by Yogi Ananda Viraj (Eugene P. Kelly, Jr.)
He who offers to me with devotion (bhakti)
a leaf, flower, fruit, or water
I accept (lit. eat) from him whose self is pure
that offering of devotion.Bhagavad Gita 9.26
One of the main purposes of the early sacrifices was as a “hospitality rite” to the gods. A fire was placed on a special altar and gifts were offered into the fire god, Agni to be conveyed to the other gods. Various hymns of praise (mantras) were also offered in order to gain the favor of the gods. These acts (karma) were viewed as the method of bringing the gods into the life of the sacrificer.
The mantras or “hymns,” which we now know as the Vedas, were composed by a group of inspired men and women known as Rsis (seers) or Kavis (poets). These sages claimed that the sacred mantras were revealed to them; they took no credit for their composition. It was through the ritual acts of the sacrifice, which included among other components the fire sacrifice and mantra, that humankind gained a share of immortality (amrta).
The early ritual sacrifices included animal slaughter. The sacrificer (yajamana), the one for whom the sacrifice was being performed, identified himself with the animal and as the animal was offered so too was the sacrificer. This process of identification was secured through the mantras and the ritual acts (karma). The sacrifice of the yajamana was at once a “death” to his limited sense of self, space, and time through an entrance into the One which is the origin of all, and a realization of his identity, in a fundamental embodied sense, with the movement of all of life (rta). In time animal sacrifices were abandoned, for the most part, in favor of a more symbolic sacrifice of the sacrificer. The original “man” (purusa) was dismembered in the original sacrifice thus becoming all of creation. The yajamana, being identified with the purusa, became through mantra, the “symbolic” victim and through the power of his mind embodied the entire movement of creation. All of life was born from this sacrifice of the man and it was viewed as our human responsibility and destiny to repeat this original sacrifice and gain our share of immortality through it. When the sacrificer’s embodied identity with the movement of the whole was realized death was overcome. If I am the All, what is death?
The identities that fixed the sacrificers’ connection to the whole included the following, the ears to the directions, the mind to the moon, the breath to the wind, and the eyes to the sun. Also included were correspondences between purusa and the social order, i.e., the four castes, the Vedas, and animals. In short, the identities were intended to be all-inclusive. (See Rg Veda 10,90.) When the sacrificer, through these ritual acts, known as “karma” beheld the vision (dhih) which granted him a share of immortality, he was then in a position to realize the origin and nature of his cosmic and social structures and could act efficiently to maintain the order (rta). It is clear that the successful yajamana bore the awesome responsibility of maintaining the cosmic order that he had become through the sacrifice. It was up to him to sustain the cultural cosmos by sustaining the sacrifice, for it was only through the sacrifice that the source of the order was realized to be the sacrificer himself. Once the sacrificer realized himself to be the One from which all manifestation became and into which it dissolved, he became immortal. The exact nature of this realization is somewhat problematic. It is not that the individual personality of the sacrificer is the source, but the source is the fundamental reality of the sacrificer as an individual.
If this revelation is not operative in the community, the tendency to take the cosmic order for granted is enhanced. The structures and elements of the order would tend toward reification, i.e., they would be viewed as having a reality or nature they did not warrant. If the origin is not known, the nature is not known. The structures and elements of the cosmic order are structural regularities or modifications of the One. The failure to share in this knowledge leaves the structures and elements of the cosmos without a unity. They “float” independent of humanity or human knowledge. Their existence is presupposed and often a search for their interrelatedness assumes a cognitive trajectory. Theory replaces origin. When there is knowledge, however, the reality or nature of the cosmos is seen to derive from human nature (the One) which is the fundamental reality. Variation and innovation are allowed. The structures and elements previously viewed as “existents” with their own self-identical reality do not demand the same kind of allegiance. The One is modifiable, construable, in myriad ways. When the reality of the structures and elements of the cosmos are taken to be “independent existents” their sacrifice is necessary in order for the sacrificer to realize their true nature as the One. But in order for the cosmic order (rta) to be revived, the sacrifice which dissolved the cosmos constructed of ignorance must in turn be sacrificed. This sacrifice of the sacrifice is what revives the rta and grants the sacrifice a share of the rta. The sacrificer then incarnately participates in the movement of the cosmic order.
It should now be obvious that the movement of the cosmic order (rta) is sustained by the act of sacrifice. Conversely, the rta sustains the sacrifice. The rta includes the movement from the One to the many and back to the One, continually. Any moment (ksana) is an occasion for sacrifice. The sacrificial ritual magnifies the moment to become such. It is the very movement of the rta which occasions the sacrifice. They are reciprocals.
