The main meal of the day is offered to Shrinathji at Rajabhoga. Vitthalnathji, the son of the founder of pushti Marga, had planned this as the most elaborate darshana of all. A temple priest ascends to the terrace prior to the darshana and calls out,”Mala begi laiyo” bring the farland quickly. this loud call heard over a wide area dates back to the time when Shrinathji was at Mount Govardhana. The flower garden of the temple used to be located at Chandra Sarovar, a considerable distance away, and the priest of the temple there had to call out loudly for his voice to be heard. At Nathdvara, ‘the call for the garland’ is the signal for the darshna to be opened to the crowds waiting to catch a glimpse of the Lord. The rhythmic sound of drums is heard, excitement mounts, and the doors are flung open.

Shrinathji is seen in all his regal splendour, holding loutses in one hand and wearing an elaborate garland. Bidis, folded betal leaves containing spices, are placed near Him, along with a pitcher of water, His beloved flute, a cane to play with, a genda, ball, and a mirror. Fine perfumes are sprinkled over the kalash on the roof, and the air is redolent with its scent. An arati is performed.

At the end of this darshana, the Lord retires for three hours. This period is known as anavasara recalling his siestas with Svaminiji in the meadows of Vrindavana.

The chief kirtanakara of this darshana is Kumbhanadas.

The third darshana takes place at the hour when the Lord used to take his cows to pasture. The Mukhiya of the gaushala, cowpen, of Nathdvara visits Shrinathji at this time to inform Him that all His cows are well. He is then offered ghaiya, a light dish with a milk base: the refreshments offered at gvala darshana have to be light, since the Lord is believed to have already eaten the comparatively rich foods offered to Him by the gopis earlier. Neither flowers nor His flute are shown during this darshana as it is assumed that He will be playing with His cowherd friends.

The next darshana follows the first by an hour and is called shringara. Shrinathji is dressed carefully from head to foot, and to foot, and a garland of flowers is placed around His neck. A Mukhiya holds a mirror in front of Him so that He can satisfy Himself that He is well dressed. This is to be His play hour like that of any other child, and He is offered dry fruits an dsweets, representing food brought to Him by his beloved gopis. This explains why the meal is called gopivallabha.

It is only after this meal that Shrinathji’s flute is placed in His hand, so that He can delight Svaminiji — Shri Radha — with the tunes she loves. The ragas sung during this darshana are Ramakali, Gunakali and Bilaval and the poet Nandadas is considered the main singer.

This is the first darshana of the day. the name mangala underlines the auspiciousness of beginning the day with a glimpse of the Lord. in winter, this darshana takes place befor sunrise while in summer, it is later.

During managala darshana, the main coors of the sanctum are dept closed and are opened only after the customary initial rituals. This ensures that the drowsy divine child is not startled by large crowds rushing in to see him. It also accords with the mood of the darshana, which is bala bhava, the feelings of a parent concerned about a child’s well-being. Another idea underliying the closed doors is that the svarupa should not be tempted to play with His young ompanions–open doors might tempt Him to run out!.

In summer, Shrinathji is clad simply in an adbandha, a light muslin dhoti. In winter, He keeps warm with a quilted coat. His flute is not placed in His hand, for it is felt that if He were to play it early in the morning, everyone would be enchanted and all work would come to a standstill!

Arati is offered to Shrinthji during this darshana. This ritual banishes the evil spirits which hover arould in the drkness of the night, seeking to cause harm.

This corning darshana is dedicated to the memory of paramanandadas, one of the ashtachhapa poets. The kiratans sung at this time are in one of the classical morning ragas — Lalita, Bhairava or Vibhasa.