Monday, January 11, 2010

History of Audichaya Brahmin





The Audichaya Brahman have a wide distribution but their main concentration is in Ahmedabad, Patan, Mehsana, Kheda, Bharuch, Surendranagar, SabarKantha, and Panchemahal districts. According to historical records, they were brought to Gujarat by Mulraj Solanki the ruler of Anhilpur Patan between 960 and 955 A.D. ‘Audich’ in Sanskrit means north. So the Brahmins invited by Mulraj from Northern India come to be known as ‘Audichya Brahmans’, They are also called ‘Audichaya Sahastra’.

The Audichaya Brahman families invited from different regions of Northern India consisted of 105 from Prayag Kshetra. 100 from the Ashram of Chavyan Rishi, 100 families from the bank of the river Saryau; 200 from Kannauj, 100 ‘Kashi Kshetra’ 100 ‘Haridwar’: 100 from ‘Kurukshetra’: 100 from ‘Naimishaaranya’; and 132 from Pushkar Kshetra. Thus, a total of 1037 families of learned Brahmins were invited for participation in the Rudra Mahalaya (at Sidhpur) and Rydra Yagna performed by Prince Mulraj Solanki. It is said that a group of 1000 Audichaya Brahman accepted the gifts offered by king Mulraj and their descendents are known as Audichaya Shastra Brahmins. Of the remaining group of 37 Brahmins. Mulraj and his ministers divided them into different groups according to their merit and their Vedic Knowledge.

The Audichya Brahmins have a number of ‘Gotras’. The ‘Gotras’ are Vatsa, Bhargava, Dalabhya, Dron, Maunas, Gangayan, Sankratrutya, Sankruit, Panlastya, Mandakya, Shaunak, Bhardwaj, Kaudinya, Artio,Krushnatri, Swetatri, Chandratri, Gautam, Kutsas, Anfiras, Vashishtha, Upmanu, Udvah-Audvah, Parashas, Laugashi, Kashyap, Shandilya, Gabhil, Pipplad, Udalak, Audalals, Garga, Kaushik, and Hirnyagarbha. There are more than sixty different ‘ataks’ (Surnames) among the Audichaya Brahmans. These atak names which are used as surnames are based on their profession and field of proficiency. The most common among them are Dave, Pandya, Thaker, Upadhhyaya, Trivedi, Jani , Pandit, Acharya, Raval, Joshi etc. Earlier there were only 16 Surnames but in course of time the number went up to 60. The Brahmans who studied and taught the Vedas to other Brahmans were known as Acharya. The Brahmans who study and teach the Vedas in different regions come to be known as Upadhyayas are also referred to as Ozas, Pundits, Pathaks and Pandas. The Brahmans serving Rajput Kings at the marriages of princes and princesses were call Purohits irrespective of their original surnames. Brahmans residing in Panchal Pradesh were called ‘Pancholi’ while those who were well versed in Astrology are known as Joshis. Thakar Brahmans were those who gave up their original vocation to manage their villages. The Brahmans who possessed the knowledge of all the four Vedas were known as Chaturvedis, those who possessing the knowledge of three Vedas become Trivedis or Tripathis and those familier only with two Vedas are called Dwivedi and Dave. The Brahmans doing clerical work were called Mehtas and those who were experts in making preparations of Yagna were called Yagnik. The Brahmans possessing knowledge of the Vedas were called Vyas. One can understand that the community self perception of its status is on a pride in occupying the biggest position in the varna hierarchy.

The Audichya Brahaman are pure vegetarians. The use rice, wheat, bajra (Millet) and Jowar and their staple food. They take a wide variety of pulses of which tuvar is most popular. All locally available vegetables including roots and tubers find a place in their diet which also includes milk and its products. On festive and ceremonial occasions a variety of sweets, ladwa, dudh pak (rice boiled in milk) suo, pure farsan (fried preparations) are prepared. They keep away from alcohol, some smoke bidi or cigarettes.
The Audichaya Brahman practices endogamy at the community level and exogamy at the gotra level. The community is characterized by and internal social hierarchy with those belonging to Siddhpur occupying the highest position, followed by those of the Zalawad region and below them are those belonging to the Sihor-kathiawad region. Formerly, these sections had commenced relations but did not exchange brides. Now these restrictions are not observed. But they follow sapinda and pravar exogamy.

