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.

 Arunesh Mahadevan

 —subham—

Tags- subrahmanya Bhujangam, Arunesh Mahadevan, Hindu Post

Brahma on Lotus 

Written by London Swaminathan

Post No. 15,139

Date uploaded in London –  1 November 2025

Contact – swami_48@yahoo.com

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  

Brahma Third Part

(Old Articles on Brahma in Tamil and English)

Science behind Hindu God Brahma!

Four Faced God in Sumer (Brahma?)

Research paper written by London Swaminathan
Research article No.1421; Dated 19th November 2014.

Brahma, Vishnu and Shiva form the Hindu Triad. Of the three gods Brahma has amazing science behind him. We know about the cosmic rhythm in the dance of Shiva. We see the nuclear explosion in the description of Visvarupa Darsanam of Krishna in Bhagavad Gita. In fact it is Robert Oppenheimer, the Father of Atomic bomb, who compared Krishna’s Visvarupa Darsanam to the explosion of the first atomic bomb. Now I see the science of Black Hole in the same Visvarupa Darsanam! But no one has looked into the scientific aspects of Brahma like they did in the case of Dance of Shiva or Visvarupa Darsanam.

The story of Brahma is more interesting than a science fiction story. Hindu’s great scientific achievements and developments are weaved into his story.
Brahma is the
God of Cosmology
God of Astronomy
God of Mathematics
God of Creation and Evolution

Scientific Fact 1
Only now we know that there are billions of stars and there may be millions of earths with possible extra terrestrial civilizations. The time scale is very different from our earth. What we spend as 100 years on earth may be one second or a fraction of a second for them. Human years are different from them. Satya Loka, the abode of Brahma, is a place where time moves very slowly.
His life is hundred heavenly years, each of 360 days and nights. Each day or Kalpa is equal to 4,320,000,000 earthly years. Brahma’s current age is said to be 51 and each of his years the universe is destroyed and rebuilt. Hindus see the time in a different way from the westerners. When the world did not even learn to count 1000, we the inventors of decimal system went far ahead in numbers. All the yuga or kalpa calculations are in magical numbers; added together it will be 9. Ancient Sumers took it from us put all their pre dynastic kings age in the same way!

Scientific fact 2
He created the world; but he created himself from the primeval waters using the power of his desire. He thought a seed into existence which grew into a golden egg. The two halves of the shell became heaven and earth, within which he fashioned the sky. This is actually the description of Big Bang, though the word earth may be inappropriate here. Hindus knew that everything in the universe is globular. But the western word waited for a Copernicus and Galileo to “discover” it. Brahma’s name itself is Golden Egg= Hiranya Garba.

Till this day science could not explain why the Big Bang happened. Hindus only explain the Big Bang as God’s desire. Bible has taken this concept and used it in the lines “ In the beginning the word was there and the word was with God”.
Bible and other Semitic scriptures did not explain about the cyclical nature. They concluded it as one off event.

Scientific fact 3
Foreign scholars took great delight in describing the “incest” of Brahma: He had a daughter by name Satarupa and through incestuous intercourse he created the world. She was very beautiful and Brahma turned to the direction where she went and got five heads. This is a symbolic story to tell about the evolution. If a teenager asked his mum or dad whether man or Woman came first they cannot answer this chicken and egg question. Actually Brahma’s story explains a scientific fact. In the beginning bacteria multiplied by splitting into two and then unicellular organisms appeared. Higher the ladder, there were hermaphrodite animals where both sexes were there in the same species (Like Artdhanaree of Shiva). Male and female species appeared separately at a later age. At one stage dominant male should have separated from the female. This story was used by the Bible saying that God created a woman from the left rib of Adam. In other words Eve is the “daughter of Adam”—came out of the same body. But both of them had sex. So the “story of incest” is the story of evolution.

Scientific Fact 4
Only now the cosmologist and astronomers write about the Big Bang (expansion) and Big Crunch (contraction). But Brahma’ life span explained the Big Bang and Big Crunch thousands of years ago.

Scientific fact 5
Vishnu’s Avtars (incarnations) as Fish, Tortoise, Pig, Man Lion shows the progressive evolution. In the Vedic literature the first three Avatars appear as Brahma’s Avtars. Later it was transferred to Vishnu. So Brahma is the God of Creation and evolution.

