Date uploaded in Sydney, Australia – 19 January 2026
Contact – swami_48@yahoo.com
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My visit to Grand Palace in Bangkok, Thailand (Post No.15,346)
On 6th of January this year (2026), I went to the Grand Palace in Bangkok. The main attraction in the palace is the Emerald Buddha. Though it is called emerald Buddha, it is made up of semi -precious Jade stone. The height of the image is 66 CMS including the wooden base. Now the pamphlet published by the palace says it is of 15th century Thai workmanship. But the old story is that it was made in India and was taken to many countries including Sri Lanka, Laos and Cambodia. The interesting story about the image is the King of Thailand changes its attire thrice a year on a particular day. Buddha wears three different gem studded golden attires in Rainy, Summer and Winter seasons.
The Hall that houses the image is visited by millions of people every year. It is the holiest Buddha image in the country; apart from this one, there are two more gold plated large Buddha images of 3 metres height.
The grand palace was constructed in 1782 by one of the kings of Chakri dynasty. The Kings took the title of Rama and there have been ten Ramas so far. Now the present ruler is called Rama X. Each king added some new constructions or statues. It is on the banks of Chao Praya River like the previous capitals.
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The entrance fee is 500 Baht. But one must be decently dressed to go into the palace. Many westerners with exposed body parts and not decently dressed are stopped at the entrance and are asked to change the dress or fully cover the exposed parts. This is a good rule, also followed in the Mysuru palace in Karnataka, where even shoes are not permitted. They must walk bare footed inside the palace.
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The Bangkok palace is divided into many parts and all the buildings are shining in golden colour. Only statues are gold plated but the buildings used specially made golden mosaics from Italy.
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New statues excavated
In 2021 new statues were discovered when the road construction workers were digging the earth near the palace. Subsequent archaeological excavations revealed more sculptures. Historians say they came from China. Now they are placed in the courtyards of the temple of emerald buddha.
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Another interesting coincidence is the Tamil new year day and the Thai new year day is celebrated on the same day in April every year. This establishes the Hindu cultural connections.
One can see lot of images of Garuda, vahana of Vishnu, nagas/snakes, concrete replica of Angkor wat temple of Cambodia; there are golden coloured images of Asura Pakshi, Apsaras, Kinnara and Gandharva etc.
Annual royal ploughing ceremony is held with the help of Brahmin priests.
178 episodes of Ramayana !
The cloisters that include the temple buildings have walls that are painted with 178 episodes of Ramakien story as composed by Rama I and follows prince Rama’s story in clockwise progression from the north door of the cloister opposite the Phra vihara chapel. Its scenes depict gods and humans, monkeys and demons, life inside and outside the palace and cities while four legged animals, birds and mythical animals of the Himavanta forest abound in jungles, plains and oceans.
7 May 2018 — Thailand has got lot of Hindu sculptures from Ganesh to Kubera. Vedic gods Indra, Yama, Vishnu, Shiva and Brahma are also found in different …
Thailand and Laos have different stories associated with it. In Thailand there lived a wise man who can speak with birds. His name was Dharmabarn (Dharma …
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this is a non- commercial blog. Thanks for your great pictures.
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Twelve Vaishnavite Tamil saints are called Alvars (aalvaar). Most of them lived 1200 years ago, a few of them even earlier. 4000 poems on Lord Vishnu and his Ten Avatars sung by them are compiled in the book called Divya Prabandham. Here is some interesting information about secular subjects and religious matters. (Translation of poems by Kausalya Hart are taken from Project Maduri)
Solar Eclipse in Mahabharata
(original poem is in Tamil)
335. If you want to see the young son of Devaki, Kaṇṇan, the lord who hid the light of the sun with his discus for thirty nalihais, made enemy kings wait and conquered them, go to the people who saw him drive the chariot for Arjuna when Arjuna fought and killed Jayathratha in the Bharatha war.
This episode is actually about solar eclipse happened 3000 years ago. The battle was fought on alternate days.
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Space Travel
70. You listened to the words of the strong cowherds, fought and controlled seven strong bulls and married the dark-haired Nappinnai, lovely as a peacock. You went on a bright shining chariot, searched for the lost children, found them and brought them back to their mother. O dear one, shake your head and crawl for me once. You are a bull and you fight for the cowherds. Crawl, crawl.
This poem says that they went in a space shuttle and returned in a moment
403. The Thiruppadi of the lord who brought the four children of his guru back to life quickly when they could not be alive as soon as they were born is Srirangam where good Vediyars skilled the Vedas live, making sacrifices with fire and receiving guests happily.
Tamil Word in the poem is IRAIP POZUTHU which means a moment
Periyalvar and Nammalvar sang about this space travel.
Commentators added Muhurta and the meaning of Muhurta in ancient days was different from today. Now it means 48 minutes. But in Rig Veda it meant a moment
Sanskrit dictionary (From Wisdomlib.org)
Muhūrta (मुहूर्त).—[hurch-kta dhātoḥ pūrvaṃ muṭ ca Tv.]
1) A moment, any short portion of time, an instant; नवाम्बुदानीकमुहूर्त- लाञ्छने (navāmbudānīkamuhūrta- lāñchane) R.3.53; संध्याभ्ररेखेव मुहूर्तरागाः (saṃdhyābhrarekheva muhūrtarāgāḥ) Pañcatantra (Bombay) 1.194; Meghadūta 19; Kumārasambhava 7.5.
Source: DDSA: The practical Sanskrit-English dictionary
Muhūrta (मुहूर्त).—i. e. muhur + ta, I. m. and n. 1. A moment, [Rāmāyaṇa] 3, 50, 6; some time, [Vikramorvaśī, (ed. Bollensen.)] 40, 4 (paraṃ muhūrtāt, After some time, not yet). 2. The thirtieth part of a day and night, or forty-eight minutes. Ii. m. An astrologer.
Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionary
Muhūrta (मुहूर्त).—[masculine] [neuter] moment, instant; hour ( = 1/30 day); [instrumental] & [ablative] in a moment, after a little while, immediately, directly.
Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary
Muhūrta (मुहूर्त) as mentioned in Aufrecht’s Catalogus Catalogorum:—jy. See Muhūrta (मुहूर्त):—[from muh] a m. n. a moment, instant, any short space of time, [Ṛg-veda] etc. etc. ([in the beginning of a compound], in a moment; tena ind. after an instant, presently)
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Numbers in Periyalvar Poems
Who is God? What is God? What is the nature of God?
752. You are five things—taste, light, touch, sound and smell in earth. You are four things—taste, light, feeling of touch, and sound in water. You are three things—taste, light and heat in fire. You are two things—the touch and the sound of the wind. You are the unique ancient one. You are many things on the earth. You are the dark-colored one. Who has the power to know who you are?
This is pure science. This deals with Big Bang to Evolution of earth and living beings.
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753. You are the six actions— learning, teaching, performing sacrifices, making others perform sacrifices, giving and receiving. You are worshipped by the fifteen sacrifices. You are the beautiful two—wisdom and renunciation, and the three devotions, devotion for god, the devotion that gives knowledge to know god, and the highest devotion that gives moksha. You are the seven and six and eight. You are many wisdoms, the true and the false. You are taste, light, touch, sound and smell. You, Māyan, are everything on earth yet who can see you?
Number 24
754. You are the chief of the twenty-four philosophies, the five elements water, land, fire, wind and the sky, the five sense organs, body, mouth, eyes, nose and ears, the five organs of action, mouth, legs, hands, the unclean organs, the five senses, taste, sight, hearing, smell and touch and the four organs of knowledge, mind, ego, knowledge, and ignorance. You who stay in the sky are all these and more. O Māyan, who can see you?
Number 33+5+16
755. You are the thirty-three Sanskrit sounds. You are the five consonants, and the sixteen vowels. You are the lord of the five special sounds in Tamil and the mantra with twelve sounds, “Om namo bhagavate Vāsudevāya.” You are the three faultless lights—the sun, the moon and the stars. You have entered my heart—why, O my lord?
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766. You are the four Vedas, the Six Angas (ancillary subjects) and their meaning. You, the precious one rest on the wide ocean on many-headed Adishesha. Aren’t you the one with a white conch and the Sarngam bow?
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You are Three in One- Echo of Kalidasa
World famous Indian poet Kalidasa wrote that all the Three Gods Brahma, Vishnu and Siva are one entity. They are seen in different angles. This is echoed by Saivite and Vaishnavite Poets in many hymns.
768. You are unique, but you, limitless, are also the three gods, Shiva, Vishnu and Nānmuhan, and the four gods. You who rest on Adishesha on the wide ocean are the source of good karma, and give joy and goodness to all. No one can comprehend your form. How can you, the ancient god, come to the world in human form?
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Numbers 7 8 9 10
865. O heart, if you want to remove the eight bad thoughts and live without fault and reach moksha and rule the world, you must think and worship the feet of the god, our father, who is wisdom, the sun, and the world, who took the form of a single-tusked boar and split open the earth.
828. The ancient lord is eight and eight and eight, he is seven and seven and seven, and he is eight and three and one. Devotees worshiping with the eight letter mantra, “Om namo Nārāyaṇāya,” will go to heaven and rule there.
829. If people love him tirelessly and think of him always in their minds, reciting the eight-letter mantra with love and worshiping the beautiful ankleted feet of the god who rests on the snake bed on the ocean, they will go to heaven and rule there.
830. He is the ten directions, the soul of the ten guardians of the directions, the nine notes of music, the nine rasas of dance and he, the ancient and the most powerful one, came to this world in ten avatharams. Only if devotees worship him with devotion will they reach moksha.
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Asuras Destroyed by Vishnu
858. You destroyed the angry king of Kasi, Vakkaran, Pavuṇḍran, the furious Maliman, Sumali, Kesi and Thenugan. I will not give my love and affection to anyone, only to your anklet-adorned feet.
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810. You, a hero, bent your bow, killed the Asurans Vakkaran, Karan and Muran and sent their heads to Yama. You, a cowherd, stay in flourishing Kuḍandai with ponds and blooming groves and rich fields protected by many fences.
—subham—
Tags- Interesting Titbits, Tamil Vaishnavite Alvar Poems, Space travel, Numbers, three gods
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
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Avatars
Avataara means a descent. The incarnation of a deity, especially of Vishnu. The origin of avatara is in the Rig Veda. Three steps of Vishnu, Varaha Avatara in the story of Emusha are in the Vedas. Flood story of Matsya Avatara is in all cultures around the world.
Boar incarnation is in Taitriya Samhita and Satapata Brahmana of Yajur Veda.
Kurma/ Tortoise Avatara is in Satapatha Brahmana as Prajapati assuming a form of Tortoise.
Matsya/Fish Incarnation
Fish Avatara is also in the same Brahmana book in the story of deluge. Manu found a small fish which grew to a large size which he left in the ocean. It directed him to construct a ship, Manu fastened the vessel to the horn of the huge fish. All boarded the ship and the fish/ Matsya Avatar saved them. Mahabharata repeated the story with some variations.
Kurma/Tortoise Avatara and the Churning of the Milky Ocean
The germ of this Avatara is Satapata Brahmana book. Later additions in the Puranas show Vishnu assuming the tortoise form. In the Satya Yuga, he placed himself at the bottom of the ocean of milk and made his back the base or pivot of the Mandara Mountain. The gods and demons twisted the great serpent Vasuki round the mountain and dividing into two parties, each took an end of the snake as a rope and thus churned the ocean until they recovered the desired objects.
These were
Amrita- elixir of life;
Dhanvantari- Father of Medicine holding the cup of Amrita;
Lakshmi- Goddess of Fortune and Walth;
Suraa- Goddess of Wine;
Chandra- the Moon;
Rambha- Apsaras beauty;
Uchchaisrvas- Divine Horse;
Kaustuba- a celebrated jewel;
Parijata- paarijaata- a Celestial Tree;
Surabhi- Divine cow of Plenty;
Airavata- Elephant;
Sankha/ Conch- Conch of Victory;
Dhanus- a famous bow;
Visha/Poison.