From Yajna to Puja
According to some scholars puja began as a form of worship around the second century B.C.E. The priest cast, i.e., the Brahmins, however did not totally accept this development until around the beginning of the sixth century C.E. when puja came into dominance replacing the sacrifice (yajna). Some ritual sacrifices were still performed but puja was predominant, even for the priests.
The word puja derives from the verbal root puj (honor, worship, revere, respect, regard). Originally the word referred to honor given the priests who were invited to family ceremonies. There were rules of honor to be followed and eventually these rules carried over to the gods when they replaced the priests in the form of image worship. As in the early Vedic sacrifices, puja can be seen as a “hospitality ritual.” The god, made present through the image, is invited into the home or temple through various ritual acts.
” … the usual complete sequence includes invocation of the deity, offering him a seat, offering water for washing his feet, water for washing his hands, and water for sipping, bathing the image, offering a fresh garment, offering a sacred thread, anointing the image with unguents or sandalwood paste, offering flowers, offering incense, offering a lighted lamp, offering food or a gift, making obeisance to the deity, pradaksina (“clockwise circumambulation of the deity .. ), verses of praise, and bidding the deity farewell” 1
As is readily seen, the worshiper is serving and honoring the deity. In Hinduism, many different deities are worshiped depending on occasion, family and other factors. In many instances, especially for financial reasons, the ritual is simplified wherein only flowers and incense are offered.
As in the sacrificial ritual, the acts are always accompanied by mantra or “chanting.” These may be Vedic mantras or mantras in honor of specific deities such as Siva or Vishnu. The water used in the ritual is considered sacred after it has come into contact with the deity that is embodied in the image. This water is then consumed or sprinkled over the head. “The flowers used are also given out to the worshipers as is the food.” 2 This food is called prasada. The word apparently derives from the verbal root sad meaning “sit.” The word prasada has various meanings including ‘clearness,’ ‘brightness,’ ‘purity,’ ‘tranquility,’ ‘kindness,’ ‘graciousness,’ etc. Once the god or goddess has partaken of the offering, his or her graciousness (prasada) is then bestowed on the worshipper in the form of the leftover food. The deity is viewed as sharing with the worshipper.
In most forms of what we refer to as Hinduism, the deity is worshipped in the home as well as the temple in the form (murti) of his or her image. By seeing the image the worshipper is said to have received darsana. This word derives from the verbal root drs, ‘see.’ The deity is seen by the worshippers in puja.
So we see that in the puja ceremony the main components are the murti or form of the deity, the mantras, the offerings worshippers provide which in turn become the prasada, and the darsana. Additionally, puja may include pranayama (breath regulation) and dhyana (meditation).
Ashram Puja
Yoga Anand Ashram, although drawing upon many practices of Hinduism, does not limit itself to any one form of worship. However, puja is a recommended form of Yoga practice (sadhana). The elements necessary for the performance of puja are as follows. First we need a place to set the fire (Agni) or an altar. The Sanskrit word is havana (pronounced without the final ‘a’). This word derives from the verbal root hu meaning ‘sacrifice.’ The havana originally meant ‘Agni‘ either as fire or the god of fire. It came to mean the ‘fire-receptacle’ or a hole in the ground to place the fire to receive a burnt offering. Puja simply requires a brick or stone surface upon which the fire is placed. The fire may be from a candle or an oil lamp. The Havana signifies the element (bhuta) earth (prthivi) and the flame signifies the element of fire (agni, tejas). There are other significations, as well. Next we need an offering. Any of the various offerings previously mentioned will suffice, however, incense and flowers are recommended.
Incense can be viewed as symbolizing the upward motion of your offering as well as space (akasa). Flowers signify our human life. In them we see the three moments of time, i.e., past, present and future.
So much of our lives can be seen in the movement of a flower. In a flower can been seen the three movements of creation, preservation and dissolution. The flower is in this sense the movement from the unmanifest and modifiable source (prakrti) into manifestation (vyakta) and the return (pratiprasava, laya). This movement takes place for the sake of pure consciousness which is another symbolic aspect of the flame (Agni). The flowers offered on the havana should be fresh and not allowed to decay on the havana. They are symbolic of you the worshipper offering your life to the sacred through the sacrifice. The flower is in this sense indicative of sacrifice. The flower gives forth its beauty for the sake of continuity. We are here to embody the movement of life for the continuation of that movement.
Each practitioner is free to use any symbolism that is in keeping with the Yogic perspective that will be learned over the course of training. However, there are some basic correspondences or identities that puja practice should cultivate. We have already discussed the reasons for the cultivation of identities which lie in the sacrificer’s identity with the cosmic movement (rta). We will not involve ourselves in a lengthy discussion of all identities. The puja taught at the Ashram does not require it, although we do need to discuss the basics.