Scientific fact 6
Some Puranic (mythology) stories described Brahma coming out of the lotus which grew from Vishnu’s naval. In fact it is the story of continental drift. Continents were formed after millions of years of movements of earths plates. In the beginning there was only one big land mass called Pangaea. Though the books describe it as a Greek word actually it is Sanskrit Pangaya meaning Lotus. Like lotus blooming, earth also slowly bloomed and the continents drifted. Women are also said to give birth to children from their “lotuses”.

Scientific fact 7
Amazing number and the calculation of Yugas, eras, eons – all adding up to number 9 shows the amazing mathematical skill of the Hindus. They saw completeness in Number Nine. The calculation of big numbers itself show their knowledge and interest in mathematics .

Scientifc Fact 8
Brahma has 29 names in Amarakosa, first thesaurus in the world. He is a water born god. All the life forms appeared from Water in the beginning — is scientific fact. Without water molecules life forms cannot originate.

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My Visit to Brahma Temple in Tamil Nadu

French Stamp on Brahma from Indo China 

Date: 14 April 2019; Post No. 6264

Brahma

It is said that Brahma hasn’t got many temples in Tamil Nadu. They say Pushkar in Rajasthan and a few places got temples for Brahma, one among the trinity. But to my surprise I saw a huge statue of Brahma thronged by a big crowd in Thiruppattur Brahmapureeswar temple in Tamil Nadu. Though the main shrine is devoted to Lord Shiva, Brahma was the sought after god there. The reason being people believed that He will rewrite your bad fate in your favour.

Lot of devotees came with their horoscopes written in note books and others came with A 4 size notes or Foolscap size note books. If some astrologers have written something bad will happen to you during such and such period, you may give your written prediction to the priest there. He collects and takes all  of them to the God (in the form of statue) and return them to the respective devotee after Puja. Scores of note books of horoscopes changed hands during my short stay at the temple.

Apart from this belief, the statue itself was big and beautiful with sandal paste applied all over.

Where is Tiruppattur?

It is near Trichy. It is 34 kilometres from Trichy.Sa amyapuram is in between Trichy and Tiruppattur. When you google for this place you will be misled easily to other two Thiruppathurs in Tamil Nadu.

What is there?

In addition to a huge Brahma statue, there are 12 lings believed to be installed by Brahma himself. He worshipped Lord Shiva to get out of the curse.

Everyone must visit this beautiful temple. It was sung and praised by Saint Sundarar, one of the great Four Saivite saints.

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‘KA’ is Brahma – Interesting Info. from Panini and Kautilya

Post No. 8239; Date– 25 June 2020       

Eight years ago, I wrote about the God ‘Ka’  (Prajapati, Brahma) in this blog. All Sanskrit scholars raised their brows without understanding or pretending not to understand the word ‘Ka’ in the Rig Veda (RV 10-121). The hymn itself ends with praising Prajapati (Brahma). Ka means ‘who’ as well in Sanskrit. In Sanskrit there is no interrogation mark. These half -baked scholars put interrogation mark at the end of each mantra in the hymn and started wondering or misinterpreting. But in Hindus mind, Ka is Prajapati/Brahma. If you remove the interrogation marks and read the poem/hymn it coincides with the last word Prajapati.

I have also shown that Egyptians borrowed it from us and made a hieroglyph out of it. Ka symbol means God and he is shown as the son of Pita (Ptah in Egypt).

Tamil and Sanskrit dictionaries give the meaning Prajapati. Probably Indian Rishi Mahadeva ( in Egypt he is Imhotep-Imho=Maha; tep=Dev )taught them about Vedic Mudras and Vedic Gods (Please see my 20+ articles on Egypt)

Interesting information from Panini

Kautilya who came a few centuries after Panini, proposed to Maurya Chandra Gupta a few interesting ideas.

Use religion to make money.

First, celebrate religious festivals ; second, make Gods’ dolls, idols and statues for sale, out of which government can make money.

Kautilya’s wonderful ideas work until today. We Hindus buy dolls of Krishna, Ganesh and Devi until this day to do Pujas on respective festival days. Religious tourism is not only popular in India, but also in other parts of the world. Mecca, Vatican City, Jerusalem and Lourdes are big businesses for Air lines, Hotels and Tourist Industry. The mementos , books and pictures they sell in these places mean huge money.

Let me come back to Panini.

Panini wrote only a grammar book with 4000 couplets in Ashtadhyayi. That and the complimentary works that came after it give encyclopaedic information about Hindu life 2700 years ago.