Lord Siva devoured the poison to save Devas and demons, but his wife Parvati prevented it going down his gullet. When it was stopped at his neck/throat, that became blue in colour. So Siva was called Neelakanta (Blue throated). This name is in the Vedas and 2300 year old Sangam Tamil literature.
All these avataras were sung by Tamil saints. And many of them are in Tamil Sangam books. That shows all the Hindus from Himalayas to Kanyakumari were very familiar with Hindu Puranas.
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Narasimha – man lion –avatara is more popular than Varaha avatara. in Tamil he is known as Singa Perumal.
The story of this incarnation of Vishnu is as follows:
Hiranyaksha and Hiranyakasipu were two demon brothers, hostile to Vishnu. Hiranyaksha was killed by Varaha avatar. Hiranyakasipu, then became the king of the demons and vowed eternal war with Vishu. His young son, Prahlada, was however became a devotee of Vishnu. Hiranyakasipu tried all means to change his mind, but in vain. Exasperated with this he asked the young boy, if his god Vishnu was all pervasive, could be found in the pillar in front of him; and then hacked it with his sword. The pillar cleft in twine and oust burst from it to the astonishment of Hiranyakasipu, the angry god in the shape of a Man-Lion. He tore to pieces the impious demon king. He was called Ugra Narasimha.
His anger subsided after Prahlada’s prayer; then he became Lakshmi Narasimha.
Yoga Narasimha is another form in which the god is seen squatting in a meditative mood. Simhachalam, Ahobilam , Namakkal, Narasimham near Madurai, Singa Perumal kovil are some of the places sacred to Narasimha. The usual Vaishnava symbols Sankha and Chakra are seen in his upper arms. The monolithic Ugra Narasimha found in the ruins of Vijayanagara was established by Krishna Deva Raya in 1528 CE. Statues of Narasimha are found on mountain tops, caves and deep forests. He has four hands.
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VAMANA / TRIVIKRAMA AVATAR
Vamana, the dwarf incarnation of Vishnu, is worshipped as Trivikrama – in Tamil Ulgalantha Perumal. Trivikrama means ‘god who took three strides’. Tamil name means ‘the lord who measured the universe’ (with three strides).
The story is a powerful demon king named Bali, the great grandson of Hiranyakasipu conquered the three worlds and ruled them, in spite of his birth, in charity and with justice. Indra, the chief of devas, was thus superseded. Devas got alarmed and requested Vishnu to restore Indra to his legitimate position.
Vishnu could not go to war against Bali, as he was a virtuous king. So, he went in the guise of a dwarf Brahmana, as a Brahmachari, Vedic student. He begged of Bali for three feet of land on which he could sit and meditate on God undisturbed. The generous Bali granted the request. Then the dwarf grows to a height transcending the world, take in at one step the whole earth, covering the sky with the next, and demanding of Bali to show him room for the third. True to his promise, Bali offered his own head, on which the placed his foot and sent him down to lower regions. Because he was just, he was allowed to return to his kingdom every year. That day is celebrated even today.
At Tirukkovilur in Tamil Nadu is a celebrated shrine of Trivikrama. Another one is in the Ulagalanda Perumal temple at Kanchi. Mahabalipuram has one figure with eight hands. Brahma is also shown touching the finger of the god.
In the Ramaswami temple in Kumbakonam is a sculptured pillar on which the story of Vamana avatar is well represented.
Representations of Vamana figures with water pot and an umbrella are found in the demarcation stones of fields granted in charity.
A festival in honour of Bali is observed by the people of Mysore on the first day after Deepavali Amavasya.
In Kerala, people connect Bali with their harvest festival, the Onam, in which they worship a clay figure of this high-minded emperor. It is supposed that the king is permitted by Vishnu to visit every year the fair earth over which he ruled once and to satisfy himself that the people are quite happy and glad as in his time.
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Rama and Krsina Avatar sculptures, images
Vishnu Avatar images, on Snake bed
KALKI AVATAR
Kalki avatar is only a prospective incarnation in which the god is expected to appear as a powerful hero riding on a white horse- back, a sword in hand, to suppress the growing wickedness of the Mlechchas (anti Hindu elements).
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BUDDHA
The Buddha avatar is a later addition by Jayadeva of Orissa and so Hindus don’t worship him. No deity of Buddha is found in any old Hindu temple.
Apart from these avataras , lord Vishnu is depicted in various forms in ancient Hindu temples.
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RAMA and KRISHNA
Most popular avataras Rama and Krishna are worshipped throughout India. All their leelas or their victories over demons are shown in paintings and sculptures. Since all these are in epics and Puranas, most of the people know the stories behind them.
In Sangam Tamil literature even the Yamnua River and Gopikas episode is sung by a poet. Untold stories of Rama are found in Sangam Tamil books.
Over 20 Avataras are mentioned in the Puranas. But only ten are called Dasaavataaraas (Dasa= Ten)
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PARASURAMA
Three Ramas were sung by the saints: Dasaratha Rama, husband of Sita; Balaraman- brother of Krishna and Parasuraman- Rama with axe on his shoulder. He was born as the son of Jamadagni in Treta Yuga. He fought with arrogant Kshatriyas and finished their domination. But he bowed to Rama, a Kshatriya, and gave all his strength to him.
—Subham—
Tags- Avatara, incarnations, Ten, Dasa, Hinduism through 500 Pictures in Tamil and English-36; படங்கள் மூலம் இந்து மதம் கற்போம்-36
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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Item 288 War Mongers
Puranānūru 7, Poet Karunkulal Āthanār sang to Chozhan Karikāl Peruvalathān (Karikālan),( kari kaalan)
Karikal Choza was one of the greatest Cholza kings of Sangam Age. The worst thing about the Tamils is they fought among themselves continuously for over 1500 years in Tamil Nadu. Here the poet praised Karikal Choza for setting fire to his enemy towns without considering whether it is day or night. What we hear is the crying of the people. The king plundered the towns of the enemies. This is the message of the poem. Tamils were war mongers.
