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In human
life, the Guru’s place is prominent.
By keeping utmost faith in the Guru alone,
everything is obtained.
A devotee’s entirestrength is due to His Guru.
Devotion to the Guru is superior to
devotion to gods and goddesses.
The Guru is the Supreme Being. ”
Shri Sai Baba
Gurusthan means “place of the Guru”. It is both
where Baba spent most of His time when He first came
to Shirdi, and also where, according to Baba, the
tomb of His own Guru is located by the neem tree.
Gurusthan is therefore One of the most important
places in Shirdi..
From
underneath the NEEM tree there is an underground
tunnel or passage leading to the place of Dwarkamai
as told by an old lady. |
Map of
Gurusthan Temple |
Top
 Once
when some villagers were digging the foundations for Sathe Wada
just behind the neem tree, they came across some bricks in the
soil and what looked like the opening of a tunnel. Uncertain
whether to proceed or not, they asked Baba what they should do.
He told them that this was the site of the tombs of His
ancestors and that it would be better not to disturb them.
There are several references to Baba’s Guru recorded in the
literature, but they are somewhat enigmatic, and it is not clear
whether He was referring to a Guru in His present lifetime, or a
previous one.
The first thing that catches the devotee’s eye at Gurusthan is
the huge neem tree. This tree gave shelter to Baba for a few
years when He stayed beneath it. Neem has many medicinal
properties, though its leaves are notoriously bitter. However,
some people once reported that the leaves of one of the branches
tested sweet. For them it was a sign of Baba’s grace; others see
it as evidence of the tree’s exceptional sanctity.
Top
One incidence concerning the neem tree illustrates how practical
and down-to-earth Baba could be. In the early 1900s, after Baba
had moved to the mosque, construction work on Sathe Wada was
hampered by a long branch of the tree. However, nobody wanted to
remove it, as this tree had been sanctified by Baba’s stay under
it. When Baba was approached for His advice He told the
villagers, “Cut off however much is interfering with the
construction. Even if it is our own foetus which is lying across
the womb, we must cut it !”. But despite this clear instruction
from Baba, none dared meddle with the tree. Eventually Baba
Himself climbed up and lopped off the branch.
Another reason for the villagers’ reluctance to prune the tree
may have been that some time
previously a boy had climbed the tree to trim it, and had fallen
to the ground and died. At that moment, Baba, who was in the
mosque, sounded a note of distress, blowing shankha (the sound a
conch shell makes when blown into) with His cupped hands. Baba
sometimes did this when a person was in great danger, although
he could not have “seen” from the mosque what was occurring at
Gurusthan. Villagers linked the boy’s death with His attempt to
cut the tree, and became afraid to do anything to it that might
have been a sacrilege.
Top
Today at Gurusthan, in addition to the neem tree, there is a
pair of marble padukas on a pedestal, a ‘Shivalinga’ and a
statue of Baba. The statue, carved by the grandson of the
sculptor of the Samadhi Mandir statue, was donated by Y. D. Dave
and installed in 1974; the other things were set up in Baba’s
time. The unveiling ceremony was done by Saint Shri Parnerkar
Maharaj.
The padukas were the initiative of a couple of devotees from
Mumbai (Bombay). During their visit to Shirdi they became
friendly with two local devotees, G. K. Dixit (not to be
confused with H. S. “Kakasaheb” Dixit) and Sagun Meru Naik. As
they were sitting talking one day, they all felt it would be
good if there were some kind of memorial to Baba’s advent in
Shirdi and His stay under the neem tree. They first thought of
laying some padukas made of rough stone. Then one of them
suggested that if he put the proposal to His employer, Dr.
Ramrao Kothare, he would probably be willing to sponsor
something more elegant – as indeed he was. Dr. Kothare gladly
came to Shirdi from Bombay, drew up a plan for them and showed
it to Upasani Baba. Sri Upasani made some improvements adding a
conch, lotus, Mahavishnu wheel – and suggested that two of His
Sanskrit slokas extolling the tree’s greatness and Baba’s powers
be inscribed on the padukas’ pedestal. These translate as
follows :
“ I bow to Lord Sainath, who by His
constant stay at the
foot of the neem tree – which although bitter and
unpleasant, was yet oozing nectar – made it better than
the wish-fulfilling tree. I bow to Lord Sainath, who
always takes delight in resting under the neem tree and
bestowing material and spiritual prosperity upon His
devotees who lovingly attend on Him.”
Top
The padukas were made in Bombay and sent to Shirdi. When they
arrived, Baba commented that they were “Allah’s padukas” and
should be placed in Gurusthan on a particular day. The padukas
were duly installed in a solemn ceremony on the August full moon
day (15th) of 1912, having been carried in procession from
Khandoba Temple (it was G. K. Dixit who bore them on His head).
At this time, arati was already being performed every day in
Sathe Wada and Dixit Wada. With the installation of the padukas,
a third arati was started, at Gurusthan and G. K. Dixit was
employed to officiate.
A few months after their installation the padukas were damaged
by a lunatic who also destroyed some of Shirdi’s temple idols.
The devotees were very distressed, believing it augured ill.
Baba, however, took the matter casually and told them simply to
repair the crack with cement and undertake a poor-feeding. In
fact, the broken padukas were later replaced and the originals
are said to be in the pedestal underneath.
The shivaling was installed in Gurusthan the same year. It had
previously belonged to Megha Sham, a zealous devotee of Shri Sai
Baba, who had taken over officiating the arati in the mosque
after the demise of Tatyasaheb Noolkar. How Megha acquired the
shivaling is a beautiful example of Baba’s leela:
Megha was a simple, austere Gujarathi Brahmin, who worshipped
Shiva but saw His chosen deity in Sai Baba. Characteristically,
Baba encouraged His devotee to maintain His worship of Shiva.
One day Baba blessed Him with a vision, appearing to him early
one morning telling him to draw a trident (emblem of Shiva) and
leaving behind a few grains of rice (the kind that are used in
puja). When Megha went to him in the mosque Baba emphatically
confirmed the instruction, and Megha returned to His room to
carry it out. The next day someone presented a shivaling to
Baba. Baba called Megha over saying, “Look, Shiva has come for
you!” and giving the shivaling to Megha, told him to use it for
worship.
Top
At that time, Megha was staying in Dixit Wada. He took the
shivaling home with him and showed it to H. S. Dixit. Dixit then
disclosed that he had just had a vision of the very same
shivaling arriving at the wada! Megha worshipped this shivaling
with great dedication until the end of his days. When the
padukas were to be installed, the devotees wanted to take the
opportunity to put a shivaling there too. If there was a tomb
here as Baba had said, then according to Hindu custom, it
required a shivaling. They therefore asked Baba’s permission,
and he said they could use the shivaling that Megha had
worshipped until His death at the beginning of that year. So the
shivaling that we see there now is the same one that Baba
lovingly handed over to Megha.
During Baba’s lifetime, Gurusthan was completely open and looked
quite different from the fully paved and enclosed area it has
now become. Shri Sai Baba said that whoever burns incense and
cleans here on Thursdays and Fridays would be blessed by Allah
(Thursday is sacred to Hindus, and Friday to Muslims). We assume
that out of love and respect for His Guru, Baba wishes the place
to be venerated and kept clean.
A small dhuni on a stand is kept in front of the shrine here.
Until recently it was kindled every day by embers brought from
the main dhuni at the mosque, but this is now done only on
Thursdays and Fridays.
Finally, before we leave Gurusthan, let us return to the might
neem tree. Since the 1980’s more and more devotees have started
doing pradakshina around the tree (and thereby the tomb). Now,
one can often see large numbers of people going around
throughout the day and night. Others find that Gurusthan is a
powerful place to sit quietly. Some people regard the tree as a
symbol of the Guru’s grace under which humanity may take shelter
and protection. Indeed, Sai Baba once commented that His
devotees are simply resting in the shade of the neem tree while
he bears the brunt of their deeds.
Takia
Just across from Gurusthan, to the east of Dixit Wada opposite
the neem tree, near to where an open theatre has recently
been built, there used to be a takia or small shed. A takia
is a resting place for visiting fakirs and Baba also sometimes
spent the night here when he first came to Shirdi.
Sai Baba had a great love of music and dance. In His early days
He would often go by the takia and sing devotional songs,
usually in Arabic or Persian, or the (Hindi) songs of Kabir. His
voice is described as “very sweet and appealing”. Sometimes he
would put on bells and anklets and dance around in ecstasy while
singing, probably in the company of visiting fakirs who were
putting up here for a night or two. Even though the takia is not
there any more, one can easily imagine the scenes of ecstatic
devotion that were creatively enacted here during the night
hours.
Top
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Baba has promised,
“I shall be
active and vigourous even from the tomb,”
and it is perhaps in the Mandir that we can most
fully experience the phenomenon of Sai Baba and the
remarkable way he has touched the hearts and lives
of millions of people from all over the globe.
.
Baba’s omniscient
presence is felt when one has Baba’s glance, when
one sits at Baba’s feet .
Ardent
Devotion
At any given point, the shrine is full of devotees
eagerly queuing up to have Baba’s darshan. People
carry flowers, garlands, sweets, or fruit to offer
Baba at His Samadhi. Some may have personal items-
such as a shawl, book, key to new possession, etc,
for which they want to get Baba’s blessing by
offering it at his feet and having it touch his
tomb. |
Map of
Samadhi Mandir |
“Sri Satchidananda Sadguru Sainath Maharaj
ki Jai !” (Hail the great sadguru, Lord Sai, who is
being-consciousness-bliss!) is the chant on the lips of most of
His devotees while most others may sing bhajan or whisper
prayers.Top
At busy times, especially during festivals, the queue for
darshan used to stretch for hundreds of meters along the village
streets, though the recently constructed Queue Complex has
changed this. People may wait up to eight hours just for the
opportunity to pay brief homage to their Lord. The atmosphere of
fervent and one-pointed devotion reaches its zenith here.