Monogamy is the norm. Widow marriage is prohibited. The girls are married off between 18 to 25 years and the marriage age for boys ranges from 21-28 years. Dowry in the form of gift are given as ‘streedhan’ to the daughter. Junior sororate is in practice. Marriage alliances are largely settled by negotiations. The symbols of marriage for women include the wearing of ‘mangalsutra’, toerings and the bindi on the forehead. The rule of residence is partrilocal though neolocal is also present. Divorce is customarily not permissible, but one can get divorce through low courts. Reason for divorce include barenness, maladjustment and chronic sickness. In case of divorce, children usually becomes the liability of the father.

The Audich Brahmins as their name shows are northerners and must be considered to have migrated toGujarat from the North. In 1891 they numbered, in Gujarat just a few thousand more than 200 thousandForming 36 per cent of the total Brahmins of Gujarat. According to the Gazetteer (Ibid, pp.2-3) Brahmins of Gujarat totalled, in 1891, 570 thousand and had fifty-three named divisions, though eighty-four were mentioned of which seventy were traceable. In the Census Report of Bombay of 1911 (p. 240) the number of divisions among the Brahmins of Gujarat is recorded as ninety-three. Their main fission is associated with the reign of the Gujarat King Mulraj (A.D. 961-996). Some Audich Brahmins were drafted by him to help him carry out a sacrifice. On the completion of the sacrifice the King offered them inducement to stop in his dominions. Only one thousand Brahmins are believed to have accepted the offer, the rest forming a toil (band) refused to reside. But they, too, were later persuaded to stay on by the offer of further benefits. The first setters naturally come to be known as Sahasra and the latter ones as Tolakia. Strangely, howere, the Sahasras are looked upon as superior in social rank. The Sahasras have among them two sub-division which are purely geographical i.e., Sihoras and Sidhpurias name after the respective towns. Ten other sub-castes or castes are mentioned as having originated with the Audich Brahmins (Desai, p. 4). Among the registered Charity Trusts listed in the Charity Commissioner’s Directory mentioned above not only Audichy Sahasra (1162, 1427) and Audichya Sahasra of Sidhpur (1239 ) figure but also Dandhavya Audichya Brahmin (291) and Ghangoli Audichya (438) occur.

Courtesy by : http://en.academic.ru/dic.nsf/enwiki/10719164

Sunday, November 29, 2009

Why do we do aarati?

 Towards the end of every ritualistic worship (pooja or bhajan) of the Lord or to welcome an honored guest or saint, we perform the aarati. This is always accompanied by the ringing of the bell and sometimes by singing, playing of musical instruments and clapping.

It is one of the sixteen steps (shodasha upachaara) of the pooja ritual. It is referred to as the lighted lamp in the right hand, which we wave in a clockwise circling movement to light the entire form of the Lord.
Each part is revealed individually and also the entire form of the Lord. As the light is waved we either do mental or loud chanting of prayers or simply behold the beautiful form of the Lord, illumined by the lamp. At the end of the aarati we place our hands over the flame and then gently touch our eyes and the top of the head.

We have seen and participated in this ritual from our childhood. Let us find out why we do the aarati?

Having worshipped the Lord of love - performing abhisheka, decorating the image and offering fruits and delicacies, we see the beauty of the Lord in all His glory. Our minds are focused on each limb of the Lord as the lamp lights it up. It is akin to silent open-eyed meditation on His beauty. The singing, clapping, ringing of the bell etc. denote the joy and auspiciousness, which accompanies the vision of the Lord.

