teach meditation to all the sisters. Everyone is well aware that Baba
has very carefully instituted this system.

In addition, at our social functions, males and females are not at all
encouraged to intermingle; rather Baba warns us against such practices.
(Ref: CC-1)

Then, at dharmacakra male and females sadhakas sit in different rows and do
their dances separately.

And even in the sphere of Guru-disciple relation, things were carried out
differently with regards to one’s gender. For example, no individual margii
sister or Didi would receive PC (personal contact) by themselves. Rather it
was always done as a small group– with other sisters present. They did not
go into Baba’s room alone for PC. Whereas with brothers that was the
standard program.

So, in general, our entire way of life in AM is divided according to
gender– along male-female lines. That is, each has their special and
distinct role.

And top of all, Baba was extremely strict if that boundary was crossed.
More explicitly, in the unfortunate event that anyone ever engaged in
illicit relations with members of the opposite sex then Baba became
furious. He always dealt very, very seriously with such cases.

So from start to finish, in our Marga males and females each have their own
separate and distinct role. The demarcations between the sexes is very


Keeping all of the above in mind it is very curious to think why Baba has
created specially designed dioramas which intricately show Krsna tenderly
communicating with the young maidens of Vrindaban in such an intimate
fashion. That is a point of intrigue. Here is another aspect of the puzzle
to consider.


In general, in Indian culture, there is a long history and established
tradition of very dignified and separate relations between males and
females. For hundreds and thousands of years, male-female relations have
been kept quite distinct. The open and free mixing of males and females is
not condoned in traditional Indian society. And if that boundary is
transgressed, then those guilty parties are shunned by the society– until
the matter has been fully rectified.

So male-female relations in traditional Indian village life are very well
delineated. Indeed, even after marrying, all the males of the household
sleep in one separate structure together. And all the females of the house
stay in an entirely different area. So from this view it is clear that the
Indian subcontinent follows a Tantric oriented life– where males and
females honourably live their lives in a separate fashion. Of course all
these rules and guidelines were originally given by Lord Shiva and Lord
Krsna. And in that way the Indian sub-continent grew up according to the
Tantric code.


So traditional Indian life is not at all like in some other places around
the globe such as in certain western areas like GT sector etc where males
and females are openly seen kissing & touching one another on the streets
and gallivanting around town together. In India none of this is at all


All this raises the very interesting question: Why is it that the Divine
Personality whom religious Hindus reverently worship and adore as the
Supreme God incarnate is, time and time again, depicted in such a way–
Where He, i.e. Krsna, is being extremely friendly with and compassionately
attending to the personal needs of the maidens of Vrindaban. And why are
Baba’s own diorama moving along this similar theme. This is a very curious
phenomenon. Especially when in the Indian society and in AM such strict
mandates about the sanctity of male-female relations are in vogue– ie the
separation of the sexes.


For a more detailed view of this entire situation and discussion, here is a
brief description of but one of Baba’s beautifully designed dioramas about
Lord Krsna’s days in Vrindaban.

In one particular diorama, the young Krsna with his long flowing hair is
shown sitting under a tree in the forest with one leg delicately crossed
over the other knee. The flowers of the forest are in full bloom and Krsna
is elegantly dressed in colourful gowns. He is also wearing a flower
garland around his neck; in His hand He is preparing to play His divine
flute. And His gaze is very intent and focused. In the background there is
a picturesque flowing river and overhead the brilliant sun is shining
brightly. And in that romantic scene, the young Krsna is surrounded by no
less than 10 young, attractive maidens of Vrindaban– all dress in
beautiful saris. They all look as though they are completely enamoured with
the handsome Krsna. Some of the young maidens are standing very close by
looking at Him directly, while others have their eyes closed and just seem
to be treasuring the moment. Two of the maidens are sitting in line with
Krsna, both playing the sitar. And by looking at the whole scene, one thing
seems sure: They all look like they are totally captivated and enamoured by
Krsna’s beauty and charm.


Then there is another diorama that shows an even more intimate scene. In
this next diorama, there are huge, majestic mountains in the background and
in the foreground the forest is full of flower blossoms. The whole spring
scene is alive: two deer are moving along the forested riverbank; beautiful
swans are swimming about; lotii flowers are in full boom. And right there
in the front & center, at the confluence of two deeply blue rivers, Krsna
and one young maiden, are standing upon one grand floating lotus flower.