“Attention one and all!” commands the noon arati psalm, “Come,
come quickly and make obeisance to Sai Baba!” This is exactly
what the devotees are hastening to do, and to be part of this
torrent of emotion is a powerful experience.
In this form, thousands of people a day are able to take Baba’s
darshan and pay their homage to Him.
Origins of the Samadhi Mandir
 The
shrine which houses Baba’s tomb was originally constructed as a
wada (large private house) during Baba’s last years in His
physical body. It is built on some land that Baba had tended as
a garden. Sai Baba seemed to like growing plants and in His
early days He cleared and levelled this land, which had been
used as dumping ground. Using seeds that He had brought from
Rahata, He planted it with jasmine and marigold. For about three
years Baba would water the plants every day and distribute the
flowers to the local temples. Now that His tomb is here and Baba
is receiving so many devotees, it seems that He is nurturing
plants of a different nature – and still sowing seeds.
Top
The shrine was built by a wealthy devotee from Nagpur, Gopalrao
Booty. The Sri Sai Satcharitra describes him as a
“multimillionaire”. He was introduced to Baba by S. B. Dhumal
about ten years before Baba’s Mahasamadhi.
The wada was originally intended as a rest house and mandir. The
inspiration for the building came to Booty in a dream, when he
was sleeping beside his friend and fellow devotee, Shama, Baba
appeared and told him to build a house and temple.
Excited by his vision, Booty immediately woke up and pondered
its significance. He noticed that Shama had tears in his eyes
and asked him what the matter was. It transpired that Shama had
just had the same dream and was deeply touched by it. He told
Booty, Baba came near me and said distinctly, “Let there be a
wada with a temple so that I can satisfy the desires of all.”
Together then they drew up some rough sketches, showed them to
Dixit for approval, then took them straightaway to Baba to ask
His permission to go ahead with the plan. Baba responded warmly
and gave His blessing to the project.
The work was begun around 1915. It was built in stone and was
therefore known as dagadi (stone) wada. Shama supervised the
construction of the basement, ground floor and well. Later,
Bapusaheb Job took over supervising the work.
Top
When Baba passed the site on his way to Lendi, he would
sometimes offer suggestions. As the building progressed, Booty
asked Baba if he could include a temple on the ground floor with
an statue of Murlidhar (a form of Lord Krishna). Baba readily
gave permission, and said, “When the temple is built, we shall
inhabit it and ever afterwards live in joy.” Shama then asked
Baba if that was an auspicious time to start the work and Baba
replied that it was. Shama immediately fetched and broke a
coconut as Marurat (good omen) and the work was begun. The
foundation was quickly laid, a pedestal prepared and an order
placed for the idol. However, the significance of Baba’s comment
was appreciated a few years later.
Baba’s unforeseen moving-in
It was around this time that Baba fell ill
and His devotees feared the worst. Booty also felt dejected,
wondering whether Baba would live to even see the completed
wada, never mind grace it with His presence. The whole
construction seemed pointless to him if Baba was not going to
remain there in His body. However, Baba was to move into the
wada in a way that had not been foreseen by others. His health
rapidly deteriorated and on 15 October 1918 he lay with his body
fading fast. His last words were ,”I am not feeling well in the
masjid. Carry me to the dagadi wada”.
Baba was indeed carried to the wada, and was buried in the place
where the image of Murlidhar was to have been placed: an edifice
was later raised over the tomb.
Baba’s Mahasamadhi Top
The day that Baba took Mahasamadhi, Tuesday 15 October 1918, was
a very auspicious one for Hindus ; it also happened to be the
Muslim month of Ramzan. October 15 was the Hindu festival of
holy Vijayadasami, a few minutes into ekadasi (a significant
lunar cycle in the Hindu calendar). Two months previously Baba
had sent a message to Banne Mia fakir, saying that “On the ninth
day, of the ninth month, Allah is taking away the lamp he lit”.
He also sent some offerings to the fakir Shamsuddin Mia and a
request to do moulu, qawals (both are types of devotional
singing) and nyas (poor –feeding). Thus right up until his final
moments in the body, Baba was embracing both communities.
The news of Baba’s passing spread quickly, and thousands came to
Dwarkamai for a final darshan, queuing for five or six hours.
The body was kept on the handcart all night, while preparations
– digging a pit and building the platform – went on. Before the
burial, Baba’s kafni was removed and he was given a final bath.
It is reported that even at this stage, his body remained soft,
as if he were merely sleeping, Earlier, while the body was in
the wheel chair, his nose started to bleed (usually impossible
for a corpse).
Thirty-six hours after he had left his body, Baba was finally
interred. Certain personal articles were buried with him: the
broken brick, now mended with gold and silver wire, one of his
satkas, a chillim, needle and cotton (Baba would mend his
clothes until they were a mass of repairs, a cause of
affectionate amusement among close devotees), some spices to
preserve the body, and an old cloth bag that Baba never allowed
anyone to touch, but which devotees investigated after his
mahasamadhi and found that it contained a green kafni and a
cap.
The burial was completed by very early Thursday morning. A
photograph of Sai Baba was placed on a throne on the platform of
the tomb. It remained there until the statue was installed in
1954. That picture is now kept in the recess of the Samadhi
Mandir where some other things of Baba’s are on display (see
below).
Top
The Mandir that we see now is about twice the size of the
original building, having been later extended back from the
stone arches. As the temple authorities try to find new ways of
coping with the ever-increasing flow of visitors, various
alternations are made. In 1998 a hall was added to the back of
the mandir, so that it has again almost doubled in size. A big
beautiful hall, connecting Masjid (Dwarkamai) has been built up.
Sai Devotees waiting in a queue.
 The
statue and tomb of Sri Sai Baba
For pilgrims to Shirdi, darshan at Baba’s tomb is the climax of
their visit and the statue of the tomb represents the living,
breathing God. As such, it is the focus of all their longings,
hopes and desires, and a concrete form to which they can express
their love.
The statue is admired as an extraordinary and exquisite image,
excluding grace and benevolence. Baba sits relaxed, natural and
majestic, gazing beningly on the millions of diverse visitors
who flock to him for succour. Many have commented on the
lifelike quality of the eyes, as these are typically the most
difficult feature to portray in a stone sculpture. In this
statue, they really do seem to be looking at us and responding!
Baba repeatedly assured devotees that he would never cease to
answer their call, and that his mission is “to give blessings”.
The pull of the tomb above, which the idol sits, is powerful and
intense and is drawing seekers to Shirdi in numbers that
increase by the week. Here, devotees address their heartfelt
prayers, beg for help, give thanks and offerings for prayers
answered and wishes fulfilled, sign their devotion, and pay
humble obeisance to their beloved deity. For them, the idol does
not merely represent God, it is God; and the opportunity to
prostrate before it and make oblations may be fulfillment of a
lifetime’s ambition.
Top
The statue, which has become such a famous and well-loved image
of Baba, was not installed until 1954, thirty-six years after
his mahasamadhi, and there is an intriguing story behind it.
Some white marble arrived from Italy at the Bombay docks, but
nobody seemed to know anything about it who it was for, or why
it had come. In the absence of a claimant, the dockyard
auctioned it and the purchaser offered it to the Shirdi Sansthan
(temple authorities). Impressed by the quality of the marble,
they wanted to use it for an idol of Baba and gave the
commission to a sculpture from Bombay, Balaji Vasant Talim.
However, the latter had only one black and white photo of Baba
as his model, and was struggling to get the likeness. One night
Baba came to him in a dream, remarked on his difficulties and
then showed him his face from various angles, encouraging Thalim
to study it thoroughly and remember it well. This gave Thalim
the filip he needed and after that the work flowed easily and
the result exceeded all expectations.
The statue was installed on 7 October 1954, on Vijayadasami day.
As the main object of adoration in Shirdi, the idol is accorded
all due honours. Out of their love for Baba Devotees wish to
provide every comfort and respect they can. Accordingly, Baba is
given a hot water bath in morning, offered breakfast, lunch and
dinner, has his clothes changed four times a day before each
arati and is adorned with a silver or gold crown for the arati
worship. At night a mosquito net is hung and the tomb is spread
with a special white cloth, of plain cotton, of the kind that
Baba’s kafni was made. Each morning at five o’clock, Baba is
woken up, the mosquitop net is removed, and incense is offered (
this ritual in known as bupali ). A glass of water is kept by
his side.
Top
After the first arati of the day, an abhishek (ritual bathing of
the idol with water, milk curd, ghee etc) is performed. Devotees
may sponsor the abhishek by contacting the Sansthan. Visitors
may also donate cloth for Baba, which will be wrapped around the
statue. Later all the cloth that Baba has “worn” is put on sale
in the Sansthan shop, a few minutes walk from the mandir. Many
people like to buy cloth that has been sanctified in this way
and use it for their altar or some other sacred purpose.
The feeling and experience that Baba is still alive and present
pervades all the Sansthan facilities and activities of his
devotees. As you move around Shirdi, you will see that this
sentiment informs life, worship and pilgrimage here and
contributes to the mystique and magic of what we call Shirdi.
The Display Of Baba’s Belongings
 In
the Museum some things associated with Baba are on display.
These include three pairs of sandals (though Baba was almost
always barefoot), his folded clothes in a glass fronted
cupboard, several chillims, ornaments for Shyam Sunder the
horse, cooking pots and a silver palanquin.
