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Durga is a very popular deity. The general description of Durga given in Kashyapa silpa represents her as having four arms, two eyes, high hips, high breasts and all ornaments. She holds the conch and the discuss in her upper hands, while her right lower hand presents the Abhaya posture and the left lower hand rests the waist. She stands on a lotus pedestal and has a breast band of serpents and a red petticoat.
According to the Silparatna, Mula Durga holds in her lower hands the bow and the arrow.
From Mahabalipuram comes the figure of a Durga who stands on the buffalo’s head. She has eight arms, in the upper most of which are found the discuss and the conch. The other weapons held are the sword and the bell on the right side and the bow and the shield on the left. The lowest of the right hands holds evidently a Sriphala or the bel-fruit. And the corresponding left has a parrot perching on it and rests freely on the waist of the goddess. The necklace, breast band and the garment, hanging in folds down to her feet deserve to be noticed. The absence of finger rings on eight hands of the goddess is peculiar.
The illustration shows also other figures surrounding the goddess, viz., two male devotees with peculiar head dress kneeling at her feet, two female attendants on either side holding the sword and the bow, two demi gods, one of whom is carrying a chauri, and a lion and a deer.
***
In another Mandapa at Mahabalipuram is a sculpture evidently of the same goddess with the lion and the deer , pairs of demi gods on the sides and devotees at the feet, one of whom is either cutting off his hair or his neck. The goddess has only four arms and stands on an ordinary pedestal but not on the buffalo’s head.
At Sri Mushnam in South Arcot is an image of Durga with eight arms showing almost the same symbols as those of the figure at Mahabalipuram described above, the only exception being that instead of the bell in one of the right hands , she is holding an arrow. The figure stands on the head of a buffalo without any other accompanying attendants and has an umbrella overhead.
Images of Durga with four or more arms standing on the head of a buffalo are generally found placed on the niche of northern wall of the central shrines of Siva temples in south India.
Occasionally, however, they may stand on ordinary pedestal without the buffalo’s head, as at Tiruvotriyur near Chennai.
In the Vishnu temple at Tirumalisai is a similar image, which is said to be Lakshmi, but perhaps represents Durga without the buffalo head.
Mahisasuramardini is represented in the Nrisimhaprasada as the youthful but angry Parvati with three broad eyes , a slender waist, heaving breasts, one face and twenty hands. Below her is the buffalo demon with his hand cut off and rolling on the ground. A man emerging from the buffalo’s neck is seen holding a weapon in his hand, abject with fear. Pierced by the trident of the goddess, he is vomiting blood. The lion too on which the goddess rides attack the giant with its mouth while the noose held by the gooses is tightly fastened around his neck. The goddess’ right leg is placed on the lion while the other steps on the body of the demon. This form of Chandi is propitiated by those who wish to destroy their enemies. The ruling family of Mysore has Chamunda – Chandi for its tutelary deity.
***
Durga is Krishna’s sister
The puranas say that Durga was born of Yashoda in order to save the life of Krishna, who was just then born to Devaki. The children were exchanged under divine intervention. Kamsa, the cruel brother of Devaki , who had vowed to kill all the children of his sister, thought that this female child was Devaki’s and dashed it against a stone. But, then, the child flew into air and assuming the form of Durga/ Maha Maya mocked him and went away. On account of this she is known as the sister of Vasudeva Krishna.
***
Durga , Chamunda and Mahishasuramardini are seen holding the Vaishnavite symbols of discuss and conch.
Mahisa asura = buffalo demon
It is stated that the active energy of Siva, which is Vishnu himself, receives the nameKkali while it assumes an energy mood, that in battles it is recognised as Durga and that in peace and pleasure it takes the form of Bhavani/ Parvati.
Chamunda is another form of Parvati when she killed the giant called Chanda – Munda
The Silpa sastra mentions a Chandika/ Chamunda of eighteen arms to whom God Siva presented trisula/trident Krishna, the conch, Agni, the weapon called Sakti.
According to Markandeya Purana, the goddess that killed the buffalo demon was made up of the fierce radiance of Siva, Vishnu and Brahma while all other gods contributed the powers peculiarly characteristic of them for the formation of her limbs and ornaments.
Chamunda may be represented with 8, 10, 12 or 16 arms made either of wood or of mortar. When in dancing posture she must have 8, 6 or 4 hands. She is known by name Karaali or Bhadrakaali when she has 8 arms, Kaala bhadraa when she has 6 arms, and Kaali when she has 4 arms.
Bhadrakaali has a terrible face, fat breasts, protruding teeth and a long tongue and wears a garland of skulls.
She rides on a lion and stamps under her foot the head of the buffalo demon.
Hemadri quoting the Vishnudharmottara says that Bhadrakali has 18 arms and is seated in the aalidha posture in a car drawn by four lions. When worshipped by Brahmanas she has 10 arms, Jatamakuta and all ornaments.
***
Kaalabhadraa has a beautiful white form but is fierce, being worshipped in burial grounds under the name of Karaala bhadraa, seated in the Viirasana posture with the foot placed over the head of the buffalo demon. The same goddess when worshipped by the Kshatriyas is called Kaali or Mahaa Kaali. In this form she ordinarily holds a trident or sword in one hand and a skull or a cup of wine or fire in the other, rides on a corpse and has a lean stomach.
The owl is her vehicle.
She wears the tiger skin, a scarf of elephant’s hide and a garland of heads; has three eyes and the ear ornaments are shaped like conches.; and is fond of flesh and blood. She is followed by evil spirits who fill the four quarters with their roar, and she roams about the earth riding on their shoulders.
Kali is represented sometimes with 12 or 16 arms and called Charcharaa and Bhairavi respectively.
–subham—
Tags-Hinduism through 500 Pictures in Tamil and English-31; படங்கள் மூலம் இந்து மதம் கற்போம்-31, Durga, Kali,Chamunda, Mahisauramardini
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
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Item 260
Taittirīya Upaniṣad describes the five “sheaths” of a person (Sanskrit: puruṣa), starting with the grossest level of the five evolving great elements:
From this very self did aether come into being; from aether, air; from air, fire; from fire, water, from water, the earth; from the earth, organisms; from organisms, foods; and from foods, people. Different from and lying within this people formed from the essence of foods is the self consisting of lifebreath. Different from and lying within this self consisting of breath is the self consisting of mind. Different from and lying within this self consisting of mind is the self consisting of perception. Different from and lying within this self consisting of perception is the self consisting of bliss.[4]
In the Śvetāśvatara Upaniṣad, the deities is identified as the source of the great elements:
Some wise people say it is inherent nature, while others say it is time – all totally deluded. It is rather the greatness of deities present in the world by means of which this wheel of brahman goes around. Whom always encompass this whole world – the knowers, the architects of time, the ones with and without qualities, and the all-knowing ones – it is at their commands that the work of creation, to be conceived of as earth, water, fire, air, and aether, unfolds itself.[5]
The same Upanishad also mentions, “When earth, water, fire, air and aether arise, when the five attributes of the elements, mentioned in the books on yoga, become manifest then the yogi’s body becomes purified by the fire of yoga and they are free from illness, old age and death.” (Verse 2.12).
(from Wikipedia)
***
Tamil Sangam Book Purananuru Wonders- 2
Ancient Tamil Encyclopaedia -42; One Thousand Interesting Facts -Part 42
***
261
Purananuru verse two is very important from many angles. First and foremost is the science matter about five elements is from the Taittriya Upanishad. All the main Upanishads are written before Buddha (600 BCE). The same order of Five Elements is in modern science as well. First there was empty space (ether) a Big Bang (sound) happened billions of years ago. Then came the fire and water. Lastly the earth appeared and from water the living beings appeared. This order is seen in the Dasavatara stories as well.
262
Second important points is, Who is this Murinjiyur Mudi Nagarayar ?
His name is Mr Nagarajan. But if you give importance to Mudi (Crown or Hair), then it is Lord Siva who has a snake/Naga on his head. This was copied by Egyptian Pharaohs from the Hindus.
263
Third important point is NagaRAYar. We see the J is tamilized as Y. I have been arguing throughout my writings J was used only by Vedic Hindus. If one finds the migratory route of this letter J, one can easily find how Hindus spread their language throughout the earth. No ancient language has this J sound .
Another point is Western Scholars(??!!) have been arguing that letters J and Y were written in the same way and thus we get Yesu as Jesus, Yudha as Jew etc. I have shown this is absurd and here in the second verse also we see J becoming Y. This is Sanskrit grammar.
265
One more important point is look at the expressions
Three Fire of Brahmins
Four Vedas of Brahmins
Kanchana Srnga Himalaya (now they write it Kanchanjunga)= PorKottu imayam in Tamil.
Five Elements and Five Virtues
Each of the five elements has one power. That is compared with the powers of king which is also seen Sanskrit literature before Sangam literature.
266
Last but not the least The Big Controversy!
Here commentators wrongly suggested the Five and the Hundred mentioned in the verse refers to 5 Pancha Pandavas and Kauravas (100). And the lines say that the Chera king supplied food for both. Even scholars who don’t believe Kaliyuga date of 3102 BCE wrote that the Mahabharata war must have fought around 1500 BCE. This Chera king wont fit into that time frames.
According to historical scholars we need at least five kings for every century. For 1500 years in BCE period, we need at least 75 Chera Kings or at least Tamil kings. We don’t have any such thing in Sangam literature.
The word PERUNCHORU misinterpreted
The verse says that the Chera king gave both the Fives and the Hundreds (Pandavas and Kauravas) PERUNCHORU. Literal translation of this word is Big Cooked Rice (food).
267
The Hindu tradition is that if someone dies, they offer the Pitrs/ departed souls RICE BALLS on the death anniversary. This is called Perunchoru and Pindam in Sanskrit. I am not interpreting it out of my imagination. The same word PERUNCHORU occurs in (புறநானூற்றில் பெருஞ்சோறு 220, 235, 261) Puram 220,235,261 all these are elegy poem. Morever the Purapporul Venbamalai used the word Pindam which is food served in funeral rites.
Chera/Kerala King Uthiyan Cheralathan was praised as one “who provided BIG food” for the Pandavas and Kauravas (lot of people took it for actual feeding. But the word Big Food (Perunchoru பெருஞ்சோறு in Tamil) means big feast given in memory of the dead.
268
More Pancha Bhuta references:
Pari. 3-4; 3-66; 3-77. Pari.13-18; 24-15
Mathur. -line 453; Puram-2- 1; 20-1; 51-1;55-15
Pathitr- 14-1; Kurun.3-1.