Surely the special maiden along with Krsna is none other than Radha. And
the enchanting Krsna is standing in a beautiful pose– with some toes
pointed toward the ground– and He is playing His divine flute. And beside
Him, one young maiden is intimately holding on to Krsna. Her tender cheek
is up against his broad shoulder, and her arms are around his waist and
torso. And her half-closed eyes are looking up towards Krsna. And Krsna
Himself is adorned with flower garlands and He seems to be ‘lost in the
moment’ as He is casting a far away gaze. Altogether the scene is brimming
with love.

So the above representations are but a couple of Baba’s many magnificently
made dioramas about the days of Lord Krsna in Vrindaban. And as is quite
apparent, Baba is openly showing the beautiful Krsna accompanied by the
close companionship of the young maidens of Vrindaban.


Here again it should be emphasized that the above described dioramas are
not something which were brought to Baba as a gift. Rather with His own
precious time, Baba imparted explicit and detailed instructions to the most
talented artisans available to specially craft these dioramas. And
throughout the 1980’s, over the course of many months and years, these
remarkable dioramas were made. And each one is beautifully set in a wooden
case and enclosed with glass. And all are displayed in Baba’s specially
allotted museum room– just outside His own personal bedroom. Plus we can
say that the dioramas are the only pieces in Baba’s entire museum which
were made by Him personally. Everything else in the museum is a gift or
requested item from a near or far distant land. Whereas the dioramas He
personally designed. Clearly then Baba has given great importance to this
project. These dioramas are meant to be specially treasured.


Evaluating the entire subject, it becomes more and more interesting why
then Baba has given such tremendous value to these hand-crafted dioramas
when many of the dioramas strikingly present the young Krsna intimately
engaged in the company of the fair maidens. Because we all know that in AM
Baba emphasizes over and over again that there must not be the free mixing
between males and females.


After leaving Tiljala that time I stayed with various family acaryas who
shared their thoughts with me about this.

They told me that the field of spirituality is something very high and
quite a mystical thing for the common people. Everyone is certainly aware
that sadhana and spiritual life are extremely important– this is well
accepted. But how the height of that spirituality is expressed and what is
the magnitude of sadhana is not commonly known.


Then they said: Suppose you wanted to tell an ordinary citizen from the
west about the sweetness of a particular item such as ghur (molasses). Then
in that case one cannot use rasagolla as a comparison or model. Because
people in the west are not commonly aware about rasagolla. That rasagolla
will not give them any hint or insight that ghur is also wonderfully sweet.
Because both those items– ghur and rasagolla– are unknown to them.
Whereas if one says to those western citizens that ghur is as sweet as
chocolate, then everyone in the west will easily understand that ghur is
something very delicious and tasty. Because all are aware about the special
sweetness and wonderful taste of chocolate.

In that way, the family acaryas explained, that when teaching any person
about a a new subject, then one must always proceed from what they already
know and then proceed to that point which they are not aware about. Then
that will make the matter clear and the topic at hand will become better


Similarly those family acaryas told, that the inner depths and hidden
meaning of sadhana and spirituality are not commonly known. The greatness
and special longing of sadhana and dhyan is mostly an unknown phenomenon.
Thus to unveil this and bring the realm of devotion into the public domain
and to present the intimate wonders of sadhana to a greater number of
people, Baba had to associate spiritual life something that was commonly
known to all.

And from east to west and from north to south, each and every human being
understands about the great attraction between males and females. This
comes within everyone’s realm of understanding. People commonly think that
the male-female attraction or sexual attraction is one of the strongest
forces on this earth. They see it manifest each and every day of their
lives. It is a common sight in the regular society.

In that case, in order to unveil and display the inner secret meaning of
devotional life and dhyana, in order to explain the tremendous magnetic
attraction between bhakta and Bhagavan, Baba has used the well-known
subject of male-female relations. Because everyone understands that the
attraction towards the opposite sex is something very strong.

This analogy or this comparison creates a link that enables people to begin
to understand that deep sadhana is also like this. By this reference, it
can begin to be understood or contemplated by some that when a devotee has
strong love for their Ista then that type of strong magnetic attraction
comes in dhyan. That is one of the inner manifestations of dhyana.