Panini mentions the following Vedic deities –

Agni, Indra, Bhava, Varuna, Sarva, Rudra, Mrida,

Vrishakapi, Pusha, Aryama, Twashta, Nasatya.

Mostly in 4^th and 6^th chapters .

I will touch only the controversial gods.

1.Vrishakapi is one of the names of lord Vishnu in Vishnu Sahasranama. When it came in humorous dialogue poem in the Rig Veda, foreigners deliberately translated it as ‘sexy monkey’ but Panini mentioned it as a god (4-1-37) along with other Gods; no fuss is made.

Second interesting thing is about

Nasatya (6-3-75); Two Ashwini Devas are known as Nasatya. The name is derived by Panini from Na Asatyaah- who are the opposite of non-truth. The other interpretation mentioned in Mahabharata and Nirukta is one who are born out of Nasa (nose) of Samnjaa, wife of Surya. Panini rejected this and went for the first one which is originally given by Aurnavabha. He lived before Yaska of Nirukta.

Third interesting thig is about ‘Ka’.

Panini refers to Prajapati under the symbolical name of Ka. Patanjali says Ka is not a pronoun (who), but the proper name of a deity.

Panini mentioned female deities as well –

Indraanii, Varunaanii ,Agnaayii , Vrishaakapaayii (4-1-37)

Four Faced Brahma in Europe

POST VEDIC DEITIES

Goddess Parvati’s four names are mentioned-

Bhavaanii

Sarvaanii

Rudraanii

Mridaanii (4-1-49)

Mridaani is not found later. This shows Panini lived nearer to Vedic times.

He also gives information about the worship of Month, Year, Season and Stars/Nakshatras.

He shows that Bhakti movement was there 2700 years ago. Particularly Vasudeva bhakti (Krishna Bhakti).

Temples were also there for public worship. There were temples for Kesava, Rama and Kubera (1-43-6)

Kubera worship makes interesting reading.

The reference to the bhakti of Maharaja or Kubera proves on the other hand  that Panini surely had religious bhakti in mind (4-3-97).

An important sutra 5-3-99 ‘jiivikaarthe chaapanye’ proves Panini knows images of deities in his time .

There may be images installed in temples which are not of individual ownership, and hence not for anyone’s livelihood/jiivika, or for sale/panya, but for worship/puujaartha.

If it is for sale ‘kan’ suffix is added

Siva becomes sivaka

Skanda becomes skandaka .

Both ‘chala’ and achala images with the devalakas/owners of shrines would serve for worship/puujaartha, be a source of livelihood to their care takers/owners , but not for sale/apanya.

All these are the object of Panini ‘s rule , and they would be named as siva, skanda without ‘ka’ suffix.

Greedy Maurya kings

Patanjali adds more interesting information.

Mauryan kings , ‘greedy of gold’ /hiranyaathibhih, had ordered to set up , and most probably , to sell images . it served three purposes- jiivika, panya and puujaa .

Kautilya supplies the much needed commentary on this extraordinary Mauryan measure to replenish their exchequer.

The Devtaadhyaksha , officer for religious worship, is directed to raise money  by manipulating the worship of divine images and exploiting the credulousness of the people, such as organising fairs and festivals in the holy shrines of deities – daivata chaitya- , improvising shows of miraculous Naga images with changing number of hoods, and spreading the news of other miracles etc

—Arthashastra 5-2

Kautilya got three birds in one stone – Jiivika/livelihood, Panya/sales and Puuja/divine worship. He is indeed a clever Brahmin!

–Source book – India as known to Panini, VS Agrawala, University  of Lucknow, 1953 (with my inputs )

***

Tamil Hindu Encyclopaedia- Brahma

Post No. 11,489

Date– 30 November 2022                  

Brahma is often confused with two other words Brahmana and Brahman.

The three words have different meanings.

1.Brahma is one of the Hindu Trinity, i.e. Brahma, Vishnu and Shiva

2.Brahmana or Brahmin is the name of the priestly class, one of the four Vedic castes

3.Brahman is god in the Upanishads, Hindu god is genderless.

***

Brahma is given the job of Creation. He was born on a lotus that came out from the belly button of Vishnu lying in the sea bed on 1000 headed snake.

Ancient Tamils called him with different names based on the Hindu Puranic stories.

