Introduction
The Kali-Santarana Upanishad, also known as the Kalisantaraṇopaniṣad, is a Sanskrit text associated with the Kṛṣṇa Yajurveda, considered a minor Upanishad within Hinduism.
This Upanishad likely dates back to around 1500 CE and gained popularity in the 16th century through Caitanya in the Gaudiya Vaishnavism tradition. It contains two verses known as the Maha-mantra, featuring the words “Hare,” Krishna, and Rama. “Hare” (or goddess Radha) is repeated eight times, while the other two names refer to Hindu deities and are repeated four times. The Upanishad asserts that chanting this mantra audibly serves as a means to purify and alleviate the challenges of the current era.
The term “Kali” signifies “the present age” in Hindu cosmology (one of four ages), while “Santarana” conveys the idea of “conveying over or across.” Thus, the Upanishad’s title implies knowledge that guides one through the challenges of the present age.
This text, categorized as one of the Vaishnava Upanishads, predates approximately 1500 CE and consists of two verses known as the Maha-mantra. It is notably the earliest known Hindu text to feature this famous mantra and was popularized by Caitanya Mahaprabhu in the 16th century, particularly within the Hare Krishna (ISKCON) movement.
In Vaishnava theology, “Hare” refers to Hara, representing goddess Radha, the divine energy of Krishna. The repetition of “Hare” eight times in the Kali-Santarana mantra emphasizes Radha’s love for Krishna. This mantra is cherished in the Gaudiya Vaishnavism sect, with followers believing that it invokes deep inner pleasure, transcendent ecstasy, and heightened consciousness while dispelling the negative influences of Kali Yuga. Chanting this mantra audibly is preferred as it is believed to liberate both the reciter and the listener.
In the Muktika canon’s anthology of 108 Upanishads, narrated by Rama to Hanuman, the Kali-Santarana Upanishad holds the 103rd position. However, it is not included in the anthology of 52 popular Upanishads in North India by Colebrooke, nor in the Bibliotheca Indica anthology of popular Upanishads in South India by Narayana.
The Upanishad explains that as the Dvapara Yuga came to an end, sage Narada approached Brahma to seek guidance on countering the adverse effects of Kali Yuga. Brahma advised the continuous chanting of the sixteen-word mantra to invoke Lord Narayana, believed to cleanse all tribulations of Kali Yuga.
The text also states that Narada, the creator of conflicts in Kali Yuga, sought redress from Brahma. Narada, cursed by Daksha, traveled the world with a lute, adjusting the laws of harmony. The sixteen mantras he was advised to recite relate to the immortal soul, known as “jiva,” which possesses sixteen kalas.
The Upanishad emphasizes that there are no specific rules or regulations for chanting the Maha-mantra; it should be chanted continuously, regardless of one’s state of purity.
This text significantly influenced the Gaudiya Vaishnavism tradition, which flourished in the Gauda region of India, particularly in West Bengal, during the period of Muslim rule when Krishna devotees were compelled to serve Muslim officials.
From the 16th century onward, Gaudiya Vaishnavism stressed the public, vocal, and audible chanting of the Maha-mantra containing the divine names of Krishna, Rama, and goddess Radha (Hare). While some groups believe that silent or low-volume chanting is equally effective, Chaitanya and his disciples advocated loud chanting, believing it to be the most effective way to attain salvation and purify the heart of both the reciter and the listener. Rupa Goswami’s Prathama Chaitanyaashtaka reinforces this perspective. For Gaudiya Vaishnavas, including ISKCON, the Hare Krishna maha-mantra represents a “transcendental sound” predominantly associated with Krishna, and thus, loud recitation is considered more impactful.
In the 16th-century text Harinamarthah-ratna-dipika by Raghunatha dasa Goswami, it is explained that Radha chanted the Maha-mantra whenever she wished to be closer to Krishna, feeling a deep connection with him with each syllable of the mantra.
This Maha-mantra, as per the Upanishad, played a crucial role in converting Muslims and initiating them into Vaishnavism in Bengal during this period.