Tol -305; Murukku. Line 254
The strange coincidence is, all the poets use the Pancha Bhuta matter in the very beginning of the poems.
Post Sangam book – Tiruk Kural 271
269
Earliest Anthathi
The first 5 lines gives us the first sample of Anthaathi genre (last word of the previous line should be the first word of the next line in Antham + Aathi. Both Sanskrit words!)
270
Kalidasa Echo
The poet is well versed in Kalidasa who lived in Second Century BCE. In his first ten verses of Kumarasambhava Kalidasa described the beautiful Golden Peaked Himalaya. And in the first ten verses of Raghuvansa described the glory of Raghu dynasty where he says they rule extended up to oceans.
***
மண் திணிந்த நிலனும்,
நிலம் ஏந்திய விசும்பும்,
விசும்பு தைவரு வளியும்
வளித் தலைஇய தீயும்,
தீ முரணிய நீரும், என்றாங்கு
ஐம்பெரும் பூதத்து இயற்கை போலப்
போற்றார்ப் பொறுத்தலும், சூழ்ச்சியது அகலமும்
வலியும், தெறலும், அணியும், உடையோய்!
நின்கடற் பிறந்த ஞாயிறு பெயர்த்தும்நின்
வெண்தலைப் புணரிக் குடகடல் குளிக்கும்
யாணர் வைப்பின், நன்னாட்டுப் பொருந!
வான வரம்பனை! நீயோ, பெரும!
அலங்குளைப் புரவி ஐவரோடு சினைஇ,
நிலந்தலைக் கொண்ட பொலம்பூந் தும்பை
ஈரைம்பதின் மரும்பொருது, களத்து ஒழியப்
பெருஞ்சோற்று மிகுபதம் வரையாது கொடுத்தோய்!
பாஅல் புளிப்பினும், பகல்இருளினும்,
நாஅல் வேதநெறி திரியினும்
திரியாச் சுற்றமொடு முழுதுசேண் விளங்கி,
நடுக்கின்றி நிலியரோ வத்தை; அடுக்கத்துச்,
சிறுதலை நவ்விப் பெருங்கண் மாப்பிணை,
அந்தி அந்தணர் அருங்கடன் இறுக்கும்
முத்தீ விளக்கிற், றுஞ்சும்
பொற்கோட்டு இமயமும், பொதியமும், போன்றே!
****
Note Five Bhutas, For Vedas, Three Fires !
(Following is taken from Vaidehi Herberts translation)
Puranānūru 2, Poet Muranjiyur Mudinākanār sang to Cheraman Perunchōtru Uthiyan
Cheralathan
Your nature is like the five elements – the earth filled with sand,
the sky raised above the earth, wind that blows in the sky, fire that
sweeps up the wind, and water that differs from that fire.
You tolerate your enemies and your deliberation is broad. You are
strong, destructive and merciful. The sun rises from your ocean
and descends into your ocean in the west with waves topped with white surf.
………, or the four Vedas swerve from
………………
May you never be shaken like Mount Pothiyam, like the Himalayas with its
golden summits, where long-eyed does sleep on the slopes near their fawns
with tiny heads, at dusk, in the light of three fires lit by the Brahmins
who perform difficult rituals!
–Subham—
Tags- Tamil Sangam Book Purananuru Wonders- 2, Ancient Tamil Encyclopaedia -42; One Thousand Interesting Facts -Part 42, Upanishad, Kalidasa
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Tamil Sangam Book Purananuru Wonders- 1
Ancient Tamil Encyclopaedia -41; One Thousand Interesting Facts -Part 41
Item 254
(in the first forty parts we saw many wonders from 30 poems from Akananuru. Let us now look at some poems from Purananuru)
Purananuru (pura naanuuru) is one of the Eight Anthologies, part of Sangam Tamil Literature. It is the most important anthology of Sangam Age. It covers mainly the period between 2nd century BCE and 3rd Century CE. In the Akananuru, we see repeated themes regarding love and family life but in Puranauru we see a great variety of information about Tamil life, which is predominantly Hindu.
புறநானூறு பாடல் 1
The very first poem in the collection is in praise of God added by a later poet. He praised Lord Shiva in the invocation poem and the poet’s name itself is Mahadevan, Lord Shiva’s name! Like Kalidasa, he also added more hymns in praise of Lord Shiva in other Sangam books. This poet also wrote the invocation poems for Natrinai, Ainkurunūru, Akanānūru, and Kurunthokai.
***
255
The wonder is that Lord Shiva’s appearance is described in detail which is used by later poets for another 1500 years!
Shiva wears Kondrai flowers on his head;
He is wearing a Kondrai flower garland as well;
His vahana is white Bull (Rishaba vahana);
His flag is also Bull Flag ( it is seen in all Tamil temples during festive days)
He has blue throat (Neela kantan) which is praised by Brahmins; it is in the Vedas.
256 Man and Woman are equal
He shares half his body with his wife (Ardhanari Concept; Hindus only declared that man and woman are equal)
He has crescent on his forehead;(the worship of crescent moon is seen in several poems of Sangam Age)
Ever flowing water pot is held by him (water is the source of life; he is associated with the River Ganga)
He is doing penance.
Eighteen Types of Ganas/followers praise him
***
257
He is a shelter for ALL living beings (எல்லா உயிர்க்கும் ஏமம் ஆகிய,)
The very important line in the poem is Lord (Shiva) is the protector of all living beings; Hindus used to use the cliché from ant to elephant.
The Tamil word is Emam is related to Sanskrit word Kshemam.
***
258
Who are the 18 Ganas? (பதினெண் கணனும் ஏத்தவும் படுமே) it is very important that Indians should know how the society was classified before foreigners invaded India. Those who came to occupy India and divide Hindu society wrote that this is a land of Aryas, Dravidas and Mundas. Some gangs added the words aborigines, tribes etc. But the original classification is 18 groups and they were
Devas
Asuras
Munis
Kinnaras
Kimpurushas
Garudas
Yakshas
Rakshasas
Gandharvas
Siddhas
Saranas / saarana
Vidhyadharas
Nagas
Bhutas
Vetals
Tara ganas (stars)
Bhogabhumi residents (Heaven)
***
The last two are living in the sky/heaven
‘கின்னரர் கிம்புருடர் விச்சா தரர்கருடர்,
பொன்னமர் பூதர் புகழியக்கர் – மன்னும்,
உரகர் சுரர்சா ரணர்முனிவர் மேலாம்.
பரகதியோர் சித்தர் பலர்;
காந்தருவர் தாரகைகள் காணாப் பசாசகணம்,
ஏந்து புகழ் மேய விராக்கதரோ – டாய்ந்ததிறற்,
போகா வியல்புடைய போகபுவி யோருடனே,
ஆகாச வாசிகாள வார்”
259
The last two groups are very interesting !
They are part of Astronomy and Cosmology.
In the Vana Parva of Mahabharata when Arjuna was taken into a space shuttle to heaven he saw stars and asked the pilot Matali who they were. He replied that they were the holy ones. Hindus believe that holy souls become light and you can travel at the speed of light or faster than light (My apologies to Einstein! ). We see inter galactic travellers like Narada and they are classified as Deva Rishis; Deva= Light.
In Indus Valley/ Harappan symbols we see Fish representing Devas.
***
Tamil original is given below
கண்ணி கார்நறுங் கொன்றை; காமர் வண்ண மார்பின் தாருங் கொன்றை; ஊர்தி வால்வெள் ளேறே; சிறந்த சீர்கெழு கொடியும் அவ்வேறு என்ப; கறைமிடறு அணியலும் அணிந்தன்று; அக்கறை மறைநவில் அந்தணர் நுவலவும் படுமே; பெண்ணுரு ஒருதிறன் ஆகின்று; அவ்வுருத் தன்னுள் அடக்கிக் கரக்கினும் கரக்கும்; பிறைநுதல் வண்ணம் ஆகின்று; அப்பிறை பதினெண் கணனும் ஏத்தவும் படுமே; எல்லா உயிர்க்கும் ஏமம் ஆகிய, நீரறவு அறியாக் கரகத்துத், தாழ்சடைப் பொலிந்த அருந்தவத் தோற்கே. –புறநானூறு பாடல் 1
–Subham—-
Tags- Purananuru, Poem 1, wonders-1, Ancient Tamil Encyclopaedia -41, One Thousand Interesting Facts -Part 41 , item 259
Sanskrit returns to Pakistan’s varsity, first time since Partition
Need to consider languages as bridges, not barriers, say profs
article_Author
Seema Sachdeva
Tribune News Service
Chandigarh, Updated At : 07:14 AM Dec 11, 2025 IST
The teaching of Sanskrit has quietly returned to classrooms in the Islamic Republic of Pakistan for the first time since Partition, with the Lahore University of Management Sciences (LUMS) introducing a course in the classical language. What began as a three-month weekend workshop gradually evolved into a full four-credit university course after the overwhelming response it received.
Sanskrit returns to Pakistan’s varsity, first time since Partition
Need to consider languages as bridges, not barriers, say profs
The teaching of Sanskrit has quietly returned to classrooms in the Islamic Republic of Pakistan for the first time since Partition, with the Lahore University of Management Sciences (LUMS) introducing a course in the classical language. What began as a three-month weekend workshop gradually evolved into a full four-credit university course after the overwhelming response it received.
Dr Ali Usman Qasmi, Director of the Gurmani Centre, told The Tribune that Pakistan houses one of the richest but least-studied Sanskrit archives at the Punjab University library. “A significant collection of Sanskrit palm-leaf manuscripts were catalogued in the 1930s by scholar JCR Woolner, but no Pakistani academic has engaged with this collection since 1947. Only foreign researchers use it. Training scholars locally will change that,” he says.
The LUMS also plans to offer courses on the Mahabharata and the Bhagavad Gita. “Hopefully, this sets a momentum,” says Dr Qasmi. “In 10-15 years, we could see Pakistan-based scholars of the Gita and the Mahabharata.”
Dr Qasmi said initially, a weekend programme was offered that was open to everyone–students, researchers, lawyers and academics. “After we saw the response, we decided to introduce it as a proper university course. Even though the number of students is still small, we hope it will grow over the next few years. Ideally, by spring 2027, we should be able to teach the language as a year-long course.”
At the heart of the initiative is Dr Shahid Rasheed, Associate Professor of sociology at Forman Christian College, whose interest in Sanskrit began long before the LUMS approached him. “Classical languages contain much wisdom for mankind. I started with learning Arabic and Persian, and then studied Sanskrit,” he told The Tribune. With no local teachers or textbooks, he turned to online platforms, studying under Cambridge Sanskrit scholar Antonia Ruppel and Australian Indologist McComas Taylor. “It took almost a year to cover classical Sanskrit grammar. And I’m still studying it.”