***

 Poovan

Puu in Tamil is flower as well as lotus. Since Brahma came out seated on lotus flower he is Called POOVAN, literally, Mr Flower, Pari 1-49

***

He was born with five heads, but lost one to Shiva and so he was called NAANMUKAN,literally Mr Four Faced.

Perum.lines402-404 used this word.

Pari 3-91/94 also described this story

***

One poet portrayed him as the son of Vishnu Pari. 3-12/14

He is the one who created all and so he takes back all. Kali.129 -1/2

This shows that the creator and the preserver are one and the same.

Pari 1-45/49 attributed all the three tasks to one god Vishnu.

The earth was full of water. He removed the flood and made life appear on earth.Kali 106-18/19

***

One poet called him uncultured creator looking at the different types of people on earth. Puram 194-15

Natrinai poet also 240-1 wondered at the way he created the world

***

Brahma’s four faces are constantly reciting Vedas says Pari.Thirattu 8-7/11

Because Vedas came out from him, he was also called

Vaaymozi Makan, where Vaaymozi stands for the Vedas

***

Heavenly Ganges River was sent from sky by Brahma and Lord Shiva controlled its speed by bearing it on his hair- says Pari.9-3/4

When Shiva went to knock down the Space Castles that were flying like modern Space Labs, Brahma was Lord Shiva’s charioteer (Kali 2-1/8)

***

According to Hindu Puranas Brahma is not eternal. Brahma changes. He lost one head to Shiva. These stories are not mentioned by the Sangam poets.

Later poets added these stories in their poems

பெரும்பாணாற்றுப்படை 402-405

நீல்நிற உருவின் நெடியோன் கொப்பூழ்

நான்முக ஒருவற் பயந்த பல் இதழ்த்

தாமரைப் பொகுட்டின் காண்வரத் தோன்றிச்

சுடுமண் ஓங்கிய நெடுநகர் வரைப்பின்,   405

***

பரிபாடல் திரட்டு -8

பூவினுள் பிறந்தோன் நாவினுள் பிறந்த

நான்மறைக் கேள்வி நவில் குரல் எடுப்ப

***

பரிபாடல் 3

‘வாய்மொழி ஓடை மலர்ந்த

தாமரைப் பூவினுள் பிறந்தோனும், தாதையும்,

நீ’ என பொழியுமால், அந்தணர் அரு மறை.

***

பரிபாடல் 3

மா நிலம் இயலா முதல்முறை அமையத்து,

நாம வெள்ளத்து நடுவண் தோன்றிய

வாய்மொழி மகனொடு மலர்ந்த

தாமரைப் பொகுட்டு நின் நேமி நிழலே!     94

***

Following names for Brahma are found in Sangam Tamil Literature

பிரம்மா Brahma,

படைப்போன்- Padaippon- Creator,

பூவன்- Poovan – Mr Flower

நான்முகன்- Naan mukan- Mr Four Faced

ஆதி அந்தணன்- Aadhi Anthanan – First Brahmin

முதியவன்- Muthiyavan – Eldest/ Oldest,

வாய்மொழி மகன்- Vaaymozi Makan—Veda (mouthed) man

தாமரைப் பூவினுட் பிறந்தோன் – Person born in Lotus

மலர்மிசை முதல்வன், – First man on flower

உலகு படைத்தோன், – Creator

படைத்தோன், – Creator

முதுமுதல்வன் Old and First man

****

பிரம்மா பற்றிய அறிவியல் உண்மைகள்

அறிவியல் உண்மை 1
கடந்த நூறு ஆண்டுகளாகத்தான் பில்லியன் கணக்கில் நட்சத்திரங்களும் அதைச் சுற்றி மில்லியன் கணக்கில் பூமி போன்ற கிரகங்களும் இருப்பதை உலகம் அறியும். அதில் பல்லயிரம் கிரகங்களில் வெளி உலகவாசிகள் (Extra Terrestrials) வசிக்க உள்ள வாய்ப்புகள் பற்றியும் விஞ்ஞானிகள் அறிவர். ஆனால் சத்ய லோகத்தில் வசிப்பதாகக் கருதப்படும் பிரம்மா பற்றிப் படிக்கையில் அவர் ஒரு வெளி உலகவாசியோ என்று வியக்கத் தோன்றும். அவருடைய வாழ்நாளின் காலம் நாம் இந்தப் பக்கத்தில் எழுத முடியாத அளவு பெரிய எண்ணிக்கை. மற்ற கலாசாரங்களுக்கு 1000, 10,000 என்ற எண்கள் கூடத் தெரியாத காலத்ததி , நாம் உலகமே வியக்கும் ஆயுளை பிரம்மாவுக்குக் கொடுத்தோம் அது மட்டுமல்ல இது ஒரு பிரம்மாவின் ஆயுள். அவர் போன பின், அடுத்த ப்ரம்மா வருவார் என்றும் சொன்னோம். இன்னும் விஞ்ஞானிகளுக்கு — காலம் என்பது சுழற்சி உடையது— Cyclical வட்டமானது என்று கூடத்தெரியாது. இப்பொழுது கருந்துளை ஆய்வுகள் நிறைய நடப்பதால் நமது கொள்கையை வெகு விரைவில் உலகம் ஏற்கும்.

