tag:blogger.com,1999:blog-68984794216750603672024-03-05T10:08:04.638-08:00ஒரு மனதின் பதிவுகள்A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.comBlogger86125tag:blogger.com,1999:blog-6898479421675060367.post-29401523968101171362011-07-02T00:12:00.001-07:002011-07-02T00:12:46.831-07:00புழக்கத்தில் உள்ள சில பழமொழிகளும், விளக்கங்களும்!சட்டியில் இருந்தால் அகப்பையில் வரும்<br />
இந்தப் பழமொழியின் உண்மையான விளக்கத்தை வாரியார் அவர்கள், குழந்தை பாக்கியம் இல்லாதவர்கள் கந்தர் சஷ்டியில் விரதம் இருந்தால் கருப்பையில் குழந்தை உருவாகும் என்று கூறுகிறார்.<br />
பெண் புத்தி பின் புத்தி<br />
நெற்றிக்கண் எனும் ஞானக்கண், முதன்முதலில் பார்வதிதேவிக்குத்தான் இருந்ததாகப் புராணங்கள் கூறுகின்றன. பார்வதிதேவி சிவபெருமானுடன் சேர்ந்தபோது, தன் ஞானம் எனும் மூன்றாம் கண்ணை சிவபெருமானுக்குக் கொடுத்துவிட்டார் என்றும், சிவபெருமான் பார்வதிதேவியின் நெற்றிக் கண்ணை நினைவுகூரும் வகையில் செந்நிறத் திலகமிட்டார் என்றும் கூறப்பட்டுள்ளது. இதன் விளைவாகவே இன்றும் திருமணங்களில் மணப்பெண்ணுக்கு நெற்றியில் திலகம் இடப்படுகின்றது. அப்படி திலகம் பார்வதிதேவியின் நெற்றியில் இடப்படுவதற்கு முன், சிவபெருமான் தன்னை முழுமையாக பார்வதிதேவியின் கையில் கொடுத்துவிட்டார். இதை நினைவுகூறும் வகையில் இன்றும் திருமணங்களில் பெண்ணின் கையில் முக்கண்ணுடைய தேங்காய் கொடுக்கப்பட்டு திலகம் இடப்படுகின்றது. ஞானத்தை புத்தி என்றும் கூறுவர். ஞானமாகிய புத்தியை சிவபெருமானுக்கு பார்வதிதேவி தன் மூன்றாம் கண்ணாக அன்பின் வழியாகக் கொடுத்து, அவரின் பின்னால் சக்தியாகத் தாங்கி நிற்கின்றாள். அக்னி எனும் ஞானத்தை சிவபெருமானுக்குக் கொடுத்து அவரின் பின்னால் இருந்து புத்தியாக – சக்தியாக இருந்து செயல்படுகின்றார். இதுவே பெண்புத்தி பின்புத்தி என்று சொல்லப்படுகின்றது, பெண் சகோதரியாக இருந்தாலும் மனைவியாக இருந்தாலும், சக்தியைக் கொடுத்துப் பாதுகாக்கின்றாள். பெண் எனும் சகோதரி, முருகன் கை வேல் போன்று காப்பவள், மனைவி எனும் பெண் ஆனந்தம், கருணை, அன்பு எனும் நித்யானந்த நிலைக்கு நம்மை வழி நடத்துபவள்.<br />
ஆதாயம் இல்லாத செட்டி ஆற்றோடு போவானா?<br />
பொதுவாக நகரத்தார் சிக்கனவாதிகள் என்று சொல்லப்படுவதுண்டு. பெரும்பாலும் வணிகத்தில் ஈடுபட்டிருக்கும் இவர்கள் தான் தான தர்மத்திலும் சிறந்து விளங்குகிறார்கள். இன்றைக்கு இருக்கும் கல்வி மற்றும் சமூக அறக்கட்டளைகளில் கணிசமானவை நகரத்தார்களின் நன்கொடையில் விளைந்தது. அந்தக் காலத்திலிருந்தே பல வகையான தான, தர்மங்கள் செய்து வந்தனர் நகரத்தார்கள். தானங்களில் சிறந்தது பசு தானம். எந்த ஒரு மங்கல நிகழ்ச்சி நடந்தாலும், பசுவைத் தானம் கொடுப்பது தலையாய தானமாய்க் கருதப்படுகிறது. அதற்குக் காரணம் எந்தவித பலனும் எதிர்பாராமல் தன் பாலை மக்களுக்குக் கொடையாக வழங்குவது பசு. அத்தகைய கொடை தரும் பசுவைக் கொடையாகத் தருவது புண்ணியம்தானே!.<br />