Firstly, from Vedic times the “world” was considered three tiered. There was the lower region or earth, the middle region or atmosphere, and the celestial region or heaven. This was probably a derivative of the original Vedic conception of father sky (dyava) and mother earth (prthivi). The stone or bricks on our havana corresponds to the earth, atmosphere, and sky or heaven. The havana should be constructed in such a way that the three levels are apparent. For example, the floor could signify the earth, the first layer of brick or stone the atmosphere, and a third layer, the sky. Any variation on that theme will do as long as the three are represented. Also, the three layers signify the three modalities of the creative origin (prakrti). Tamas (darkness) would be the bottom level, rajas (activity) would be the middle region and sattva (brightness) the upper region. Tamas is inertia which we need to stand, walk, lie or sit. Rajas is activation or the middle region in which all activity or movement takes place. Finally, sattva is the light from above, the sky, that illumines all life. It is these three modalities of the creative origin (prakrti) which serve to bring about all human experience, i.e., the world. The three moments of time are also indicated in the three levels. The past is the foundation for the present toward the future. The past provides the inertia (tamas) for present activity (rajas) to become apparent (sattva) in the future.
Morning puja often entails recitation of the Gayatri Mantra in which, at least in one version, is included the words bhar, bhuvah, svah which signify the three levels of earth, atmosphere, and sky. This mantra is reserved for morning puja because it is in honor of Savitr, the god of the sun’s radiance. At the sunset puja, Agni mantra (om satyam sundaram agni) may be used.
In keeping with the tripartite universe of human experience, puja practice is often said to employ mantra, pranayama (breath regulation) and dhyana (meditation). Also, another trinity which is done at puja is said to be mudra (seal), mantra, and meditation. Mudras are often held to be certain hand gestures which are practiced during asanas, pranayama, and meditation. For example, a mudra or “seal” commonly used in practice is the cin-mudra. ln this mudra the index finger and thumb touch to form a circle symbolizing eternity, while the other fingers remain extended to signify the threefold nature of manifest existence. Mudras are said to provide both enjoyment (bhoga) and liberation (mukti). Their practice is somewhat involved and demands strict attention. The trinity of mudra, mantra and meditation encompasses the “physical” or flesh body, the verbal and the mental.
Prior to doing puja one should be clean. A shower or the ritual bathing of face, hands, and feet should be performed. Puja should be done at sunrise and sunset. However, if this is not possible, other times may be selected. One should begin by lighting the flame and then incense. At this time an offering can be made and the appropriate mantras recited. Keep in mind the symbolism and identities involved and approach your puja performance with an attitude of reverence. How one approaches the sacred will determine the sacred’s approach to him or her. 3 After the offerings are made and mantras recited one should bow before Agni as a bodily gesture of the sacrifice. We start our bow in the manifest condition, move into the unmanifest as we assume the lowest point and then return to the manifest again. This movement recalls the movement of the Vedic sacrifice wherein, the yajamana (the sacrificer) offers himself into the One only to return to the manifest, realizing himself to be beginning and end of the movement of life.
As with the performance of all Yoga sadhana, puja demands strict attention and respect. One of the most important expressions of life is praise through which attention and respect are cultivated. The Rg Veda, India’s oldest sacred text upon which much of its subsequent spiritual literature is based, is a collection of mantras that praise the gods and their exploits. The word Rg means ‘praise.’ It was through mantras of praise that Vedic man was able to commune with the gods and incarnately enter into creation. The efficacy of praise is not to be underestimated. Although we are not practicing the Vedic religion proper, the Vedic “vision” is the heart of Yogic awakening. The path that the great Rsis (seers) and Kavis (inspired poets) laid down for us those thousands of years ago is still alive as the path of our present day practice. Our “objects of praise” are not the same as those in Vedic times but the act of praise is. To have gratitude for the life we are is the outcome of our sacred Yogic contact with it. The deeper and more subtle our understanding becomes the more praise finds its way into our hearts. Reciprocally, the more praise is cultivated the more subtle our understanding becomes. The more we turn our loving attention to the sacred, the more the sacred inclines (avarjita) to us. 4
“Puja (worship) is one thing , sadhana (penetration) is another.”
— Gurani Anjali
1. Thomas J. Hopkins, The Hindu Religious Tradition (Belmont: Wadsworth Publishing Company, 1971), 110. This essay relied directly on this work for much of the historical material. The book is a great introduction to Hindu Religious thought and practice.↩
2. Ibid, 111.↩
3. See Bhagavad Gita 4.11.↩
4. See Yoga Sutra Bhasya 1.23.↩