பிரம்மாவின் ஒரு நாள் என்பது 4,320,000,000 ஆண்டுகள். இது போல அவர் 100 ஆண்டுகள் வாழ்ந்த பின்னர் புது பிரம்மா வருவார். இப்பொழுதுள்ள பிரம்மாவுக்கு வயது 51. ஏதோ அறிவியல் புனைக்கதை (Science Fiction) படிப்பது போலத் தோன்றும்.. இது கதை என்று யாராவது நினைத்தாலும் முதலில் அறிவியல் புனைக் கதை எழுதிய பெருமை நமக்கே கிடைக்கும்.

அது மட்டுமல்ல. யுகம் பற்றிய எதைக் கூட்டிப் பார்த்தாலும் ஒன்பது என்ற எண் வரும். இதை சுமேரியர்கள் கூட நம்மிடமிருந்து எடுத்துக் கொண்டு பிரளயத்துக்கு முந்தைய சுமேரிய மன்னர்களுக்கு இப்படி ஆட்சி ஆண்டுகளைக் கொடுத்துள்ளனர்!!

அறிவியல் உண்மை 2
பிரம்மாவுக்கு ஒரு பெயர் ஹிரண்ய கர்பன். அதாவது தங்க முட்டை! உலகம் உருண்டை என்பதைக் கண்டுபிடிக்க மேலை நாடுகள் ஒரு கலீலியோ, ஒரு கோப்பர்நிகஸ் தோன்றும் வரை காத்திருந்தது. ஆனால் நாமோ துவக்க காலம் முதல் பிரபஞ்சத்தில் உள்ள அனைத்தும் கோள வடிவானவை என்பதை அறிந்து, அண்டம் ( முட்டை வடிவானது), பிரம்மாண்டம், பூகோளம் (புவியியல்) என்று பெயரிட்டோம்.
அதுமட்டுமல்ல. அந்த ஹிரண்யகர்ப்பன் ஒரு நாள் திடீரென வெடித்து வானமும் பூமியுமாகப் பிளந்ததென புராணங்கள் பகரும் இதையே இப்பொழுது மாபெரும் வெடிப்பு Big Bang Theory — பிக் பேங் – என்று சொல்லுகின்றனர். இது ஏன் ஏற்பட்டது என்று விஞ்ஞானிகளால் விளக்க முடியவில்லை. நமது சாத்திரங்கள் மட்டுமே கடவுள் ஒரு சொல்லை நினைத்தார் — அதைச் சொன்னார்- உலகம் உருவாக்கப்பட்டது என்று சொல்லுகிறது. இதை பைபிள் அப்படியே நம்மிடமிருந்து எடுத்துக் கொண்டது. ஆனால் அதற்கு மேல் விளக்கவில்லை.

நாம் அதற்கும் மேலாக ஒரு படி சென்று மாபெரும் வெடிப்பு —ஒரு நாளைக்கு பலூன் போல ஊதிக்கொண்டே போய் பின்னர் முடிவில் வெடிக்கும் —அப்பொழுது காற்றுப் போன பலூன் போல பிரபஞ்சம் சுருங்கும் Big Crunch — மீண்டும் பலூன் போல ஊதும் — என்று – ஸைக்ளீகல் Cyclical —வட்டமான சுழற்சி உடையது என்று சொல்லியிருக்கிறோம். இந்த பிக் க்ரஞ்ச்Big Crunch – கொள்கையை இப்பொழுதுதான் விஞ்ஞானிகள் ஏற்கின்றனர்.