ஆ-தானம் அதாவது பசு தானம் செய்வது வழக்கம். நகரத்தார்(செட்டியார்) எவரும் ஆ தானம் செய்யாது போனால், தன் வாழ்வில் செய்யத் தவறினால், அவன் தன் கடமையை ஆற்றாது போகிறான் என்பதாக வந்தது. ஆ தானம் செய்யாத செட்டி ஆற்றாது போகிறான் என்ற நகரத்தாரின் குணத்தைப் போற்றிய உண்மையான பழமொழி நாளடைவில் திரிந்து ஆதாயம் இல்லாத செட்டி ஆற்றோடு போவானா என்று தவறுதலாக பேச்சுவழக்கில் கூறப்பட்டு வருகிறது.<br />
பந்திக்கு முந்து படைக்கு பிந்து<br />
வீரம் விளைந்த பூமி என்று போற்றப்படும் நமது பூமியில் வீரர்களை படைக்கு பிந்து என்று கூறியிருக்க மாட்டார்கள். பந்தி (விருந்தினர்கள்) என்று வந்தால், அவர்களுக்கு முந்திக் கொண்டு உணவு பரிமாற வேண்டும். விருந்து படைக்கிறவர்கள், விருந்தினர்கள் சாப்பிட்ட பின்பே (பிந்து) சாப்பிட வேண்டும் என்பதே இதன் உண்மையான அர்த்தம். இதுவே பேச்சுவழக்கில் பந்திக்கு முந்து படைக்கு பிந்து என்று மாறிவிட்டது.<br />
குருவிக்குத் தக்கன ராமேஸ்வரம்<br />
நம்முடைய தகுதிக்கும், வசதிக்கும் தகுந்தது தான் கிடைக்கும் என்ற அர்த்தத்தில் இந்த பழமொழி உபயோகப்படுத்தப்படுகிறது. அதென்ன குருவிக்கு தக்கன ராமேஸ்வரம், குருவிக்கும் ராமேஸ்வரத்துக்கும் என்ன சம்பந்தம். குறி வைக்கத் தப்பாது ராமசரம் என்பதே உண்மையான பழமொழி. ராமனின் அம்பு (ராமசரம்) குறி வைத்துவிட்டால் தப்பாது இலக்கை அடையும் என்பதே இதன் அர்த்தம். இதுவே நாளடைவில் பேச்சுவழக்கில் குருவிக்கு தக்கன ராமேஸ்வரம் என்று கூறப்படுகிறது.<br />
சோழியன் குடுமி சும்மா ஆடாது!<br />
சோழியன் என்பது பிராமண குலத்தில் ஒரு பிரிவு. பொதுவாக பிராமணர்கள் தலைக்குப் பின்பக்கம் அடர்த்தியாக குடுமி வைத்திருப்பர். ஆனால் சோழியன் பிரிவைச் சேர்ந்தவர்கள் மட்டும் மலையாள நம்பூதிரிகளைப் போல தலையின் முன்பக்கத்தில் முடியும் வண்ணம் முன் குடுமி வைத்திருப்பார்கள். சோழியர்களின் குடுமி தலையின் முன்பக்கத்திலேயே அடர்த்தியாக முடியப்பட்டாலும் அது சும்மாட்டுக்கு இணையாக ஆக முடியாது. அதாவது சும்மாடு என்பது சுமை தூக்குபவர்கள் தலையில் துணியைச் சுருட்டி வசதிக்காக வைத்துக் கொள்வது. முன்குடுமி எவ்வளவு கட்டையாக இருந்தாலும் சும்மாடாகாது. அவர்களும் சுமை தூக்கும் போது சும்மாடு வைக்கத்தான் வேண்டும். சோழியன் குடுமி சும்மாடு ஆகாது என்பது தான் உண்மையான பழமொழி. இதுவே தற்போது சோழியன் குடுமி சும்மா ஆடாது என உச்சரிக்கப்படுகிறது.<br />
பசி வந்திட பத்தும் பறந்து போகும்<br />
அறிவுடைமை, இன்சொல், ஈகை, தவம், காதல், தானம், தொழில், கல்வி, குலப்பெருமை, மானம் ஆகிய பத்து குணங்களும் பசி என்று வந்து விட்டால் பறந்து போகும் என்பது உண்மை. இந்தப் பத்தும் இளகியிருந்தால் பகைவன் வீட்டிலும் சாப்பிடலாம் என்பது மற்றொரு பழமொழி. அதை சித்த வைத்தியர்கள் பத்து மிளகு இருந்தால் பகைவன் வீட்டிலும் சாப்பிடலாம் என மிளகின் பெருமைகளை விளக்கும் சொல்லாக மாற்றி விட்டனர்.<br />
கல்லைக் கண்டால் நாயைக் காணோம்; நாயைக் கண்டால் கல்லைக் காணோம்<br />
பைரவரின் வாகனமாக நாயைப் பார்க்கும் போது, அதை இறைவனின் அம்சமாக நினைத்து வணங்க வேண்டும். நாயின் வடிவத்தில் இருக்கும் கற்சிலையை பார்க்கும் போது அதை நாய் என்று நினைத்தால் நாயாகவும், வெறும் கல் என்று நினைத்தால் கல்லாகவே தெரியும். ஒரு பொருளின் அல்லது ஒரு விஷயத்தின் அழகும் பெருமையும் காண்பவர்களின் பார்வையைப் பொருத்தே உள்ளது என்பதே இதன் உண்மையான அர்த்தம். ஆனால் இப்போது நாயைக் கண்டால் கல்லைக் கொண்டு எறிய வேண்டும் என்பது போல் இந்தப் பழமொழி அமைந்து விட்டது.<br />
