Seva-kunja

Bhaktivedanta Narayana Gosvami

From the book “Sri Vraja-maṇḍala-parikramā”:

This place is also called Nikuñjavana. It lies just near the temple of Śrī Rādhā-Dāmodara, to the south-west. A painting of Śrīmatī Rādhikā with Śrī Kṛṣṇa massaging Her feet is worshipped here in a small temple.

The Vrajavāsīs say that even today Śrī Rādhā-Kṛṣṇa Yugala perform Their pastimes here every night. Everyone therefore leaves this kuñja at dusk. Even the impudent monkeys independently leave this kuñja as the evening falls. From time to time it happens that someone stubbornly tries to remain here during the night, and in the morning is found dead. Others have by some means escaped death, but have become completely insane.

Bhakta Rasakhāna searched for Kṛṣṇa all over Vraja but without success. Finally, he had darśana of rasika Śrī Kṛṣṇa at this very place. He has revealed this in his beautiful poetry as follows:

In Sevā-kuñja, we also find Lalitā-kuṇḍa. When Lalitā was feeling thirsty during rāsa, Kṛṣṇa manifested this beautiful kuṇḍa by digging it with His flute. Lalitā and the sakhīs drank the kuṇḍa’s sweet, cool water and refreshed themselves. There is a keli-kadamba tree nearby whose every knot bulges out and resembles a round śālagrāma.

Rajashekhara Dasa

From the book “Chaurasi-kosa Vraja Mandala Parikrama”:

This is this famous forest grove where Krishna massaged Radharani’s lotus feet and decorated them with red yavaka (vermillion). Krishna also massaged Her delicate limbs with perfumed oil, combed Her long black hair into braids and applied cosmetics to Her moon-like face. Krishna also dressed Radharani in fine silken garments and decorated Her body with gem-encrusted ornaments. The name ‘Seva kunja’ means the ‘forest grove of personal service’. At Seva Kunja, one can see the actual place known as the Rang Mahal Mandira, where Krishna served the lotus feet of Radharani. Seva Kunja is also the site of the most celebrated rasa-lila, the divine dance of love, where the gopis had the opportunity to dance with their beloved Krishna. After the rasa-dance is over, the gopis prepared a soft bed made of flower petals and invited Radha and Krishna to lie down together so They might spend the rest of the night entwined within each other’s arms. The place where Radha and Krishna rested can also be seen within the Rang Mahal Mandira. Within Seva Kunja one can also see Lalita-kunda, which was created by Krishna just to please Lalita-sakhi, and also the rasa-mandala platform commemorating the rasa-lila pastimes that took place here.

Seva Kunja is also referred to as the Rasa-sthali, because it was the site of Krishna’s most ecstatic rasa-lila pastimes with the beautiful gopis of Vraja. “May that Rasa-sthali, which is the most precious gem in all the three worlds, be our protector.” (Vraja-vilasa-stava). In this regard the word ‘rasa’ means the ‘highest pleasure’ or ‘nectarine pleasure’, and the word ‘sthali’ means ‘a sacred place’. The rasa-lila, or rasa-dance, is considered to be the pinnacle of the pastimes between Krishna and the gopis, during which each and every gopi has the opportunity to dance directly with Krishna and thus exchange the most intimate expressions of love. The Bhakti-ratnakara provides a description of the rasa-mandala where Radharani and Her sakhis begin the rasa-lila festivities by first playing on various musical instruments accompanied by melodic singing, thus creating the perfect atmosphere for the dancing to commence. “The personification of transcendental mellows, the enchanter of Govinda, Shri Radhika, perfectly plays the instrument known as alavani [similar to the tambura]. She vibrates both vocally and instrumentally the three meters: sasja, madhyama, and gandhara. Shri Lalita Devi very expertly plays the brahma-vina, beginning with the sounds of the srutis [22 different tones]. The beautiful Vishakha Devi plays the kacchapi-vina in various sweet ways. The rudra-vina is played by the beautiful Sucitra, who is expert in manifesting the difference in svara, jati, and prabheda [varieties of melodies]. Campakalata plays the vipani-vina in different murchanas and talas [modulations and rhythms]. Rangadevi plays the vilasa-vina manifesting different gamaka [vibrating notes]. Beautiful Sudevi plays the sarangi in different ragas. Tungavidya playing the kinnari-vina showers nectar on the rasa-mandala. Indulekha plays the svara-mandala [similar to the santoor] and easily manifests the different svaras.” Others play various instruments beginning with karatalas and in this way the rasa-mandala is filled with the sounds of various musical instruments. Who can properly describe the exquisite sounds of the musical instruments played by Radhika and Her sakhis as they blend together and appear to shower nectar within the rasa-mandala.”