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289
Karikalan was riding an elephant unlike other kings who rode on a horse. He is called Black Legged or Mr Black Foot. There was a family fighting to get the throne and there was an arson attack against him where he got these black feet. We have a similar named king in Puranas- Kalmasha pada.
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290
Vishnu is praised as having Lakshmi on his chest. Here Karikalan is considered a king where Goddess of wealth and Kingdom resides on his chest refusing to go anywhere else. This is an ancient Hindu belief. Even the kingdom is called Rajya Lakshmi. Prosperity, Wealth, Asset are called Lakshmi in Hindu literature.
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291
Name of the poet
The same poet composed another poem about Karikalan. Commentators guess that his hair was so black even when he was old and so the poet was called Karun Kuzal + Aathan. We see more names in Tamil based on one’s body parts. More poets have Eye in their names such as Big Eye, Red Eye etc.
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Important lines from Puram verse
Your chest is so broad, and Thirumakal (Lakshmi) forsakes others for it.
………………..
You do not consider whether it is day or night to plunder enemy towns, blazing them as their citizens cry loudly.
மா மறுத்த மலர் மார்பின் Lakshmi in Chest, 5 ……………….
எல்லையும் இரவும் எண்ணாய், பகைவர் ஊர் சுடு விளக்கத்து அழு விளிக் கம்பலைக் கொள்ளை மேவலை Arson attack and plundering
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292
King is greater than Sun
புறநானூறு8, பாடியவர்: கபிலர், பாடப்பட்டோன்: சேரமான் செல்வக்கடுங்கோ வாழியாதன்,
Puranānūru 8, Poet Kapilar sang for Cheraman Selva Kadunkō Vāzhiyāthan,
Kapilar is the most famous poet of Sangam age. He had the highest praise from other poets for being a Brahmin of spotless character. Moreover, he was the one who has contributed highest number of poems in Sangam tamil Literature.
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293
Here Kapilar praised Chera King by comparing him with the Sun. According to the poet Sun is defective in many ways. Sun hides behind the mountain (implying Chera King never hides). Sun shines only in the day time (Chera king is shining for ever)
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294
My Comments
Commentators never mentioned Zodiac or Uttarayana (northward march of Sun) and Dakshinayana (southward march of sun). I think Kapilar meant only this when he said மாறி வருதி – you come from various directions.
Another point that I would like to add is the Zodiac. Sun travels in circles mean he moves from one sign to another sign. He completes one circle every year by travelling through 12 zodiac signs.
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295 Sanskrit Words
Note the Sanskrit words Bogam and Mandilam in the poem
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Important lines He (Chera king) is greatly generous.
O sun which goes rapidly in circles! How can you compare yourself to Cheralathan with a murderous army that fights battles?
போகம் (Sanskrit word) வேண்டி – desiring pleasure,
கடந்து அடு தானைச் சேரலாதனை யாங்கனம் ஒத்தியோ – how are you equal to Cheralathan with murderous armies that attack .
வீங்கு செலல் மண்டிலம் (Sanskrit Word) – O sun who goes fast in circles, மலை மறைந்து ஒளித்தி – you hide behind mountains,
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296
Puranānūru 9, Poet Nettimaiyār sang for Pandiyan Palyākasālai Muthukudumi Peruvazhuthi.
Go Brahmanebhya Subhamastu Nityam Loka Samstha Sukino Bhavantu
வாழ்க அந்தணர் வானவர் ஆனினம் – திருஞான சம்பந்தர்
புறநானூறு9, பாடியவர்: நெட்டிமையார், பாடப்பட்டோன்: பாண்டியன் பல்யாகசாலை முதுகுடுமிப் பெருவழுதி,
This Pandya King was praised in Puram verse six as a great worshipper of Siva and Brahmins reciting Four Vedas. Here Nettimaiyar adds the ancient Hindu prayer that the whole world should live happily. They always mention From Brahmin to people of all castes, From cow to all living beings should live happily. All the Sanskrit dramas and all the Hindu rituals end with this prayer.
வாழ்க அந்தணர், வானவர், ஆன் இனம்!
வீழ்க, தண்புனல்! வேந்தனும் ஓங்குக!
ஆழ்க, தீயது எல்லாம்! அரன் நாமமே
சூழ்க! வையகமும் துயர் தீர்கவே!
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புறநானூறு9, பாடியவர்: நெட்டிமையார்,
“ஆவும், ஆன் இயல் பார்ப்பன மாக்களும், பெண்டிரும், பிணியுடையீரும் பேணித் தென்புல வாழ்நர்க்கு அருங்கடன் இறுக்கும் பொன் போல் புதல்வர்ப் பெறாஅதீரும், எம் அம்பு கடி விடுதும், நும் அரண் சேர்மின்” என 5 அறத்து ஆறு நுவலும் பூட்கை மறத்தின், கொல்களிற்று மீமிசைக் கொடி விசும்பு நிழற்றும் எங்கோ வாழிய, குடுமி, தங்கோச் செந்நீர்ப் பசும்பொன் வயிரியர்க்கு ஈத்த, முந்நீர் விழவின் நெடியோன் 10 நன்னீர்ப் பஃறுளி மணலினும் பலவே!
He announces in a righteous manner, “Cows, Brahmins with the nature of cows, women, those who are sick, and those living in the southern land with no gold-like sons to perform precious last rites, take refuge! We are ready to shoot volleys of arrows!”
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297
Dharma Yuddha- Hindu Wars based on Rules
Kannaki also ordered the Fire God Agni not to burn the above category of people in Silappadikaram.
In other verses of Purananuru ,we see those who have not got sons yet should not undertake any life threatening task or ritual. So, kings always announce before starting a war that all those vulnerable people should keep away from the war zone. We see this in Mahabharata as well. After sun set both the fighting parties even treated injured people.
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298 Kumari Kanda
This poet lived in the age when ancient South Madurai existed. Later the sea devoured a big area in a Tsunami catastrophe including Then Madurai. Here we get important geographic details about Pahruli River that ran in ancient Kumari Region and the Nediyon Hills.
We also get some details about Indra Festival (Ocean Festival). Silappadikaram and Manimekalai, two Tamil epics, give us full details of Indra Festival.