அறிவியல் உண்மை 3
தசாவதாரத்தில் முதலில் மீன், பிறகு ஆமை, பிறகு பன்றி, பிறகு பாதி மனிதன் –பாதி சிங்கம் என்பதெல்லாம் டார்வீன் சொன்ன பரிணாமக் (Theory of Evolution) கொள்கையை ஒட்டி இருப்பதை நாம் அறிவோம் ஆனால் முதல் மூன்று அவதாரங்களும் உண்மையில் ஆதி நூல்களில் பிரம்மாவின் பெயரிலேயே (பிரஜாபதி) உள்ளன. ஆக அவரே படைப்புக் கடவுள்—பரிணாம வளர்ச்சிக் கடவுள். இதை சதபத பிராமணம் (Satapata Brahmana) முதலிய நுல்கள் விளக்கும். பின்னர் இதை விஷ்ணுவின் அவதாரங்களாக புராணங்கள் எழுதின. இதை இன்னொன்றாலும் அறியலாம்.

அறிவியல் உண்மை 4
வெளிநாட்டுக்காரர்களுக்கு கிளுகிளுப்பூட்டும் ஒரு விஷயம் நம் இலக்கியங்களில் உண்டு. அதை எழுதி, எழுதி நம்மை நக்கல் செய்வது—பகடி செய்வது—கிண்டல் செய்வது அவர்களுக்குப் பொழுதுபோக்கு. அது என்ன ‘’பலான’’ கதை என்கிறீர்களா?

பிரம்மா ஒரு மக:ளைப் பெற்றார். அவள் பெயர் சதரூபா (நூறு உருவம்)—அவல் அழகைக் கண்டு பிரம்மா அவளையே உற்று நோக்கினார். அவளுக்கோ வெட்கம் பிடுங்கித் தின்றது- வேறு திசையில் ஓடி ஒளிந்தாள் அங்கேயும் பிரம்மா திரும்பினார். ஒவ்வொரு திசையிலும் ஒரு முகம் வரவே அவருக்கு நாலு முகம் தோன்றி அவர் நான்முகன் ஆனார். அவளோ வெட்கப்பட்டுக் கொண்டு மேலே போனாள். அங்கு ஐந்தாவது முகம் உதித்தது. அவளுடன் ஒன்று கூடிப் (Incestual Intercourse) பின்னர் உலகத்தைப் படைத்தார். இதைச் சொல்லிச் சொல்லி வெளிநாட்டினர் மகிழ்வர். உண்மையில் இந்தக் கதையை நம்மிடமிருந்து பைபிளும் இரவல் வாங்கி முதல் அத்தியாயத்திலேயே எழுதிவிட்டது. ஆதாம் என்பவரின் இடுப்பு எலும்பை கடவுள் முறித்து ஏவாள் என்ற பெண்ணை உருவாக்கவும், ஆதாம் அவளுடன் கூடி (Incest?) மனித இனத்தை உருவாக்கினார் என்பது அக்கதை. ஒரே உடலில் இருந்து ஒருவரைப் படைத்தால் அந்த ஏவாளும் சதரூபா போல ஆதாமின் மகள்தானே!!

இதில் உள்ள அறிவியல் உண்மை என்னவென்றால் முதலில் பாக்டீரீயா போல இருந்த உயிரினம் ஒரு செல் உயிரினங்களாக மாறி நீரில் நீந்தி பிறகு ஒரே உடலில் ஆண் பெண் உறுப்புகளுடன் பிறந்தன (ஹெர்மாப்ரோடைட் Hermaphrodite). பின்னர்தான் ஆண், பெண் என தனித்தனி உயிர் இனங்கள் தோன்றின. இதை அர்த்தநாரீஸ்வரர் என்னும் சிவனின் வடிவத்துடன் ஒப்பிடலாம்.

முதலில் ஆண் தோன்றினானா? பெண் தோன்றினாளா? முதலில் முட்டை வந்ததா? கோழி வந்ததா? (Chicken and Egg question) என்ற கேள்விக்கு விடை கூறும் கதை இது. பெரிய விஞ்ஞான உண்மைகளை, சுவையான கதைகளாகத் தருபவை நம் புராணங்கள்!