தென்னை மரத்தில் தேள் கொட்டினால் பனை மரத்தில் நெறி கட்டும்!<br />
தென்னை மரத்தில் தேள் கொட்டினால் தென்னைக்குத் தானே நெறி கட்ட வேண்டும்? பனைமரத்துக்கும் இதற்கும் என்ன சம்பந்தம் என யோசிக்கிறீர்களா. இந்தப் பழமொழியை அப்படியே படித்தால் அர்த்தம் சரியாக இருக்காது. எங்கோ ஒரு செயல் நடந்தால், அதன் விளைவு வேறு எங்கோ தெரியும் என்றுதான் நமக்குப் புரிந்துகொள்ள முடிகிறது. ஆனால் இதன் உள்ளர்த்தம் வேறு. தென்னை மரத்தில் ஏறுபவர்கள் பூச்சிக்கடிகளால் பாதிப்பு வராமலிருக்க ஒருவிதமான எண்ணெய் அல்லது சாந்தை உடலில் பூசிக்கொண்டு மரமேறுவார்கள். அப்படி ஏறும்போது மரத்தில் இருக்கும் தேள் கொட்டினால், அவர்களுக்கு அந்த எண்ணெயின் மருத்துவ குணத்தால் வலி தெரியாது! ஆனால் தேளின் விஷம் தோலினுள் ஊடுருவி இருந்தால், சிறிது நேரத்துக்குப் பிறகு கொட்டிய இடத்தில் நெறிகட்டிக் கொள்ளும். அதை பெரிதாக எடுத்துக் கொள்ளாமல் மற்றொரு மரத்தில் ஏறும்போது தான் அதன் உண்மையான வலி தெரியும். அதன் பின் மருத்துவ சிகிச்சை எடுப்பர். தென்னை மரத்தில் ஏறும் போது தேள் கொட்டினால் பனை மரத்தில் ஏறும் போது நெறிகட்டும் என்ற உண்மையான பழமொழியே இப்போது தென்னை மரத்தில் தேள் கொட்டினால் பனை மரத்தில் நெறிகட்டும் என்று கூறப்படுகிறது.<br />
ஆறிலும் சாவு; நூறிலும் சாவு<br />
மகாபாரதத்தில் கர்ணன் ஐந்து பாண்டவர்களோடு ஆறாவதாகப் பிறந்திருந்தாலும் அவனுக்கு சாவு தான்; நூறு கௌரவர்களோடு இருந்திருந்தாலும் கர்ணனுக்கு சாவு தான்; எனவே சாவு என்பது நாம் நிச்சயிக்க முடியாத ஒன்று. விதிப்படியே நடக்கும். இதைத் தான் ஆறிலும் சாவு, நூறிலும் சாவு என்று முன்னோர்கள் கூறுகிறார்கள்.<br />
கல்லானாலும் கணவன்; புல்லானாலும் புருஷன்<br />
இந்தப் பழமொழியைப் படிக்கும் போது ஒரு பெண் தன் கணவனை கல்லுக்கும், புல்லுக்கும் ஒப்பிடுவது போல் உள்ளது. ஆனால் கள்வன் ஆனாலும் கணவன்; புலையன் (தீயவன்) ஆனாலும் புருஷன் என்பதுதான் உண்மையான பழமொழி. தனக்கு வாய்த்த கணவன், தீயபழக்கங்கள் மற்றும் தீயசேர்க்கையினால் கள்வனாகவும், தீயவனாகவும் இருந்தாலும் அவனை ஒதுக்கிவிடாமல் தன் அன்பினால் அவனைத் திருத்த வேண்டும் என்று அறிவுரை கூறுவதே இந்தப் பழமொழி. பெண்ணுக்கு பெருமை சேர்ப்பது போல் உள்ள இந்தப் பழமொழியே நாளடைவில் இப்படி மாறிவிட்டது.<br />
மாமியார் உடைத்தால் மண் குடம்; மருமகள் உடைத்தால் பொன் குடம்<br />
ஒரே தவறை மாமியார் செய்யும் போது அது பெரிதாகக் கருதப்படுவதில்லை. ஆனால், வீட்டுக்கு வந்த மருமகள் அதே தவறைச் செய்துவிட்டால், அதை மாமியார் பெரிதுபடுத்திவிடுகிறார் என்பது தான் இதன் அர்த்தம். ஆனால் மாமியார் உழைத்தால் மண்ணுக்கு உரம்-மருமகளும் உழைத்தால் பொன்னுக்கு உரம் என்பது தான் உண்மையான பழமொழி. விவசாயிகள் வீட்டில் ஆண், பெண், குழந்தைகள் என அத்தனை பேரும் தங்கள் விளைநிலத்தில் உழைக்கின்றனர். இதில் ஆணுக்கு இணையாக பெண்கள் ஈடுபடும் போது வெளிமனிதர்களுக்குக் கொடுக்கும் கூலி