After Radharani and Her girlfriends have finished playing their enchanting ragas, the forest goddess Vrinda Devi and her girlfriends then start playing on many different types of musical instruments creating the most wonderful sound that permeates the entire forest. Feeling enlivened by the captivating music and the rhythmical beat of the drums, both Radha and Krishna enter the rasa-mandala to begin the ecstatic rasa-dance. The gopis headed by Lalita, on seeing the ‘divine couple’ in such a joyous mood, also enter the rasa-arena along with hundreds of other gopis to take part in the rasa-dance. Krishna then stands in the middle of the rasa-mandala while Radharani and Her sakhis dance around Him in a circular motion, while singing in chorus the glories of their beloved hero and clapping their hands to the beat of the drums. As the gopis danced, a most enchanting sound suddenly arose created by the tumultuous jingling of their ankle-bells as they moved in perfect unison around the rasa-mandala. By His mystical prakash potency, Krishna expanded Himself into hundreds of identical forms to dance next to each individual gopi, who could then feel the loving embrace of His arms and also tastes His nectar-like kisses. Each gopi was thinking that Krishna is dancing only with her and looking directly into her eyes as she performs the ecstatic rasa-dance with her beloved Lord.

The Bhakti-ratnakara says, “Shri Vrajendra-kumara fulfilled all the desires of the gopis by performing the rasa-dance. The rasa-lila pastimes are the abode of great happiness, just hearing about these pastimes will fulfill one’s desires. O Shrinivasa, Krishna is the enchanter of the whole world, the life and soul of Shri Radhika and the enjoyer of the rasa-dance. Shri Radhika is the enchantress of the whole world, the life and soul of Lord Krishna and the jewel amongst the gopis. Her only engagement is to give pleasure to Krishna, nothing else. Radharani along with the sakhis are always overwhelmed enjoying the rasa-dance in Vrindavana.”

What is called today as Seva Kunja is actualy the sub-forest called Nikunjavana and it is one of twelve forest groves of Vrindavana which are also called upavanas. Some Puranas describe Seva Kunja as covering the entire area encompassed by the twelve upavanas (subforests) with the Yoga-pith situated in the center. Therefore the whole area bordered by the River Yamuna, from Mohana Ter Ghata in the north to to Adi-Badri Ghata in the south, was referred to as being Seva Kunja and Nikunjavana was just one of the sub-forests like Nidhuvana. Thus places like Kaliya-Ghata, Madana-Mohana, Imli Tala, Radha Damodara, Shringara Vata, Govinda Ghata, Chehana Ghata, Keshi Ghata, Nidhuvana, Jhulanavana, Dira Samira, Vamsi Vata, Brahma-kunda, Govinda-kunda and Davanala-kunda, are all considered to be different lila-sthanas within the area of Seva Kunja. The Puranas also refer to the twelve upavanas to be like the petals of a lotus flower with Govindaji Yoga-pith located within the central whorl, or seed pod of that lotus.

The twelve upavanas of Vrindavana and their locations are as follows:

Viharavana – surrounding Krishna Balarama Mandira

Gocharanavana – surrounding Varaha Ghata and Go Ghata

Kaliyadamanavana – surrounding Kaliya Ghata

Gopalavana – next to Gopala Ghata (Karauli Ghata)

Nikunjavana – surrounding Seva Kunja

Nidhuvana – next to the Radharamana Mandira

Radhavana – between 64 Samadhi Pitha and Pani Ghata

Gaharavana – surrounding Pani Ghata

Jhulanavana – between Rangaji Bhaga Garden and Pani Ghata Village

Papadavana – surrounding Adi-Badri Ghata

Atalavana – where the Vrindavana parikrama path crosses the Mathura Road

Kevarivana – surrounding Davanala-kunda

The Garga Samhita says that the forest of Vrindavana encompassed a vast region stretching from Seva Kunja to Nandagrama and includes Govardhana, Radha-kunda, Varsana, as well as the entire region on the western bank of the Yamuna as far north as Kelanvana. In the Brihad-gautamiya-tantra it says. “The forest of Vrindavana consists of five yojanas.” Five yojanas is equal to forty miles, which is the distance from Vrindavana to Nandagrama. This area is also referred to as being Nanda’s Vraja as well as Vatsa-krida, the place where Krishna during His pauganda-lila herded the calves (vatsa) and played (krida) with his cowherd boyfriends. Therefore, when considering this greater area of Vrindavana forest, the twelve small sub-forests or upavanas surrounding the Govindaji Yoga-pitha are collectively known as Seva Kunja.