அறிவியல் உண்மை 5
பிரம்மாவின் தோற்றம் பற்றிய கதை பெரிய பூகர்ப்பவியல் ( Geology ஜியாலஜி) கதையாகும். அவர் நீரில் படுத்து இருந்த நாராயணனின் தொப்புள் கொடியில் இருந்து உதித்த தாமரை மலரில் இருந்து தோன்றியதாக ஒரு கதை உண்டு. இது காண்டினென்டல் ட்ரிப்ட் Continental Drift எனப்படும் கண்டங்கள் நகர்ந்த கதை ஆகும். முதலில் பூமி என்பது ஒரே நிலப்பரப்பாக இருந்தது பின்னர் அது தாமரை மலர்வது போல மெதுவாக நகர்ந்து இன்றுள்ளது போல ஆசியா, அமெரிக்கா, ஆப்பிரிக்கா எனப் பிரிந்தது. இதையே தாமரையில் பிரம்மா தோன்றி உலகைப் படைத்தார் என்போம். புராணத்தில் கூட பிரம்மாண்டம் என்று இருப்பதைக் காணலாம். ‘ப்ரு’ என்னும் வடமொழி வேர்ச் சொல் மூலமே ‘’பெருகுதல், பிரிதல், பெரிய, ப்ருஹத், ப்ரம்ம’’ — முதலிய சொற்கள் வந்தன.

கிரேக்க மொழியில், முதலில் இருந்த சூப்பர் கான்டினென்ட்டை ‘’பங்கேயா’’ Panagaea என்பர். பங்கய என்றால் தாமரை எனப் பொருள். இது பங்கஜம் என்ற வடமொழிச் சொல். பிற்காலத்தில் இந்தப் பொருள் அறியாதோர் கிரேக்க மொழியில் புதுப் பொருள் கண்டனர் ( பேன்+ கயா ). பெண்கள் குழந்தை பெறுவதையும் தாமரை மலரில் இருந்து குழந்தை வந்ததாக வடமொழி இலக்கியங்கள் வருணிக்கும்.

அறிவியல் உண்மை 6
கணித விஷயத்தில், ஒன்பது என்ற எண்ணின் வியப்புறு குணங்களில் பல ஆராய்ச்சி செய்து அதன் பெயரில் பிரம்மாண்டமான எண்களைக் க(ல்)ற்பித்து (கல்பம் என்பதே பிரம்மாவின் ஒரு நாள், பரம் என்பது அவரது 100 ஆண்டு) உலகம் அறியாத புதுமைகளைச் செய்தனர் இந்துக்கள். ஒன்பது என்ற எண்ணின் பரிபூரணத் தன்மையை மனதிற் கொண்டே 108, 1008 என்ற அஷ்டோத்திரம், சஹஸ்ரநாமம் ஆகியவற்றைப் படைத்தார்கள் இது பற்றி நான் இரண்டு ஆண்டுகளுக்கு முன் எழுதிய எண்கள் 18, 108, 1008 பற்றிய கட்டுரையில் விரிவாகக் கொடுத்து இருக்கிறேன்.

அறிவியல் உண்மை 7
நாரா (நீரா) அயனன்= நாராயணன், பிரம்மா மற்றும் முதல் இரண்டு அவதாரங்கள் எல்லாம் — நீரில்தான் உயிரினங்கள் தோன்ற முடியும், பரிணாம வளர்ச்சி பெற முடியும் —- என்று காட்டுகின்றன. இன்று வெளி கிரகங்களிலும் நீரின் மூலக்கூறுகள் (water molecules) இரு கின்றனவா என்று விஞ்ஞானிகள் தேடிக் கொண்டிருப்பதை நாம் அறிவோம்.

Brahma in Sumerian Civilisation 

அறிவியல் உண்மை 8
உலகின் முதல் அகராதி (Thesaurus/ Dictionary நூலான அமரகோசம் வழங்கும் பிரம்மாவின் 29 வடமொழிப் பெயர்களை மற்றொரு கட்டுரையில் தருகிறேன்.

பிரம்மா என்பவர்
வானவியலை (Astronomy/ Cosmology) விளக்கும் கடவுள்
பூகர்ப்பவியலை (Geology) விளக்கும் கடவுள்
உயிரியல், பரிணாம வளர்ச்சியை (Biology / Theory of Evolution) விளக்கும் கடவுள்
கணிதம், பிரம்மாண்ட எண்களை (Mathematics and Amazing Numbers) விளக்கும் கடவுள்
பிக் பேங், பிக் க்ரஞ்ச்(Big Bang and Big Crunch) முதலிய அதி நவீன கொள்கைகளை (Ultra Modern Theories) விளக்கும் கடவுள்!!