மிச்சமாகிறது. அதோடு ஒற்றுமையின் விளைவாக உழைப்பினவ பலன் பெருகுகிறது. மாமியார் தங்கள் குடும்ப நிலத்தில் உழைத்தால், அது மண்ணுக்கு உரம். அதாவது அந்த வீட்டுத் தலைவனின் கரங்களைப் பலப்படுத்துவதின் மூலம் அவர்கள் சொந்த மண்ணுக்கு உரமாகும். வீட்டுக்கு வந்த மருமகளும் சேர்ந்து உழைத்தால் மண் பொன்னாகும். பொன்னுக்கே உரம் என்றார்கள். இவ்வளவு அருமையான கருத்துடைய பழமொழியே நாளடைவில் மாமியார்களைப் பற்றி ஒரு தவறான கருத்தைக் கூறுவது போல் அமைந்து விட்டது.<br />
அடி உதவுகிறார் போல் அண்ணன் தம்பி உதவமாட்டான்<br />
இங்கு அடி என்பது நிலத்தடியைக் குறிக்கிறது. அந்தக் காலத்தில் பொதுவாக மாதம் மும்மாரி பொழிந்த காலம். ஆறு, குளம், ஏரி என்று எப்போதும் நிறைந்திருக்கும். உறவுகள் உன்னைக் காப்பாற்றுவார்கள் என்று நம்பி சோம்பலாக இருக்காதே! நிலத்தை நம்பு, உன் உழைப்பை நம்பு என்பதை விளக்கும் இந்தப் பழமொழியே இப்போது தலைகீழாக மாறி விட்டதுA SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-35779079647349259202011-06-12T21:59:00.001-07:002011-06-12T21:59:26.428-07:00மானிட உடம்பைப் பெற்ற பயன்<a href="" name="2802953136034086688"></a> <br />
<h3 class="post-title entry-title"> <a href="http://cyber-mvk.blogspot.com/2009/12/blog-post_7501.html">மானிட உடம்பைப் பெற்ற பயன்</a> </h3><div class="post-header"> </div><strong>உடம்பைப் பெற்ற பயன்</strong><br />
-<u><small>ஆசான் ஒளவையார்</small></u>-<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL7UHCJUjVVi-NeE0UCriFGbFV6NlrZzklIVVQICVqCGyEPPWT6ehgNkNz7vZNCzgn4t52hbOkV_qAzq8MNmF9cMxMxeLgqNwS0u7pA4AFo87EbWbOfx6XMODo5zvAKwkGAkTNl8EOl9Y/s1600-h/avvaiyar.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5398388283014746450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL7UHCJUjVVi-NeE0UCriFGbFV6NlrZzklIVVQICVqCGyEPPWT6ehgNkNz7vZNCzgn4t52hbOkV_qAzq8MNmF9cMxMxeLgqNwS0u7pA4AFo87EbWbOfx6XMODo5zvAKwkGAkTNl8EOl9Y/s200/avvaiyar.jpg" style="cursor: hand; float: right; height: 200px; margin: 0px 0px 10px 10px; width: 166px;" /></a>உடம்பைப் பெற்றதன் பயன் என்ன என்பதை ஒளவைக் குறளின் இரண்டாம் அதிகாரத்தில் காணலாம்.<br />
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"உடம்பினைப் பெற்ற பயனாயது எல்லாம் உடம்பினில் உத்தமனைக் காண்"<br />
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உடம்பைப் பெற்ற பயன், உடம்பில் உள்ள உத்தமனை அறிவதுதான். எனவே உடம்பைப் பெற்ற மக்களே உங்கள் உடம்புக்குள்ளே உறையும் இறைவனைக் கண்டறியுங்கள்.<br />
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இக்கருத்து வலியுறுத்தப்படுகிறது.<br />
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மற்றொரு குறளில் உடம்புக்குள் இறைவனைக் காண்பதற்கு வழி சொல்லப்படுகிறது. அழுக்குக் குப்பை நிறைந்த இடத்தில் எந்தத் தூய்மையையும் காண முடியாது.<br />