There is one other item here which, though insignificant
looking, perhaps holds the greatest fascination for Sai
devotees, and that is Baba’s leelas. It is not that Baba gave it
so much importance (as he did, say, to the brick), but whenever
someone or something was to be chastised or driven out, we
usually find that the satka is there, being shaken, waved
threateningly, or beaten on the ground. For example, when a
sudden cyclone hit Shirdi, trapping the devotees in the mosque
and causing them to fear for their lives, crops and livelihoods,
Baba upon being appealed to, simply shook his satka and ordered
it to stop. In a similar way, he once commanded the wildly
leaping flames of the dhuni to be calm. The satka was also used
to intimidate the group of Muslims waiting to attack Mahalsapati
outside the mosque.
On another occasion, Baba used the satka for healing purposes.
He had warned Mahalsapati that some misfortune would hit his
family, but that Mahalsapati should not worry as he would take
care of it. Soon after, several of Mahalsapati’s family fell
seriously ill. Some devotees who were doctors offered
Mahalsapati medicine, but Baba discouraged him from using it,
saying simply that the sick should stay in bed. With that, he
walked around the mosque waving the satka exclaiming,”Come on,
show us your power ! Let’s see it, such as it is, and I will
show you the power of my satka if you (dare to) come and face
me.” This was the way Baba treated the disease and cured it
without any other medicine.
Arati
Top
Arati is a form of congregational worship with music and lights,
which is celebrated with particular elan in Maharashtra and
especially in Shirdi.
For many who come to Shirdi, attendance at arati is one of the
highlights of their visit. It is perhaps during arati that we
can most easily experience the essence of Shirdi and the power
of Baba’s presence. Some people experienced a heightened state
and speak of a dissolution of the sense of separation, the
erosion of the boundary between self and God. Others say that
this is the time when Baba comes “alive” for them and answers
their questions and prayers.
The effect of the group and its stirring emotion – of faith,
longing and devotion, - acts powerfully on the heart. The
atmosphere becomes highly charged and there is a palpable sense
of the numinous. In Baba’s time too, it seems that arati was an
occasion when His grace was particularly felt and experienced by
the devotees. G.S.Khaparde who, in his own phelgmatic style,
speaks of a particular elation at such times records some of
these instances in his book, ‘Shirdi Diary’.
The impact of the ceremony is intensified by dazzling sensual
input: for the eyes there is a dynamic kaleidoscope of colourful
images (the lovingly decorated statue and samadhi, the waving
arati flame, the red and gold uniform of the mace-bearing
chopdars); for the ears there are melodious and passionately
rendered songs accompanied by harmonium and other instruments –
not to mention the thrilling cry of praise at the end; and for
fragrance there is the aroma of incense, rosewater and numerous
flower offerings.
Top
Of the thirty or so devotional songs sung in the aratis, about
half were specially composed to Baba and the remainder are
traditional arati songs by the medieval poet-saints of
Maharashtra Most of them are in Marathi with a couple of each in
Hindi and Sanskrit.
Arati is held four times a day at Baba’s Samadhi: at 5.a.m.
noon, sunset (around 6.30) and at 10.p.m. A siren resounds
throughout the village a few minutes before the noon and sunset
aratis, and at four o’clock in the morning. The bell is also
rung in Dwarkamai and the ceremony is broadcast by an amplified
system throughout the village. To attend arati it s best to go
early and join those waiting in the Queue Complex, where there
will be a separate line from the regular darshan queue.
It was in Dwarkamai that arati was originally performed to Baba
and devotees still flock here to frevently join in the arati
wosrhip.
Top
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Arriving at the
mosque for the first time, you may be rather
surprised. Was this simple, unadorned structure
really the home of “God on earth?” Was this really
the centre from which so many miraculous events
sprang? Could such a modest building have been the
scene of the highest spiritual instruction that
flowed forth in almost as many different forms as
the number of visitors seeking it?
With its corrugated iron roof and rough stone walls,
the mosque could never be described as grand. Yet,
in spite of this – or rather, because of this – it
seems to have suited Baba very well. Describing
himself as a simple fakir, Baba was a model of
dispassion and holy poverty. His personal
possessions amounted to little more than a few
pieces of cloth, some chillim pipes, a stick, a
begging bowl, and a change of kafni – and not even
always that. Whenever his devotees wanted to
refurbish the mosque, Baba resisted and said that it
was not necessary, although basic repair work was
gradually carried out.Top |
Map
of Dwarkamai |
 To
the devotees of Sai Baba, Dwarkamai is one of the treasures of
Shirdi. The spirit of tolerance, acceptance and welcome for all
is very much alive. Baba has said that merely going inside the
mosque will confer blessings, and the experiences of devotees
confirm this. Sai Baba respected all religions and creeds, and
all had free access to the mosque. It is typically unique of Sai
Baba that he regarded a place of worship – the mosque – as a
mother. He once told a visitor, “Dwarkamai is this very mosque.
She makes those who ascend her steps fearless. This masjidmayi
is very kind. Those who come here reach their goal !”
On entering the mosque one is struck by its powerful atmosphere
and the intensity and absorption with which visitors are going
about their worship. Another point we notice is the great
diversity of devotional expression. Some people will be kneeling
before Baba’s picture of making offerings, others will be
praying before the dhuni (perpetually burning sacred fire), some
may be doing japa or reading from sacred texts, and others will
be sitting in contemplation. If we spend some time here we may
become aware of a mysterious phenomenon. Top
The “mayi” aspect of the masjid reveals itself in a number of
ways and we feel we are sitting in Baba’s drawing room. See that
child over there happily crawling around with a toffee in its
mouth, or her sister colouring a comic book ? And what about the
old man complaining to Baba about his aches and pains, or that
women sitting with her son on her lap telling him a story ?
Opposite is a large family group. The granny has a tiffin tin,
and having offered some to Baba, she walks around giving a
handful of payasam (sweet rice) to everyone in the mosque. We
feel we are receiving prasad almost from Baba himself, and
perhaps we are then reminded of some of the stories in Baba’s
life in which devotees brought offerings, or when he
affectionately distributed fruit or sweets with his own hand.
The atmosphere is so homely in the abode of Sai mavuli ! But
what is perhaps more remarkable, is that his homeliness
co-exists with a powerful experience of the sacred and
transcendent. The spirit is profoundly moved by “something” –
something indefinable, something great, something mysterious,
something magnetically attractive. As we explore Sai Baba’s
Shirdi, this aspect of Baba – at once the concerned mother and
the Almighty – is shown again and again. Many devotees relate to
Baba as a mother, and many as a God supreme. That these two are
so perfectly synthesized in Baba – see his care for both the
smallest domestic detail as well as the ultimate spiritual
attainment – is perhaps the most beautiful and unique aspect of
Shirdi Sai.
When Sai Baba moved into this mosque it was an abandoned and
dilapidated mud structure, much smaller than the one we see
today. In fact, it extended only as far as the steps and wrought
iron dividers enclosing the upper section, with the rest of the
area an outside courtyard. There were no iron bars around the
mosque or the dhuni as there are today, and according to
Hemadpant, there were “knee-deep holes and pits in the ground”!
Part of the roof had collapsed and the rest was in imminent
danger of following, so it was a rather hazardous place to live
! Once when Baba was sitting in the mosque, eating with a few
devotees, there was a loud crack overhead. Baba immediately
raised His hand and said, “Sabar, sabar,” (“Wait, wait”). The
noise stopped and the group carried on with their meal, but when
they got up and went out, a large piece of the roof came
crashing down onto the exact spot where they had been sitting!Top
Renovation of the
masjid
Baba’s devotees sometimes pestered him to allow them to renovate
the mosque, but his initial response was always to refuse. For
him there was no need for any alterations. Once, in the
mid-1890s, a devotee had some building materials delivered to
the mosque, with the intention that they should be used for
repair work, but Baba had them redirected to a couple of local
temples that were in need of restoration.
Later, Nana Chandorkar and Nana Nimonkar were determined that
some reconstruction should go ahead, while Baba appeared to be
equally adamant that it should not, although he eventually gave
permission for it through the intervention of Mahalsapati. At
first, whatever work was done, Baba would undo. It seems not an
uncommon occurrence with Baba that whenever a new proposal was
put forward, particularly with regard to renovation, he would
first oppose it, often vehemently, even violently, before
eventually acquiescing and allowing the work to go ahead.
Eventually the construction team resorted to working at night,
and then only on those alternate nights when Baba slept in
Chavadi.
By about 1912 the renovation work was complete and all that
remained to be done was the metal roofing for the courtyard. For
this, one of Baba’s most intimate devotees, Tatya Kote Patil,
and some others, arranged for materials to be brought from
Bombay. They then set about the work, including digging a trench
for the erection of some iron poles, without asking Baba’s
permission.
When Baba returned from Chavadi to the mosque and saw what was
happening he appeared to be furious, demanding, “What is going
on ? Who had done this ?” He promptly ripped out the poles with
his own two hands (though it has taken several people to carry
them), and threw stones at the labourers to drive them away.
Then he grabbed Tatya by the scruff of his neck until he was
unable to speak and almost choking, and violently berated him.
Top
Most of the labourers fled in terror and Tatya was left with
Baba. Despite his precarious predicament and Baba’s vehement
objection to the project, Tatya insisted that the work should be
done. Baba threw him to the ground snatched off the turban that
Tatya always wore, flung it into the trench and set fire to it.
Still Tatya insisted on the need to make repairs and vowed that
he would never wear a turban again until the work was complete.
Baba finally relented and by evening had cooled down
sufficiently to call Tatya and tell him to again put on a
turban. Tatya, however, refused. Eventually, in his loving
concern, Baba gave money to someone to bring new cloth and
himself tied a new turban on his steadfast devotee.