After Dr Qasmi reached out, Dr Rasheed took a sabbatical from FC College to teach the course at the LUMS. “I mainly teach grammar. When I was teaching ‘subhashitas’, the wisdom verses or shlokas, many of my students were fascinated to discover that so many Urdu words come from Sanskrit. Many didn’t even know that Sanskrit was different from Hindi. In the first week, they found it a challenging language. But once they grasped the logical structure, they started enjoying it. The pleasure of solving something difficult is immense,” he says.
“Modern languages derive from classical traditions. There is just a veil that separates them–once you cross it, you realise they are all our own,” adds Dr Rasheed.
Dr Qasmi explains that the initiative also aligns with the university’s broader language ecosystem, which includes Sindhi, Pashto, Punjabi, Baluchi, Arabic and Persian. “We understand the importance of connecting with this incredible tradition, which is part of the Pakistani-Indian global heritage. So much of our literature, poetry, art and philosophy go back to the Vedic age. Many historians believe that the Vedas were written in this region. It then becomes even more important to read the classical texts in their original language.”
Despite the political sensitivities involved, both scholars believe the intellectual climate is shifting. Dr Rasheed often encounters curiosity about his own study of the language. “People ask me why I’m learning Sanskrit. I tell them, why should we not learn it? It is the binding language of the entire region. Sanskrit grammarian Panini’s village was in this region. Much writing was done here during the Indus Valley Civilisation. Sanskrit is like a mountain–a cultural monument. We need to own it. It is ours too; it’s not tied to any one particular religion.”
“If we want people to come closer, then it’s essential to understand and absorb our rich classical traditions. Imagine if more Hindus and Sikhs in India started learning Arabic, and more Muslims in Pakistan took up Sanskrit, it could be a fresh, hopeful start for South Asia, where languages become bridges instead of barriers,” concludes Dr Rasheed.
We come across these words of Birth and Death as ocean and crossing it to attain liberation, in the Bhagavad Gita for the first time which is over 5000 years old.
Then Kalidasa used this as a simile in the Raghuvamsa which is from the Sunga Vamsa period , first century BCE. Later Tiru Valluvar used this word in his Tirukkural; Valluvar not only used this, but also copied more things from the Gita. Then we hear it in Tiruupugaz of Arunagirinatha and composition of Saint Tyagaraja. There may be many more saints and poets who have used these words.
Samsarasagara in Hinduism symbolizes the endless cycle of birth and rebirth within the illusionary realm, portrayed as an expansive sea, representing the ongoing journey of the soul through various existences.
These whose thoughts are set on me , I straightaway deliver from the ocean of death bound existence, O Patha – 12-7
Another translation
O son of Prthaa, for them who have their minds absorbed in Me , I become, without delay, the Deliverer from the sea of the world which is fraught with death.
On meeting SampAti, the elder brother of slain jaTAyu, Hanuma gained the news of Seetha’s whereabouts, whereby he crossed the ocean, just as one having no attachment for worldly objects crosses the ocean of this worldly existence. [12-60]
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Tiru Valluvar says in Tirukkural
The sea of births they alone swim
Who clench His feet and cleave to Him– Kural 10
Another translation
They swim the sea of births, the ‘Monarch’s’ foot who gain;
None others reach the shore of being’s mighty main.
(None can swim the great sea of births but those who are united to the feet of God.)
***
From Arunagirinathar’s Tiruupugaz
……… Meaning ……… by Sri Gopalasundaram from kaumaram.com
nilaiyAdha samudhdhiramAna samusAra thuRaikkaNin mUzhgi: I was drowned in the ocean of family life; an ocean whose vastness and depth can never be measured.
nijamAna dhenap pala pEsi: I used to make a lot of false statements which sounded like truth.
adhanUdE nedu nALum uzhaippuLa dhAgi: In the meantime, I put in long hours of physical labour for many days.
periyOrgaL idaik karavAgi: I used to hide myself from the company of respectable elders.
ninaivAl nin adith thozhil pENi thudhiyAmal: I never used to think of serving You or seeking Your feet.
thalaiyAna udaR piNi URi: Many major diseases attacked my body.
bava nOyin alaip palavEgi: (As I said about the ocean of family life), several waves of illnesses called the disease of birth swayed me!
chalamAna payiththiyam Agi thadumARi: I became an angry mad man and lost my balance.
thaviyAmal: I do not want to suffer like that any more.
piRappaiyu nAdi adhu vErai aRuththu: I want to contemplate on the origin of birth and to destroy its root cause, namely, desire.
unai Odhi thalameedhil pizhaiththidavE nin aruL thArAy: I want to sing Your glory and survive in this world by Your grace.
kaliyANa supuththiran Aga: You are always the great bridegroom
kuRamAdhu thanakku vinOdha: to VaLLi, the damsel of the KuravAs, in whose company You revel!
kavin Aru buyaththil ulAvi viLaiyAdi: You embrace her lovely shoulders and play with her romantically!
kaLi kUrum unaith thuNai thEdum adiyEnai: I seek the Your closeness as You rejoice in the company of VaLLi!
sukappada vEvai kadan Agum idhuk ganamAgu murugOnE: You have to make me experience happiness. It is not only Your duty but would also add to Your dignity, Oh MurugA!
palakAlum unaith thozhuvOrgaL maRavAmal thiruppugazh kURi: Those devotees of Yours, who sing Your glory without fail several times a day,
padimeedhu thudhith thudan vAzha aruLvELE: are blessed by You to live in Your company forever worshipping You!
sivalOkam enappari vERu padhiyAna thiruththaNi mEvu: People love to deem this place, ThiruththaNigai, to be the land of SivA in this world;
bavarOga vayidhdhiya nAtha perumALE.: and You have Your abode here, standing as the Curer of the disease of birth, Oh Great One!
***
Tyagaraja Kriti
raghu nāyaka, nī pāda yuga
rājīvamula nē viḍa-jāla śrī
O best among Raghus! Your pair of
lotus-feet, I cannot let go of.
Anupallavi
agha jālamula pāra tōli nannu
ādarimpa nīvē gati kādā śrī
To drive afar my accumulated sins
And care for me, aren’t you the only refuge?
Charanam
bhavasāgaramu dāṭalēkanē
palu gāsibaḍi nī marugu jēriti
avanijādhipa, śritarakṣaka,
ānandakara, śrī tyāgarājanuta
Unable to cross the worldly ocean,
After much pain, your shelter did I reach,
Husband of Earth’s daughter, Protector of those approaching you!
Who is Vedamurti Devavrat Mahesh Rekhe? 19-Year-Old Vedic Scholar whom PM Modi praised for…
Vedamurti Devavrat Mahesh Rekhe, a 19-year-old Vedic scholar from Varanasi, has successfully completed the Dandakrama Parayanam, a challenging recitation of 2000 mantras in Shukla Yajurveda in 50 days without interruption. PM Modi praised him for his remarkable achievement.
Indian culture is as deep as its thousands of years old history with ancient vedas, puranas and other scriptures detailing the many ways of life. A young Indian man has drawn from one of the most sacred Sanskrit text, Shukla Yajurveda, to achieve a remarkable feat even Prime Minister Narendra Modi praised him for.
Indian culture is as deep as its thousands of years old history with ancient vedas, puranas and other scriptures detailing the many ways of life. A young Indian man has drawn from one of the most sacred Sanskrit text, Shukla Yajurveda, to achieve a remarkable feat even Prime Minister Narendra Modi praised him for.
Vedamurti Devavrat Mahesh Rekhe, a 19-year-old Vedic scholar from Varanasi, has successfully completed the Dandakrama Parayanam, one of the most challenging recitations from Shukla Yajurveda, also known as the Vajasaneyi Samhita and one of the two main branches of the Yajurveda, one of the four Vedas. Rekhe is garnering immense praise countrywide for his rare achievement while it marks a historic moment for followers of Vedic tradition.
The young scholar shares the deep devotion to vedic tradition with his father and guru, Vedabrahmasri Mahesh Chandrakant Rekhe who is one of the top Vedic authorities and the chief examiner of the Shukla Yajurveda Madhyandina branch. The young prodigy went through years of tough training. The father-son duo, with their efforts and contribution is bringing the ancient Hindu tradition back to life as only a handful of masters have dedicated their life in living the ideals of Vedas.
Rekhe has completed the Dandakrama Parayanam, a recitation consisting of 2000 mantras of the Shukla Yajurveda’s Madhyandini branch, in 50 days without a pause. The recitation includes various Vedic verses and sacred words which he recited flawlessly with complete discipline.
How has PM Modi praised him?
Sharing his overwhelming emotions for the act on X, PM Modi said, “What 19 year old Vedamurti Devavrat Mahesh Rekhe has done will be remembered by the coming generations! Every person passionate about Indian culture is proud of him for completing the Dandakrama Parayanam, consisting of 2000 mantras of the Shukla Yajurveda’s Madhyandini branch, in 50 days without any interruption. This includes several Vedic verses and sacred words recited flawlessly. He embodies the finest of our Guru Parampara.”
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
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சுவாமி சித்பவானந்தா
சித்பவானந்த சுவாமிகள் மதுரைக்கு அருகிலுள்ள திருவேடகத்திலும் திருச்சிக்கு அருகிலுள்ள திருப்பராய்த்துறை யிலும் ஆஸ்ரமம் , கல்லூரி, பள்ளிக்கூடம் வைத்து இந்து மதத்தைப் பரப்பிய பெரியார் . இவரது பகவத் கீதை பேருரையும் திருவாசகப் பேருரையும் அனைவரும் படித்துப் பொக்கிஷம் போல் காப்பாற்ற வேண்டியவை; 186 புத்தகங்களையும், சிறுவர்களுக்காக பல நாட கங்களையும் கதைகளையும் எழுதினார். மாதந்தோறும் அந்தர்யோகம் நிகழ்ச்சியை நடத்தி பக்தி யோகத்தைப் பரப்பினார். திருப்பராய்த்துறையில் ஸ்ரீ ராமகிருஷ்ண தபோவனம் ஆசிரமத்தின் நிறுவனர் ஆவார்.
Swami Chidbhavananda (11 March 1898 – 16 November 1985)
Swami Chidbhavananda (11 March 1898 – 16 November 1985) was born in Senguttaipalayam near Pollachi.. His guru was Swami Shivananda who was a direct disciple of Ramakrishna Paramahamsa; he established Sri Ramakrishna Tapovanam in Tiruparaithurai, near Tiruchi He has authored more than 130 books in Tamil and English. Now under Sri Ramakrishna Tapovanam around 56 schools and colleges are running in TamilNadu. Swamiji delivered more than 70,000 talks on religious harmony, Hinduism. His commentary on Bhagavad Gita is his masterpiece.