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நல்லபொருளும் அந்த இடத்தில் கெட்டுப் போகும். இது போன்று இருளில் எப்பொருளையும் பார்க்க முடியாது. வெளிச்சம் இருந்தால்தான் ஒரு பொருளைத் தேடிக் காண முடியும்.<br />
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நமது உடம்புக்குள் இறைவனைக் காண வேண்டுமானால் உள்ளம் மாசற்றதாக இருத்தல் வேண்டும். அப்பொழுதுதான் உள்ளிருக்கும் ஈசனைக் காண முடியும்.<br />
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"மாசற்ற கொள்கை மனதில் அடைந்தக்கால்<br />
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ஈசனைக் காட்டும் உடம்பு"<br />
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என்கிறது ஒளவைக் குறள். இனிக் கடவுள் எங்கும் நிறைந்தார் எமது உடம்போடும் உள்ளத்தோடும் ஒன்றி நிற்கிறார். எம்மை விட்டுத் தனியாக இல்லை, என்பதை ஒளவைக் குறள் ஒன்று உதாரணத்துடன் விளக்குகிறது.<br />
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"எள் அகத்து எண்ணெய் இருந்த அதனை ஒக்குமே<br />
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உள் அகத்து ஈசன் ஒளி"<br />
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மனதுக்குள்ளே ஈசன் இருக்கின்றான். எள்ளிலே எண்ணெய் இருக்கிறது. அந்த எண்ணெய் எள்ளில் இன்ன பகுதியில் இருக்கிறது, இன்ன பகுதியில் இல்லை என்று சொல்ல முடியாது.<br />
அது எங்கும் பரவி நிற்கின்றது. அது போலத்தான் இறைவனும் உள்ளம் எங்கும் பரவி நிற்கின்றான். இதேபோன்று மற்றுமொரு குறள் வருமாறு,<br />
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""பாலின் கண் நெய்போல், பரந்து நிற்குமே<br />
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நூலின் கண் ஈசன் நுழைந்து"<br />
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பாலிலே இன்ன பகுதியில் நெய் இருக்கிறது என்று சொல்ல முடியாது. பால் முழுவதிலும் அது பரவியிருக்கிறது. இதுபோல இறைவனும் ஆன்மாவில் பரவியிருக்கின்றான். <br />
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மற்றுமொரு உதாரணம்<br />
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"பழத்தின் இரசம் போல் பரந்து எங்கும் நிற்கும் வழுத்தினால் <br />
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ஈசன் நிலை துதி செய்து கூறினால்"<br />
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ஈசன் நிற்கும் நிலை நிலையானது, பழத்திலே அதன் ரசம் பரவி நிற்பது போல ஈசனும்<br />
எல்லா இடங்களிலும் பரந்து நிற்கின்றான்.<br />
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ஈசனைக் காண்பதற்கு மற்றுமொரு வழியைக் காண்பிக்கும் ஒளவைக் குறளையும் நோக்குவோம்.<br />
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"நினைப்பவர்க்கு நெஞ்சத்துள் நின்மலராய் நிற்கும்அனைத்துயிர்க்கும் தாளும் அவன்"<br />
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ஈசனை நினைக்க வேண்டும். நினைத்தால்தான் காண முடியும் என்று இதில் வலியுறுத்தப்படுகிறது. ஒளவைக் குறள்கள் இவ்வாறு ஈசனைக் காணும் பல வழிகளை உணர்த்தி நிற்கின்றன.<br />