Some time after this event, Kakasaheb Dixit replaced the
original mud floor with tiles and the work was complete.
When Sri Sai Baba moved into the mosque permanently, he had
already been in Shirdi for a number of years, staying mostly
under the neem tree, with an occasional night at the mosque or
in the near vicinity. It could be said that Baba’s settling in
the mosque marked a turning point in his life, or rather, in
that of the village itself, as the shift brought him into closer
contact with the local people.
Baba’s fondness
for lamps - Lamp is the symbol of holy light - light of
knowledge in darkness of ignorance.
Although Baba had been healing people since his early days in
Shirdi and was sometimes called “Hakim” (“doctor”), it was a
specific and dramatic event which brought him to the attention
of the local populace, and it took place in the mosque.
Throughout his life Baba displayed a fondness for lights and
lamps and would regularly light panatis (small earthenware pots
with cotton wicks and oil) in the mosque and certain local
temples, in accordance with the Hindu and Muslim view that
places of worship should be illuminated at night. For this he
depended on the generosity of a few local shop-keepers from whom
he used to beg oil. One day, however, both suppliers brusquely
refused to give him any oil, claiming that they were out of
stock. Baba took this calmly and returned to the mosque
empty-handed. The shopkeepers followed him in the gathering
gloom, curious to see what he would do. What they witnessed
brought them to their knees in awe and wonder. Baba took some
water from the pot kept in mosque, and put it in the jar he used
for collecting oil. Shaking it up he drank the oily water, then
took another jar of water and filled the four lamps with it.
Next he lit the lamps, and – to the shopkeepers’ astonishment –
they not only burned, but remained alight all night. Afraid of
being cursed by a man of such powers, the shopkeepers begged
Baba’s forgiveness. This was freely given, but Baba pointed out
the importance of speaking the truth – if they did not want to
give, they should simply say so directly and not lie about it.
Top
The wondrous nature of this event, which is said to have taken
place in 1892, and the many such leelas which followed,
precipitated an influx of visitors to the Shirdi mosque that has
never stopped growing. To this day, lamps are burnt continually
in Dwarkamai, providing us with an unbroken link to Baba and the
lamps that he himself started and lovingly kept alight.
Association
with Dwarka
During Baba’s time Dwarkamai was always referred to simply as
“the masjid” or mosque. The name “Dwarkamai” came into popular
vogue only after Baba passed away but was first coined when a
devotee once expressed a wish to make a pilgrimage to Dwarka, a
town in Gujarat sacred to Krishna. Baba replied that there was
no need as that very mosque was Dwarka. “Dwarka” also means
“many-gated”, and “mai” means mother, hence “the many-gated
mother” (and Baba did often call it the “masjid ayi”). The
author of Sri Sai Satcharitra, identified another definition of
Dwarka given in the Skanda Purana – a place open to all four
castes of people (Brahmins, Kshatriyas, Vaishyas and Sudras) for
the realization of the four corresponding aims of human
existence (i.e. moksha or liberation, dharma or righteousness,
artha or wealth and kama or sensual pleasure). In fact, Baba’s
mosque was open not only to all castes, but also to untouchables
and those without caste.
Yadnya - The
Dhuni – is a sacrificial rite (Yahnya) on a pyre – a pious
devotional act of worship to Agni (fire)
 For
many visitors, the dhuni is the most significant part of
Dwarkamai, as it is so intimately associated with Baba. The
dhuni is the sacred, perpetually burning fire that Baba built
and which has been maintained ever since, though today the fire
is much bigger and is enclosed behind a wire cage. Yadnya
produces ash which the purest substance on earth and has the
power to destroy whatever evil and impure. Baba very generously
distributed Udi to His devotees for protecting them from
maladies.
The maintenance of a dhuni is important in several traditions,
including Zoroastrianism, Sufism and Hinduism (especially the
Nath sect). Fire was also important to Baba, as wherever he
stayed – whether under the neem tree, in the forest, or in the
mosque – he always kept a dhuni. Baba, however, was not bound by
any convention or set rules, nor did he worship the fire. He
simply maintained it, using it for his own particular and
mysterious purposes. There were no classic restrictions around
Baba’s dhuni. Baba did not prevent others from touching it –
indeed, villagers would sometimes come to take embers with which
to kindle their own household fires, and whenever Radhakrishnayi
used to thoroughly clean and whitewash the mosque at festival
times, she would move the dhuni into the street outside. Baba
did not confine himself to burning only wood on the dhuni, but
would throw his old clothes on it once they were worn out, and
he would adjust the fire with his foot (in Indian culture it is
considered disrespectful to touch or point to anything with the
foot). One day, the fire in the mosque got wildly out of
control, with flames leaping up to the roof. None of those
present with Baba dared say anything to him but they were
nervous. Baba responded to their uneasiness, not by prayer or
supplication, but by majesterially rapping his satka (stick)
against a pillar and ordering the flames to come down and be
calm. At each stroke the flames diminished and the fire was soon
restored to normal.
Top
When Baba returned from his morning begging-rounds with a cloth
bag of food and a tin pot of liquids, he would first offer some
of it at the dhuni before taking any himself. We may not be able
to discern exactly why or how Baba used the dhuni, but it is
evident that despite the apparent informality around it, the
fire was an important part of his routine. According to the Sri
Sai Satcharitra, the fire symbolized and facilitated
purification and was the focus of oblations, where Baba would
intercede on behalf of his devotees. Once when Baba was asked
why he had a fire, he replied that it was for burning our sins,
or karma. It is reported that Baba would spend hours sitting in
contemplation by the dhuni, facing south, especially in early in
the morning after getting up and again at sunset. Mrs. Tarkhad,
who had Baba’s darshan regularly, says that at these times “He
would wave his arms and fingers about, making gestures which
conveyed no meaning to the onlookers and saying “Haq” which
means God.”
The spot where Baba used to sit is marked by a small pair of
silver padukas. Look carefully – on the floor just in front and
to the right of the dhuni – for they are easy to miss. We feel
awed when we see the padukas and reflect on what issued form
here – this was the spot where Baba stood and sat, his finger on
the pulse of the universe, controlling, effecting, giving,
protecting, never resting but constantly seeing to the needs of
his devotees, for as he said, “If I don’t take care of my
children night and day, what will become of them ?”
Today the dhuni is maintained in a carefully designed structure
lined with special fire-bricks, in the same place that Baba used
to have it. Baba made an intriguing comment about this spot,
saying that it was the burial place of one Muzafar Shah, a
well-to-do landowner, with whom he once lived and for whom he
had cooked. This is recorded in Charter & Sayings of Sri Sai
Baba, but as so frequently when Baba speaks about his personal
history, we do not know to which life he was referring.
Top
In 1998 the Sansthan undertook the rebuilding of the dhuni pit
and re-designed the chimney to its distinctive shape.
Udi
From the earliest days, Baba would give udi – holy ash from the
dhuni – to his visitors. The healing power of Baba’s udi is well
documented and there are numerous cases of people being healed
of pain or sickness by taking Baba’s udi both before and since
his mahasamadhi.
Baba would sometimes apply udi to his devotees when they
arrived, or when they were taking leave of him, and he often
gave out handfuls of it which he scooped up from the dhuni. The
Sri Sai Satcharitra tells us that “when Baba was in a good mood”
he sometimes used to sing about udi “in a tuneful voice and with
great joy” : “Sri Ram has come, Oh he has come during his
wanderings and he has brought bags full of udi.” Udi is still
collected from the fire for distribution. Since this is a
continuation of Baba’s own practice, and the udi comes from the
very fire that Baba himself lit and tended, it is considered
extremely sacred. Today a small tray of udi is kept for visitors
near the steps.
For devotees of Sai Baba there is an emotional attachment to udi
as a tangible form of Baba’s blessings, a vehicle for Baba’s
grace and a link to Baba himself. People usually put it on the
forehead and/or in the mouth.
Udi is available in small packets from a small booth outside the
Samadhi Mandir.
The kolamba and
the waterpot
In the southwest corner of the mosque by the dhuni is a waterpot
on a stand, and below it, an earthenware dish known as a
kolamba. Baba used to beg for his food at least twice a day. He
generally visited only five houses – those of Vaman Gondkar,
Vaman Sakharam Shelke, Bayajabai and Ganapat Kote Patil (Tatya’s
parents), Bayaji Appa Kote Patil and Nandaram Marwadi – and
stand outside them calling for alms. Baba would collect the
solid food in a cloth bag and any liquid offerings in a small
tin pot. When he returned to the mosque he would offer some at
the dhuni, the empty it all into a kolamba and leave it
available for any person or creature to take from, before eating
a small quantity himself. In continuance of this tradition, a
kolamba is still kept here beside the water pot. People leave
naivedya (food offerings) here as a gesture of offering bhiksha
to Baba, and take it as his prasad. As Baba used to keep one or
two water pots by the dhuni (for drinking and performing
ablutions), this tradition is also maintained. Devotees like to
take the water a symbol of Baba’s teerth (holy water).Top
The nimbar
On the western wall of the mosque – in the direction of Mecca –
is a nimbar or niche, with a set of lamps in front of it. The
nimbar is a standard feature of all mosques, but the lamps were
put there by Baba. In Dwarkamai this spot, which is near where
Baba used to sit, is decorated with a garland of flowers.
The Sri Sai Satcharitra relates that it was here that Baba used
to have his midday meal, sitting behind a curtain with his back
to the nimbar, and a row of devotees on either side of him. This
is also the place where Baba would sleep with his head pointing
towards the nimbar, with Mahalsapati on one side of him and
Tatya Kote Patil on the other.