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கம்போடியா
தென் கிழக்கு ஆசியாவிலுள்ள இந்த நாட்டின் பெயர் காம்போஜம். கம்பு என்ற இந்திய மகரிஷியின் பெயரிலிருந்து வந்த பெயர் இது. சுமார் ஆயிரம் ஆண்டுகளுக்கு இந்து மற்றும் புத்த மத மன்னர்களின் ஆட்சியில் இருந்தது ஆயிரம் ஆண்டுகளுக்கு முன்னர் கட்டப்பட்ட அங்கோர்வாட் ஆலயம் உலகப் புகழ் பெற்றது இது முதலில் விஷ்ணுவுக்கு அமைக்கப்பட்டது; அதை பெளத்தர்கள் ஆக்ரமித்து புத்தமத சின்னங்களை எழுப்பினர் . உலகின் மிகப்பெரிய கோவிலான அங்கோர் வாட் அந்த நாட்டின் தேசீயக் கொடியிலும் இடம்பெற்றுள்ளது.
Cambodia- Country’s name derives from the Sanskrit name कम्बोजदेश Kambojadeśa, referring to the descendants of Kambu (a legendary Indian sage from the ancient Indian kingdom of Kamboja). World famous The Khmer Empire was Southeast Asia’s largest empire during the 12th century. The empire’s centre of power was Angkor.
Angkor Wat is a Hindu-Buddhist complex in Cambodia. Located on a site measuring 162.6 hectares within the ancient Khmer capital city of Angkor, it was originally constructed in 1150 CE as a Hindu temple dedicated to the deity Vishnu. It was later gradually transformed into a Buddhist temple towards the end of the century. Hailed as the largest religious structure in the world, it is a symbol of Cambodia, depicted in Cambodian national flag.
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சம்பா தேசம்
வியட்நாமின் பழைய பெயர் சம்பா தேசம்; தென் கிழக்கு ஆசியாவில் மிகப்பழைய ஸம்ஸ்க்ருத்க் கல்வெட்டு இங்குதான் கிடைத்தது; அதில் ஸ்ரீ மாறன் என்ற பெயர் இருப்பதால் அது தமிழ்நாட்டு பாண்டிய மன்னன் திருமாறனின் பெயராக இருக்கலாம் ; காலம் இரண்டாம் நூற்றாண்டு ; அதாவது தமிழ்ச் சங்க காலம்.
Champa– It is the old name of Vietnam. Lo of Hindu temples and Sanskrit inscriptions are in Vietnam. Sri Maran’s second century inscription is an important one.
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சதுர்முகன்
பிரம்மாவின் பெயர்; தமிழில் நான்முகன்; நான்கு தலைகளை உடையவன் என்பது பொருள்
Chaturmukha
One of the names of Brahma, creator. Literally Four Faced. It means Brahma’s Four heads.
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சண்டிகேஸ்வரர் –
சண்டிகேசுவரர் சைவ சமயத்தின் பஞ்ச மூர்த்திகளில் ஒருவராகவும், சிவபெருமானுக்கு படைக்கப்படும் உணவு மற்றும் உடைகளின் அதிபதியாகவும் இருக்கிறார். இவருடைய சந்நிதி சிவாலயங்களில் சிவபெருமானின் கருவறை அமைந்திருக்கும் பகுதியின் இடப்பாகத்தில் அமைக்கப்படுகிறது. பஞ்ச மூர்த்தி உலாவின் பொழுது சிவாலயங்களிலிருந்து இவருடைய உற்வசர் சிலையும் ஊர்வலமாக எடுத்துவரப்படுகிறது. பஞ்ச மூர்த்தி உலாவில் இறுதியாக இவர் வலம் வருகிறார்.சிவாலயத்திலிருந்து எந்தவொரு பொருளையும் தாங்கள் வீட்டுக்கு எடுத்துச் செல்லவில்லை என்பதைத் தெரிவிக்கவே, இறுதியாக அவர் சந்நிதிக்கு வந்து இரு கைகளையும் தட்டிவிட்டு வணங்கும் வழக்கம் வந்ததாகக் கூறுவர்.
Sandesa Nayanar
Chandikeswra is one of the pancha murtis. His shrine is at the left side of lord Shiva’s main shrine. He is in charge of all the Siva’s treasures. And Shiva devotees believe that no one should take any one from a Shiva’s shrine because it will destroy the family; so, devotees before leaving Shiva’s shrine by showing their empty hands by clapping. Some people believe that the clapping is don to register their presence in the temple. This post is offered to any sincere , exemplary devotee.
Chandesa
Anugraha murti. In Saivite temples of tamil nadu one can see lord shiva decorating his devotee with a flower garland. Lord is decorating the devotee’s locks with it. Chadesa sits on the ground at the foot of siva, with bending knees and folded arms., and receives the divine favour with gratitude. Above the demi gods gather round to see the kindness of shiva shown towards his devotee-
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சண்டேச நாயனார்
பெரிய புராணத்தில் போற்றப்படும் 63 நாயன்மார்களில் ஒருவர். இயற் பெயர் விசார சர்மர்.; மணலினால் சிவலிங்கம் செய்து பசும்பாலை அபிஷேகம் செய்ததை தந்தை கண்டிக்கவே யார் என்று தெரியாமல் குச்சியை வீசவே அது அவரது தந்தை யக்ஞ தத்தனின் காலைத் துண்டித்தது இருவருக்கும் இறைவன் வீடு பேற்றினை நல்கினார் சிவன் கோவில்களில் சண்டேச நாயனாருக்கு சண்டிகேஸ்வரர் பதவியைத் தாரும் காட்சியை சித்திரமாகவும் சிற்பமாகவும் வைத்துள்ளார்கள்.
Chandeswara Nayanar-
Vichara sarman was one of the 63 Nayanmars who were ardent Shiva devotees. When he made a Shiva Linga with sand and did Milk Abisheka, some people complained to his father Yajna Datta. He came and kicked him and the milk pot thinking that he was wasting milk. Without seeing who it was Vichara sarman threw the stick at his father that cut him and he fell down. Lord Shiva appeared and praised his devotion and offered him the post of Chandikeswar.
***
சண்டி தாஸ்
இவர் பெரிய மகான்;14 ஆம் நூற்றாண்டில் வங்காளத்தில் வாழ்ந்தார்; ராதா, கிருஷ்ணன் மீது அவர் பாடிய பாடல்கள் மிகவும் பிரபலம் ஆயின. அவற்றை சைதன்யரும் பாடினார் ;அவர் மேல் அதிக செல்வாக்கு ஏற்படுத்தியவர் இந்த சாது மகான் தான். சிறு வயதில் படிப்பில் கவனம் செலுத்தாததால் தந்தையால் தண்டிக்கப்பட்டார் பின்னர் காளி தேவியின் அருள் பெற்று கவிதை பாடத் துவங்கினார் ராமி என்ற வண்ணாத்தியின் அழகில் மயங்கி முதல் கவிதையைப் புனைந்தார்; பின்னர் அதுவே ஆன்மீகக் காதலாக மலர்ந்து ராதாவின் மீதும் கண்ணன் மீதும் கவிதைகளை இயற்றினார் .ஆஸ்தானப் புலவர் வித்யாபதி இவரைக் காண நீண்ட தூரம் நடந்து வந்தார். ஜாதி இன வேறுபாடுகளை அகற்றி பக்தியைப் பரப்பினார்.
Chandidas
One of the greatest Vaishnava poets of Bengal was Chandidas. He lived sometime before Vaishnava reformer Chaitanya. Chandidas was the eldest son of a Brahmin who was the priest at the shrine of Basholi in the village called Nannur. He hated formal education and was punished by his father
Chandidas with a heavy heart went to the Basholi Devi’s temple near the Ajay river and sat there alone brooding. Just as he was pondering there was no point in living, the Goddess spoke to him and blessed him to become a great poet.
On his way back home Chandidas met Tara more popularly known as Ramitara or only just Rami., a washerman’s daughter. To him Rami was the source of inspiration and strength. To him Rami was the embodiment of Radha of Brindaban which inspired him to describe the divine love of Radha and Krishna through his poems. He was the inspiration for Chaitanya Mahaprabhu.
Even the court poet Vidyapati hearing of Chandidas, travelled all the way on foot to meet him.
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சொக்கன் ,சொக்கநாதன்
சுந்தரேஸ்வரன் என்பதன் தமிழ் மொழிபெயர்ப்பு; மதுரைக் கோவிலில் உறையும் சிவபெருமானை சொக்கா, சொக்கநாதா என்றும் அழைப்பார்கள் .
Chokkan
Shiva’s name in Tamil. Lord Shiva of Madurai Temple is called Sundareswar, the handsome one. And it is translated as Chokkan in Tamil.
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கவரி / சாமரம்/ சவுரி
ஆங்கிலத்தில் செளரி என்று உச்சகரிக்கப்டும் இதனுடைய சரியான பெயர் கவரி. ஆண்டவன் அல்லது மன்னர்களின் இரு புறமும் நின்று சேவகர்கள் கவரி வீசுவர் மேலும் இருவர் இரு புறத்திலும் நின்று விசிறி வீசுவார்கள் . கவரி மானின் முடியால் செய்யாப்பட்ட இது வெண்மை நிறத்தில் இருக்கும் . அஷ்ட மங்கலங்களில் ஒன்று.
Chowry- Correct word is Kavari. It is the fly whisk made up of the hair (tail) of a kind of deer. It is one of the Ashtamangalam, that is Eight Auspicious Symbols. It is a royal as well as a divine thing. On either side of God’s idol or in the olden days, either side of kings, servants were used this like a fan. Even now temples use this.
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சத்திரம்
யாத்திரை செல்லுவோருக்காக மன்னர்களும் தர்ம சிந்தனையாளரும் அமைத்த தங்கும் விடுதிகள் ஆகும். அண்மைக்காலம் வரை எல்லா புனிதத் தலங்களிலும் அல்லது வழிப்போக்கர்கள் செல்லும் முக்கிய சாலைகளிலும் இந்த விடுதிகள் இருந்தன. மதுரையில் உள்ள ராணி மங்கம்மாள் சத்திரம் புகழ் பெற்றது சில இடங்களில் தங்கும் வசதியுடன் உணவும் வழங்கப்பட்டது இப்பொழுது காசு வாங்கி தங்க வைக்கும் ஹோட்டல்கள், லாட்ஜுகள் போன்றவை இவை.