But this type of realisation is not an ordinary point; many cannot grasp
this idea. It is a very high thing that is only known to a few blessed
sadhakas. It is something very great to aspire to– something which is not
even experience by most margiis etc. So without any type of explanation the
large majority of the population could never imagine the inner joy and deep
attraction of sadhana. But by this type of comparison with human sexuality,
then that opens the gateway for some people’s understanding about the
wonders of devotional life.

So without that type of known reference– i.e. without comparing deep
spiritual sadhana with the attractive force between males and females–
then the inner secrets of sadhana would remain something totally far away
and unknown to the human psyche. Whereas through the analogy of the
attraction of the opposite sex, then some people can begin to understand
that in the practice of deep sadhana there is some special feeling and
force of great attraction. But again this is a very high ideal and cannot
be understood by the entire general public etc– or even by regular sadhakas.


Considering the whole matter, by thinking deeply on the topic then we can
understand that in those dioramas the depiction of Lord Krsna with the
young maidens of Vrindaban is something totally symbolic. Baba is not
espousing the glories of the free-mixing of the sexes but rather He is so
carefully unveiling the inner secrets of devotional life and dhyana.


This following teaching by Baba sheds more light on this entire subject.
Baba says, “The Cosmological Nave is called Krs’n’a, because He attracts
everything. Krs’n’a means “the supreme charmer”, “the supreme attracter”,
who attracts everybody towards Him with the help of His — what? His
supreme flute. That supreme flute is Krs’n’a. He creates universal acoustic
waves, and those waves bring people towards Him; that is why He is called
Krs’n’a. And microcosms come in contact with Krs’n’a with the help of that
particular expression of sentient vidya’ shakti which is known as Ra’dhika’
shakti. And when with the help of Ra’dhika’ shakti the microcosm comes in
contact with the nave Krs’n’a Purus’ottama, then we say it is the union of
Krs’n’a and Ra’dha’. Krs’n’a is not a male being of Vrindavan, and Ra’dha’
is not a lady. You should understand it properly…it is the divine force,
and it is the devotional principle, it is devotion.” (AV-23, p.21)


About all this there is much more to be said. Certainly many other sadhakas
have their own special insights to share. Suffice to say here then that in
those dioramas which Baba has specially designed, He is most beautifully
teaching one and all about the deep and inner secrets of devotion and
dhyan. From this perspective, that erases any mystery or ambiguity about
why Baba has depicted Krsna that way in His dioramas. Because based on the
current level of human understanding and awareness, that reference was the
best way to begin to teach people about the great intimacy, love, and
attraction that can be had in sadhana and devotional life.


Here is Baba’s gracious assurance that in our own personal sadhana we will
all experience the great heights of true devotional love.

Baba says, “You will certainly achieve that supreme stance and enjoy divine
blessedness. You are sure to enjoy it, my sons and my daughters.” (AV-23,



Here below Baba makes a clear-cut differentiation between mundane
allurement (ka’ma) and true spiritual love (prema).

Baba says, “If one’s attachment is channelised towards any supra-psychic or
spiritual object it may be called ‘prema’ or love’. But love in the
physical and psychic spheres is called `ka’ma’ and not ‘prema’… Ka’ma
means the endeavour to obtain certain things in the physical and psychic
levels. So bhakti and prema are only applicable in the case of Iishvara.
This ever-flowing mental thought-wave channelised towards Iishvara is the
highest human achievement.” (V-7)

Ananda Marga sadhana is about the cultivation of such devotion or such
prema. And by His grace we will all reach this pinnacled point.

Baba says, “Prema is the attraction for Parama Purus’a overcoming the
attraction for all other finite objects. Those who are endowed with such
divine love are bound to receive the grace of Parama Purus’a — they need
not worry about it. If they practise the spiritual cult regularly…Those
who arouse devotion through action and knowledge are certain to attain the
grace of Parama Purus’a.” (SS-18)

Food Problems and Their Solution II

Baba says, “In the event of shortages in the food and accommodation of the
population of the world, people will convert uncultivated land into new
arable land, increase the productivity of the soil by scientific methods,
produce food by chemical processes with earth, water and air, and if this
earth decreases in its productivity, then land seeking human beings will
migrate to different planets and satellites and settle there.” (PNS-13, p.45)


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Date: Thu, 02 Jul 2009 08:45:36 +0530
From: “Pandit_Sudhakar”
Subject: Story: Receiving Baba w/ Prabhat Samgiita


“Tumi eso, tumi eso a’ma’r ghare…” – P.S. 3190


Baba, please grace me by coming in my abode. I go on waiting constantly
for You in uninterrupted fashion after lighting the lamp of hope in my

Baba, You are always so gracious. by Your grace-compassion I get You in
my dreams. By Your grace, I get You there. And when I wake up then I go on
thinking of Your tales and talks. On my each and everything, the sketch of
Your love is painted.