The grinding
stone and bag of wheat
A grinding stone – a common household item in rural India – is
kept in the north corner of the western wall. Baba apparently
had two or three such stones (another is on display in the
Samadhi Mandir), which he occasionally used for grinding wheat.
The most famous of these became the inspiration for Hemadpant’s
celebrated Sri Sai Satcharitra. It is described as follows :
“One morning, some time after the year 1910, while I was in
Shirdi, I went to see Sai Baba at his mosque. I was surprised to
find him making preparations for grinding an extraordinary
quantity of wheat. After arranging a gunny sack on the floor he
placed a hand-operated flour mill on it and, rolling up the
sleeves of his obe, he started grinding the wheat. I wondered at
this, as I knew that Baba owned nothing, stored nothing and
lived on alms. Others who had come to see him wondered about
this too, but nobody had the temerity to ask any questions.
As the news spread through the village, more and more men and
women collected at the mosque to find out what was going on.
Four of the women in the watching crowd forced their way through
and, pushing Baba aside, grabbed the handle of the flour mill.
Baba was enraged by such officiousness, but as the women raised
their voices in devotional songs, their love and regard for him
became so evident that Baba forgot his anger and smiled.
Top
As the women worked, they too wondered what Baba intended doing
with such an enormous quantity of flour... They concluded that
Baba, being the kind of man he was, would probably distribute
the flour between the four of them… When their work was done,
they divided the flour into four portions, and each of them
started to take away what she considered her share.
“Ladies, have you gone mad!” Baba shouted. “Whose property are
you looting? Your father’s? Have I borrowed any wheat from you ?
What gives you the right to take this flour away ?”
“Now listen to me,” he continued in a calmer tone, as the women
stood dumbfounded before him. “Take this flour and sprinkle it
along the village boundaries.”
The four women, who were feeling thoroughly embarrassed by this
time, whispered among themselves for a few moments, and then set
out in different directions to carry out Baba’s instructions.
Since I was witness to this incident, I was naturally curious as
to what it signified, and I questioned several people in Shirdi
about it. I was told that there was a cholera epidemic in the
village, and this was Baba’s antidote to it ? It was not the
grains of wheat which had been put through the mill but cholera
itself which had been crushed by Sai Baba, and cast out from the
village of Shirdi.
Top
To this day, a grinding stone is kept in the mosque with a sack
of wheat beside it, as it was in Baba’s time. This tradition
goes back many years to the time when two devotees – a farmer
(Balaji Patil Nevaskar) and his landowner – came to Baba for
arbitration. Although Nevaskar had been cultivating the land for
decades, the owner wanted it back.7 Baba advised him to comply
with the owner’s wishes, but instead of giving the crop to the
owner he sent the whole of it to Baba, keeping none for himself
? Baba took a small protion of it, which he kept beside him all
year, and returned the rest. In this way the custom was born and
the ritual was repeated every year. These days a bag of wheat is
kept in a glass case by the grinding stone throughout the year,
and is replaced annually on the festival of Ramnavami.
The Chillims
In the corner by the grinding stone you will see a cupboard. It
was in this niche that Baba used to keep his chillims. He was
fond of smoking tobacco through these clay pipes and used to
pass the pipe around to this close devotees. At such times he
might tell stories and the atmosphere was one of good humour and
friendliness.
As with many of the apparently ordinary things around Baba,
there was more to the chillim as a means of bestowing grace. G.
S. Khaparde observes in his Shirdi Diary that one day Baba “was
very gracious and repeatedly gave me smoke out of his pipe. It
solved many of my doubts and I felt delighted.” There are also
reports of Baba using the pipe for healing purposes. Hari Bhau,
for example, suffered from asthma. He had never smoked before
Baba offered him the pipe one day. Because it was given by Baba,
he took it and smoked. From then on, his asthma was cured and
never bothered him again.
Top
None of the pipes can be seen in Dwarkamai now, but a few are on
display in the Samadhi Mandir. Baba received many pipes in his
lifetime and would often give them away.
Baba’s portrait
Baba would spend much of his time in the mosque sitting in front
of the dhuni, often with his arm leaning on a little wooden
balustrade. A large portrait of Baba, sitting in the same
posture, is now to be found here. The picture is kept on a
throne-like platform and is the focus of worship, just as Baba
himself was when he sat here. Baba sits relaxed and calm,
looking out at us with a warm, welcoming, almost amused
expression; at the same time the gaze is both penetrating and
searching. On seeing the finished work, Baba is reported to have
said, “This picture will live after me.”
Something of that freshness is evident when we look at the
portrait here. No matter how many times we take its darshan, we
feel that Baba is greeting us a new. For that, we are indebted
to the artist, S. R. Jaikar, from Bombay. The original picture
was painted under commission from a close devotee (M. W.
Pradhan). At first, Baba did not give permission for the work,
claiming that he was just a simple beggar and fakir and what was
the point of painting such a person. It would be better for
Shama (who relayed the request to Baba) to get his own portrait
done, suggested Baba. Luckily for future generations though,
Baba later relented and Jaikar actually painted four pictures,
one of which was touched by Baba.
Top
The picture was installed in Dwarkamai after Baba’s mahasamadhi.
The painting that we see now is a recent copy of Jaikar’s
original, which has been moved to a Sansthan office to preserve
it from the drying effects of the dhuni.
In front of the portrait is a pair of silver padukas which was
installed later. Here it may be worth adding a note about the
significance of padukas. They are used throughout India, but
particularly in the Datta8 cult in Maharashtra. Padukas may be a
pair of carved “footprints” or a pair of shoes used by the
saint. It is the former which we mostly see in Shirdi. Padukas
signify the presence of the saint – wherever the feet are, the
rest of the body will be ! – and thus they are revered.
In Dwarkamai alone, there are five sets of padukas, symbolizing
Baba’s presence and giving us the opportunity for remembrance
and worship. Taking the lowest part of the saint’s body, we
touch it with the highest part of our own (the head) as a
gesture of obeisance and respect, in an act of namaskar. When we
bow down we are adoring our Beloved, affirming our hallowed
connection, and in this way, asking for continued blessings.
Top
Baba has told his devotees, “I am a slave of those who always
remember me in their thoughts and actions and do not eat
anything before offering it to me.” If you are in Dwarkamai
around midday, you may see people offering food to the portrait.
After being offered, the food is then taken back to the person’s
house and shared as prasad or distributed among those in the
mosque. The Sansthan also offers food to Baba here (as well as
at Gurusthan and the Samadhi Mandir). Afternoon arati, it is
given out to all those present in Dwarkamai.
In the context of offering food to Baba’s portrait, we may
recall the story in the Sri Sai Satcharitra of the Tarkhad
family. Mrs. Tarkhad and her son were planning to visit Shirdi,
but the son was reluctant to go, as he was afraid his father
would not properly carry out the daily worship to the large
picture of Baba he lovingly kept at their house in Bandra. His
father assured him that he would, and mother and son left for
Shirdi. For three days all went well, but on the fourth day,
although Mr. Tarkhad performed the puja, he forgot to offer the
customary few pieces of lump sugar. As soon as he remembered his
omission, he postrated before th shrine, asked for forgiveness
and wrote a letter to Shirdi. Meanwhile, around the same time in
Shirdi, Baba turned to Mrs. Tarkhad and said, “Mother, I went to
your house in Bandra to get something to eat, but the door was
locked. I managed to get in somehow, but found that Bhau [Mr.
Tarkhad] had left nothing for me to eat so I have returned
unsatisfied.” Mrs. Tarkhad did not understand what Baba was
talking about, but the son immediately realized and asked Baba
if he could go home, Baba refused, but let him do his puja in
the mosque. The son wrote to his father imploring him not to
neglect the puja and the two letters crossed in the post and
were delivered the next day. This shows that in a mysterious and
inexplicable way, when we offer something to a picture of Baba,
it is not merely symbolic, but we are offering it to Baba
himself.
Top
Dakshina box /
hundi – The principle of dakshina {monetary sacrifice performed
by giving money by way of donation to Baba: Baba used to accept
or not accept according to HIS wish money as dakshina from
devotees for retrieving them from their the evil effect of sins.
Life becomes pure and rich by sacrifice. This is the preaching
from upanishada (religious scripture about knowledge) – which
means learning by sitting at the feet or in the company of
SatGuru(the Supreme Teacher)}
Until around 1909, Baba almost never asked for dakshina
(donations) and rarely accepted monetary offerings, except
occasionally a few small coins which he used for buying fuel.
Then, for some reason, Baba did start asking, although he had no
personal need or desire for money, and by the end of each day he
had always given away whatever he had received that day,
remaining true to his principles of non-attachment and poverty.
A few devotees (such as Bade Baba and Tatya Kote Patil) were
even given a fixed amount every day.
Baba’s purpose in asking for dakshina was always to benefit a
particular individual by, for example, driving a (frequently
moral) point home, balancing a forgotten debt or conferring a
special blessing. “I do not ask from everyone,” he said, “but
emblem of Muslim-Hindu unity. The provision of the tulsi in a
Muslim place of worship is an example of the many ways in which
Baba fused Muslim and Hindu elements and resisted being
identified exclusively with one religion, while persistently
challenging sectarian divisions and prejudices.
Baba’s photograph
and the stone
Baba always wore “white”
Kurta (not ‘saffron’) as a symbol of light. His posture is
‘Niralambasan’ – Nir – without alamba – dependence. This means
that Baba as a supreme eternal power does not require any
physical matter to rest upon. Another significant thing about
Baba’s posture is that Baba never raised his hand to give HIS
blessing. However HIS right foot is parallel to ground so that
devotees’ can have charan darshan (vision of HIS right foot and
bare left foot on ground)
On the eastern wall opposite the steps leading up to the dhuni,
hangs a large framed picture of what is probably the most famous
image of Baba. It is a painting of an original
black-and-white-photograph.