Aarati is often performed with camphor. This holds a telling spiritual significance. Camphor when lit, burns itself out completely without leaving a trace of it. It represents our inherent tendencies (vaasanas). When lit by the fire of knowledge which illumines the Lord (Truth), our vaasanas thereafter burn themselves out completely, not leaving a trace of ego which creates in us a sense of individuality that keeps us separate from the Lord.

Also while camphor burns to reveal the glory of Lord, it emits a pleasant perfume even while it sacrifices itself. In our spiritual progress, even as we serve the guru and society, we should willingly sacrifice ourselves and all we have, to spread the "perfume" of love to all. We often wait a long while to see the illumined Lord but when the aarati is actually performed, our eyes close automatically as if to look within. This is to signify that each of us is a temple of the Lord.

Just as the priest reveals the form of the Lord clearly with the aarati flame, so too the guru reveals to us the divinity within each of us with the help of the "flame" of knowledge (or the light of spiritual knowledge). At the end of the aarati, we place our hands over the flame and then touch our eyes and the top of the head. It means - may the light that illuminated the Lord light up my vision; may my vision be divine and my thoughts noble and beautiful.

The philosophical meaning of aarati extends further. The sun, moon, stars, lightning and fire are the natural sources of light. The Lord is the source of this wonderous phenomenon of the universe. It is due to Him alone that all else exist and shine. As we light up the Lord with the flame of the aarati, we turn our attention to the very source of all light, which symbolizes knowledge and life.

Also the sun is the presiding deity of the intellect, the moon, that of the mind, and fire, that of speech. The Lord is the supreme consciousness that illuminates all of them. Without Him, the intellect cannot think, nor can the mind feel nor the tongue speaks. The Lord is beyond the mind, intellect and speech. How can this finite equipment illuminate the Lord? Therefore, as we perform the aarati we chant;

Na tatra suryo bhaati na chandra taarakam 
Nemaa vidyuto bhaanti kutoyamagnib 
Tameva bhaantam anubhaati sarvam 
Tasya bhasa sarvam idam vibhaati

He is there where the sun does not shine,
Nor the moon, stars and lightning.
then what to talk of this small flame (in my hand),
Everything (in the universe) shines only after the Lord,
And by His light alone are we all illumined.

Why do we chant Om?

Om is one of the most chanted sound symbols in India. It has a profound effect on the body and mind of the one who chants and also on the surroundings. Most mantras and vedic prayers start with Om.

All auspicious actions begin with Om. It is even used as a greeting - Om, Hari Om etc. It is repeated as a mantra or meditated upon. Its form is worshipped, contemplated upon or used as an auspicious sign.

Om is the universal name of the Lord. It is made up of the letters A (phonetically as in "around"), U (phonetically as in "put") and M (phonetically as in "mum"). The sound emerging from the vocal chords starts from the base of the throat as "A". With the coming together of the lips, "U" is formed and when the lips are closed, all sounds end in "M".

The three letters symbolize the three states (waking, dream and deep sleep), the three deities (Brahma, Vishnu and Shiva), the three Vedas (Rig, Yajur and Sama) the three worlds (Bhuh, Bhuvah, Suvah) etc. The Lord is all these and beyond.

The formless, attributeless Lord (Brahman) is represented by the silence between two Om Chants. Om is also called pranava that means, "that (symbol or sound) by which the Lord is praised". The entire essence of the Vedas is enshrined in the word Om. It is said that the Lord started creating the world after chanting Om and atha. Hence its sound is considered to create an auspicious beginning for any task that we undertake. The Om chant should have the resounding sound of a bell (aaooommm).

Om is written in different ways in different places. The most common form symbolizes Lord Ganesha’s. The upper curve is the head; the lower large one, the stomach; the side one, the trunk; and the semi-circular mark with the dot, the sweetmeat ball (modaka) in Lord Ganesha's hand. Thus Om symbolizes everything - the means and the goal of life, the world and the Truth behind it, the material and the Sacred, all form and the Formless.