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Sri Caitanya-caritamrta

CC Adi-lila

CC Adi 4.150, Translation:

Such a person, being unsatisfied, begins to blaspheme Lord Brahmā, saying that he does not know the art of creating well and is simply inexperienced.

CC Adi 5.22, Purport:

Even if a materialist wants to enjoy developed material facilities, he can transfer himself to planets where he can experience material pleasures much more advanced than those available on earth. The best plan is to prepare oneself to return to the spiritual sky after leaving the body. However, if one is intent on enjoying material facilities, one can transfer himself to other planets in the material sky by utilizing yogic powers. The playful spaceships of the astronauts are but childish entertainments and are of no use for this purpose. The aṣṭāṅga-yoga system is a materialistic art of controlling air by transferring it from the stomach to the navel, from the navel to the heart, from the heart to the collarbone, from there to the eyeballs, from there to the cerebellum and from there to any desired planet.

CC Adi 16.52, Translation:

"Certainly I have not studied the art of literary embellishments. But I have heard about it from higher circles, and thus I can review this verse and find in it many faults and many good qualities."

CC Adi 17.52, Purport:

There are many tantric followers who, wishing to eat meat and drink wine, practice the black art of worshiping the goddess Bhavānī in a crematorium. Such fools also consider this bhavānī-pūjā to be as good as worship of Lord Kṛṣṇa in devotional service. But such abominable tantric activities performed by so-called svāmīs and yogīs are herein condemned by Lord Caitanya Mahāprabhu. He declares that such bhavānī-pūjā for drinking wine and eating meat quickly plunges one into hellish life. The method of worship itself is already hellish, and its results must also be hellish and nothing more.

Many rascals say that whatever way one accepts, one will ultimately reach Brahman. Yet we can see from this verse how such persons reach Brahman. Brahman spreads everywhere, but appreciation of Brahman in different objects leads to different results. In the Bhagavad-gītā (4.11) the Lord says, ye yathā māṁ prapadyante tāṁs tathaiva bhajāmy aham:

CC Madhya-lila

CC Madhya 1.112, Purport:

In the Malabar district, a section of the brāhmaṇas are known as Nambudari brāhmaṇas, and the Bhaṭṭathāris are their priests. Bhaṭṭathāris know many tantric black arts, such as the art of killing a person, of bringing him under submission, and of destroying or devastating him. They are very expert in these black arts, and one such Bhaṭṭathāri bewildered the personal servant of Śrī Caitanya Mahāprabhu while the servant accompanied the Lord in His travels through South India. Somehow or other Śrī Caitanya Mahāprabhu delivered this Kṛṣṇadāsa from the clutches of the Bhaṭṭathāri. Śrī Caitanya Mahāprabhu is well known as Patita-pāvana, the savior of all fallen souls, and He proved this in His behavior toward His personal servant, Kṛṣṇadāsa, whom He saved. Sometimes the word Bhaṭṭathāri is misspelled in Bengal as Bhaṭṭamāri.

CC Madhya 2.76, Translation:

As the spiritual master chastises the disciple and teaches him the art of devotional service, so all the ecstatic symptoms of Lord Caitanya Mahāprabhu—including despondency, moroseness, humility, restlessness, joy, endurance and anger—instructed His body and mind. In this way, Śrī Caitanya Mahāprabhu passed His time.

CC Madhya 6.73, Purport:

A sannyāsī who has dipped into the ocean of the Absolute Truth and collected some valuable stones of knowledge from that ocean, who never falls from the regulative principles of a sannyāsī, is called Sāgara. One who has learned the classical art of music, who engages in its culture, and who has become expert and completely aloof from material attachment is called Sarasvatī. Sarasvatī is the goddess of music and learning, and in one hand she holds a musical instrument called a vīṇā. A sannyāsī who is always engaged in music for spiritual elevation is called Sarasvatī. One who has become completely educated and is freed from all kinds of ignorance and who is never unhappy, even in a distressed condition, is called Bhāratī. One who has become very expert in absolute knowledge, who is situated in the Absolute Truth, and who always discusses the Absolute Truth is called Purī.

