The Advent of Panca Tattva

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The Adu ent of

PCIncg.-Tattaa Deities from Kumbakonam in South India ond their manisfestation in Mayapan Dham in W'est Bengal. India,

y ada p asy ah p asyate r ukma.u arnarit kor tdr am i s arh pur us arh br ahma. y onim One who sees that golden.colored P er sonality of Qodhead, the Supreme Lord,, the supreme agent, who is the source of the Supreme Brahman, is liberated. Mundaka Uponisad 3.13

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D edication This book is dedicated to His Divine Grace A.C.Bhaktivedanta Sr.'ami Prahupada, Foundcr Aca.yo of the Intcrnational Society for Krishnzr Consciousness. His desire $,ils to serve l'ris spiritual master by preaching the message of Lord Caitanya erround the rvorld. In pursuit of this he envi- sioned a hugc temple glorifying Lord Caitanya at his birth place, Srr Mayapura. Mayapura has developcd tremendously since ISKCON built its first structure there. The appearance of the Pafrca Tattva murtrs shor.l,n in this book is a significant step in fur- thcring the fulfillment of the vision. We hope that this book will further inspire the reader to dedicate his life to thc rnanifesta- tion of that tcmplc.

Readers interested in this book kindly contact your nearest ISKCON center First printing : 2000 copies

Editor: HH Bhanu Sutimi

Slides I Photosr Qahga Das, Bhag aadtamtta D as, Nityctripta Deui Ddsi

Layout I Design: Viiaya $ouinda das

Publishedt ISKCON,MAYAPUR

Processed: Scantec-Chennai

Printed: $i Vaikunta Enterprises, Chennai-600 073, T el-044-2227 2920- mobile: 98410-381 19. emaih viiaya@vsnl.com

Contents

1. Foreward 2, Prediction 3. Sri Mcyripur dham 4. Pqfrco-Tottaa 5. Kumbakonom 6, The proce.s.s of cesting 7. Moking of the Pafica-Tattuo 8. The journey from

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Kumbokonsm to MayaPur

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9. Instollation

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Foreward This book, which shoc.us the different stages of manifesting Pafrc a Tattqta until the instqllation in Mayapura, gives just ane small perspective on the will of the Pofrca Tottc)a to manifest Themselves, and the dedicstion of the dec)otees tr.rhcr ossisted" in manifesting Their will. I am profoundly moved that I had any role to play in the lila of the Pafica Tottua's appearance in the form of thi.s orcd"&n&tara, olu.,orshipable incar, nstion of the Lord,, I om grateful to the authors of this book for their dedication and their enthusiosm in performing this serl.tice of casting the Deities o{rer a thousand miles away and. bringing the deities to Srr Mayapana l)hama. Yor.rrs in the seroice of A.C. Bhaktiuedanta Sudmi Prabhupodo

Your serq&nt,

Jayapatoka Sudmi

7

The Predtcftom In the Navadvipa Dhama Mahatmya, fifth chapter, Srila Bhaktivinoda Thakura predicts a revival of the birthplace after its disappearance in the Ganga for many years. In that work, Nityananda Prabhu, giving Jiva Gosvami a tour of Navadvipa before he departs for Vrndavana, describes how the Gangi would hide the dhama for a hundred years and then recede.

punah prabhu.iccha ha'ye balavdn ha'be mdydpilre ei rilpo qtdsa.sthdna

gaurdigera nityasevd haibe vikasa

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Srr Mayapura i.s fcmou.s as the birthploce of Cait&nya Mohaprabhu, the kali yugd uuatdrd, wha appeared with golden complexion to rec)eal the sweefness of Rodho's loue for Krsna, and to reueol the merciful process of ndma sanktrtana os the means of realizing that screetness. Mayapura lies along the Qohgo os the center of lotus mode of eight petals, Formerly the petals were separotedby ttibutaties of the Qangu and were thus culled islands. A.s the total" number including the center wus nine, the area was called Nuuutluqa, meaning "nine i.sland.s." Within Mayapnra, the central islqnd, Lies the Yogup*lta, the appearance pl'uce of the Lord. With the possing of time, the Qangu riuer shifted seueral times, und the uctual birthplace cra.s lost. In the early twentieth century, Snlc Bhoktiuinodu Thakuru researched the mutter ond la c at e d the originul b ir thplac e, Sru lc Bhakti s itldhunt u Sarrrsuott Thakura established a temple on the birth site, and since thot time the whole of Mayupuru has become coaered w ith t empl.e s glor ifying C uitany u Muhapr obhu. Srrla Prabhupoda estoblished the Sru Mayapura Condrodaya Msndira in Mayapurq in 1971. The beginnings were humble,a few thatchedhuts. Then the first concrete structure oppeared, which tun.s bigg er thun onything in the uicinity. This seraed us the first temple of Sru Srr Radh a Madhauu and" Caitanyo Mohaprubhu.