Choultry-
Travellers Inns, rest houses similar to modern lodges and hotels. But in the olden days, kings and philanthropists established these Chaththiram/Choultries for pilgrims along the way to famous holy shrines. Pilgrims were given free food and shelter. Mangammaal Chaththiram and Marwaadi Chaththiram are famous ones in Madurai.
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சின்மயானந்தர்
கேரளத்தில் எர்ணாகுளத்தில் பால கிருஷ்ண மேனன் என்ற பெயருடன் (May 8, 1916) பிறந்த சுவாமிஜி பத்திரிகையாளராகத் தன் வாழ்க்கையைத் துவங்கினார். பின்னர் சுதந்திர போராட்டத்தில் பங்குகொண்டார். அரசியல் மீது வெறுப்பு உண்டாகவே ரிஷிகேசுக்குச் சென்று சுவாமி சிவானத்தாரின் கீழ் ஆன்மீக பயிற்சியில் முன்னேறி சன்யாசம் பெற்று சின்மயானந்தர்
என்ற நாமகரணம் சூட்டப்பட்டார் . அத்வைத வேதாந்தத்தை பரப்புவதற்கு 576 ஞான வேள்விகளை நடத்தினார்; பகவத் கீதையை முக்கிய நூலாகக்கொண்டு பிரசாரம் செய்தார். இத்தற்காக சின்மயா மிஷனை 1953-ஆம் ஆண்டு நிறுவினார் உலகெங்கிலும் பயணம் செய்து கிளைகளை நிறுவினார் 1993-ஆம் ஆண்டு (August 3, 1993) மஹா சமாதி எய்தினார்.
Swami Chinmayananda Saraswati
Swami Chinmayananda Saraswati, born Balakrishna Menon on May 8, 1916, in Ernakulam, Kerala, was one of the most influential spiritual leaders of modern India. He dedicated his life to reviving and spreading the timeless wisdom of Advaita Vedanta, making it accessible to people from all walks of life.
Balakrishna Menon started his life as a journalist and actively participated in India’s independence movement but grew disillusioned with political ideologies. His quest for deeper truths led him to Rishikesh, where he met Swami Sivananda Saraswati and took sannyasa (renunciation), adopting the name Swami Chinmayananda Saraswati. He later studied Vedanta intensively under Swami Tapovan Maharaj in Uttarkashi, living an austere life dedicated to the scriptures. In 1953, Swami Chinmayananda founded the Chinmaya Mission conducted over 576 jnana yajnas across the globe and authored numerous books on Vedanta. Swamiji attained Maha Samadhi on August 3, 1993.
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சோழ மன்னர்கள்
சைவத்திற்குப் பெரும் தொண்டாற்றிவர்கள் சோழ மன்னர்கள் ;காவிரி நதியின் இருபுறங்களிலும் எண்ணற்ற கோவில்களைக்க கட்டியுள்ளார்கள். ராஜராஜ சோழன் எழுப்பிய தஞ்சைப் பெரியகோவில் இதில் மிகவும் சிறப்பானது; ஆனால் அதற்கு முன்பாகவே பல சோழ மன்னர்கள் கோவில்களைக் கட்டி இருக்கிறார்கள்.
Chozas/Colas
Dynasty that ruled Tamil Nadu for several centuries. The Choza dynaasy kings were ardent supporters of Saivism. Under them hundreds of temples were built on either side of the Kaveri River (Cauvery). The most famous temple called Big Temple or Brihadeeswar temple in Thanjavur was built by Raja Raja Choza.
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சரித்திரம்/ வரலாறு
வாழ்க்கைச் சரித்திரம் – பெரியோர் வாழ்க்கைக்குறிப்பு
Charithram – History
Life History- Biography
—Subham—-
Tags- HINDU DICTIONARY IN ENGLISH AND TAMIL 20, இந்துமத கலைச்சொல் அகராதி 20 ,சரித்திரம், Chandidas , Chinmayananda, Chidbhavananda,
Subramanya Bhujangam: A masterpiece of Devotion and Spirituality by Adi Shankaracharya
From Hindu Post, Date 21-11-2025
by
Arunesh Mahadevan
The Subramanya Bhujangam is a timeless Sanskrit hymn composed by Sri Adi Shankaracharya in praise of Lord Subramanya, the divine son of Shiva and Parvati. Legend has it that it was composed in the praise of Sri Subramanya Swamy of Tiruchendur. Tiruchendur is a small town in the Thoothukudi district of Tamil Nadu. It is an important pilgrimage centre for all devotees of Lord Skanda. According to a legend in Skanda Purana, it is at Tiruchendur that Lord Subramanya slayed the demon Surapadman. Sri Adi Shankaracharya has written many Stotra-s in praise of various deities. Predominant among them are the Mahishasura-Mardini Stotram, Saundarya Lahari, Lakshmi-Nrisimha Karavalamba Stotram, Vishnu Shat-padi, Ganesh Pancharatnam, Sivananda Lahari. They are all beautiful compositions filled with poetic outbursts of devotion and profound explorations of Advaita Vedanta. Subramanya Bhujangam too is a profound expression of devotion, combining poetic beauty with deep spiritual insight, making it a cherished text for devotees and spiritual seekers alike. Subramanya Bhujangam stands out among Adi Shankaracharya’s major devotional compositions due to its unique link to an actual temple deity, intensely personal outpouring, and deft articulation of the devotee’s heart and challenges. Unlike the other Stotra-s, which highlight philosophical depth and devotional beauty, Subramanya Bhujangam is marked by moving inspiration, relatable emotions, and a heartfelt cry for rescue and solace which connects the devotee directly with the living presence of the deity of Tiruchendur at once.
The Stotram is structured into three distinct thematic sections. The opening section offers praise to the Lord and highlights the importance of invoking Sri Subramanya and seeking refuge in Him. The middle section intricately describes the divine form and attributes of Sri Subramanya. The concluding section consists of heartfelt prayers, earnestly seeking the Lord’s grace and ultimate liberation.
The Call to Refuge
At its core, Subramanya Bhujangam is a heartfelt prayer invoking the blessings and grace of Lord Subramanya, who embodies divine protection, wisdom, and grace. The hymn’s verses reverberate with intense Bhakti, portraying the Lord as a compassionate divine guide who dispels fears and grants spiritual victory. Each shloka resonates with reverence, inspiring the devotee to surrender and seek refuge in the Lord. In today’s chaotic world where our minds are filled with confusions, anxiety, and stress, Subramanya Bhujangam in many of its verses is a direct call to the Lord to come and dispel such negative emotions from our mind. Lord Subramanya is not only the Commander-in-Chief of the army of the Deva-s, but He is also the commander of the inner armies of our mind and intellect ever at war with negative emotions and baser thoughts. Lord Subramanya is a protective deity who not only protects the cosmos from evil entities but also our inner world from negative and degrading influences. Sri Adi Shankaracharya in his Vishnu Sahasranama commentary observes, Austerity, Veda-s, Brahmins, and Knowledge are called Brahman. The Lord is Subramanya because he is very well skilled in protecting these. The essence of Subramanya is a grace that protects the fundamentals of Vedic religion.
The first stanza of the Stotram is a prayer to Lord Ganapati that beautifully captures his divine nature. It describes how, despite always appearing in the form of a child, He has the power to remove even the largest of obstacles. Revered by the five-faced Shiva himself, Ganesha is respected despite his elephant head. He embodies auspiciousness and is worshipped by Brahma, Indra, and other devas who seek his blessings to fulfil their desires. Known as Ganesha, he is worshipped for Sri (wealth), which signifies not just material prosperity but more importantly the wealth of auspicious qualities and the spiritual readiness necessary to approach Lord Skanda. The verse subtly conveys that outward appearances do not decide one’s true capability or worth. It is our inner wisdom and skill that enables us to overcome formidable obstacles and earn genuine respect, regardless of how we may appear externally. This teaching encourages looking beyond surface impressions, recognising that true strength arises from being in harmony with our true nature.
In the second stanza, the Acharya humbly expresses his complete surrender to Lord Subramanya. Though renowned as a master of the scriptures, Adi Shankara confesses that he has no command over words, nor their meanings, and is not skilled in either prose or poetry. Instead, he credits a radiant, six-faced light of consciousness within his heart for the miraculous and beautiful words that arise. The Acharya’s humility shows a deep Advaitic realisation. He perceives Lord Subramanya not as separate, but as the very Self within him. This divine presence manifests through the Acharya’s words, making him an instrument of the Lord’s will, rather than an independent author of these verses. This echoes Krishna’s instruction to Arjuna — “nimitta matra bhava savyasachin” urging him to become a mere instrument in the hands of the divine. Thus, the Acharya’s utterances are the Lord’s own revelation.
Shankara emphatically acknowledges his worship of the divine Lord who rides the peacock, identifying him as the profound secret embodied within the Vedic Mahavakyas. These Mahavakyas are concise declarations sourced from the four Vedas. They encapsulate the essence of Vedic wisdom in just a few words. The Rig Veda’s Mahavakya, “Prajnanam Brahman,” asserts the identity of Brahman and Consciousness. The Yajur Veda proclaims “Aham Brahmasmi,” meaning “I am Brahman,” a concept now widely recognised yet rarely understood in its depth. The Atharva Veda’s statement, “Ayam Atma Brahma,” teaches that this very Self is Brahman. “Tat Twam Asi” from the Chandogya Upanishad means “That Thou Art,” and is also known as the Upadesha Mahavakya. Each of these Mahavakyas either declares the nature of reality or describes the seeker’s ultimate realisation of his unity with Brahman. Sankara continues his description of the Lord as having a form that enchants and expresses itself fully in the minds of the wise Mahatma-s. He is the Lord and controller of even those who have lordship here on earth. He is the lord of the Brahmins who revere the Veda-s. He is the very essence of the Veda-s. He is the son of Mahadeva, and the protector of all worlds.