CC Madhya 8.183-184, Translation:

“Even Satyabhāmā, one of the queens of Śrī Kṛṣṇa, desires the fortunate position and excellent qualities of Śrīmatī Rādhārāṇī. All the gopīs learn the art of dressing from Śrīmatī Rādhārāṇī, and even the goddess of fortune, Lakṣmī, and the wife of Lord Śiva, Pārvatī, desire Her beauty and qualities. Indeed, Arundhatī, the celebrated chaste wife of Vasiṣṭha, also wants to imitate the chastity and religious principles of Śrīmatī Rādhārāṇī.

CC Madhya 8.195, Translation:

“"O my Lord, You live in the forest of Govardhana Hill, and, like the king of elephants, You are expert in the art of conjugal love. O master of the universe, Your heart and Śrīmatī Rādhārāṇī"s heart are just like shellac and are now melted in Your spiritual perspiration. Therefore one can no longer distinguish between You and Śrīmatī Rādhārāṇī. Now You have mixed Your newly invoked affection, which is like vermilion, with Your melted hearts, and for the benefit of the whole world You have painted both Your hearts red within this great palace of the universe.’”

CC Madhya 9.49, Purport:

The Vedas are compiled by human beings. (9) Pious activities, showing mercy to others and so on are advised.

No one can attain the Absolute Truth by argument. One may be very expert in logic, and another person may be even more expert in the art of argument. Because there is so much word jugglery in logic, one can never come to the real conclusion about the Absolute Truth by argument. The followers of the Vedic principles understand this. However, it is seen here that Śrī Caitanya Mahāprabhu defeated the Buddhist philosophy by argument. Those who are preachers in ISKCON will certainly meet many people who believe in intellectual arguments. Most of these people do not believe in the authority of the Vedas. Nevertheless, they accept intellectual speculation and argument. Therefore the preachers of Kṛṣṇa consciousness should be prepared to defeat others by argument, just as Śrī Caitanya Mahāprabhu did.

CC Madhya 25.20, Purport:

It does not matter whether one is Christian, Muslim or whatever. He simply must accept the sublime position of the Supreme Personality of Godhead and render service unto Him. It is not a question of being Christian, Muslim or Hindu. One should be purely religious and freed from all these material designations. In this way one can learn the art of devotional service. This argument appeals to all intelligent men, and consequently the Kṛṣṇa consciousness movement is gaining ground throughout the world. Due to our solid logic and scientific presentation, Śrī Caitanya Mahāprabhu's prediction that Kṛṣṇa consciousness will spread to every town and village throughout the world is gradually being realized.

CC Antya-lila

CC Antya 17.35, Translation:

“‘When You play Your flute, the vibration acts like a messenger in the form of a yoginī perfect in the art of chanting mantras. This messenger enchants all the women in the universe and attracts them to You. Then she increases their great anxiety and induces them to give up the regulative principle of obeying superiors. Finally, she forcibly brings them to You to surrender in amorous love.

CC Antya 19.108, Purport:

“O Malayan breeze, kindly tell us what wrong we have done to you. Why do you fan the flames of desire in our hearts? We have been pierced by the arrow of Govinda's glance, for He is perfect in the art of awakening the influence of Cupid.”

megha śrīmaṁs tvam asi dayito yādavendrasya nūnaṁ
śrīvatsāṅkaṁ vayam iva bhavān dhyāyati prema-baddhaḥ
aty-utkaṇṭhaḥ śavala-hṛdayo ‘smad-vidho bāṣpa-dhārāḥ
smṛtvā smṛtvā visṛjasi muhur duḥkha-das tat-prasaṅgaḥ

“Dear cloud, O friend of Kṛṣṇa's, are you thinking of the Śrīvatsa symbol on Kṛṣṇa's chest like us queens engaged in loving affairs with Him? You are absorbed in meditation, remembering the association of Kṛṣṇa, and thus you shed tears of misery.”

