aanaka dhundhubhi 3

[Guest guest]

Dear

sri vaishNava perunthagaiyeer,

 

Continuing

on aanaka dhundhubhi --

 

 

 

point

5: – the musical instrument 'aanaka' meaning a large

military drum is appearing in bhagavath geethaa also --

 

 

 

thathah

sankhaas cha bhEryaas cha paNava aanaka gOmukhah |

sahasaa

Eva abhyahanyantha sa shabdhaas thumulO~abhavath || gita 1-13

meaning: " After that, the conchshells, drums,

bugles, trumpets and horns were all suddenly sounded, and the

combined sound was tumultuous. "

The

point is - here it is meant as drums and played to mark the beginning

of the war session.

 

 

 

Point

6: In the yOga system how this 'aanaka' and 'dhundhubhi'

is appearing is explained here – quote -- The gheraNda samhitha

composed by a bengali vaishNava named gheraNda in perhaps 15th

century AD enumerates

 

32

sitting postures [aasanaas]

 

25

hand positions [mudhraas] and

 

8

kinds of breathing exercises [praaNaayaama]

 

 

involved

in hatha yOga and lists no less than 12 internal sounds that are

heard by the yOgee. The text reads [5.79 -80] –

 

he

will hear then various internal sounds in his right ear [karNE

naadham]

the

first sound will be like

 

that

of crickets [jhinjhee]

then

that of a flute [vamSee]

then

that of a thunder [mEgha]

then

that of a drum [jharjhara]

then

that of a bee [bhramaree]

then

that of bells [ghaNTaa]

then

those of gongs of bell metal [kaamSya],

 

trumpets

[thuree]

kettle

drums [bhEri]

mrudhanga

[drums]

military

drums [aanaka] and

 

dhundhubhi

[different kind of kettle drums].

 

 

Then

he apprehends the primordial or unstruck naadha brahman [anaahatha

naadha] in the heart. [5.51, 82]. Thus various sounds [naadha] are

cognised by daily practice of this khumbhaka [breathing exercise].

Last of all is heard the anaahatha sound rising from the heart. Of

this sound there is resonance, in that resonance there is light. In

that light the mind should be immersed. When the mind is absorbed

then it reaches the highest seat of vishNu [paramam padham]. --

Unquote--

 

[Taken

from the book Sonic theology by Guy L.Beck.]

 

 

 

note:

this shows even in the yoga practices the sounds from instruments

like aanakha and dhundhubhi have some bearing and influences.

 

 

 

Point

7: In an

article on 'Indian musical instruments', by Dr. B.Chaitanya deva, on

the 'dhundhubhi', following para appears -- quote--

 

 

Vedic

rituals also gave a prominent place to the drum, particularly the

dundubhi. In the Atharva veda there is a fine

eulogy to it; a part of the long invocation goes thus, " Oh

dundubhi, you who are made of wood (vanaspati) and

strident in sound act as a hero. By your high pitched sound strike

terror in the enemies and, desirous of victory, roar like a lion. As

a bull in rut amongst cows, so do you run amuck amongst the enemies.

.. . The gods of battle have scared and defeated the enemies with

sounds of the dundubhi covered with deerskin. "

 

 

 

The

drum was not only martial in use but was also of great significance

in peace and religious rites. For instance, the dundubhi was

played loudly to enthuse chariot racers; seventeen of them were kept

round the holy arena and played during the Vajapaya yajna (ritual).

The dundubhi players along with the flutist, tala

clappers and other instrumentalists were considered sacred and

'sacrificed' in the Mahavrata ceremony of winter solstice, Makara

sankranti. -- unquote.

 

 

 

Point

8: when sree [mahaa lakshmee] appeared while the milk

ocean was churned the various musical instruments played are listed

in sreemadh bhaagavatham as --

 

 

 

chapter

8 of 8th skandham - she was bathed by rishis and at that

time music was done - see slokam 12, 13

rishayah

kalpayaan chakroor abhishEkam yathhaa-vidhhi |

jagur

bhadhraaNi gandharvaa natyas cha nanrthur jaguh ||

 

 

mEghaa

mrudhanga-paNava-muraja aanaka-gOmukhaan |

vyanaadhayan

Sankha-vENu-veeNaas thumula-nihsvanaan ||

 

 

meaning:

The great sages performed the bathing ceremony of the goddess of

fortune as directed in the authorized scriptures, the gandharvas

chanted all-auspicious vEdhic manthras, and the professional women

dancers very nicely danced and sang authorized songs prescribed in

the vEdhaas.

 

 

The

clouds in personified form beat various types of drums, known as

mrudhangaas, paNavaas, murajaas and aanakaas. They also blew

conchshells and bugles known as gomukhaas and played flutes and

stringed instruments. The combined sound of these instruments was

tumultuous.

 

 

Point

9: when

supreme lord vishNu as vaamana appeared on the world as son of

adhithi – again you find different musical instruments being played

= again sreemadh bhaagavatham chapter 18 of 8th

skandham – slokam 7,

8

 

 

Sankha-dhundhubhayO

nEdhur mrudhanga-paNava aanakaah |

chithra-vaadhithra-thooryaaNaam

nirghOshas thumulo~abhavath ||

 

 

preethas

cha apsarasO~anrthyan gandharva-pravaraa jaguh |

thushTuvur

munayO dhEva manavah pitharO~agnayah ||

 

 

meaning:

Conch shells, kettledrums, drums, panavas and anakas vibrated in

concert. The sound of these and various other instruments was

tumultuous.

Being

very pleased, the celestial dancing girls [Apsaras] danced in

jubilation, the best of the Gandharvas sang songs, and the great

sages, demigods, Manus, Pitas and fire-gods offered prayers to

satisfy the Lord.

 

 

Conclusion:

with different references it is clear that by having the name 'aanaka

dhundhubhi' vasudhEva, as father krishNa, forewarned all 'dhushtaas'

in the world about the arrival of the supreme lord krishNa and gave a

mangala dhvani – from a mangala vaadhyam – dhundhubhi - to all

krishNa bhakthaas at the same time. So a very apt name indeed.

 

Dhasan

Vasudevan MG