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Deuotees from around the world gothered for the first Interna- tional Mayapuro Qaura Purnima festival in 1972. Srrla Probhupad,o plonned a huge city of Vaisnaacls ar this ploce, and encouraged deaotees from around the world to settle there. In 1976 he began discussin g with the deaotees thqt he wanted a huge temple to commemordte Caitanyo Mahaprobhu and serae as s symbol of the world,wide sar,ktrtono. mouernent. This he called the Vedic Planetarium, since it would repre. sent the structure of the uniaerse according to Srrmatl. Bhagavatam. Since that time the deuotees haq)e been laboring to bring thut aision to reality.

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Pafrca.Tattva Pafrca Tattva means five principles. In Gaudiya theology there are five conscious ele, ments: the primal God: his first expansion as God, for spiritual manifestation; his second expansion as God for material manifestation; his spiritual Sakti, not God, but the feminine counterpart of God; the jiva. These are mani, fested in the spiritual realm respectively as KfQ+u, Balarama, Mahavisnu, Radha, and the perfected souls such as Narada. In the year L486 Kf qr1" appeared in the form of Caitanya Mahaprabhu in Mayapura. When Kfq+" appeared as Lord Caitanya, playing the role of a devotee, then the other tattvas appeared with Him, also playing the roles of devotees. Balarama appeared as Nityananda Prabhu. MahaviQqu appeared as Advaitacarya.

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Lord Caitanya Caitanya Mahaprabhu is the primary form of God, who appeared as a devotee to preach the chanting of the Holy Name, to reveal the highest aspects of love available in relation to God, and to experience Himself the ecstasy that Radha, the greatest devotee experiences in serving Kflna. Sri-radhny[h pranaya- mahima kidpso vlnayaivl- svf,dyo yenadbhuta-madhurimf, kidpso vd madiyah saukhyarh cdsy[ mad-anubhavatah kidlSarh veti lobhat tad-bhavadhyah samajani Saci-garbha-sindhau harinduh Desiring to understand the glory of Radhard4l's love, the wonderful qualities in Him that She alone relishes through Her love, and the happiness She feels when She realizes the sweetness of His love, the Supreme Lord Hari, richly endowed with Her emotions, appeared from the womb of Srimatl Saci-devi, as the moon appeared from the ocean.

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Lord Nityan anda He is the first expansion of the Lord, identical with God, but serving Hirn. Therefore He is closest to Lord Caitanya in His pastimes. In the spiritual world, He oversees the errergies of existence and knowledge in the spiritual world, presides over the jlvas there, arrd expands as the three purusa avat6ras beginning with Mahavigtiru, who presides over the material creatiorr. Beirrg the shelter of the jivas and the original guru, He energetically preached the glories of chanting the name of Krgt-tr, and gave out mercy to the most faller-r. During the pastimes of Lord Caitanya's sanklrtarra, Nityar-rarrda was always prese11t, arrd when Lord Caitanya went to reside in Puri, Nityanarlda took the responsibility of continuing the sarrktrtana movement in Bengal. W. ,pproach Sri Nityananda Prabhu in order to gain the mercy of Lord Caitanya.