Other Books by Srila Prabhupada

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter 10:

Such bereavement is slightly reduced when one criticizes the creative power of the creator. The unsatiated seer of Kṛṣṇa's face thus laments: "I do not have thousands of eyes but only two, and even these two eyes are disturbed by the movements of my eyelids. So it is to be understood that the creator of this body is not very intelligent. He is not conversant with the art of ecstasy but is simply a prosaic creator. He does not know how to arrange things properly so one can see only Kṛṣṇa."

The gopīs' minds are always engaged in relishing the sweetness of Kṛṣṇa's body. He is the ocean of beauty, and the luster of His body and the beauty of His face and smile are all-attractive to the minds of the gopīs. In the Kṛṣṇa-karṇāmṛta, Kṛṣṇa's body, face and smile have been described as sweet, sweeter and sweetest. When there are three kinds of contamination in the bodily constitution, convulsions take place. Similarly, a perfect devotee of Kṛṣṇa experiences convulsions when he is overwhelmed by seeing the beauty of Kṛṣṇa's body, face and smile.

Teachings of Lord Caitanya, Chapter 14:

Her transcendental qualities are as follows: (1) She is sweetness personified; (2) She is a fresh young girl; (3) Her eyes are always moving; (4) She is always brightly smiling; (5) She possesses all auspicious marks on Her body; (6) She can agitate Kṛṣṇa by the aroma of Her person; (7) She is expert in the art of singing; (8) She speaks very nicely and sweetly; (9) She is expert in presenting feminine attractions; (10) She is modest and gentle; (11) She is always very merciful; (12) She is transcendentally cunning; (13) She knows how to dress nicely; (14) She is always shy; (15) She is always respectful; (16) She is always patient; (17) She is very grave; (18) She is enjoyed by Kṛṣṇa; (19) She is always situated on the highest devotional platform; (20) She is the abode of love of the residents of Gokula; (21) She can give shelter to all kinds of devotees; (22) She is always affectionate to superiors and inferiors; (23) She is always obliged by the dealings of Her associates, (24) She is the greatest among Kṛṣṇa's girlfriends; (25)

Nectar of Devotion

Nectar of Devotion Preface:

The material comforts of life alone are not sufficient to make us happy. The vivid example is America: the richest nation of the world, having all facilities for material comfort, is producing a class of men completely confused and frustrated in life. I am appealing herewith to such confused men to learn the art of devotional service as directed in The Nectar of Devotion, and I am sure that the fire of material existence burning within their hearts will be immediately extinguished. The root cause of our dissatisfaction is that our dormant loving propensity has not been fulfilled despite our great advancement in the materialistic way of life. The Nectar of Devotion will give us practical hints how we can live in this material world perfectly engaged in devotional service and thus fulfill all our desires in this life and the next. The Nectar of Devotion is not presented to condemn any way of materialistic life, but the attempt is to give information to religionists, philosophers and people in general how to love Kṛṣṇa.

Nectar of Devotion Preface:

The Nectar of Devotion is not presented to condemn any way of materialistic life, but the attempt is to give information to religionists, philosophers and people in general how to love Kṛṣṇa. One may live without material discomfiture, but at the same time he should learn the art of loving Kṛṣṇa. At the present moment we are inventing so many ways to utilize our propensity to love, but factually we are missing the real point: Kṛṣṇa. We are watering all parts of the tree, but missing the tree's root. We are trying to keep our body fit by all means, but we are neglecting to supply foodstuffs to the stomach. Missing Kṛṣṇa means missing one's self also. Real self-realization and realization of Kṛṣṇa go together simultaneously. For example, seeing oneself in the morning means seeing the sunrise also; without seeing the sunshine no one can see himself. Similarly, unless one has realized Kṛṣṇa there is no question of self-realization.

Nectar of Devotion 3:

Śrīla Rūpa Gosvāmī has therefore compared possessing these bhukti (material) and mukti (liberation) desires with being influenced by the black art of a witch: in both cases one is in trouble. Bhukti means material enjoyment, and mukti means to become freed from material anxiety and to become one with the Lord. These desires are compared to being haunted by ghosts and witches, because while these aspirations for material enjoyment or spiritual oneness with the Supreme remain, no one can relish the actual transcendental taste of devotional service.

