DHARAMSHALA MAHANTA

Situated near the holy abode of Goddess Chintpurni, about 62 kms. from Una, Dharamshala Mahanta is a “matha”(priory) established by a solitarian Baba Nakodar Dass during the reign of Mughal Emperor Akbar. Baba Nakodar Dass who was a ‘Panchdevaupaska’ gave the pride of place to the worship of lord Vishnu. Miss Mira Seth in her book “WALL PAINTINGS OF THE WESTERN HIMALAYAS” states “ ’Mahanta’ Lakshmi Dhar the father of the present mahanta who died few years back has a ‘sanad’(grant) which is believed to have been given to his predecessors by emperor Aurangzeb in the ninth year of his reign, corresponding to A.D. 1667 .” A large number of devotees visiting Goddess Chintpurni visit Dharamshala Mahanta to pay their obeisance.

A part from its historicity and religious importance Dharamshala Mahanta is known for it

 

s murals/wall paintings. There are two buildings of note. The style of paintings in one is entirely different from that of the other. The best and earliest paintings are found in what is known as the ‘baithak’ which happens to be the sitting room (6m X 4.75m) of one building. According to Mahanta Lakshami Dhar, the paintings were executed by a ‘mistri’(mason) in his grand father’s time, which would place them at about the end of the nineteenth century. Although most of the paintings have disintegrated but those which remain have a graceful charm of their own.
The other building in the ‘matha’ is a small temple, the walls of which are also covered by wall paintings but having a clear impress of folk art on these paintings. But in comparison to the lyrically graceful wall paintings of the ‘baithak’ these murals are somewhat crude thus indicating that these are of a later origin.
An ardent art-lover or a chance visitor having aesthetic sense immediately seeing the wall paintings of Dharamshala Mahanta realizes that these murals which depict the rich cultural heritage of the past are loosing its luster and richness of colors as the ravages of time are taking its toll very rapidly and the time is not far away when these will become almost non-existent.

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Radhasoami 

                       Is a spiritual movement that originated in 19th century India, and is considered by adherents as a true way to attain God realization. The Radhasoami faith is also referred to as Sant Mat, the "Path of the Sants." The word "Radhasoami" itself is actually a combination of two words: "Radha" (referring to the soul or spiritual essence, either of an individual or of the whole) and "Soami" (referring to the spiritual master; cognate to the Sanskrit term swami or svami); the combined word thus refers to the "Lord of the Soul" or God. It also can be interpreted to mean the "Master Soul" or "Spirit Master" who guides the disciple to higher states of consciousness. Like Sant Mat sects, Radhasoami emphasizes the use of listening to inner sound accessed by (mantra/simran), combined with personal loyalty to a given living Master, for devotees to attain desired states of spiritual advancement.
Shiv Dayal Singh, called "Soamiji Maharaj" by devotees and admirers, was a khatri seth by caste who descended from Choora clan (popularly known as Sobly) in Agra, India. He used to insist that anyone who chose to follow him must give up non-vegetarian food, abstain from alcohol and intoxicants, lead a high moral life and engage in over two hours of shabd yoga (sound-current yoga) meditation per day.^[2]
In the mid-1850s, Shiv Dayal Singh had a handful of followers in Agra. However, his teachings eventually attracted disciples from across India and by the time of his death in 1878, Shiv Dayal had several thousands of followers. He died on 15 June 1878 in Agra, India.
Shiv Dayal Singh's wife, Narayani Devi (called Radhaji), Rai Saligram (called Huzur Maharaj), Sanmukh Das, Gharib Das, Partap Singh (Shiv Dayal's younger brother) and Baba Jaimal Singh were some of his prominent followers around whom individual satsang groups formed. This splintering off, led to the propagation of Radhasoami teachings to a wider audience, although with slightly varied interpretations.