Baba, I always remember You; even if I try to forget You still I
remember You. When I yearn for You so strongly then in my heart I feel pain
in longing for You. It is then that the thought comes that I should forget
You– because by that way at least it will be peaceful. But it is difficult
for me; I cannot forget you.

Baba, You are always residing in the deep core of my heart. The whole
universe is saturated with Your divine love. You shower Your causeless
grace on everyone. Baba, please come in my mental abode; You are my


Here is a story about the inherent beauty of Prabhat Samgiita and how Baba
created the scene whereby Prabhat Samgiita was used for His reception.

Specifically in my memory I can recall how when Baba was living in Lake
Gardens then Prabhat Samgiita was regularly sung to celebrate His arrival.
Indeed in those days, many times I went to see Baba in Lake Gardens. And I
remember that just a few minutes before Baba was about to come, then the
chanting of Prabhat Samgiita would start. And when finally Baba Himself
would appear and come out from His room to go to on fieldwalk, then all the
Dadas and margiis would make one row without delay and be involved in the
singing of Prabhat Samgiita. This was the usual routine.

Then Baba would graciously accept the mala and perform greetings with
various margiis. Sometimes also He used to talk for a few minutes and give
some guidelines. Of course all these things He used to do in a very
charming manner. This was the normal scene when He was in the process to go
out for His fieldwalk. And finally He would get into the car and sit down
and the car would leave.

And after 15, 20, or sometimes 30 minutes later, Baba would to return
back– after His fieldwalk was completed.

Then at that time all the margiis and WTs who were busy in their work,
sitting in the hall, or doing other duties, as soon as they would hear the
sound of Baba’s car returning, then they would immediately stop what they
were doing and rush up to greet Baba. And the greeting used to be done with
the singing of Prabhat Samgiita. Of course sometimes, we all were ready
five minutes ahead of time.

Those unforgettable memories, still I keep alive in my heart. Sometimes
those same visions and feelings come in my dhyana also. How Baba is coming
and greeting one and all and blessing everyone with His folded hands. Then
He was graciously accepting the mala, in charming mood and smiling face.
And all the while everybody was singing Prabhat Samgiita for His reception.
And Baba is there with folded hands and smiling face. And sometimes He used
to talk or say something.

It was His causeless grace that He would create such a blissful atmosphere
and allow me to be present and participate in His divine play.

Sometimes also I saw that in the evening after Baba used to return from His
fieldwalk, then He would sit for a few minutes on the chair in the
driveway, next to His car garage. And there all the devotees sang Prabhat
Samgiita. The Lake Gardens Baba’s Quarter Madhuma’lainca was very crowded
those days. Maximum people were attending. But the space next to the garage
was perhaps a 100 square feet or so– no more than that, as I remember.
Plus all around there were flower pots and so many plants. So in true
sense, there was hardly any space. Even then Baba used to sit there and
listen to Prabhat Samgiita. Such a blissful scene.

So like this things were going on and every day new and new songs were
being given by Baba. And Baba would listen to those songs being sung by
various margiis– means more and more margiis were being called upon to
sing those new songs. This all gave the distance feeling that Baba wants
that the maximum number of persons should learn Prabhat Samgiita and sing.
Because He made Prabhat Samgiita for everyone. He did not like that just a
few trained musicians should sing in a professional way sitting side by.
And that everybody should just keep quiet. Baba did not like this type of

That’s why every day, more and more margiis who were coming from different
corners & far distant places, were inspired to learn new songs. And then
they would sing in front of Baba. Or we can say, they were leading the song
and others were following. This type of training was going on. The trend
started in 1982 and it continued on up to ’90 itself.