A pure devotee never cares for liberation. Lord Caitanya Mahāprabhu prayed to Kṛṣṇa, "My dear son of Nanda, I do not want any material happiness in the shape of many followers, nor immense opulence in wealth, nor any beautiful wife, nor do I want cessation from material existence.

Nectar of Devotion 42:

Another instance of Arjuna's friendship with Kṛṣṇa was described by Nārada, who reminded Kṛṣṇa, "When Arjuna was learning the art of shooting arrows, he could not see You for so many days. But when You arrived there, he stopped all His activities and immediately embraced You." This means that even though Arjuna was engaged in learning about the military art, he had not forgotten Kṛṣṇa for a moment, and as soon as there was an opportunity to see Kṛṣṇa, Arjuna immediately embraced Him.

One servant of Kṛṣṇa named Patrī once addressed Him like this: "My dear Lord, You protected the cowherd boys from the hunger of the Aghāsura demon, and You protected them from the poisonous effects of the Kāliya snake. And You also saved them from the fierce forest fire.

Nectar of Instruction

Nectar of Instruction 2, Purport:

When one takes more than his maintenance requires—be he a capitalist or a communist—he is a thief, and as such he is liable to be punished by the laws of nature.

The wealth of the world should be used for the welfare of all living entities, for that is the plan of Mother Nature. Everyone has the right to live by utilizing the wealth of the Lord. When people learn the art of scientifically utilizing the Lord's property, they will no longer encroach upon one another's rights. Then an ideal society can be formed. The basic principle for such a spiritual society is stated in the first mantra of Śrī Īśopaniṣad:

Easy Journey to Other Planets

Easy Journey to Other Planets 1:

The aṣṭāṅga-yoga system is also materialistic, inasmuch as it teaches one to control the movements of air within the material body. The spiritual spark, the soul, is floating on air within the body, and inhalation and exhalation are the waves of that air containing the soul. Therefore the yoga system is a materialistic art of controlling this air by transferring it from the stomach to the navel, from the chest to the collarbone and from there to the eyeballs and from there to the cerebellum and from there to any desired planet. The velocities of air and light are taken into consideration by the material scientist, but he has no information of the velocity of the mind and intelligence. We have some limited experience of the velocity of the mind, because in a moment we can transfer our minds to places hundreds of thousands of miles away. Intelligence is even finer. Finer than intelligence is the soul, which is not matter like mind and intelligence but is spirit, or antimatter.

Krsna, The Supreme Personality of Godhead

Krsna Book Preface:

When one waters the root of a tree, he automatically waters the branches, twigs, leaves and flowers; when one supplies food to the stomach through the mouth, he satisfies all the various parts of the body.

The art of focusing one's attention on the Supreme and giving one's love to Him is called Kṛṣṇa consciousness. We have inaugurated the Kṛṣṇa consciousness movement so that everyone can satisfy his propensity for loving others simply by directing his love toward Kṛṣṇa. The whole world is very eager to satisfy the dormant propensity of love for others, but the various invented methods like socialism, communism, altruism, humanitarianism and nationalism, along with whatever else may be manufactured for the peace and prosperity of the world, are all useless and frustrating because of our gross ignorance of the art of loving Kṛṣṇa. Generally people think that by advancing the cause of moral principles and religious rites they will be happy.

Krsna Book 6:

After consulting with his demoniac ministers, Kaṁsa instructed a witch named Pūtanā, who knew the black art of killing small children by ghastly sinful methods, to kill all kinds of children in the cities, villages and pasturing grounds. Such witches can play their black art only where there is no chanting or hearing of the holy name of Kṛṣṇa. It is said that wherever the chanting of the holy name of Kṛṣṇa is done, even negligently, all bad elements—witches, ghosts and dangerous calamities—immediately disappear. And this is certainly true of the place where the chanting of the holy name of Kṛṣṇa is done seriously—especially in Vṛndāvana when the Supreme Lord was personally present. Therefore, the doubts of Nanda Mahārāja were certainly based on affection for Kṛṣṇa.