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our king Kudumi, live for long, more days than the number of sands on the banks of Pakruli River with fine water, where his ancestor Nediyōn celebrated ocean festivals, and gave musicians fresh, reddish gold gifts!
***
299 Sand Simile
Hindu poets who composed poems in Tamil and Sanskrit wished long life to the kings. They always used infinity years by saying king should live more years than the sand particles on the banks or the number of stars in the sky.
Now we know that the universe has billion, billion stars. No one can even imagine the number of sand particles on any riverbank or sea shore. How clever our poets were!
***
300 முந்நீர் Three Waters= Sea
Tamils were great observers of nature. In Tamil only we have a strange name for sea or ocean Three Waters.
Two commentators give two different interpretations.
Sea is composed of River water, Rain water and Spring water and so it is Three Waters.
Another interpretation is that Sea does three tasks Creation, Protection and Destruction like Brahma, Vishnu and Siva.
Both are very scientific. We know how land came from sea and how they would be destroyed in Tsunami at the end.
Spring water: Now only scientists have discovered deep sea hot springs. Probably our ancestors knew this as well.
Imporatnt Lines in Tamil
முந்நீர்– தமிழகம் கிழக்கு தெற்கு மேற்கு ஆகிய மூன்று திசையானும் நீர்வளைவுண்டது. முந்நீர் என்னும் தமிழ்க்கிளவி இம்முப்புறக் கடலமைப்பைச் சுட்டுவது – வ. சுப. மாணிக்கனாரின் ‘தமிழ்க்காதல்’ நூல், ஆற்று நீரும், ஊற்று நீரும் மழை நீரும் உடைமையான் முந்நீர் – ஒளவை துரைசாமி புறநானூறு 9 உரை, நிலத்தைப் படைத்தலும் காத்தலும் அழித்தலுமாகிய நீர் – நச்சினார்க்கினியர் மதுரைக்காஞ்சி 75
Meanings: ஆவும் – and cows, ஆன் இயல் பார்ப்பன மாக்களும் – and Brahmins who have the nature of cows, பெண்டிரும் – and women, பிணி உடையீரும் – and those of you with diseases, பேணி – protecting, தென்புல வாழ்நர்க்கு – to those who live in the south, அருங்கடன் இறுக்கும் – performing final rites, பொன் போல் புதல்வர்ப் பெறாஅதீரும் – and those of you who have not given birth to gold-like sons (பெறாஅதீரும் – அளபெடை), எம் அம்பு கடி விடுதும் – we are going to shoot our arrows நெடியோன் – your ancestor Nediyōn, நன்னீர்ப் பஃறுளி மணலினும் பலவே – many more days than the number of sands on the banks of Pahruli river with good water (பலவே – ஏகாரம் அசைநிலை, an expletive)
To be continued…………….
Tags- Purananuru Wonders 5- Ancient Tamil Encyclopaedia Part 45 , Karikalan, Mudukudumi, Three Waters, war mongers, Arson attack, Kapilar
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Ancient Tamil Encyclopaedia 44; One Thousand Interesting Facts -Part 44
***
Item 278
புறநானூறு4, பாடியவர்: பரணர், பாடப்பட்டோன்: சோழன் உருவப்பஃறேர் இளஞ்சேட் சென்னி,
In Purananuru verse 4 composed by Paranar, we see a metaphor describing the king in the battlefield.
Blood stained sword of the Choza king- red sky;
Anklets- horns of the bull;
Shield with the holes- targets ;
Horses with red mouth- tiger that killed a deer;
Elephants- Yama, God of death;
The king riding a chariot- sun rising in the blue sea.
***
279
தாயில் தூவாக் குழவி போல ஓவாது கூஉம், நின் உடற்றியோர் நாடே
There is a beautiful simile as well.
The countries conquered by you are wailing, crying like a motherless child.
Poet Paranar is famous for his similes and metaphors.
***
280
Very interesting story about fox headed poet
புறநானூறு5, பாடியவர்: நரிவெரூஉத்தலையார், பாடப்பட்டோன்: சேரமான் கருவூரேறிய ஒள்வாட் கோப்பெருஞ்சேரல்
There are two interpretations. 1.He is from a town named Nariverūuthalai which is not correct.
2.He has a disgusting head like a fox which was cured by the king.
Here also there are two interpretations.
As soon as he saw the king, his head disease was cured by a MIRACLE. And he got normal face with normal head.
In those days kings were considered Gods. People believed that just kings could do miracles. Even Tiruvalluvar talks about such miracles. If the king rules justly, the fields will yield tremendous harvest without any effort, he said.
Second interpretation is the king helped him to get proper medical treatment.
***
281
காவல் குழவி கொள்பவரின் ஓம்புமதி,
He is also using a simile about children.
I have to tell you something! Protect your country like you would guard an infant.
****
Full of Hindu Puranic Details!
Puranānūru 6, Poet KāriKizhār sang to Pandiyan Palyākasālai Muthukudumi Peruvazhuthi
282
From Himalayas to Kanyakumari
Poet Kaarikizaar gives us very important details:
Eka Bharat- One India. From North to South and from East to West, One India.
Still there are some ignorant people in India who has been writing that British rule united India. But Hindu scriptures have been writing Aa Setu Himachala—From Dhanushkoti to Himalayas—
புறநானூறு6, பாடியவர்: காரிகிழார், பாடப்பட்டோன்: பாண்டியன் பல்யாகசாலை முதுகுடுமிப் பெருவழுதி
Pandya King Mudykudumi Peruvazuthi bows his head only on two occasions. When he is going around the Shiva Temple and when Brahmins bless him reciting the Four Vedas.
முனிவர் முக்கண் செல்வர் நகர் வலஞ் செயற்கே, இறைஞ்சுக பெரும நின் சென்னி! சிறந்த நான்மறை முனிவர் ஏந்து கை எதிரே
The word Shiva never occurs in Tamil until very late period like sixth century CE. But the poets used Blue throated, Three Eyed/Trayambaka god to mention Lord Siva. Here three eyed god is used.
