The genesis of this project started as a mild response to a suggestion made in a casual conversation I had with Sri R. Krishnamurthy, Managing Editor of Tattvaloka during the early months of 2015.
'Why don't you contribute articles on Vedanta to our magazine?' was his friendly suggestion. When I pursued the topic more deeply with him, it was he who suggested I could pick the best of Sankara's works and present them under the title "Gems of Sankara."
Although I had deeply studied various scriptures under the tutelage of my father Brahma Shri Visvanatha Sastrigal, I had only read a little of Sivananda-Lahari, some Bhaja Govindam and a trace of Sankara's Bhashya on Vishnu Sahasranamam. So, I then proceeded month after month in an exciting search for what may be included as Gems of Sankara from among his poetical compositions.
I joyously immersed myself in his Vedantic expositions through his prakarana granthas, his countless slokams and stotrams on various deities spread across the whole of Bharat and on the nuances of Advaita Vedanta. Researching, writing and collating this series of articles in Tattvaloka turned out to be a most exciting five-year long sojourn for me.
This exciting journey stopped for me with 62 selections only, not because there was not any more writing to be done, but simply because at my advanced age my stamina was exhausted. In retrospect, I have probably merely walked on the shores of Sankara's ocean, in the foolish thought that I was diving deep!
I am immensely thankful to the editors of Tattvaloka who kept on publishing these Gems of Sankara every month without altering the meanings and explanations sent by me, For most of my interpretations and style of explanations, I have to pay homage to my father Brahma Sri Visvanatha Sastrigal who initiated me into this life of spiritual learning and exposition early in my boyhood.
I congratulate Tattvaloka on their decision to bring these monthly compilations in the form of a book. To dive into the waters of the vast ocean of the several hundred poetical compositions of Adi Sankaracharya is by itself divine bliss. I hope readers of these gems will be induced to delve further into the vast treasures left by Sankara.
I appreciate the kind gesture of Indic Academy in the form of their grant to Tattvaloka for this publication.
My reverential pranams to the Sringeri Sharada Peetham and its two present Jagadgurus at whose lotus feet I humbly offer this work.
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