Krsna Book 6:

Therefore, the doubts of Nanda Mahārāja were certainly based on affection for Kṛṣṇa. Actually there was no danger from the activities of Pūtanā, despite her powers. Such witches are called khecarī, which means they can fly in the sky. This black art of witchcraft is still practiced by some women in the remote northwestern side of India. They can transfer themselves from one place to another on the branch of an uprooted tree. Pūtanā knew this witchcraft, and therefore she is described in the Bhāgavatam as khecarī.

Pūtanā entered the county of Gokula, the residential quarter of Nanda Mahārāja, without permission. Dressing herself just like a beautiful woman, she entered the house of Mother Yaśodā. She appeared very beautiful, with raised hips, nicely swollen breasts, earrings, and flowers in her hair.

Krsna Book 45:

They learned how to dance to the rhythm of melody and different songs. They learned how to write dramas, and They learned the various types of painting, from simple village arts up to the highest perfectional stage. They also learned how to paint tilaka on the face by making different kinds of dots on the forehead and cheeks. Then They learned the art of making paintings on the floor with a liquid paste of rice and flour; such paintings are very popular at auspicious ceremonies performed at household affairs or in the temple. They learned how to make a resting place with flowers and how to decorate clothing and limbs with colorful paintings. They also learned how to set valuable jewels in ornaments. They learned the art of ringing waterpots. Waterpots are filled with water to a certain measurement so that as one beats on the pots, different tones are produced, and when the pots are beaten together they produce a melodious sound. They also learned how to splash water in the rivers or lakes while taking a bath among friends.

Krsna Book 45:

Waterpots are filled with water to a certain measurement so that as one beats on the pots, different tones are produced, and when the pots are beaten together they produce a melodious sound. They also learned how to splash water in the rivers or lakes while taking a bath among friends. They learned how to decorate with flowers. This art of decorating can still be seen in various temples of Vṛndāvana during the summer season. It is called phulla-bāḍi. The dais, the throne, the walls and the ceiling are all fully decorated, and a small, aromatic fountain of flowers is fixed in the center. Because of these floral decorations, the people, fatigued from the heat of the summer, become refreshed.

Kṛṣṇa and Balarāma learned the art of dressing hair in various styles and fixing a helmet in different positions on the head. They also learned how to set up a theatrical stage, how to decorate dramatic actors with costumes and with flower ornaments over the ear, and how to sprinkle sandalwood pulp and water to produce a nice fragrance. They also learned the art of performing magical feats.

Krsna Book 45:

They also learned different types of sewing and embroidery work, as well as how to manipulate thin threads for dancing puppets. This art includes how to string wires on musical instruments, such as the vīṇā, sitar, esarāja and tamboura, to produce melodious sounds. Then They learned how to make and solve riddles. They learned the art of how even a dull student can very quickly learn the alphabet and read books. Then They learned how to rehearse and act out a drama. They also studied the art of solving crossword puzzles, filling up the missing spaces and making complete words.

They also learned how to draw and read pictographic literature. In some countries in the world, pictographic literature is still current. A story is represented by pictures; for instance, a man and house are pictured to represent a man going home. Kṛṣṇa and Balarāma also learned the art of architecture—how to construct residential buildings. They learned to recognize valuable jewels by studying their luster and colors.

Krsna Book 45:

A story is represented by pictures; for instance, a man and house are pictured to represent a man going home. Kṛṣṇa and Balarāma also learned the art of architecture—how to construct residential buildings. They learned to recognize valuable jewels by studying their luster and colors. Then They learned the art of placing jewels in a gold and silver setting so that they look very beautiful. They also learned how to study soil to find minerals. This study of soil is now a greatly specialized science, but formerly it was common knowledge even for the ordinary man. They learned to study herbs and plants to discover how they would act as medicine for different ailments. By studying the different species of plants, They learned how to crossbreed plants and trees and get different types of fruits. They learned how to train and engage rams and cocks in fighting for sport. They then learned how to teach parrots to speak and to answer the questions of human beings.