***
284
Throughout Sanskrit literature particularly, Kalidasa works, we see the kings are compared to Pancha Bhutas/five elements, Dik Palakas/Eight Vedic Gods of Eight Directions and Sun and Moon. Even in Purushasukta of Rig Veda tenth Mandala we see Sun and Moon are associated with the all-pervading God.
Here the poet compared the king with sun and moon. தண்கதிர் மதியம் போலவும், தெறு சுடர் ஒண்கதிர் ஞாயிறு போலவும், மன்னிய பெரும, நீ நிலமிசையானே!
Comparison with Kalidasa
Raghuvamsa – 1-29;2-75; 3-27; 4-11, 12; 6-31, 32.
In 4-11,12 and 6-31,32 we see Moon and Sun comparison to kings in Kaldasa.
***
285 Go Loka
It looks like the poet was thorough with Hindu scriptures
He mentioned Yama;
He mentioned Go Loka (World of Cows)
He mentioned also the Sea Dug by Sagaras; that is why ocean is called Saagaram in Sanskrit
முப்புணர் அடுக்கிய Three Layers Bhur Bhuva Suvaha ; தொன்று முதிர் பௌவத்தின் குடக்கும் Ancient ocean; ஆனிலை உலகத்தானும் Go LOka –, தெரிகோல் ஞமன் போல Yama with Balance to weigh the Papa and Punya
*** 286
Sanskrit words used by the poet
Nagar- Temple
Gnaman -Yama
Yaagasaalaa – Firepit Sacrifice Shed
Ulakam – lokam
Desam- theyam
Muni- munivar
(Naan marai – four vedas)
***
287
Dharma, Artha Kama, Moksha
Four Hindu values are mentioned in Tolkappiam and Tirukkural; in fact Kural is named (Muppaal in Tamil) Dharma, Artha, Kama in the same order.
Here the commentators add one more interesting interpretation. Poet Karikizar mentioned Mokha by mention the King Circumambulating temple, mentioned Dharma by the mention of Bowing to Brahmins in Yaga sala, Kama by referring to Let your anger disappear when you see family women, and Artha by mentioning conquering enemy lands.
To be continued…………
Tags- Purananuru Wonders 4, Go loka, Hindu Values, Yaga Sala, bowing to Brahmins, Going round temple, Ancient Tamil Encyclopaedia 44, One Thousand Interesting Facts -Part 44
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xxxx
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
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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)
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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
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.
Every few years, deep in the mountains of Himachal Pradesh, the forests receive a visitor – not a forest officer, not a government team, but a deity carried on the shoulders of the people. Nearly 100 kilometres from Shimla, in a village named Bhog in the tehsil Theog, hundreds of villagers gathered as ‘Dodru Devta’, affectionately known as ‘Dev Nanu’, begin a month-long journey.
This sacred procession is far more than a religious ritual; it is an ancient ‘Environmental Audit’ in which damaged trees, polluted waterbodies or neglected cattle are noticed not through human inspection, but a divine power. For generations, this system has quietly upheld ecological discipline long before modern conservation laws took form.
Once every three years, villagers escort the deity across forests, grazing lands and farms, retracing the boundaries of their natural resources. According to tradition, the palanquin moves smoothly only when the environment is healthy. If a tree has been cut without permission, a stream polluted or a pasture overused, the palanquin halts. This pause indicates a violation of the deity’s nature rules. The violators responsible for the damage receive a symbolic punishment—‘dand’—reinforcing the belief and rules that the maintenance of the landscape is a shared duty.
Sangam Age Tamils called the spirits as ANANGU
These practices may seem unusual and unbelievable to many who might witness from outside, but for the Himachal culture and people, this tradition is an unwritten code deeply embedded in the state. Across Himachal Pradesh, ‘devtas’ are regarded not only as spiritual guides but as custodians of land, water and forests. (TAMIL- ANANGU) For generations, communities have followed these environmental norms set by their deities. These may include simple rules like offering the first harvest to birds, protecting water sources, protecting forests and not abandoning livestock. These customs evolved long before environmental laws and remain firmly upheld today.
Eighty-six-year-old Jamana Devi, one of Bhog’s oldest residents, has witnessed this tradition for more than eight decades. For her, the belief system is not just a festival but a lifeline. “Through these visits, the ‘Devta’ reminds us that he is always with us,” she said.
She recalled one of the earliest rules the ‘Devta’ set to protect the village’s drinking water. At a time when water was scarce and people often stepped into the community wearing slippers, the ‘Devta’ issued a strict command that no one would be allowed near the well with slippers, and the prasad would be prepared only with water drawn from that well. Gradually, the condition of the well improved, reinforcing the message of collective responsibility.
Jamana Devi also remembered how, in her childhood, any family or village dispute—no matter how small or serious—was taken to the ‘Devta’ for resolution.
As the procession begins, each household must send at least one member for the month-long yatra. Participation is non-negotiable. Throughout the journey, villagers arrange food and shelter for the ‘kardars’ and everyone accompanying the ‘Devta’. Neglecting these responsibilities, they believe, could anger the deity.
‘Dodru Devta’ is placed only on land considered sacred, marked by an old tree dedicated to him. Each village hosts the deity for a night, during which the ‘gur’, or medium, shares warnings and guidance. Villagers listen intently, trusting the deity to protect them from illness, calamities and misfortune—and to safeguard their forests. Even today, no one cuts a tree for house construction without seeking the permission of ‘Devta’.
Digvijay Singh Thakur, the ‘Adhisthak’ (who ensures rules are followed) of ‘Dodru Devta’, explained that the deity is viewed as the protector of natural resources. “The fields, forests and water sources flourish because of his blessings,” he said. The Devta travels with ‘gana’ (followers) named ‘Tunda’ and ‘Rakashan’, the latter believed to ward off evil forces.
village well
Historian Dr Surat Thakur noted that this practice extends across Himachal Pradesh. “From sacred lakes in Mandi to forest groves in Kullu and serpent shrines in Sirmaur, ‘Devta’ culture has created community-led conservation systems that have survived for centuries,” he said. At a time when the Himalayas face growing threats from construction, tourism and climate change, these traditions show how faith can sustain ecological balance.
