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Ancient Tamil Encyclopaedia 44; One Thousand Interesting Facts -Part 44
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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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சிவபெருமானுடைய வடிவங்களில் வேறு சில மூர்த்திகளையும் காண்போம் :லிங்கோத்பவர் ஏகபாத மூர்த்தி , ஊர்த்வ தாண்டவர், கால சம்ஹார மூர்த்தி
***
LINGODBHAVA
Lingodbhava is a familiar figure of Siva on the west wall of the central shrine of Siva temples in tamil Nadu. As his name implies, he is represented within a huge linga, the portion of the feet below the ankles being hidden in the linga. Brahma in the form of a swan is seen soaring up on the left side of Siva; while on the right side, Vishnu is delving below into the depths of the earth in the form of a boar.
The swan and the boar are in some pictures found to be half man and half animal.
On the east main gopura/ tower of the Chidambaram temple is an image of Lingodbhava surrounded by flames of fire.
Also these gods, i.e. Brahma and Vishnu stand on either side of Siva with folded hands.
The figure emanating from the middle of the linga has four hands and hold in its back arms the axe and the antelope and in the front hands, the Abhaya and Varada postures.
In Thanjavur inscriptions Lingodbhava is mentioned by the name Lingapuranadeva.
Story of Lingodbhava
A dispute arose between Brahma and Vishnu as to who is the greater of the two. Siva told them that whoever first saw the top or the bottom of his own fiery linga form and came back to report, he would be considered greater. Brahma soared on his swan to see the top of the Siva linga, while as a boar Vishnu dug down and down to see its bottom. Ages passed away and neither came to his goal.
At last Brahma saw one ketaki flower coming down; it had fallen from Siva’s head ages ago. Brahma suborned it to give false evidence and then came back and uttered a lie that he had seen the top of the linga, citing the ketaki flower as its witness. Sive knew the lie and cursed Brahma that he should thenceforward go without any worship in temples. Brahma had five heads at that time. Sive cut off the head that uttered a lie. The flower ketaki too, which abetted the crime, was excluded from the flowers dear to Siva.
***
EKAPADAMURTI
Images called Ekapadamurti or Ekapada Trimurti show gods Brahma and Vishnu , with folded hands and characteristic symbols, are represented as proceeding out of the body of Siva at his waist as in the Tiruvotriyur sculpture or from behind his knee as in the image of Tiruvanaikkaval; they are either developments of Lingodbhava wherein the superiority of Siva over the two other members of the Hindu triad was established or an invention of the Hindu sculptor.
The Karanagama (kaarana aagama) mentions Ekapadamurti as one of the sportive forms of Siva and describes him as having one foot, three eyes and four arms in which are seen the tanka and deer and the Varada and Abhaya postures..
On the right and left sides of Siva, almost touching his shoulders, are Brahma and Vishnu holding their symbolical weapons in two hands and worshipping Siva with the other two.
The single foot, which is the characteristic feature of these figures , is in the case of Tiruvanaikkaval image , placed on the back of the bull. in it are also seen the vehicle of bBahma, the swan, at the right bottom and at the corresponding left bottom , the standing Garuda vehicle of Vishnu and a sage, perhaps Narada.
Apparently Ekapadamurti has to be connected with Aja Ekapad, a name given in the Rig Veda to one of the Ekadasa Rudras
Tamil version follows
To be continued……………………..
Tags- Hinduism through 500 Pictures in Tamil and English-33; படங்கள் மூலம் இந்து மதம் கற்போம்-33, Lingodbhava, Ekapadamurti
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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.
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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)
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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.
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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.
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]
***
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!
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
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
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
xxxx
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.
***
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.
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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.
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Tamil and Vedas 