Before 1982, then when Baba used to come out from His room, that time the
system was to raise the slogan “Parama Pita Baba Ki Kai, Parama Pita Baba
Ki– Kai, Parama Pita Baba Ki– Jai, Shrii Shrii Anandamurtiji Ki– Jai,
Shrii Shrii Anandamurtiji– Ki Jai, Shrii Shrii Anandamurtiji Ki– Jai,
Ananda Marga Amar Hai, Ananda Marga Amar Hai, Ananda Marga Amar Hai, Parama
Pita Baba Ki– Jai! etc”. This type of chanting and raising slogan used to
be done, those days.

Hearing the sound of the slogans that time, then margiis were rushing from
the distance to have a glance at Baba. It was working like one signal for
many of us. When the slogan is going on then it means that Baba has come
out or He is going in. So that time, margiis used to run and have a glance
to Baba. That was so beautiful and blissful.

Hence, since the very beginning, since the birth of AM, the system was in
place to receive Baba by raising those slogans. And then the style changed
in 1982 when Prabhat Samgiita came into being. (See Note 1) And indeed the
arrival of Prabhat Samgiita was something very charming. And always the
singing of Prabhat Samgiita used to be done regularly for the reception of
Baba. Means, Baba used to be received with the singing of Prabhat Samgiita.
This was the very devotional way of reception of Guru.

Of course both the systems were charming and had their own unique appeal.
But overall receiving Him with the singing Prabhat Samgiita was more heart
touching, soft, and sweetly vibrated. Whereas the previous system of
raising the slogan of “Parama Pita Baba Ki Jai!” had a certain strength
and boldness. And naturally because of Baba’s charming presence, that was
also sweet.

But those receptions of Baba by the collective singing of Prabhat Samgiita
was the most sweet and beautiful. At least that was my experience. Indeed
what a devotional-classical reception!

And as I recounted above, Baba used to come sometimes in the evening after
fieldwalk, and sit next to His garage in Madhumalainca. And there the
devotees used to sing a few Prabhat Samgiita. And due to the lack of space,
most of the time the place was so crowded that margiis were sitting with
great difficulty. Sitting on one anothers’ lap. Even then the air was
charged due to His magnificent Presence. And sometimes Baba used to listen
to one song, and sometimes two or three songs. But always He used to sit
quietly in very a gracious, charming mood and listen to Prabhat Samgiita.

I still feel the scene was as if heaven descended upon the earth. So
blissful and charming, His presence was. Sometimes He used to open His eyes
and look around. And then He used to close His eyes and listen quietly.
When one song used to finish and if the song was new, then playing His
liila He used to ask one and all, “Do you margiis all approve this song?
Should I include it in Prabhat Samgiita?”. Then Margiis used to respond,
“Yes Baba, it must be included! It is very good!”. Then Baba in smiling way
used to say, “You are my guardians. If you don’t accept, then I will tear
it apart and throw it away.” By listening this, everyone used to smile. And
Baba used to say, “Ok when you have approved this song, then it will be
included in Prabhat Samgiita.” He used to do this type of liila, divine
play, regularly. I think He did this with each and every song. So gracious
was His expression.

And one day when a Prabhat Samgiita song was finished being sung, then Baba
asked, “Who was not singing?”. Hearing this, everybody became alert. And
then when the next song started, everybody was very careful and VSS were
watching. That very day I felt that Baba is very strict that everybody
should sing Prabhat Samgiita and nobody should think that Prabhat Samgiita
is for Bengalis only or for a few professional musicians etc. By this way,
by encouraging and attracting us all to step forward and sing, Baba used to
come and bless us. And we used to sing Prabhat Samgiita. Those memories are
unforgettable. And this whole entire scene of His coming out and His
reception with Prabhat Samgiita was so blissful. In my heart also I feel
that Prabhat Samgiita is a special devotional gift of Baba. Which has no

So this was the glorious scene those days as I remember– and how Prabhat
Samgiita was the way by which we would receive Baba.