In 2013, the World Wide Fund for Nature (WWF) and the G.B. Pant Institute of Himalayan Environment and Development, Almora, studied the role of religion in preserving local ecology and culture. Their documentation recorded 514 sacred groves. These groves—commonly known as Devata Vans—are protected spaces where no activity is permitted without the deity’s consent. These untouched forest patches hold old-growth trees and rare species, safeguarded for generations through faith rather than formal enforcement.
Speaking to The Statesman, Principal Chief Conservator of Forests Sanjay Sood said, “If it were possible, I would declare all forests as ‘Dev Vans’. People are remarkably sincere about this tradition, and we have never received complaints of illegal activity from these areas.”
He added that the traditional folklore surrounding ‘devis’ and ‘devtas’ has naturally woven ecological conservation into daily community life. During customary eco-visits, the deities are believed to inspect their territories, while villagers perform simple but meaningful rituals to honour water bodies, trees and forested land.
In these villages, the guardians of nature are not distant officials or modern policies, but the very gods who walk the land with their people. Through faith, reverence, fear and tradition, communities continue to protect forests in ways that modern conservation efforts often struggle to achieve.
(This article is an outcome of the Stories of Hope Media Fellowship by IUCN India under the Himalaya for the Future initiative.)
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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When they say Music is a universal language, they mean it can communicate with all the human beings irrespective of the languages they speak. But Hindus go one step further and say that it communicates with plants and animals as well. We see it in Kalidasa’s Shakuntala, Divya Prabandham and Periya Puranam.
Periyalvar sang about the effect of music on humans, animals and plants. One of the 63 Nayanmars (naayanmaar) Aanaya Nayanar also showed us the effect of his music on the living beings. Both Lord Krishna and Aanaya Nayanar ( aanaaya naayanaar) played on their flutes and did this remarkable feat.
Periyalvar (periyaalvaar) while describing the effect of Krishna’s flute music he exclaims, I have found a wonderful thing. Listen to me!
Listen to a wonderful thing!
275. O beautiful girls who live in this Jambhudvipa,
listen to a wonderful thing!
When Thirumaal who has a white valampuri conch in his hand
plays the flute with his divine lips,
the cowherd girls who have young breasts
hear the sound of the flute, get excited
shiver and run away from their houses
where they are guarded,
untying the ropes that they are tied with.
Putting the ropes on their necks as if they are garlands,
they come, shyly and surround him.
***
276. When Govindan takes his flute in his hands,
bends his eyebrows, blows the air bending his stomach and plays,
the young girls who are beautiful as peacocks
and have doe-like eyes, listen.
Their hair decorated with flowers becomes loose,
their dresses become loose.
Holding their falling dresses
they stand looking at him out of corners of their eyes.
***
Effect on Heavenly Apsaras Women
277. He is the prince of the sky.
He is the little one of Vaikuṇṭam. He is Vasudeva.
He is the king of Madhura.
He is the princely son of Nandagopan.
He, Govindan, is the little child of the cowherds.
When he plays his flute the young Apsarases
come down from the sky and approach him.
Their hearts melt and their flower-like eyes shed tears.
Their hair swarming with bees becomes loose.
Their foreheads sweat
and they close their ears to everything else
and hear only the music of his flute.
***
Effect on Ramba, Urvasi, Menaka, Tilottama
278. He fought, conquered and destroyed
the evil Asuras Dhenuhan, Pilamban and Kaliyan.
When that small dark child plays his flute
wandering about in the forests,
Menaka, Thilothama, Ramba,
Urvasi and other heavenly Apsarases,
fascinated as they hear his music, become speechless.
They come down from the sky, dance, and sing with joy.
***
Effect on Singers in the Sky
279. The kings of the three worlds are afraid of the god.
He came in the form of a man-lion and killed Hiraṇyan.
When Madhusudanan plays the flute,
Narada who plays the veena,
those who play the Kinnaram,
the Midunam and other string instruments,
hear his music, forget their skills and say,
“We won’t touch our musical instruments
because we can’t compete
with the lovely music of Madhusudanan.”
***
Effect on Gandharvas 280. He is the small son of Devaki,
who has large beautiful eyes and strong arms.
He is our highest god and a lion among the gods.
When he plays his flute,
the Gandharvas who wander in the sky,
fascinated by the nectar-like music,
say, “He, our highest god, is playing the flute,”
and they feel ashamed because they can’t play like him,
and they stand folding their hands and worshipping him.
***
281. Listen to the wonders that I have seen on this earth.
When the god who sleeps on Adishesha plays his flute
in the middle of a crowd of young cowherds,
the music is heard in the gods’ world
and all the sky dwellers forget to eat their sacrificial food
and enter the cowherd village.
Their ears are filled with the sweetness of the music
and they follow happily wherever Govindan goes
and do not leave him at all.
***
Effect on Birds and Cattle
282. When Govindan plays the flute
holding it in his small fingers, his beautiful eyes close,
his red cheeks puff out
and his brow sweats with small drops of water.
The flocks of birds leave their nests,
come and surround him.
The herds of cattle leave the forest
where they graze, come near Govindan,
and lie down holding their legs apart.
They bend their heads, listening to the music of the flute
and move their ears as if they are dancing.
***
Effect on Herd of Deer
283. His body is dark like a cluster of clouds,
his face is beautiful like a red lotus,
and his dark curly hair is the colour of the bees.
When he plays his flute,
a herd of deer, fascinated with his music, forgets to graze.
The grass that they have eaten
hangs from their mouths
and, unmoving from side to side,
they stand motionless as if they were painted pictures.
***
Effect on Trees and Plants
284. Our god, the matchless one,
the chief of the cowherds
decorated with dark-eyed peacock feathers
and a silk garment tied tightly and beautifully
on his handsome body plays the flute.
The trees stand without moving,
flowers pour honey-like rain
as if to bow and worship him.
Their straight branches bend to hear the music.
They all turn towards wherever the beautiful god Thirumaal is
because that is their nature.