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God is not alone in the spiritual world. Apart '!r from His own expanded forms, which are identical with Himself, He enjoys relationships with others who are different from Himself. These are called saktis or potencies and take two forms. One type is perfected jivas who serve the Lord as His osso- ciates in the spiritual world. The other type is similar to the jivas in serving the Lord and being distinct entities from the Lord, but is different from the jiva in the matter of potency. Because of that potency, such individuals are distinguished from the perfected jivas. The principal person of this category is the consort of the Lord. Krsna's consort is Radha. Visnuts consort is Laksmi. When Kfqq, incarnates as Lord Caitanya, playing the role of a devotee, his sakti incarnates as Gadadhara, who also plays the role of a devotee. Because Gadadhara acts as a devotee, he does not directly display the conjugal pastimes with the Lord rvhich are evident in Vraja. However he constantly remained by Lord Caitan- ya's side in Navadvipa and Puri, and could not bear separation from Him.

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, Srivasa represents the pure jivas who dedicate their lives to serving the Lord. Their number is unlimited and they serve the Lord and His consort with pure devotion. In the pastimes of Lord Caitanya, Narada, the eternal devotee preacher, is said to have taken the form of Srivasa and served Lord Caitanya, Nityananda and Advaitacirya with a pure heart. lt was in Srivasa Pandita's house that Lord Caitanya began his sankirtana movement. Every night for one year, the Lord would gather with his companions in Srivasa's courtyard and behind locked doors would chant Krsna's name and experience the highest ecstasy. Finally Lord Caitanya revealed to Srivasa and his companions that he was the Supreme Lord, and for twenty-one hours Srivasa and his associates blissfully performed worship of the Lord along with kirtana, while the Lord sat on a simhisana on the deity altar.

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His tory of the P afrco Tattqta in Sri Mayapura trnstalling a worshipable deity of arca vigraha begins from the conception of the sponsor of the deity, in this case His Divine Grace Srila A.C. Bhaktivedanta Svxmi Prabhupida. He had visualized life.size metal deities of the Pafrca Tattva for installing in the large temple at Mayapura, entitled the Temple of Vedic Planetarium. These Deities had already been visualized by His Divine Grace over thirty years ago. The Sri Mayapura development committee decided a number of years ago that we should move forward and install the Pafrca Tattva Deities, just as we had installed Radha Madhava and the eight gopis, even hefore the Vedic Planetarium was completed. There. fore, an extension temple was made for holding the Pafrca Tattva and models were made after researching the scriptures on the exact dimensions, proportions and qualities of each member of the Pafrca Tattva.

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The models were made in accordance to the descriptions found. It was thought that each deity should have an individual pose. Thus in these deities each is holding His hands differently. Lord Caitanya with His hands wide open worships Lord Krpqa and accepts all the conditioned souls. Nityananda and Gadadhara are dancing, and at the same time encouraging the conditioned souls to take shelter of the lotus feet of Lord Caitanya Mahaprabhu. Advaita Acarya is dancing in ecstasy at Lord Caitanya, who lppeared because of Advaita's ardent calls. SrivAsa, in his humble mood as a devotee, is worshiping the Lord with his folded hands. Everyone is dancing in ecstasy in the sankirtana movement. The models were approved by various senior devotees and the members of the Sri Mayap[ra Development Committee.

A Fibrrgloss mod els made from Mayap*r

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Starting in 1997, research was done to find out who would be the best maker of the deities, as the deities to be cast were of extraordinary size, over seven feet in height, and required experienced craftsmen. Artisans from South India were {ound to be most suitable after searching throughout India. The capable craftsman was convinced that Lord Caitanya was a form of the Lord after hearing quotations from the Bhagavatam. However, he passed away shortly after agreeing to execute the task. He instructed his three sons to take up the work with devotion. In due course of time, the fiberglass models were made by Bharat Maharaja Dasa and were kept for GBC inspection, but for three years the project was stalled. By the inspiration of Mahaprabhu, the project was revived and a GBC meeting was arranged to inspect the models. Tamal Kfqn was very inspired to proceed with the deities making Pafrca Tattva was fixed fur$ 19, 2007. r for Jtlv I