Krsna Book 45:

They learned practical psychology—how to influence another's mind and thus induce another to act according to one's own desire. Sometimes this is called hypnotism. They learned how to wash hair, dye it different colors and curl it in different ways. They learned the art of telling what is written in someone's book without actually seeing it. They learned to tell what is contained in another's fist. Sometimes children imitate this art, although not very accurately. One child keeps something within his fist and asks his friend, "Can you tell what is within?" and the friend gives some suggestion, although he actually cannot tell. But there is an art by which one can understand and actually tell what is held within the fist.

Kṛṣṇa and Balarāma learned how to speak and understand the languages of various countries. Not only did They learn the languages of human beings; Kṛṣṇa could also speak even with animals and birds.

Krsna Book 45:

Evidence of this is found in the Vaiṣṇava literature compiled by the Gosvāmīs. Then They learned how to make carriages and airplanes from flowers. It is said in the Rāmāyaṇa that after defeating Rāvaṇa, Rāmacandra was carried from Laṅkā to Bhārata-varṣa on a plane of flowers, called a puṣpa-ratha. Kṛṣṇa and Balarāma then learned the art of foretelling events by seeing signs. In a book called Khanara-vacana, the various types of signs and omens are described. If when one is going out one sees someone with a bucket full of water, that is a very good sign. But if one sees someone with an empty bucket, it is not a good sign. Similarly, if one sees a cow being milked alongside its calf, it is a good sign. The result of understanding these signs is that one can foretell events, and Kṛṣṇa and Balarāma learned the science. They also learned the art of composing mātṛkā. A mātṛkā is like a crossword box, with three numbers in each row. If one adds any three from any side, it will come to nine.

Krsna Book 45:

They also learned the art of composing mātṛkā. A mātṛkā is like a crossword box, with three numbers in each row. If one adds any three from any side, it will come to nine. The mātṛkās are of different kinds and for different purposes.

Kṛṣṇa and Balarāma learned the art of cutting valuable stones such as diamonds, and They also learned the art of questioning and answering by immediately composing poetry within the mind. They learned the science of the action and reaction of physical combinations and permutations. They learned the art of a psychiatrist, who can understand the psychic movements of another person. They learned how to satisfy one's desires. Desires are very difficult to fulfill; but if one desires something which is unreasonable and can never be fulfilled, the desire can be subdued and satisfied, and that is an art.

Krsna Book 50:

The specific quality of this assembly house was that anyone participating in a meeting within it would overcome the influence of invalidity due to old age. The demigod Varuṇa presented a horse, which was all white except for black ears and which could run at the speed of the mind. Kuvera, the treasurer of the demigods, presented the art of attaining the eight perfectional stages of material opulence. In this way, all the demigods began to present their respective gifts according to their different capacities. There are thirty-three million demigods, each entrusted with a particular department of universal management. All the demigods took the opportunity of the Supreme Personality of Godhead's constructing a city of His own choice to present their respective gifts, making the city of Dvārakā unique within the universe. This proves that while there are undoubtedly innumerable demigods, none of them is independent of Kṛṣṇa.

Krsna Book 55:

Pradyumna protected himself with his own club and eventually struck the demon very severely. In this way, the fighting between Śambarāsura and Pradyumna began in earnest.

But Śambarāsura knew the art of mystic powers and could raise himself into the sky and fight from outer space. There is a demon of the name Maya, and Śambarāsura had learned many mystic powers from him. He thus raised himself high into the sky and threw various types of nuclear weapons at the body of Pradyumna. To combat the mystic powers of Śambarāsura, Pradyumna invoked another mystic power, known as mahāvidyā, which was different from the black mystic power. The mahāvidyā mystic power is based on the quality of goodness. Śambara, understanding that his enemy was formidable, took assistance from various kinds of demoniac mystic powers belonging to the Guhyakas, the Gandharvas, the Piśācas, the snakes and the Rākṣasas. But although the demon exhibited his mystic powers and took shelter of supernatural strength, Pradyumna was able to counteract his strength and powers by the superior power of mahāvidyā.

Krsna Book 57:

He gave many valuable presents to Balarāmajī in order to seek His pleasure. At this time Śrī Balarāma lived in the city for several years as the honored guest of the King of Mithilā, Janaka Mahārāja. During this time, Duryodhana, the eldest son of Dhṛtarāṣṭra, took the opportunity to come to Balarāma and learn from Him the art of fighting with a club.