The Acharya, inspired by the captivating beauty of the Tiruchendur temple by the seashore, offers a profound spiritual interpretation for Sri Subramanya’s choice of residence. He suggests that the Lord, in His boundless compassion has made Tiruchendur His home so that devotees, upon approaching Him, may quickly and effortlessly cross the ocean of samsara through His purifying grace. The presence of the sea serves as a constant, evocative symbol of the endless cycle of worldly existence, reminding seekers that the Lord’s help is essential to transcend it. Carrying forward the same tone of inspiration, the Acharya reveals the Lord’s promise that just as ocean waves find rest upon the shore, so too will the hardships of those who serve Him here. But what of those unable to be physically present at Tiruchendur to offer their services continuously? The Acharya responds that he contemplates Lord Guha dwelling in the lotus of his heart. Lord Subramanya is also known as Guha because He inhabits caves atop hills. This title also symbolises the cave within our own heart, a place darkened by ignorance. Yet, Lord Subramanya is the radiant Light of consciousness which enlightens our minds and sparks our intellect. The same consciousness which is invoked in the Gayatri Mantra “Dhiyo yo naḥ prachodayāt”, meaning “May that divine Light inspire our intellect.”
The Tiruchendur temple stands atop the gentle Sugandha hill. The Acharya extols the boundless compassion of Lord Shanmukha, who has graciously declared that anyone who ascends this hill will gain the same spiritual merit as one who climbs Mount Kailash, the king of all sacred mountains. This assurance highlights the Lord’s inclusiveness and mercy toward all seekers. The Acharya proclaims his surrender at the feet of Lord Guha, who lives within a cave atop the Sugandha hill. With deep reverence, he describes the Lord as the shore of this vast ocean of samsara. Lord Guha is celebrated as the merciful thief who steals away the sins of his devoted followers. He is ever supportive of sages, and radiant in his own self-effulgence. He has a luminous presence that again points to his indwelling as the Atman within the seeker itself.
Unveiling the Cosmic Form
The Acharya masterfully uses a rich palette of poetic devices to paint a vivid and enchanting picture of the Lord in the minds of the devotees. These evocative images serve as powerful tools for meditation, evoking deep reverence and awe, and encouraging us to approach the Lord with humility and love. Through this inspired imagery, the Acharya fosters a heartfelt connection between the devotee and the divine.
Lord’s Bed
The chamber is radiant, bathed in the golden glow of its surroundings. The divine bed is adorned with gleaming gems and fragrant flowers, creating an atmosphere of beauty and sanctity. Upon this majestic seat rests Kartikeya, Lord even of the Devas, his brilliance comparable to thousand rising suns. He remains ever devoted to granting the heartfelt wishes of his devotees. The presence of rubies is symbolic of worldly enjoyments (Bhoga), while the flowers stand for the peace of liberation (Moksha), highlighting the Lord’s power to bestow both.
Lord’s feet
The Acharya shifts the focus to the Lord’s captivating feet, which are adorned with anklets and glow with a vibrant crimson hue. Their beauty is compared to a nectar-filled red blossom, enticing and deeply soothing. With heartfelt sincerity, the Acharya speaks for the devotee, acknowledging that his mind is wearied by the challenges of worldly life. In its distress, the mind yearns for comfort and finds peace by resting at the lotus feet of the Lord, just as a bee finds shelter and nourishment in a flower rich with nectar.
Lord’s waist
Wrapped in a celestial garment gleaming with golden radiance, the Lord’s waist is adorned by a belt decorated with tiny bells. A beautiful, gold-coloured anagavastram softly encircles His waist. The Acharya contemplates upon this luminous and divine waist in his meditation, appreciating its brilliance and grace.
Lord’s Chest
Sri Valli, consort of Sri Subramanya, embodies his sovereignty over all creation. Valli and Devasena signify Bhagwan’s Para and Apara Prakriti, his dual expression of divinity. Valli, as Apara Prakriti, represents the Lord’s manifestation through Maya as the world of names and forms. Devasena, as Para Prakriti, stands for the Lord’s presence as the Self and the very life-force within all beings. The Acharya skilfully plays with the word “ragam” to reference both colour and love (anuragam). He describes how the Lord’s chest acquired a saffron tint. When Sri Subramanya lovingly embraced Valli, the daughter of the hunter tribe, the saffron from her breasts imprinted upon his chest giving it its saffron hue. In this verse, the Acharya tenderly requests the Lord to show the same deep love that he has for his beloved Valli, towards his devotees.
Lord’s Arms
These mighty arms once disciplined Brahma himself and now effortlessly hold the universe through divine play. Once, Lord Skanda admonished Brahma for his ignorance of the true meaning of the Pranava, Om. Seizing the role of creator, Skanda effortlessly carried out the task of creation. Eventually, at Siva’s request, he restored Brahma to his rightful glory and position. The Acharya further extols the Lord’s arms, declaring that they deliver ultimate defeat to all who oppose Him and have repeatedly destroyed the foes of Indra, proving their invincible power and protective grace. The Acharya proclaims his refuge in these broad, skilful arms, renowned for their unwavering protection of the world.
Lord’s Face
In a flourish of poetic brilliance, the Acharya declares that the Lord’s facial radiance surpasses all comparisons. Even if flawless full moons in their full autumnal glory were to rise simultaneously in every direction, their collective brilliance would be only mildly comparable to the serene glow of the Lord’s face. A face that is calm and bestows soothing grace much like the moon, shielding devotees from the scorching afflictions of worldly life. The Acharya specifically employs the word “Mriganka” for the moon, referring to its characteristic spot shaped like a deer. In stark contrast, Skanda’s face is utterly spotless and clear. The Lord’s beauty stands alone and unmatched.
Lord’s Facial features
Acharya, completely immersed in the beauty of the Lord, compares Shanmukha’s six faces to a group of six swans in a lake and the movement of his eyeballs to a moving group of bees. The fully matured bimba fruit (ivy guard) is a common metaphor employed for describing red lips in Sanskrit Devotional texts. Acharya compares the redness of the Lord’s lips to the bimba fruit overflowing with nectar.
Lord’s Eyes
The Lord is depicted with twelve expansive eyes that reach all the way to His ears, each one overflowing with boundless compassion for His devotees. The Lord’s twelve wide-open eyes bless the entire world continuously. These broad eyes also symbolise His presence as the साक्षी (Sakshi) within us, constantly seeing all that occurs inside and outside without a blink. After describing these ever-compassionate eyes, the Acharya, with childlike innocence, asks the Lord – What would You lose by casting even a single, gentle sideways glance of those merciful eyes upon me?
Lord’s Six Heads
In a tender and poetic portrayal of the Lord’s head, the Acharya vividly captures an intimate moment between Shiva and Sri Subramanya. He describes how Shiva, upon meeting his son, embraced him and lovingly smelled each of his six heads one after the other, each time exclaiming, “O son, You are born of me! May you have a long and blessed life!” The Acharya expresses his reverence to this divine head, blessed personally by Shiva himself. Inspired by this vision, the Acharya further depicts the Lord’s head as not only crowned with a radiant, majestic crown but also bearing the immense weight of the entire universe.
Lord’s Ornaments
The Acharya concludes his vivid portrayal of Sri Subramanya with a heartfelt prayer, yearning for the Lord to manifest before him adorned with radiant ornaments studded with precious gems in his hands and arms. He earnestly requests the Lord to appear in his divine form, graced by beautiful necklaces and earrings that shimmer, casting a radiant glow upon his cheeks. The Acharya further pleads that the Lord appear in yellow garments, holding his sacred weapon, the powerful Shakti (Vel), in his hands.
Somaskanda
All prominent Siva temples in the south have a separate Somaskanda shrine within their premises. Somaskanda is formed from the Sandhi of the words Sa+Uma+Skanda which means along with Uma and Skanda. Siva in this form is shown to be seated along with Goddess Uma with little Skanda seated on His mother’s lap. Goddess Uma is a personification of the knowledge of the Shruti i.e., the Vedas. The very word Uma is a play on the word Om. She is Skanda-Mata, Skanda being the knowledge born of the Shruti that leads us directly to Siva. There is another interesting symbology in the Somaskanda form. In Advaita Vedanta, Nirguna Brahman i.e., God without attributes is the highest truth. Such a God is without form and beyond duality. It is Satchidananda, Absolute Existence, Consciousness and Bliss. It cannot even be called a Creator God as there can be no creation from such a God. The existence of the experiential world as we know it is explained by the presence of a creative energy within this Nirguna Brahman known as Maya. When we view the same Nirguna Brahman through the lens of Maya, we get Saguna Brahman or God with attributes. This God is the creator, the giver of grace and liberation, controller of infinite universes or Ishvara as we generally know. This creative God is also called Bhagavan as he possesses a group of six qualities called Bhaga in totality. Coming back to the Somaskanda depiction. Siva is Nirguna Brahman, Uma is Maya and the six faced Skanda is Bhagavan, his six faces standing for the six Bhagas. Thus, Skanda is Saguna Brahman, the version of God which is approachable via worship and sadhana.
The Acharya paints a tender family portrait utilising the Somaskanda iconography, envisioning a moment where Siva lovingly calls out to Skanda. In response, young Skanda leaps off his mother’s lap and joyfully rushes into Siva’s welcoming embrace.
Prayers for Liberation and Grace
Names
Acharya begins this section with a heartfelt prayer for protection, invoking eleven sacred names of Subramanya. Each name carries deep devotional and spiritual meaning. “Kumara,” the eternally youthful God, signifies his transcendence over time. “Skanda,” explained as “Skandayati iti Skanda,” refers to the act of trickling down as he was born when Shiva’s energy descended first into Agni, then into Ganga. In his Vishnu Sahasranama commentary, Acharya describes Skanda as one who, like Amrita, flows as the embodiment of knowledge and bliss, transcending death. Skanda is also seen as the wind that dries up all things. This symbolises the Lord’s dual role as both destroyer of the transient and giver of immortality, much like his gift to Arunagirinathar bestowing knowledge on him like that grants liberation. Acharya further interprets the word Skanda in the very next name in Vishnu Sahasranama, “Skandadhara” as the path of Dharma, illustrating that Skanda is simultaneously the path, the means, and the goal itself. “Shaktipani,” the bearer of the divine weapon Shakti (Vel), proves his supreme authority over the universe. This Shakti, gifted by his mother Parashakti, stands for the three divine powers essential for creation: Icha Shakti (desire), Jnana Shakti (knowledge), and Kriya Shakti (action). These powers mirror the process by which even mortals create, through desire, knowledge, and skilful execution.
The Lord is “Mayuradhirudha,” majestically riding a peacock, symbolizing royalty, pride, beauty, and strength. This is the reason Kartikeya is venerated among royal lineages for valour and prosperity. As the beloved of the hunter’s daughter, the Lord’s two consorts, Devasena (daughter of Indra) and Valli (daughter of a hunter chief), represent both the divine heavens and the earthly realm, underlining his total dominion over creation. Finally, as “Bhaktartihari,” he is the compassionate remover of devotee’s suffering and the enemy of evil forces such as Tarakasura lurking both inside and outside his devotees.