Top
He is seated on a large stone with his right leg crossed over
the left thigh, his left hand resting on the crossed foot. Baba
is wearing a torn kafni, a headscarf knotted over his left
shoulder, and he sits relaxed yet alert, leaning forward
slightly. His expression is at once intense, all-knowing and
compassionate, but above all, unfathomable. To Sai devotees,
this is probably the most familiar image of Baba. Consequently,
many believe that this posture was a common one of Baba’s. Some
suggest that Baba adopted this pose deliberately, as in Indian
iconography it represents sovereignty, and is associated with
gods and maharajahs (and some draw parallels with Dakshinamurti,
who also sits cross-legged facing south). Others say that it has
no special significance and that it was not Baba’s typical
posture. Whatever the facts, the picture is treasured by Sai
devotees as one of only six or seven photos that we have of
Baba.
Until Baba sat on it, the stone was used by devotees for washing
their clothes (remember that in those days, the mosque consisted
of only the raised area around the dhuni, so the stone was
outside). One day Baba happened to sit down on it and someone
took the opportunity to photograph him. Once he had sat on it,
the stone was considered sacred and no longer used for washing.
It is that stone, set with a pair of marble padukas, which is
now under Baba’s photo. The owner of the original painting of
this photo, D. D. Neroy from Bombay, gave the painting to his
guru, Kammu Baba, who later gave it to the Sansthan. It is
likely that this was the picture that the Sansthan gave as a
model to the sculptor who carved Baba’s statue for the Samadhi
Mandir.
Top
Devottes meditate on and worship this picture. Baba has said
that there is no difference between his physical self and his
image. Indeed, he even proved this on a number of occasions.
When Balabua Sutar came to see Baba for the first time in 1917,
Baba said that he had known him for four years. This puzzled
Sri. Sutar, but then he remembered that he had prostrated to a
picture of Baba in Bombay four years previously, and it was to
that which Baba was alluding. Even more dramatically, Baba once
came to Hemadpant in a vision and told him he would be coming
for lunch that full moon festival day. In an extraordinary chain
of events, a picture of Baba was unexpectedly delivered to
Hemadpant’s house just as the midday meal was about to be served
!
The animal
statues
On each side of the photo is a statue of an animal – to the
right a tiger and to the left a horse – Tiger is the carrier
(vahaan) of original cosmic energy which takes female form of
Devi – AadiMata – (Mother) Horse is the symbol of complete
masculinity (Purushat) Nandi in front of Baba is the carrier of
Shiva (cosmic purity).
There is a
remarkable history behind each of these.
Just one week before Baba’s mahasamadhi, a band of traveling
dervishes brought a tiger to him which they were exhibiting and
thereby earning money. The animal had fallen sick and is
described as “very ferocious”. After trying various remedies in
vain, the dervishes brought him to see the renowned saint of
Shirdi hoping he would be cured by darshan of a mahatma.
The group paid obeisance to Baba and told him about the tiger’s
condition. “I shall relieve him of his suffering,” said Baba.
“Bring him here !” The dervishes wheeled the cage into the
courtyard of the mosque. The tiger, which was tied up tightly
with chains, was taken out for Baba to see.
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People watched the unfolding drama first in great apprehension
and then in utter astonishment. The tiger approached the steps
and stared at Baba, who returned his gaze. It then thrashed its
tail on the ground three times, gave out a terrific roar and
fell down dead “
The dervishes were dismayed at losing their means of livelihood,
but later they were reconciled to it and recognized the tiger’s
exceptionally good fortune in dying in the presence of a saint
(in India, this is commonly thought to confer moksha or
liberation). Baba consoled them saying that the tiger was
“meritorious” and that it had been destined to die there on that
day and had achieved permanent bliss by doing so. “The tiger’s
debt incurred to you in a former birth is now cleared,” said
Baba. He also helped the dervishes financially by giving them
150 rupees.
Baba told the dervishes to bury the tiger in front of the nearby
Mahadev Temple (one of the three small temples that now lies
between the Samadhi Mandir and the Queue Complex) and you can
see its samadhi by the Nandi. The statue of the tiger was
erected much later (on 12 November 1969) by Sri. Tryambaka Rao
of Ojar village in commemoration of this blessed incident.
The story of the horse is equally remarkable, though somewhat
milder ! The horse was given to Baba in fulfillment of a vow by
a horse dealer named Kasam, in about 1909. Kasam’s mare had not
produced a foal for a long time and so he resolved to give the
first-born to Baba if she foaled. This came to pass and Shyam
Karni (meaning “black ears”, Baba’s name for him) became a great
favourite with Baba who lavished much love on him. Shyam Karni
(also known as Shyam Sunder, “Black Beauty”) was an integral
part of the Chavadi procession. Extravagantly decorated, he
would lead the procession each time. He was present at puja and
is also said to have been trained to do namaskar to Baba. Nana
Chandorkar hired a man to look after him. One day, when Baba was
in the mosque, he suddenly exclaimed in pain, “Oh they’re
killing that horse ! Go quickly and fetch him !” It turned out
that the trainer had been beating him severely, but perhaps what
is more extraordinary is that when Baba revealed his back, the
livid marks of a whipping could be seen on his own skin.
Shyam Sundar outlived Baba; his samadhi is in Lendi Gardens.
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The tortoise tile
- Tortoise is
regarded as one of the God incarnations in Hindu religious
philosophy.
On the floor of the mosque, about two-thirds back from the
steps, you will notice a white marble tile with a tortoise
carved in relief. The tile is said to mark two things : the
place where Shyam Sunder used to bow down to Baba, and the
original location of the stone on which Baba sat, which was
moved when the mosque was extended after Baba’s mahasamadhi.
According to Hindu mythology, it is a tortoise which bears the
weight of the world on its back. As it is already underfoot, it
cannot be defiled by being trodden on, so is an appropriate
symbol to use here.
The cooking hearth and the wooden post
To the left of the courtyard area of the mosque is the small
hearth where Baba sometimes used to cook. Like most things here,
it is now enclosed in a wire cage but in Baba’s time and until
recently, it was, of course, open.
Here Baba would occasionally prepare large quantities of sweet
milk-rice, pulao and other food for distribution among visitors.
He would supervise the whole process himself, including
shopping, grinding spices, and chopping the ingredients. The
food was cooked in huge copper pots – enough for 50-200 people –
which are now on display in the Samadhi Mandir.
An outstanding aspect of Baba’s cooking style was that rather
than use a ladle or a spoon, he would stir the scalding food
with his bare hand, without causing himself any injury. The Sri
Sai Satcharitra describes tenderly and in great detail how and
what Baba would cook, “then with his own hands, serve very
lovingly to all, with great respect. And those desirous of
eating would happily partake of the food till quite full, even
as Baba pressed them to have more, saying lovingly, ‘Take, take
some more !’ Oh, how great must have been the merit of those who
partook of this most satisfying meal ! Blessed, blessed were
those to whom Baba served, himself.” The author adds that once
the number of visitors became very large and the quantity of
food offerings also huge, Baba cooked less often. Baba never
gave up the custome of begging for his food throughout his long
life.
Beside the stove is a three-foot tall wooden post, which Baba
would lean against while cooking. Though it is unremarkable
looking, it is thought to be invested with healing properties,
since Baba once advised a close devotee (Sai Saranananda), who
was then suffering from severe knee pain, to touch the post with
his knee and then do pradakshina around it. After doing this the
pain disappeared. To this day, people with bodily aches and
pains also like to lean against the post as a means of receiving
Baba’s blessing for their healing.
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Padukas (God’s
feet) are feet pairs of Vishnu (Parvar Digar) in which are
combined the riches of matter (Goddess Laxmi) and riches of
Knowledge – Goddess (Saraswati).
Just behind the cooking area is the place where Baba would stand
every day leaning against the mud wall, usually before he went
to Lendi. He would watch the villagers passing by and call out
to them in a friendly way, “How are you ?” “How’s the crop
coming along ?” “How are your children doing ?” Following Baba’s
mahasamadhi, a pair of padukas was installed in this spot and a
small shrine placed over them. In the wall above is a smaller
set of padukas placed where he is said to have leaned his hand.
The storage rooms
On each side of the lower section of the mosque is a small shed.
One contains the palanquin used for processions and the other,
until recently, used to house the rath, or cart, used at
festival times.
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Though
apparently and formally Baba used to go to the
Chavadi, in His super conscious HE was never asleep
and used to tell HIS devotees that in HIS
everlasting awareness (consciousness) HE will always
protect HIS devotees who were asleep at night.
Chavadi means
“village office”, and was the place where taxes were
collected, village records kept and visiting
officials put up. After Baba’s mahasamadhi the
Sansthan acquired Chavadi, and until the late 1930s,
used it for storing books and accommodating
pilgrims. The village offices have long been
relocated and Chavadi is kept as a shrine to Baba
and is open to all.
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Sai Baba is intimately connected with this place, as
he used to sleep here on alternate nights, during
the last decade of his life. The routine was started
one wild and stormy night, around 1909. It was
raining heavily, and water was coming through the
leaky walls of the mosque. The devotees tired their
best to persuade Baba to move out, if only until the
water had subsided, but Baba did not want to go.
Eventually, they virtually forced him to leave, by
picking him up and half-carrying him to Chavadi.
From that day on, Baba would spend alternate nights
here.