After killing Śatadhanvā, Kṛṣṇa returned to Dvārakā, and in order to please His wife Satyabhāmā, He informed her of the death of Śatadhanvā, the killer of her father. But He also informed her that the jewel had not been found in his possession. Then, according to religious principles, Kṛṣṇa, along with Satyabhāmā, performed ceremonies in honor of His departed father-in-law. In those ceremonies all the friends and relatives of the family joined together.

Krsna Book 62:

If you can identify him from your dream, I shall bring you peace of mind. Now, let me draw some pictures for you to inspect, and as soon as you find the picture of your desired husband, let me know. It doesn’t matter where he is; I know the art of bringing him here. So, as soon as you identify him, I shall immediately arrange for it.”

Citralekhā, while talking, began to draw many pictures of the demigods inhabiting the higher planetary systems, then pictures of the Gandharvas, Siddhas, Cāraṇas, Pannagas, Daityas, Vidyādharas and Yakṣas, as well as many pictures of human beings. (The statements of Śrīmad-Bhāgavatam and other Vedic literatures prove definitely that on each and every planet there are living entities of different varieties. Therefore, it is foolish to assert that there are no living entities but those on this earth.) Citralekhā drew many pictures.

Krsna Book 65:

Then another gopī began to speak. "My dear friend," she said, "Kṛṣṇa is very clever in using words. No one can compete with Him in that art. He can manufacture such colorful words and talk so sweetly that the heart of any woman would be misled. Besides that, He has perfected the art of smiling very attractively, and by seeing His smile women become mad after Him and give themselves to Him without hesitation."

Another gopī, after hearing this, said, “My dear friends, what is the use of talking about Kṛṣṇa? If you are at all interested in passing time by talking, let us talk on some subject other than Him. If cruel Kṛṣṇa can pass His time without us, why can’t we pass our time without Kṛṣṇa? Of course, Kṛṣṇa is passing His days without us very happily, but we cannot pass our days happily without Him.”

Krsna Book 66:

When Sudakṣiṇa was encouraged by Lord Śiva in that way, he was sure that he would be able to kill Kṛṣṇa. With a determined vow of austerity, he began to execute the black art of chanting mantras, assisted by the priests. After this, out of the fire came a great demoniac form, whose hair, beard and mustache were exactly the color of hot copper. This form was very big and fierce. As the demon arose from the fire, cinders of fire emanated from the sockets of his eyes. The giant fiery demon appeared still more fierce due to the movements of his eyebrows. He exhibited long, sharp teeth and, sticking out his long tongue, licked his upper and lower lips. He was naked, and he carried a big trident, blazing like fire. After appearing from the fire of sacrifice, he stood wielding the trident in his hand. Instigated by Sudakṣiṇa, the demon proceeded toward the capital city, Dvārakā, with many hundreds of ghostly companions, and it appeared that he was going to burn all outer space to ashes.

Krsna Book 66:

Having failed to set fire to Dvārakā, the fiery demon went back to Vārāṇasī, the kingdom of Kāśīrāja. As a result of his return, all the priests who had helped instruct the black art of mantras, along with their employer, Sudakṣiṇa, were burned to ashes by the glaring effulgence of the fiery demon. According to the methods of black art mantras instructed in the tantras, if the mantra fails to kill the enemy, then, because it must kill someone, it kills the original creator. Sudakṣiṇa was the originator, and the priests assisted him; therefore all of them were burned to ashes. This is the way of the demons: the demons create something to kill God, but by the same weapon the demons themselves are killed.

Krsna Book 79:

When Lord Balarāma appeared on the scene, King Yudhiṣṭhira and his younger brothers Nakula and Sahadeva, as well as Lord Kṛṣṇa and Arjuna, immediately offered Him their respectful obeisances, but they did not speak at all. The reason they were silent was that Lord Balarāma was somewhat affectionate toward Duryodhana, who had learned from Balarāmajī the art of fighting with a club. When the fighting was going on, King Yudhiṣṭhira and others thought that Balarāma might have come there to say something in favor of Duryodhana, and they therefore remained silent. Both Duryodhana and Bhīmasena were very enthusiastic in fighting with clubs, and, in the midst of a large audience, each very skillfully tried to strike the other. While attempting to do so they appeared to be dancing, but nonetheless it was clear that both of them were very angry.