The conclusive idea then is that the reception of Baba is the greatest
thing. In the life of the devotee the most cherished occasion and most
fortunate moment is when they receive Parama Purusa. So when Baba Himself
has transformed the process and specially designated Prabhat Samgiita as
the chosen medium whereby devotees will receive Him. Then that means that
Prabhat Samgiita itself has a special value. It has a sanctified role and
unique stance. So it is our duty to recognize this truth and uphold the
sacred standard of Prabhat Samgiita– and not allow others to taint this
holy & divine treasure. (See Note 2)


Note 1: So at all the gatherings whether big or small prior to 1982 then
Baba was received with the strong force of the slogan, “Parama Pita Baba
Ki– Jai!”. And then after, since September of 1982 when Prabhat Samgiita
was introduced, then Baba was always received by the more devotional
singing of Prabhat Samgiita. Of course at the large annual DMC programs
when thousands and thousands were attending, then surely all were raising
the ‘Parama Pita Baba Ki- Jai!’ slogan in one thunderous voice. So at the
global DMC’s that was the scene, even up to 1990. But on all those other
countless occasions whether coming or going from His house, or for General
Darshan, or field walk etc, in all those blissful moments of His divine
arrival, then Baba was always received with the tender sweetness of Prabhat
Samgiita. This was the standard approach after 1982.

Note 2: These days, however, proper justice is not being done to Prabhat
Samgiita. Rather extreme negativity is being spread by the various groupist
leaders in this regard.

For example, instead of highlighting Baba’s sacred Prabhat Samgiita, H
group was propagating and publishing the late PP Dada’s ‘Shraddha Shuman’ Tuk Bandi
(rhyme). All done at the cost of Prabhat Samgiita. Volumes and volumes of
late PP Dada’s little rhymes and cassettes have been published and recorded in a
professional studio. While Baba’s beautiful Prabhat Samgiita are lying
untouched and forgotten in one dark alley. Hardly any Margii can access
Baba’s treasure of Prabhat Samgiita and at the same time H group was shining
their spotlight and spending huge money to propagate our late PP Dada’s ridiculous
Shraddha Shuman rhymes. So this is one terrible injustice done to Prabhat

Then in the other corner B group is using Baba’s Prabhat Samgiita as
one money-making machine for their own group agenda. In this way to
maximize profits they have sold out to pseudo-culture and invited crude,
negative elements to invade the sanctified home of our Prabhat Samgiita. So
B group has ruined everything by placing filmy female singers wearing
lipstick etc on the cover of PS cassettes and thus wrongly presenting
Baba’s holy Prabhat Samgiita as some superficial worldly movie-club songs.
And not only that to further their groupist agenda B group repeats again
and again that Prabhat Samgiita is something Bengali only. So see the
nonsense they are doing. Yet duplicitously they herald themselves as being
the saviours of Prabhat Samgiita; but no one is befooled. All margiis can
see through B group’s projected menagerie.

Now it is our duty to raise the call of dharma and again bring Prabhat
Samgiita to its rightful place. In this task Baba’s blessing is surely with

“Makhan Cor”

Baba says, “Usually the human mind has different weaknesses and frailties.
But as people continue to refine their intellect and perfect their
spiritual practices, their minds move upwards through the different kos’as
(layers): kamamaya, manomaya, atimanasa, vijinanamaya and hiranyamaya,
resulting in the crude portion of the mind becoming increasingly subtle.
Take the case of cream: when churned, its essence (butter) is separated
from the non-essential part (whey). Similarly, once the sins are stolen the
real essence of the mind, which is called a’tman, is separated from the
mind. And it is that atman which He steals. That is why Hari is nicknamed
‘makhan cor’ — the butter thief.”

“It is wrong to take these words literally. Take it for granted that
Krs’n’a never stole the cream or butter from the milkmaid’s houses.” (AV-8,

Note 1: The common people of India are not understanding the inner meaning
and idea of this above point. That is why their interpretation of the above
teachings is off the mark; the truth about Lord Krsna is something different.

Note 2: To understand the scriptures, one must think deeply. After just a
superficial examination, one will not get the proper answer. Because most
aspects of our scripture has been explained in an allegorical manner. And
to understand that, depth of mind is a must. It is just like how common
dogmatic Hindus feel that Lord Krsna was just literally playing the flute
when the deeper sense is that the flute of Lord Krsna is just a metaphor to
symbolize the universal sound of Omnkara.

Note 3: As most are aware, Baba has guided artists to develop diarammas
depicting various scnenes of Lord Krsna’s life. By making these Baba is
ensuring that the common people will no longer be confused about the inner
sense regarding Lord Krsna’s life. Whereas by superficial look, one will
surely be confused. So these diarammas have deep teaching value.


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