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Map of
Chavadi |
Chavadi is also very significant to Sai devotees as it played a
major role in the inception of formal worship of Baba. Once Baba
started sleeping at Chavadi, the custom arose of offering
regular arati to him on his arrival from the mosque. This was
Sej (night) Arati. Later, Kakad (morning) Arati was offered when
he woke up there. The performance of Midday and Evening aratis
at the mosque probably developed subsequently.
Around the time that Dwarkamai was renovated, Chavadi was also
upgraded. The mud walls were neatly plastered, huge mirrors were
hung, glazed tiles replaced the mud floor and glass chandeliers
were suspended from the ceiling. The funding for the renovations
was provided by Anna Chinchanikar, who was deeply devoted to
Baba. He had been involved in a land dispute and after a
protracted struggle, during which he repeatedly asked Baba about
the outcome, he was elated when the court ruled in his favour.
Feeling that the triumph was due purely to Baba’s grace, he very
much wanted to give Baba the full sum awarded. Baba, however,
refused it and Dixit suggested that the money be spent on
Chavadi and named after Chinchanikar and his wife. Consequently,
their names are inscribed (in Marathi) on a plaque above the
doorway. The sitting platform along the outside of the front
wall is a later addition.
Inside Chavadi is a large portrait of Baba which was painted by
Ambaram from Nausari in Gujarat after Baba had given him darshan
in a dream in 1953. At the time, Ambaram was only eighteen years
old. The Nausari villagers were touched by Baba and Ambaram’s
painting of him, so they collected donations in order to buy it
and bring it to Shirdi.
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On the left of the painting is a plain, wooden bed on which Baba
was given his last bath after he passed away in Dwarkamai. These
days, the bed is taken out each Thursday and the palanquin is
placed on it. In the same corner next to the bed is a wheelchair
which was presented to Baba when he was suffering from asthma,
but which he never used.
The right portion of the building contains the framed photo of
the cross-legged Baba kept in grand attire (hence it is known as
the raj upachar photo) and this is the picture that is taken out
on procession on festivals and each Thursday. The silver throne
where it is kept is where Baba used to sleep. Women were not
allowed in this section and this tradition is maintained today;
only men and children are allowed in this area.
Chavadi is open 5 a.m. to 9 p.m.
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The Chavadi
Procession (Utsav) – This procession (palkhi) is the only
‘authentic’ and traditional procession of Baba’s padukas and
photograph – from Masjeed (Dwarkamai) to chavadi.
Over time, the moving from Dwarkamai to Chavadi took on the form
of a grand affair. This was thanks largely to the efforts of
Radhakrishnayi, who wanted Baba to be honoured as a Maharajah,
and supplied all sorts of ceremonial regalia. With the bedecked
horse Shyam Sunder leading the way, Baba followed with Tatya on
one side and Mahalsapati on the other, walking on carpets laid
on the path. A crowd of people accompanied them, singing bhajan
and dancing, playing musical instruments, shouting Baba’s name,
letting off fireworks, holding a silver umbrella over Baba,
waving flags and fans, and chanting hari-nama. The distance of a
few metres took up to three hours to cover. Years earlier, Baba
had predicted such scenes when talking to a few devotees, “In
Shirdi there will be huge storied buildings, grand processions
will be held, and big men will come. Chariots, horses, elephants
will come, guns will be fired…”
One cannot help marveling at Baba. We know that he did not like
such pomp and paraphernalia and we have seen the importance to
him of holy poverty (“faqiri”) and his reluctance to allow
devotees to worship him, yet here he was allowing himself to be
lead to Chavadi in an extravagant display of adoration. In
describing the scene a few moments before the procession
Hemadpant hints at Baba’s response. People were singing bhajan,
some were decorating the palanquin, rows of oil lamps were
burning, Shyam Sunder stood waiting fully decorated, “then Tatya
Patil came to Baba with a party of men and asked him to get
ready. Baba sat quiet in his place till Tatya came and helped
him to get up by putting his arm under Baba’s armpit” (page 198,
my italic). Clearly, Baba was not eagerly waiting to begin – in
fact, we may sense a certain resignation – yet he went ahead
with it not just once, but hundreds of times ! Again and again
this scene was reenacted, and it is one replete with poignancy
and poetic tension. A great saint, adored as a living deity, but
to whom any personal worship was distasteful, yet allowing it
out of love for his devotees and a sympathy for their human
longings.
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The Sri Sai Satcharitra gives a moving account of the
procession. It tells us that when Baba arrived at Chavadi and
stood in front of it, his face shone with a “peculiar luster”.
He “beamed with steady and added radiance and beauty, and all
the people viewed this luster to their heart’s content ….. What
a beautiful procession and what an expression of devotion ! With
joy pervading the whole atmosphere of the place … That scene and
those days are gone now. Nobody can see them now or in the
future.”
However, we are fortunate that those days are not completely
gone. We can experience something of that splendour and fervid
devotion even today, as each Thursday evening, a similar
procession takes place with Baba’s photo in honour of that
tradition. It is a passionate, understrained – yet exalted –
celebration of Sai Baba. If you have a chance, be sure to see
the procession – it is an exhilarating experience!
In the evening, Baba’s satka and padukas (in this case, a pair
of Baba’s leather sandals) are displayed in front of his sacred
tomb from 7.30, until they are carried out at the beginning of
the procession at nine O’ clock. The Samadhi Mandir is even more
crowded, as people are eager to touch and pay their respects to
these sacred objects, which are accessible only at this time.
The sense of occasion is enhanced by the hearty singing of
melodious bhajan by some villagers, while outside a group of
young men from a local youth organization move rhythmically to a
rapid drumbeat.
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At about 9.15 the procession moves out of the Samadhi Mandir, to
a flurry of horns, cries and waving fans. At the centre is the
garlanded portrait of Baba (the one from Chavadi) carried
reverently by the great-grandson of one of Baba’s dearest
devotees, Tatya Kote Patil, and another of his relatives. They
are preceded by one of the mandir staff carrying the padukas and
satka. Other staff follow, dressed in Maharashtrain-style
festive red tunics and turbans. The procession wends its way
through the street lined with eagerly waiting crowds, and the
music and excitement crescendo as people strain for a glimpse of
the photo and padukas. Many throw flowers, and guns fire
marigolds, petals and confetti into the air.
The procession enters Dwarkamai about ten minutes later, where
again there is an assembled crowd waiting for its arrival and
jostling for a view. Here the photo is placed on the decorated
silver palanquin to the accompaniment of more exuberant bhajan.
This takes about fifteen minutes. Mandir staff and locals then
carry the palanquin to Chavadi, where people are waiting inside
and out.
As the palanquin approaches Chavadi, we come to the climax of
the evening. The palanquin is parked outside, and the picture,
draped in gold embroidered red velvet, is carried inside Chavadi
and greeted as if Baba himself were entering. People may
prostrate (if they have the space !), shout his name, say a
silent prayer, or gaze longingly on his face. Baba’s picture is
then settled into place on a silver throne and arati is
performed. Finally, the whole group returns to the Samadhi
Mandir. Here, a local person receives the satka and padukas, and
the Kote brothers hand back the picture and collect a coconut as
prasad. The prasad is kept beside Baba’s statue until the final
night arati is over (around 10 p.m.). The picture is returned to
Chavadi after morning arati the next day.
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During the procession, lalkari is performed at prescribed places
along the route. There is no direct translation for “lalkari”,
but it means the shouting of slogans or words of praise, such as
“Long live Sai Baba!” There are three specific places where this
is done during the utsav, just as there were when Baba made the
trip by foot, nearly a hundred years ago.
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Just outside the south fence of Lendi,
across the square from Dixit Wada, is a row of five samadhis
(tombs) Each is labelled with name and dates. As they include
important Sai devotees they are described below.
Abdul Baba
Abdul baba came to Shirdi in l889 or l890 when he was around
twenty. His parents, who were very poor, had given him into the
care of a fakir. It is said that Baba appeared to the fakir in a
dream, gave him two mangoes and asked him to send the boy to
Shirdi. When the fakir woke up, what should he find beside him.,
but the two mangoes he had seen in his dream. He duly sent Abdul
to Baba, who greeted him with the curious words, "My crow has
come ". Abdul Baba was a dedicated worker, he cleaned the
mosque, swept the streets outside it, kept the lamps burning in
Lendi, washed Baba's clothes and collected water. Baba cared for
abdul like a father and took on the responsibility for his
welfare. Abdul used to sit reading the Koran in the mosque, and
Baba sometimes asked him to recite passages aloud. Abdul obeyed
Baba's instructions to the letter and kept a notebook in which
he wrote down Baba's teachings and comments.
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After Baba's mahasamadhi, Abdul Baba moved into a room on the
first floor of Booty Wada (the Samadhi Mandir) and continued to
serve by maintaining the tomb and keeping it decorated with
flowers. To this day, Abdul Baba's family members are continuing
the tradition of offering flowers to the Samadhi every morning.
Nanavalli (d.l9l8)
Nanavalli was a unique and intriguing Sai Baba devotee, who
called himself the "General of Sai Baba's army" His background
and history are shrouded in as much mystery as Sai Baba's and he
was notorious for his erratic and eccentric behaviour . Some
people were afraid of this man-not only would he carry snakes in
his pockets, and scorpions in his mouth, but he would violently
abuse and attack certain people for no apparent reason. 0thers
felt him to be a mahatma, with an outstanding love for Sai baba.
His appearance was wild and dishevelled- sometimes he went nude
and at others he dressed in old sacking. If we investigate the
life of nanvalli, we uncover a tale of touching and inspiring
devotion, and an outstanding model of vairagya (dispassion).
As with Sai Baba, little is known about Nanavalli's background.