Krsna Book 79:

Lord Balarāma, wanting to stop the fighting, said, "My dear King Duryodhana and Bhīmasena, I know that both of you are great fighters and are well known in the world as great heroes, but still I think that Bhīmasena is superior to Duryodhana in bodily strength. On the other hand, Duryodhana is superior in the art of fighting with a club. Taking this into consideration, My opinion is that neither of you is inferior to the other in fighting. Under the circumstances, there is very little chance that one of you will be defeated by the other. Therefore I request you not to waste your time fighting in this way. I wish you to stop this unnecessary fight."

Krsna Book 87:

Therefore, everything should be utilized for Kṛṣṇa, and the devotee should remain unattached to material things.” This is the purpose of Vaiṣṇava sannyāsa. A materialist sticks to the world for sense gratification, but a Vaiṣṇava sannyāsī, although not accepting anything for his personal sense gratification, knows the art of utilizing everything for the service of the Lord. Śrīla Rūpa Gosvāmī has therefore criticized the Māyāvādī sannyāsīs with his second formula: "Because the Māyāvādīs do not know that everything has a utilization for the service of the Lord, they take the world to be false and falsely think they are liberated from the contamination of the material world." Since everything is an expansion of the energy of the Supreme Lord, the expansions are as real as the Supreme Lord is.

That the cosmic world is only temporarily manifested does not mean that it is false or that the source of its manifestation is false.

Renunciation Through Wisdom

Renunciation Through Wisdom 1.5:

It is another kind of "dispensation of providence" when the fruits of actions do not bind one. To perform all activities only as a sacrifice for the satisfaction of Lord Viṣṇu is true freedom from the results of activities, or the real art of karma-yoga. Through this process of karma-yoga one is freed from the shackles of fruitive results and one's inherent eternal loving devotion for the Supreme Lord gradually manifests. This type of karma-yoga is also referred to as desireless actions, or naiṣkarmya, or in other words activities performed without expectation of any sense gratification. One who works in this way offers all the results of his actions to the Supreme Lord instead of enjoying them himself.

Sri Isopanisad

Sri Isopanisad 11, Purport:

The Absolute Truth is realized by the broadminded man who has attained knowledge and detachment by following the eighteen principles of the Bhagavad-gītā described in the purport to Mantra Ten. The central purpose of these eighteen principles is the attainment of transcendental devotional service to the Personality of Godhead. Therefore all classes of men are encouraged to learn the art of devotional service to the Lord.

The guaranteed path to the aim of vidyā is described by Śrīla Rūpa Gosvāmī in his Bhakti-rasāmṛta-sindhu, which we have presented in English as The Nectar of Devotion. The culture of vidyā is summarized in Śrīmad-Bhāgavatam (1.2.14)

Sri Isopanisad 14, Purport:

By knowing the material manifestation alone, one cannot be saved, for in the course of nature there is devastation at every moment (ahany ahani bhūtāni gacchantīha yamā-layam). Nor can one be saved from these devastations by the opening of hospitals. One can be saved only by complete knowledge of the eternal life of bliss and awareness. The whole Vedic scheme is meant to educate men in this art of attaining eternal life. People are often misguided by temporary attractive things based on sense gratification, but service rendered to the sense objects is both misleading and degrading.

We must therefore save ourselves and our fellow man in the right way. There is no question of liking or disliking the truth. It is there. If we want to be saved from repeated birth and death, we must take to the devotional service of the Lord. There can be no compromise, for this is a matter of necessity.

Page Title:The art of... (CC & Other Books)
Compiler:SunitaS, RupaManjari
Created:24 of Jul, 2011
Totals by Section:BG=0, SB=0, CC=13, OB=31, Lec=0, Con=0, Let=0
No. of Quotes:44