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KTJMBAKOI{AM Brahma, the creator after the Prilaya Era, to continue with his work of creation wanted to have a Peetam. Lord Shiva asked him to make a pot made of "Amirhtam" and sand. The pot had a Peetam in it, with the vedas around it on four sides. A coconut was kept over the pot and gar, lands of Poonul (Sacred Thread ) and Tharpai were decorated and Brahma worshipped it. During a {lood, the pot floated and moved towards south from Kailash. Lord Shiva in the disguise of a hunter, broke the pot with an arrow and the amirtham spilled as "AMIRTHA THEERTHAM". Mixing the amirtham of the Kumbha with sand Lord Shiva emerged as LINGAM. The sacred place where he gave darshan as "KUMBESWARAN" is now called as KUMBAKONAM. Though rituals and archanas are done daily for the god, some special festivals are celebrated annually, which make the people gathered in numbers and make their minds purified. g the various festivals MAHAMAHAM s celebrated once in twelve years is o{ very mportance.

The Process of Ca.sting

The process of making metal deities is very ancient and is still done today totally hy hand according to the ancient Silpa Sastra. First, from the fiberglass model one reverse model is made in plaster of paris in two halves. Each half is filled with wax and then joined together. Thus a complete deity model in wax is produced, which is very easy to carve or modify.

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Our models were not made with ornaments or any other dress carved on other than kaupinas, but according to the Sastra, a deity should never be made naked. The sthapatis only agreed to do the work on condition that orrtt. ments and small dress be added, fearing that their dynasty which is making deities for the last 300 years would be cursed to go to hell if they did not do so. The work continued. After the wax models were worked to as much perfection as possible, the wax models were enclosed in mud cocoons reinforced by steel rods and set to dry for two months. The wax was then drained out from allocated holes. The cocoons were then baked to become as hard as brick. By this process, inside the cocoons were imprints of the deities made of wax. They were ready for casting. The first casting, that of Caitanya Mahaprabhu, coilI- menced on April 15, 2003.

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The deities are made of eight metals called asta dhatu: copper, brass, tin, lead, iron, gold, silver, and steel. However, Lord Caitanya is described as yellow golden color; and Nityananda is described as reddish golden color; Gadadhara has a similar complexion as Lord Caitanya; and Advaita Actrya is said to be light in color. In this way each deity needed a unique mixture of metals, according to the complexion of each personality. The metals in proper proportions were put into fifty special crucibles, which are fire gesistant up to 2000 degrees, and melted down. This process is usually done in the night, since the daytime temperature is South Indian is some. times 45 degrees. Dealing with five pits with blowers and coals is not an easy task. Each pit held ten crucibles. . Special laborers had to continuously bring po1, tions of the 3000 kilograms of molten metal and pour that into the cocoons, which were buried underground. After all the metals were poured the deities were left to cool for seven days.

J onuniua.sa l)a.s P r obhu checling the uciuuhle jewels before getting melte.tl for ca.sting

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CHitunya, 1 Sth April,2003 Frd Nityanda,Sth Muy.2003 Ll-ord Gadada ta-Z0th JuD€,2003 Lord Advaita.tlth July, 2003 Lord Srivas .Znd August,z003 in Swamimalai-South India at Stapati's place,

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S" DEVASENAPATHY STHAPATHY (T935 - aOO}I S. Devasenapathy Sthapathy, founder of Sri Jayam Indusmies, which celebrated its golden Jubilee in October 20A7,, was a National Awardee - 1984 in bronze castings -Early Chola Style. He belongs to Viswakarma community and hails from Swamimalai, one of the abodes of Lord Muruga, on the banks of the river Cauveri, in Thanjavur Dt., Tamilnadu(S. India). He had practiced the crafts of bronze castings (manufacturing of metal statues) frorn his childhood. He had initial training, from his father Srikanda Sthapathy and uncle and Guru Sti. S. Annasamy Sthapathy, the then Superintendent. Art Metal Training cenre Swamimalai. He skilled highly in the field of bronze castings in Chola Style. He had mastered the whole technique in this field from designing to finishing. Very valuable and successful maining imparted on Mr. S. Devasenapa' thy Sthapathy by his father & paternal Uncle Mr. Annasamy Sthapa' thy paved way for his mastery. He was well versed with kasyapa Silpa Shastram, Sakalathi karam, Manasaram, Abhinaya Tharpanam, Silpa Rathrna, Brankya Chitrakam etc. These are the code and conduct for manufacturing icons. Mr. Devasenapathy Sthapathy had made lot of idols for the Hindu temples in London, Singapore, Malaysia, Mauritius, USA, West German, France, Canada etc.