One account says that he was a Brahmin by birth and another that
he was born into Muslim family. Sometimes he wore the clothes of
a Muslim fakir, and at other those of a Hindu sddhu. The again
like Baba, his religious roots were ambiguous. However, both
verious agree that as a small boy Nanavalli served in a Muslim
dargab and came to attend Baba upon divine inspiration. Nobody
knows when he came to Shirdi, but some say he was already there
when Baba arrived with the wedding party. Upon seeing Baba,
Nanavalli greeted him affectionately, "Oh, Uncle, you have
come!" Thereafte, he always addressed baba as " Mama" or Uncle.
Nanavalli was content to see Baba occassionally and from a
distance, but his emotion for Baba was such that he felt all
glory and greatness should be Baba's and that none should accrue
to himself. He used to say, "My duty is only to protect my
uncle".
Nanavalli could not bear immorality or hypocrisy. He seemed to
know devotees inner thoughts and target them accordingly. He was
known to occassionally wait outside Dwarkamai and beat up
certain individuals. Though people would rush to Baba and
complain. Baba would never reprimand Nanavalli, but simply warn
them to be careful of him.
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H.V.Sathe was a prominent devotee with a prestigious job in the
colonial government. For some reason, he was particularly
harassed by Nanavalli. During the Chavadi processions, Sathe had
the privilege of carrying a sort of regal sceptre and walking in
front of baba. 0n one such occassion Nanavalli attacked Sathe on
the back of the back with a piece of broken glass. another time,
when Sathe was about to go to the mosque to worship Baba, his
father –in-law rushed in and begged him not to, as Nanavalli was
waiting there with an axe threatening to kill him. Sathe was so
afraid that he fled Shirdi without seeing Baba or getting his
permission to leave. That was in l9l6 and he never came back to
Shirdi again while Baba was alive.
As Sai Baba's fame grew, he was worshipped with increasing pomp
and spledour. 0ne day Nanavalli strolled into the mosque, which
was crowded with visitors, and to the horror and modification of
those present, demanded of baba, "Please get up. I want to sit
there" Baba immediately rose from his gaddi saying, " Please sit
" Nanavalli took his place. The devotees were appalled at his
audacity and wanted to drag him away, but when they saw Baba's
expression- calm and happy they desisted. After a few moments
Nanavalli exclaimed "Shabhash " (" Good, well done") prostrated
to Baba and danced ecstatically before leaving. Some say that
Nanavalli wished to test the object of his adoration to see if
any egoism had crept in, but others believe that he harboured no
such doubts and simply wanted to demonstrate Baba's purity and
detachment. Baba did not comment on the incident and none dared
to ask him about it.
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Nanavalli's attachment to Baba was so great that he used to say,
"If Baba goes.I"ll not be around for long" Sure enough, when
Baba passed away, Nanavalli rushed to Dwarkamai crying. "Uncle,
without you how can I live "? I am coming with you " with that
he went to the Hanuman Mandir. There he wept grievously and took
no food. 0n the thirteenth day Nanavalli passed away.
Bhau Maharaj Kumbhar (d.l928)
Bhau Maharaj was a much loved devotee of Sai bBaba, who came to
Shirdi in the last two or three years of baba's life. He was
held in high esteem and many regarded as an avadhut. He used to
maintain silence, but his loving nature, cheerful ness and
kindness to all creatures made him popular with everyone. Bhau
Maharaj took it upon himself to sweep the streets of Shirdi and
whatever money he had, he spent on others. He usually wore only
a koupina (loincloth) and if anyone gave him clothes, he would
hang them on trees in order to "clothe" the trees or provide
shade for animals. Similarly if anyone offered him food, he
would give it away. Local people still sometimes take the earth
from around his samadhi and mix it with castor oil as a general
panacea for children.
Tatya Kote Patil (d. l945)
Tatya Kote Patil occupies a special place in the history of
Shirdi and Sai Baba ,and many of his descendants are active in
the local community. Sometimes referred to as Baba's "pet"
devotee. Tatya had a unique relationship with the saint and was
under his wing from the age of about seven. While most devotees
were attracted to Baba because of his powers and what he could
give them, Tatya related to Baba in a personal and human way.
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Tatya's parents had been among the very first to recognise Baba,
although Baba had the appearance of a fakir and, to many, seemed
to be a madman. The moment Baba saw Bayajabai, Tatya's mother,
he said, "She has been my sister for the last seven births" For
her part, Bayajabai was immediately very drawn to baba, even
before his powers or saintliness had been revealed. Having once
met him, she would never eat without having first fed Sai. At
that time Baba was roaming in the fields and every day Bayajabai
would go and search for him, carrying food, baba never forgot
this service, and took loving care of her son. Later, when Baba
was begging regularly for his food, the Patil's house was one of
the five to which he mostly went.
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Bayajabai was Baba's "sister" and Baba loved her son like his
nephew. As a child, Tatya addressed Baba as "Mama" or "Uncle"
and they would play and romp together, with Tatya climbing on
baba's back and sitting in his lap. As Tatya grew up, the
affection also deepened. Sometimes they wrestled together and
played practical jokes. While Tatya was dozing, Baba might hide
his towel, and then, inall innocence pretend to help Tatya look
for it. At other times, he would push the sleeping Tatya outside
the mosque and gleefully wait for his reaction upon waking
Bleary-eyed, Tatya would wonder how he had got there. Sometimes
he would twist "Tatya's body into odd contortions. In return,
Tatya, who was tall and stocky, would sometimes pick Baba up and
run with him over his shoulder, with Baba yelling laughingly to
put him down and go more slowly. 0nce he put his own turban and
cloth on Baba and showed him his reflection in a mirror. Baba
immediately began mimicking Tatya and teasing him
Being so close to baba, Tatya had various privileges that few,
if any, shared. For example, only he and Mahalsapati were
allowed to stay with Baba in the mosque at night. The three of
them would lie like spokes on a wheel, with their feet touching
and their heads facing north, east and west respectively. For
fourteen years, Tatya slept like this until his father died and
household responsibilities compelled him to be at home. When the
chillim was taken out, Tatya would light it and take the first
puff. Before the Chavadi procession, itwas always Tatya who
would come to the mosque and persuade Baba to move, and it was
only Tatya whom baba allowed to adorn him with expensive cloth
for the occassion.
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Sometimes Baba and Mahalsapati would massage Tatya's tired
farmer's body, which upset Tatya as he felt it was inappropriate
for Baba to do this service. 0nce, Tatya was so annoyed with
baba for doing this, that he kept away from dwarkamai for
several days. When Baba called out to him as he passed by the
mosque, Tatya replied sulkily that he was not going to have
anything to do with baba, Later. Tatya was mollified by
kakasaheb Dixit and persuaded to come back to the mosque. 0nly
Tatya treated Baba in this way.
Baba to care of Tatya's material welfare, giving him thirtyfive
rupees a day (a government employee's average salary was about
this amount per month! ) and instruction him to use it properly
as capital and not to squander it. As a result, Tatya become a
wealtyhy landowner and acquired aa social standing that would
probably have otherwise eldud him.
In 1916 Sai Baba privately predicted that Tatya would die two
years later. At the time foretold, when Baba himself was ailing,
Tatya fell seriously ill. One day Baba summoned Tatya to the
mosque; Tatya was so weak that hed to be carried. After feeding
him a little milk rice, Baba told him, " Tatya, at first got two
cardles ready for both of us, but now I've changed my mind. I
don't want to take you now. I'm going alone. Go home!"
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With that he applied udi to the forehead of his beloved devotee,
and watched for a long time as Tatya disappeared down the road.
That was the last time Tatya saw his Gurudev alive: two days
later Sai Baba passed away, while Tatya went on to recover and
lived a further twenty – seen years. This has lead some people
to believe that Sai Baba sacrificed his own life for Tatya's.
Others, however, point out that such an exchange would not have
been necessary for one of Baba's caliber- after all, he had
saved lives before and even raised people from the dead. In
Tatya Kote Patil's life with Baba, what stands out most is the
immense and solid love and friendship between these two. Its
legacy provides us with both an inspiration and an aspiration.
V.P. Iyer
( d. 1945)
V.P. Iyer was the manager of a sugarcane factory in Kopergaon.
He did not see Sai Baba while Baba was in the body, but he was a
staunch devotee who gave much service to the Sansthan and was
well loved by the villagers of Shirdi. He fell ill when visiting
Shirdi and died holding Baba's picture and saying his name. It
was his desire to be buried here.
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The
Dwarawati Bhaktiniwas is next to the Dharmashala & two minutes
walking distance from the Bus stand. It is built recently in the
year 2008. It has 334 rooms & dormitories & large rooms to
accommodate small groups or families of six to ten people. This
complex is also well equipped with the facilities like the
parking space, 24 hr. water supply, electricity supply (with
full capacity generator back-up) & the security
In
those days, the temple was on the periphery of the village in
the midst of a burial ground. The structure was very basic and
did not even have a door. However, it seems to have appealed to
Baba’s temperament as He commented to the incumbent priest,
Mhalsapati. That being so quiet and solitary, it would make a
good spot for an ascetic like Him to stay.
Apart
from answering the calls of nature here, Baba seemed to enjoy
going to Lendi and sometimes went several times a day. This was
the place where he spent time in solitude.
This
is the main feature of Lendi : the perpetually-burning lamp
between the two trees that Baba planted side by side, a neem and
a bodhi. It is said that these trees at first remained spindly
and would not grow until one day Baba shook them, and that from
then on they flourished. The trees are now in fine shape, and as
they were touched by Baba and planted close to where he sat,
serve as a focus for pradakshina along with the lamp.
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