—-சுபம்—

Tags-Hinduism through 500 Pictures in Tamil and English; படங்கள் மூலம் இந்து மதம் கற்போம்- Part 21  , பிரம்மா , அறிவியல் உண்மைகள், Science behind Hindu God Brahma! Brahma Third part.

Written by London Swaminathan

Post No. 15,133

Date uploaded in London –  30 October 2025

Contact – swami_48@yahoo.com

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  

BRAHMA- First Part

God of creation; one of the Trinity, Brahma Vishnu Shiva.

Temples at Pushkar, Rajasthan, Brahmapureeswar in Tamil Nadu; all South Indian Saivite temples have Brahma’s statues.

No proper worship; like Archana, Sahasranama, Puja etc.

Sung by saints in all Saivite hymns as one searching for Shiva’s head along with Vishnu in Boar form searching for His feet; but both failed.

Brahma lied and so he was cursed that he won’t be worshipped on earth.

His abode is Satya Loka up above the earth. He has an end unlike Shiva and Vishnu. A new Brahma takes over.

But his life span in human years is very huge.

His wife is Sarsvati, Goddess of Wisdom and Education.

Brahma is portrayed as Prajapathi in the Vedas.

Now he is shown with four heads because one of his five heads was chopped off by Lord Shiva according to Tamil verses.

His references are in Tamil Sangam literature, Tirukkural, Tevaram, Tiruvasagam etc.

When he insulted others, Shiva cut off his fifth head. That happened at Tirukkandiyur near Thanjavur in Tamil Nadu according to Sthala Puranas (local temple legends). His beautiful figure is at that place.

When he failed to tell the meaning of Aum- Pranava mantra—he was imprisoned by Skanda, Shiva’s son; later released at the request of Devas.

He created Sapta Rishis from whom humans were created.

Tamil Encyclopaedia Abhidhana Chintamani of Singara velu Mudaliyar gives 67 points about Brahma.

His vehicle is swan (Hamsa);

He came from the belly of Vishnu on top of a lotus flower. In Tamil Tirukkural as Malarmisai ekinaan.

He gave boons to lot of Devas and Demons.

***

More about Brahma’s appearance

Brahma , distinct from Brahman, the all pervading Eternal Spirit, is the first member of the Hindu Triad. His principal function is Creation. Independent shrines dedicated to him are rare. Still figures of Brahma are commonly found decorating one of the niches in the north wall of the central shrine in Siva temples. Images of Brahma are sometimes seen on pillars, ceilings and other parts of the temple. But he is not worshipped as a chief deity except one or two temples in India.

According to Maanasaara, one of the standard works on sculpture, Brahma is represented with four hands. He has, however, one body with four heads. The image may be standing or seated. The form of the left lower hand exhibits the posture of conferring boons (Varada Mudra) while the right lower indicates protection (Abhaya mudra). The corresponding upper hands hold the water pot (Kamandalu) and the rosary (Akhsamaalaa) or sometimes the sacrificial ladle (Srik) and spoon (Sruva).

***

The following ornaments are seen in the finished picture of Brahma:

Earrings or pendants fashioned like the face of a crocodile.

The sacred thread, Yajnasutra, hanging right across the body from the left shoulder;

The scarf (Uttariiya) thrown round the neck so as to stretch down to the knees;

The utarabandhana, or literally girdle going round the belly;

Necklace and torque;

Armlets, arm-rings, wristlets, anklets, waist zone, finger rings set with gem stones etc.

His hair is made up in the fashion of Jataa-Makuta and he is attended by two goddesses Sarasvati on the right and Saavitri on the left.

Another representation shows Brahma riding a chariot drawn by Seven Swans (hamsa). He is seated on a full blown lotus flower (Tamil Tirukkral refers to it) , his eyes closed in a meditative posture. Goddess Saavitri is seated on his left thigh. There are various other representations of Brahma drawn purely from the imagination of the sculptor or painter, sometimes  also based on puranic legends.

To be continued……………

Tags- Brahma, First part, Sarasvati, lotus flower, ornaments, Four heads, Hinduism through 500 Pictures in Tamil and English; படங்கள் மூலம் இந்து மதம் கற்போம் – Part 19