***
285. Vishṇuchithan, the chief of Puduvai,
composed poems about
how the music flowed like a flood of nectar
from the holes of the bamboo flute
in the beautiful hands of Govindan
who has curly hair and a tuft on his head.
Those who know Tamil well
and recite these poems of Vishṇuchithan
will be among the devotees of the god.
***
Above verses are from Project Madurai website; translated by Kausalya Hart.
***
Kalidasa on the feelings of Plants and Animals
Periyalvar must have mastered Kalidasa’s work. We see in Shakuntalam ,
Priyamvada says to Shakuntala
“The bitterness of parting is not yours alone; look around and see how the holy grove grieves, knowing the hour of parting from you is near:
The doe tosses out mouthful of grass
the peacocks dance no more
pale leaves flutter down
as if their vines are shedding their limbs.
Shakuntala also reacts to the feelings of jasmine climber and deer.
***
My Old article
Music Route to Heaven! Story of Saivite saint Aaanaaya Naayanaar also depicts the effect of music on cattle and birds.
London Swaminathan Post No.983; Dated—16th April 2014.
There are different ways to reach God. Jnana route, Bhakti route, Karma route and Yoga route are some of the ways. Hindus popularised another route to heaven—Music route which is part of Bhakti route. That is the simplest and easiest route. It is like a high speed motorway. Anyone can follow it even without knowing music. You simply join a Bhajan group and ‘shout in your coarse and harsh voice’, but with sincerity and purity in heart. God answers immediately. Even in the music route, there are some short cuts. One devotee just played a flute and reached God!! This interesting story is found in the Tamil Purana called Peria (Great) Puranam.
Peria Puranam in Tamil gives the history of 63 saints who were devotees of Lord Siva. It is in verses. It was composed by Sekkizar in the twelfth century CE. This work tells the story of the lives of Tamil Saivite saints who lived at least 1200 years ago. The enthralling stories of the 63 Nayanars (Saivite saints) speak of the matchless devotion and fathomless love for god.
Aanaayar was a cowherd. He lived in Tirumangalam of Melmazanatu, part of Choza territory. He played ‘panchakshara’ mantra (NAMA SIVAYA) on flute and God came and gave him Moksha! Here is the beautiful story of Aanaayar from two English translations:–
“Aanaayar used to drive his herds to the uncultivated land, and protect them from diseases and wild beasts. He also led them to lush pasture and clear water, so that their number rapidly increased. Like Lord Krishna he carried a flute (Vamsi) with him and used to play divine music. He used to play Lord’s Five Letter Prayer (Pancha Akshara = Na-Ma-Si-Va-Ya), with each of the seven notes accurately pitched. He poured forth a stream of such sweet and graceful sound that the whole world stood still to hear.
One day Aanaayar set out to drive the herds of cattle and their calves to pasture. The blue peacocks called; the beetle sang their forest songs among the creepers; the white jasmine buds smiled seductively. Her waist slender as the lightning, her breast swaying gently as she moved, the maiden TIME drew near to dance in the wide amphitheatre of the world.
The herdsmen, staff in hand drove the cattle out to graze over the cool pastures, and when their leader drew near, they gathered round to greet him. Nearby there stood a cassia tree (Kondrai in Tamil, Siva’s favourite tree), its branches swinging low and its flowers hanging down in clusters, like garlands made by human hands, or like Siva’s matted locks. When he saw the tree, he stood and gazed upon it spell bound, his mind wholly centred on the Lord. Then from his heart he began to pour out his love without restraint.
As his love welled up within and overflowed, he took up his flute and played as he was wont in praise of the Lord’s Five Letter Prayer, with music sweet as nectar that melted the very bones of every living creature!
Herd of cows ceased to chew the cud, Fell into trance and gathered around him, Calves with milk-froth ringed mouths Ceased to suckle at the teats of their mothers, Bands of bulls with spreading horns Deer and other forest fauna All with hairs on their hides a tingle, Gathered around.
Dancing flocks of peacocks Ceased their strutting and gathered around him, Coveys of birds, their hearts filled with the music Which entered through their ears, Roosted around him, with roosted senses, The hefty herdsmen Working in the neighbourhood Gathered around him, Leaving aside half finished jobs.
Denizens of the underworld of snakes Debouched through underground passages Mountain-dwelling maids Many many massed around Mazed in their minds Vinjayas, Saranars, Kinnaras, Amaras, Heaven-dwellers all of undiminishing luminance All in daze, on the beautiful sky above, In their chariots in the clouds crowded they.
As the tormentors and the tormented Enjoyed with the same emotions, The snake of mouth with full of pearly teeth Swooned and fell on the peacock; the lion of unflagging ferocity And the massive elephant sat together; Beside the jaws of the tiger, The delicate mouthed deer bedded.
The music of the fluting Of the hollow reed, Filling the world and capturing the heavens, Rose in volume vast enough To reach the holy ears Of the out of reach-of deceitful devotion Sire Who dances in the Golden Hall.
On graciously hearing The music of the flute of Anayar, The creator of the music, the Lord With an eye on the forehead Accompanied by the Willowy Dame of Austerities, Whose heart was compassion incarnate Mounted the bull An appeared on the aerial highway With his matted locks, the Nursery of the Moon Trailing behind him.
The heavenly hosts came too, jostling with the gods and crowding round. No other sound was heard but the soaring music of the flute, praising the Lord in the Five Letter Prayer.
Wishing to enjoy such music for all eternity, the Lord then said to Aanaayar, “Come just as you are, and live with us”.
The Lord then returned to the golden court. As he went, the earth shone bright with the flowers that rained down from on high. Countless sages chanted from the Vedas in his praise, and Aanaayar went with him, still playing on his flute.
Source: The History of the Holy Servants of the Lord Siva by Alastair McGlashan, Trafford Publishing, Oxford,2006 & Peria Puranam by G. Vanmikanathan, General Editor Dr.N.Mahalingam, Sri Ramakrishna Math, Madras, 1985
—subham—-
Tags- Music, Universal language, Periyalvar, Anaya Nayanar, Effect on plants and animals, Krishna, on flute
namam.JPG)
Tamil and Vedas 