Death
In the next three verses, the Acharya pours forth a heartfelt plea to the Lord, urging Him to grant darshan without delay. He describes his helplessness at the time of death. He vividly describes the conditions now of death, the senses failing, surroundings fading into oblivion, limbs made immobile, coughs and vomit escaping from the mouth, the body trembling in fear of the inevitable end. Acharya earnestly requests the Lord to appear on His majestic peacock, and say, “Do not fear.” When the fierce Yama-Dootas arrive, shouting commands to “burn, tear, and kill.” Acharya prays that may this reassurance from the Lord grant him the strength to face death. Knowing that at the horizon of death, he may lack the strength to offer prayers, the Acharya humbly prostrates multiple times now to receive the Lord’s grace and blessings in advance.
Mental Anguish
Acharya earnestly implores the mighty Lord, who vanquished formidable Asuras like Soora, Taraka, and Simhavaktra, each one of them rulers of a thousand universes, to now conquer the tormenting mental anguish that burdens his heart. He questions the Lord, if You do not destroy this inner turmoil, then what hope remains for me? Where else can I seek refuge? Acharya continues that these mental worries create obstruction in the practice of bhakti. There is no other from whom I can ask as you are Deenabandhu, the friend of the downtrodden. I request the son of Uma to destroy this unbearable dukkha.
Lord’s Vibhuti
Acharya presents the glory of the Lord’s Vibhuti prasadam, the holy ash. Vibhuti itself means glory. The Vibhuti prasadam of the Lord is the manifest glory of the Lord as a host of diseases run away from the devotee as soon as they see the Lord’s Vibhuti given as a prasadam on a leaf.
Life a Devotion
Acharya prays humbly to Subramanya that his entire life may become an expression of his devotion. Acharya requests “May I see only Skanda’s form, may I hear only Skanda’s glories. May I speak only the purifying Leela of the Lord with my mouth. May my hands ever engage in the worship of the Lord. May I engage in services to the lord with my entire body. May all my thoughts and activities be devoted to Guha”.
Greatness of Skanda
Skanda is a very approachable deity in this Kaliyuga. He is intent on delivering Grace even on devotees who are not so steadfast and intent. Acharya exclaims that all Devas are ever intent on granting desired boons to Bhaktas and Munis. But for the devotees who do not have sufficient Nishtha and are unable to learn or practice the Shastras due to worldly involvement, I know no other Deva other than Guha.
A family of devotees
Acharya pleading on behalf of a Grihastha Devotee pleads – “May my wife, children, relatives, animals, all the men and women in my family, worship, prostrate, praise, remember thee alone.”
Lord’s shakti
The Lord’s weapon called Shakti in Sanskrit and Vel in Tamil is a potent symbol of the Lord. In fact sometimes just the Vel is worshipped as Skanda itself. In a final plea of protection Acharya asks the Lord to pierce everything that troubles his body and mind by His divine Vel.
Forgiveness
Acharya dedicates a stanza to asking forgiveness for any verbal transgressions that he might have committed in praising the Lord. This Shloka itself is a representation of the poetic genius of Sri Shankaracharya. Acharya asks the Lord do not parents overlook the faults of their children? You are the father of the World; I am just a child. Hence forgive all my mistakes.
Praise
Acharya must have been so moved with tears in his eyes and inspired by the devotion overflowing his heart that he just cannot stop proclaiming victory and bowing down to everything connected with the Lord. He proclaims-
नमः केकिने शक्तये चापि तुभ्यं
नमश्छाग तुभ्यं नमः कुक्कुटाय ।
नमः सिन्धवे सिन्धुदेशाय तुभ्यं
पुनः स्कन्दमूर्ते नमस्ते नमोऽस्तु ॥
(Namskarams to the Peacock. Namskarams to the Shakti/Vel. Namskarams to the Sheep. Namskarams to the Rooster. Namskaram to the Ocean. Namskarams to the land of Tiruchendur. Again, and again Namskarams to Skanda.)
जयानन्दभूमञ्जयापारधामन्
जयामोघकीर्ते जयानन्दमूर्ते ।
जयानन्दसिन्धो जयाशेषबन्धो
जय त्वं सदा मुक्तिदानेशसूनो ॥
(Victory to the one who is infinite Ananda. Victory to the one who is the Supreme destination. Victory to the one undying fame. Victory to the very form of Ananda. Victory to the one who is the ocean of Ananda. Victory to the friend of all creatures. Victory to the bestower of liberation, the Son of Iswara.)
Conclusion
Subramanya Bhujangam is a treasure trove of devotion and spiritual wisdom wrapped in poetic covers. Its chanting and contemplation open gateways to divine blessings, inner strength, and lasting peace. It is a manual on how one should contemplate upon Ishwara. For those seeking a divine connection Subramanya Bhujangam offers a beautiful, sacred path illuminated by the light of Lord Subramanya. May we all chant and contemplate upon this divine Stotram and gain the vision of the radiant Six faced Chaitanya within our hearts.
Feature Image Credit: istockphoto.com
Disclaimer: The opinions expressed in this article belong to the author. Indic Today is neither responsible nor liable for the accuracy, completeness, suitability, or validity of any information in the article.
Arunesh Mahadevan
Arunesh Mahadevan is an engineer by education. Presently working in a PSU as Senior Manager. He is deeply passionate about Sanatana Dharma and Vedanta. He is an avid reader and hopes to inspire the world with the profound wisdom of our Shastras and Acharyas through his writings.
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
WHAT IS COSMOLOGY?
It is a branch of astronomy that deals with the structure and evolution of the universe as an ordered whole.
WHAT IS BIG BANG?
The hypothetical explosive event that marked the origin of the universe as we know it. It took place about 10-20 billion years ago. The big bang explosion threw the compact material outwards, producing the expanding universe. The cause of the big bang is unknown.
All of us know that it happened in the sky with a big noise. Then there was gusty wind and fire everywhere. Then came the water. From water, life evolved.
The above sequence is right if we take our earth as the model.
Since Hindus are the only people who consider TIME is cyclical not linear, our poets sing about Big Shrink as well.
Appar (600 CE) in a decad/Pathikam on Shiva at Pullirukku Velur, also known as Vaitheeswaran Koil near Mayuram says,
His form in fulgurant; He is ONE in the ether,
TWO fold in wind that blows a main , THREE fold
in the form of ruddy fire , FOUR fold in the water that flows
downward and FIVE fold in the expanse of earth;
he is of the eternal form……………………….
Hindus gave certain qualities or virtues to the
Panchabhtas /five elements.
They are called Tanmaatraas . the five tanmatras are sound, touch, form, taste and smell. In Sanskrit
Sabda- ether
Sparsa- air
Rupa- fire
Rasa – water
Gantham – earth.
1.Ether is pervaded by sound.
1,2.Air by sound and touch.
123.Fire by sound, touch and form.
1234.Water by sound, touch, form and taste.
12345.Earth by the above four and smell.
We see it in Dasavatara as theory of evolution: Fish, amphibians, land animals, half man and half animal, full man with a weapon, Exemplary man (Rama), man with tricks (Krishna).
Earth was Firey ball with gusty winds in the beginning and then rain and water came. When water receded, we saw earth and land animals evolved on it and at the peak of Land animals stood Man.
Purananuru verse 2 and 51 mentioned it. Puram poet Mudi Nagarayar praised the king with all the qualities of Five Elements.
Nammaalvaar also sang about this.
****
What is the science in it?
First there was a sky with sound;
Then came wind and fire;
That created rain and water;
From water came Life forms.
Hindus told it to the layman in a story format:
Lord Vishnu was lying in the vast water in half sleep/sleeping but conscious.
Then came Brahma/creator;
From him came all the living beings.
The water that Vishnu was lying is the Potential energy/Shiva
All the activities mentioned above was the Kinetic energy/Goddess Shakti.
Hindus beautifully named Goddess as Power, in Sanskrit ,Shakti, used in all the Indian languages.
***
Great Saivite poet and saint Manikkavasagar who lived before Appar said,
Tiruvasagam
பாரிடை ஐந்தாய்ப் பரந்தாய் போற்றி Earth with Five qualities
நீரிடை நான்காய் நிகழ்ந்தாய் போற்றி Water with Four qualities
தீயிடை மூன்றாய்த் திகழ்ந்தாய் போற்றி Fire with Three qualities
வளியிடை இரண்டாய் மகிழ்ந்தாய் போற்றிAir/Wind with Two qualities
வெளியிடை ஒன்றாய் விளைந்தாய் போற்றி Space with one Quality
He used the Five Elements in the reverse order. Manikka vasagar used the same numbers to praise Lord Shiva
***
Appar (600 CE) Tevaram in Tamil:
Tevaram
மின்னுருவை விண்ணகத்தில் 1 ஒன்றாய் மிக்கு
வீசுங்கால் தன்னகத்தில் 2 இரண்டாய்ச் செந்தீத்
தன்னுருவின் 3 மூன்றாய்த்தாழ் புனலின் 4 நான்காய்த்
தரணிதலத் 5 தஞ்சாகி யெஞ்சாத் தஞ்ச
Numbers 1, 2, 3, 4, 5 above.
மன்னுருவை வான்பவளக் கொழுந்தை முத்தை
வளரொளியை வயிரத்தை மாசொன் றில்லாப்
Coral, Peral, Diamond, 24 carat Gold (gems and gold)
பொன்னுருவைப் புள்ளிருக்கு வேளூ ரானைப்
போற்றாதே ஆற்றநாள் போக்கி னேனே
***.
2000 year old Purananuru Poem
மண் திணிந்த Earth நிலனும்,
நிலம் ஏந்திய Sound /Sky விசும்பும்,
விசும்பு தைவரு Wind, வளியும்
வளித் தலைஇய Fire தீயும்,
தீ முரணிய நீரும், , Water, என்றாங்கு
ஐம்பெரும் பூதத்து இயற்கை போலப்
Here the poet Muranjiyur Mudi Naagaraayar changed the order just to fit the verse in Anthaathi genre.
Anthaathi means last word of each line must be the first word of next line. The five qualities are attributed to the King, who Hindus worshipped or venerated as god.
***
Three Interpretations
Divya Prapandham
Nammaalvaar, a Vaishnavite saint, who lived later, used the five elements in the same order and attributed them to Lord Vishnu:
1 ஏக மூர்த்தி 2 இரு மூர்த்தி 3 மூன்று மூர்த்தி 4 பல மூர்த்தி- ஆகி, 5 ஐந்து பூதம் ஆய் இரண்டு சுடர் ஆய் அருவு ஆகி, நாகம் ஏறி நடுக் கடலுள் துயின்ற நாராயணனே உன்- ஆகம் முற்றும் அகத்து அடக்கி ஆவி அல்லல் மாய்த்ததே.