HE WAS A WINNER OF MANY AWARDS..

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apathy is the eldest son of late S. Devasenapathy Sthapathy. Born on 30.7.1960, after schooling at Swamimalai he joined the Government college of Architecture and sculpture, Mahabalipuram. He completed the course and came out with a diploma in ternple architecture for his credit, he had designed and built several temples. He had learnt the art of iconography in full, tradition, ally from his father. After demise of his father on 25.10.02, he along with his brothers Sri Sri, kandta Stapathi and Sri Swaminatha Stapati took charge of his father's Sri Jayam

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The loaing affairs of Sri Radha and Krsn& are transcendental manifestations of the Lorilts inter- nal pleasure-giuing potency. Ahhough Radha and K'fgta are one in Theh identity, They separatgd Themselves eternally. Nour these two transcenilen- tal identities houe again uniteil, in the form of Sri Kflqra Caitanya. I bow ilown to Him, who has manifested Himself with the sentiment d,nd com. plexion af Srlmatt Radhardr,ti ahhough He is Krsna

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vande iri, krsn ct. coit. onyo"' nityanandau sahoditau gaudodaye puspavantau citrau San-dau tamo. nudau I offer my respectful obeisances unto Sri Kflfra Caitanya and Lord Nityan anda, who are like the sun and moon. They haqte arisen simultaneously on the horiTon of Qauda to dissi pate the darkness of ignorance and thus wonderfully bestow benediction upon all. Caitanya Caritdmrtd Adi 1. .2.

gFinishi ng touch., d the expert hands of Stapathi and his ossistants.

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ittharit nr. tir y ag. r si. ileu a ihosaootarair lokan uibhavayasi hams i iagat. pratlpdn dharmorh maha.purus a pasi yugdnunnttoit channah kalou yad, obhaaas tri. yugo 'tha sq. tuam My Lord, You kill oll the enemies of the world inYour multiforious incarnations in the families of men, animals, demigods, I$is, aquotics a,nd so on. Thus You illuminate the worlds with tr ansc endental knowledge. ln the Age of Kali, O Mahapuruso, You sometimes appear in a coc)ered, incarno. tton. Therefore You are known as Tri-yuga fone who appeors in only three yugosl.

A Final detailed coruing works under progress by the deft croftmanship of the stopati.

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pafica-tattvdtmakwit krsnarir bh akt a " r fiq ct - s v dr {Lp dk am bhaktauatdrarir bhahakhyarit namdmi bhakt a - i aktik am has manifested Himself in frw as il ilevotee, expan- sion of a deqtotee, incarno,, tion af a devotee, pure devotee and devotional energy. Caitanya Caritdmrtd 7.6 Let me offer. my unto Lord Sri K obeisances !$ear qlho

.\ Different stages involving in fixing the base to the deities.

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advoitah harinaduaftad dc dr y arh bhakti - S arhs andt bhaktau atdr am iS arfu tam adqtaftacdryam dsraye

Because He is nondifferent from Hari, the Supreme Loril, He is called Aduaita, and because He propagates the cult of deuotion, He is called Aciryi. ll" is the Lord and the incar. nation of the Lord's deqtatee. Therefore I take shelter of Him. Caitanya Caritdmrta Adi, 7.1.3

64

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punah punah piyaiya haya mohamafia ndce, kdnde, hdse, gd!d, yaiche m&da,matta Sri Pafr ca-tattqta them- selqres danced again and again and thus made it easier to drink nectaredn loqte of Qodhedd. They danced, cried, laughed and chanted like madmen, and in this way they distributed love of Qodheo,d. Cait dnyd Ad Caritam!fit, i7.22

A Painting the Pafrca Tattvo getting them ready before Their long iourney to Maydpur.

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20A4 at I lpm. I had given Bhakti.Pdrusottom Maha, raja my final guarantee that we wiiuld be leaving on ]anuary 27th, one of the many previous "finishing dates", but as so often may happen we could not just dictate when and how the Deities are to be ready. It simply took the time that it had to take despite anxious enquiries {rom leaders and devotees around the world. The fact was the amazing beauty of these Deities became more and more manifest as the work progressed to the final finish. All I could do was to keep everyone in{ormed of the details while the Deities apparently sculptured themselves. The truck left the compound o{ the Stapathi at 6 PM, the calculated auspicious time. It first carried the Deities to the Sri Swaminathar Swami temple, the main temple in town, where it circumambulated the temple and came to a resting spot on the main highway. Meanwhile, I was arranging the final papers and accounts to enable us to leave. By 11pm we were on the highway leading to Chennai. It was a rough road and soon I realized hgw experi, enced and professional the drivers were. Our sankirtan van, with I devotees, blaring the Hare Krishna Maha Mantra followed in tow, stopping only {oi changing the tape. r-:-

68

A Word from Bharat Maharaia Daso, the Sculptor

Working on the Pafrca Tattva deities was as mysterious as primordial soup appearing sud' denly one morning in your kitchen. No one really knew where They came from or u'htr made Them. Over the years many pcople came into the kitchen and added thcir orvn personirl touches: a bit of Bengali, a dash of South Indian, a spark o{ Armcniiln, a touch of American, a gencrous hclping of old English transcendental visiott, and a sprir"r' kting of Italian seasoning tou'ards thc cnd. My job uras tct stir thc pot from timc to timc to mix all these ingrcdients togcthcr.

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Ins tall,ation Amid the thunderous crowd of fioe thouscnd deuotees chanting the mahamontro led by the most expert singers, who literally called Lord Caitanya and His cssociotes into the forms, just as Adwaftacdrya had pr eviously called down Lord Caitanyo in person, the most important function of installation took place on Feb.2l-23, 2004, with opening the eyes of the deities, showing ouspicious items, invok. ing the sense orgons and limbs, and performing abhiseka and ptdna pratistha,

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A 'i'The l)crica,Tctttto on Thcir rllrcr.s. 'l'l)et,otees fro'nt urouurl thc ruorld gutlrcrccl for tha occttf iotr.

{ Irirc .sacrificc hcfirrc the in.stoll utiotr.

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With our heads prostrated at the divine lotus feet of Srila Prabhupada, we thank him for his great vision of the Adbhuta Mandira and the Pan.ca Tattva deities. We are only the instruments to fulfill the desires of the previous acaryas, Srila Prabhupada. We, the team for supervising the making of the Pan.ca Tattva, would like to thank all the numerous devotees who have assisted us in various ways in this historical event, especially to all the devotees who gave generous financial support, and those who immediately responded to the call of service by donating gold, silver and personal jewelry for the casting. We also thank the devotees of the Kumbakonam yatra for their continuous assistance and service attitude. Our unlimited gratitude goes to our Mayapura leadership for their encouragement, support and inspiration, particularly in times of need with their quick responses and expert guid, ance. We thank His Holiness Jayapataka Svami, who came and personally inspected the work in progress many times, His Holiness Bhakti Caru Swami for his deep study and research on the measurements and proportions of the deities, and His Grace Naresvara Dasa for his expert logistical support in times of great challenges. We thank the Sthapatis for their patience, dedication and expert craftsmanship in executing this project, working con, tinuously for two years.

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The Arrival of Panca Tattva in Sridhama Mayapur, February 6, 2004 This book is the first of two Panca Tattva installation related publications, the second entitled Eighteen Days: Sri Panca Tattva's Mayapur Lila. The above video is a short documentary of the arrival of the Panca Tattva in Sridhama Mayapur from Kumbakonam, South India on February 6, 2004, where the expert sthapatis of this ancient city produced the murtis. The second book includes a longer documentary on the entire event that also documents the entire installation ceremony from February 21 - 23, 2004.

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krsna-varnarh tv isakrs+arh sdngopfl ngistra- pdrsadam yaj fiaih sankirtana-prdyair yajanti hi su-medhasah

In the age of Kali, intelligent persons perform congregational chanting to worship the incarnation of Godhead who constantly sings the names of Krp+u. Although His complexion is not blackish, He is Kp+u Himself. He is accompanied hy His associates, servants, weapons and confidential companions.

Srirnad Bhagavatarn LL.5.32

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