English translation of verse 4.3.3:
You assumed a single form, then two, three and many, The form you took of the senses five, the Sun and the Moon; Formless, you did everywhere, as Internal Controller, pervade, Repose you did, Oh, Nārāyaṇa, in mid-ocean on serpent-bed And now your body and all it needs you have compressed Right in my mind and thus feel fully relaxed.
Notes; Another interpretation:
(ii) Single Form: This refers to the state of affairs prior to creation, when the Lord alone subsisted, containing within Himself, in a subtle state, all sentient and non-sentient beings; there was no scope then for differentiation, by name and form.
(iii) Two forms: Keen on creating the Sportive Universe, the Lord assumes the twin forms of ‘Prakriti’ and ‘Mahān’
(iv) Three Forms: The triple ‘ahaṅkāras’ of Sattva, Rājas and Tāmas;
(v) Many Forms: The wonderful variety (i.e.) variegated forms of creation arising through inequalities among the three ‘Guṇas’, referred to in (4) above, the five sense-organs, the five elements etc.
***
Another interpretation
3147. O Narayaṇa! 1 You are the only god. 1,2 You are the two gods—the sun and the moon. 1,2,3You are the three gods—Shiva, Vishnu and Brahma (all)and you are all the gods.
5 You are the five elements—water, fire, wind, earth and sky. You are formless. You climbed on the heads of Kalingan and danced. You sleep on the middle of the ocean. I kept you in my heart and all my troubles went away.
My Comments
The above two re wrong interpretations because Appar and Manikkavasagar who lived before Nammalvar have given us the correct interpretation.
Moreover, we can clearly see the influence of Maanikka vaasagar in Nammaalvaar poems. He clearly used MAANIKKA and VAASAGA in innumerable stanzas.
–subham—
Tags- Big Bang, Five elements, Five qualities, Appar, Nammalvar, Manikkavasagar, Tevaram, Tiruvasagam, Divya Prapandham , Purananuru
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Nammaalvaar is one of the twelve Tamil Vaishnavite saints known as Aalvaars (Azlvar). He is at the top of the 12 saints because of his contribution to Tamil devotional poetry called Nalayira (naalaayira) Divya Prabandham (4000 poems on Vishnu). His erudition in Tamil language attracted even poets like Bharatiyar, who is the greatest poet in modern Tamil. We can ee Nammalvar’s poems echoing in his songs. Both of them assure us that they will bring Krita Yuga, the Golden Age and drive away the Kali Age, the iron age.
In this article I want to show that Nammalvar is the one who inspired great Chaitanya and others to dance and reach God. Tamil devotees used to sing and dance very soberly. If one goes to Sampradaya Bhajans in Tamil Nadu, one can see men and women dance to the tune of Bhajan singer or the Bhagavata. But they go in round and round and clap rhythmically. If women dance, they hold lamps or sticks in their hands and dance, known as Deepa Pradakshina or Kolaattam. They also do Kummi dance by clapping the hands while moving in a circle
(Kummi- dancing by girls with rhythmic clapping while moving in a circle.
Kolaattam doing the same as above, but with sticks).
But Nammalvar describes a different type of dance which one can see in ISKCON dancers. They jump up and down, and some even fly skyward. I thought Chaitanya Mahaprabhu was the one who inspired such a type of dance. I found myself wrong when I went through the devotional poems of Nammalvar. They are called Paasuram in Tamil .
Chaitanya Mahaprabhu lived just 500 years before our time. But Nammalvar lived about 1200 years before our time.
If one reads the poems given below and note the highlighted words one will understand what he wants us to do.
Nowadays we see great Bhajans done by Chinmaya Mission, Sathya Sai Organisations, Swami Sivananda’s DLS, Ayyappa Bhaktas etc. But Hare Krishna dancers are the only one who come closer to what Nammalvar advised us to do.
Sri Ramakrishna Paramahamsa also told us when one is nearer to God people will think that the person has gone mad. He narrated several anecdotes from Chatanya’s life to illustrate this point. It is true he danced like a mad man and spread the Vishnu worship in Bengal , Bihar and Assam. Abhang singers in Maharashtra walk miles and miles. But Nammalvar says you must jump up and down. Your head should hit the ground. When the people see your antics, people would laugh at you. They will say that you have gone mad. If they act do that, know that you are nearer to God and you are on the right track. Just read the poems below. These are only samples. He elaborates on the same topic further down in his long poem.
3057 மொய்ம் மாம் பூம் பொழில் பொய்கை முதலைச் சிறைப்பட்டு நின்ற கைம்மாவுக்கு அருள் செய்த கார் முகில் போல் வண்ணன் கண்ணன் எம்மானைச் சொல்லிப் பாடி எழுந்தும் பறந்தும் துள்ளாதார் தம்மாம் கருமம் என்? சொல்லீர் தண் கடல் வட்டத்து உள்ளீரே (1)
3057. The dark cloud-colored Kaṇṇan gave his grace to the elephant Gajendra when it was caught by a crocodile in a pond by a grove blooming with flowers that swarmed with bees. What is the use of those who do not get up, dance, jump, praise and sing the greatness of our lord? O devotees, who live in the world surrounded by the cool ocean, tell me.
3058 தண் கடல் வட்டத்து உள்ளாரைத் தமக்கு இரையாத் தடிந்து உண்ணும் திண் கழல் கால் அசுரர்க்குத் தீங்கு இழைக்கும் திருமாலைப் பண்கள் தலைக்கொள்ளப் பாடி பறந்தும் குனித்தும் உழலாதார் மண் கொள் உலகில் பிறப்பார் வல்வினை மோத மலைந்தே (2)
3058. Thirumaal destroyed the strong Asurans, ornamented with heroic anklets on their feet who killed the people of the world surrounded by oceans and ate them. If you do not bathe, sing, dance, and praise Thirumaal, you will be born on the earth again and suffer because you have collected bad karma.
3059 மலையை எடுத்து கல் மாரி காத்து பசுநிரை தன்னைத் தொலைவு தவிர்த்த பிரானைச் சொல்லிச் சொல்லி நின்று எப்போதும் தலையினோடு ஆதனம் தட்டத் தடுகுட்டமாய்ப் பறவாதார் அலை கொள் நரகத்து அழுந்திக் கிடந்து உழைக்கின்ற வம்பரே (3)
3059. He carried Govardhana mountain and protected the cows from their affliction. Those who do not jump and dance, rolling on the ground, and praise always the dear lord will go to hell and suffer.
3060 வம்பு அவிழ் கோதைபொருட்டா மால் விடை ஏழும் அடர்த்த செம்பவளத் திரள் வாயன் சிரீதரன் தொல் புகழ் பாடி கும்பிடு நட்டம் இட்டு ஆடி கோகு உகட்டுண்டு உழலாதார் தம் பிறப்பால் பயன் என்னே சாது சனங்களிடையே? (4)
3060. The god Sridharan has a beautiful pearl-like mouth. He killed seven strong bulls to marry Nappinnai whose hair was adorned with fragrant flowers. What is the use of those who are born as sages if they do not sing, dance, kneel, bow their heads and wander and do not praise the lord?
THEY FALL ON lONDON ROADS TO SALUTE LORD KRISHNA.
3061 சாது சனத்தை நலியும் கஞ்சனைச் சாதிப்பதற்கு ஆதி அம் சோதி உருவை அங்கு வைத்து இங்குப் பிறந்த வேத முதல்வனைப் பாடி வீதிகள் தோறும் துள்ளாதார் ஓதி உணர்ந்தவர் முன்னா என் சவிப்பார் மனிசரே? (5)
3061. The ancient beautiful shining god left his divine form in heaven and was born on the earth to defeat Kamsan who troubled the sages. What can those who do not sing, praise, dance and worship him do before sages who worship him, knowing all the sastras?
3062 மனிசரும் மற்றும் முற்றும் ஆய் மாயப் பிறவி பிறந்த தனியன் பிறப்பிலி தன்னை தடங் கடல் சேர்ந்த பிரானை கனியை கரும்பின் இன் சாற்றை கட்டியை தேனை அமுதை முனிவு இன்றி ஏத்திக் குனிப்பார் முழுது உணர் நீர்மையினாரே (6)
3062. People have been born in various forms— human, animal and others. The matchless god does not have birth and he was born on this earth to save his devotees. He sleeps on the wide ocean. He is sweet as a fruit, sugarcane juice, jaggery, honey and nectar. If devotees praise him with songs and dance without ever growing tired they will receive the wisdom of understanding all things.
3063 நீர்மை இல் நூற்றுவர் வீய ஐவர்க்கு அருள்செய்து நின்று பார் மல்கு சேனை அவித்த பரஞ்சுடரை நினைந்து ஆடி நீர் மல்கு கண்ணினர் ஆகி நெஞ்சம் குழைந்து நையாதே ஊன் மல்கி மோடு பருப்பார் உத்தமர்கட்கு என் செய்வாரே? (7)
3063, He gave his grace to the five Pandavas and destroyed the hundred evil Kauravas. What is the use of people who merely eat well and get fat without thinking of the god? What could they do to the good devotees who are filled with tears, melting in their hearts with devotion for the god?
3064 வார் புனல் அம் தண் அருவி வட திருவேங்கடத்து எந்தை பேர் பல சொல்லிப் பிதற்றி பித்தர் என்றே பிறர் கூற ஊர் பல புக்கும் புகாதும் உலோகர் சிரிக்க நின்று ஆடி ஆர்வம் பெருகிக் குனிப்பார் அமரர் தொழப்படுவாரே (8)
3064. Our father stays in northern Thiruvenkaṭam hills where flourishing cool waterfalls descend with abundant water. Devotees who repeat his many names and wander everywhere and dance while the people of the world mock them and laugh at them saying that they are crazy will be worshiped by the gods in the sky.
The last stanza here shows that they will laught at you and dub you a crazy fellow.
We have seen such criticism about Sri Ramakrishna Paramahamsa and Sri Seshadri Swamikal of Tiruvannamalai.
Let us all become mad, I mean crazy about God.
Atheists are suffering from God phobia; let us suffer from God mania!
(above translation is by Kausalya Hart. I differ from it in only in a few places. Nammalvar used the word flying (paranthum) in Tamil.
–subham—
Tags- God mad, Dance, reach god, laugh at , up and down, fly and dance, Nammlavar, Tamil poems, Pasurams, Hare Krishna, ISKCON
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Tamil and Vedas 