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<strong>இரண்டாம் குறள் </strong><br />
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யோக சித்தியால் உடலை வலுவாக வைத்துக்கொள்ள முடியும் என்ற சித்தர்கள் கருத்துக்களை ஒளவைக் குறளில் காணலாம். ஒளவைக் குறள் 31 அதிகாரங்களைக் கொண்டது.<br />
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இதுவும் மூன்று பாகங்களாகப் பிரிக்கப்பட்டுள்ளது. வீட்டு நெறிப்பால், திருவருட்பால், தன்பால் என்று மூன்று பிரிவுகள் உள்ளன. இதில் 11 அதிகாரங்கள் அடங்கியுள்ளன. மொத்தம் 310 குறள், வெண்பாக்கள் ஆதியாய் நின்ற அறிவு முதல் எழுத்து ஓதிய நூலின் பயன் என்பதுதான் முதற் குறளாகும். இந்த உடம்பிற்கு முதன்மையாக இருந்த அறிவானது, பிரணவத்தை உச்சரிக்கும் வேதத்தின் பயனாகும் என்பது கருத்து. வேதத்தைக் கற்றதலினால் அறிவு உண்டாயிற்று. அறிவு பெறாத உடம்பு உடம்பல்ல, உடம்பைப் பெற்ற மனிதர் அறிவைப் பெற வேண்டும். இது குறளின் விளக்கம்.<br />
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"பரமாய சக்தியுள் பஞ்சமாபூதம் தாம்<br />
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மாறில் தோன்றும் பிறப்பு''<br />
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பரம் பொருளிடம் உள்ள பராசக்தியுள் அடங்கிய ஐம்பெரும் பூதங்களும் ஒன்றுடன் ஒன்று மாறுபட்டு சேர்ந்தால் பிறப்புத் தோன்றும் என்பது இக்குறளின் பொருளாகும். பஞ்சமா பூதங்களான மண், நீர், தீ, காற்று, வானம் ஆகிய ஐந்து பூதங்களும் ஒன்று மாறி கலந்து சரீரம் உண்டாகிறது. இதுவே சித்தர்கள் கண்ட உண்மையாகும்.A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com1tag:blogger.com,1999:blog-6898479421675060367.post-20923843654285620092011-06-06T01:08:00.001-07:002011-06-06T01:08:28.456-07:00பசுவை ஏன் வழிபட வேண்டும்?<div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">இந்த உலகில் பசுவின் உடலில் மட்டுமே சகல இந்து தெய்வங்களும் குடிகொண்டுள்ளன.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">கடுமையான பாவங்களிலிருந்து மீள பசுவிற்கு ஒருமுறை மட்டும் உணவுஇட்டால் போதும் என்பது ஒரு ஜோதிடப்பரிகாரம்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">காசுபோட்டால் பெப்சி,கோலாபானங்கள் குடிக்கலாம் என்பது மாதிரியான தானியங்கி யந்திரங்கள் வெளிநாடுகளில்பிரபலம்.ஆனால்,ஜப்பானில், இத்தகைய இயந்திரங்களில் பசுவின் பால் கிடைக்கிறது.காரணம் அங்கு ஆரோக்கியம் குறித்து ஏற்பட்டுவரும் விழிப்புணர்ச்சி!!!</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">இந்தோனிஷியாவில் இறந்தவர்களை எரிக்கும்போது ,ஒரு காகிதத்தில் பசுவின் படத்தை வரைந்து அதையும் இறந்தவர் உடலுடன் சேர்த்தே எரிக்கிறார்கள்.பசுவின் உதவியால் அவர் சுவர்க்கத்தை அடைவார் என்பது நம்பிக்கை.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பாலியில் இறந்த பசுக்களை கவுரவமாக இறுதிச்சடங்குடன் எரிக்கிறார்கள்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">கிரேக்க நாட்டு சிக்கந்தர்லோடி(அதாங்க வரலாற்றில் படித்திருப்போமே)பாரதத்தின் மீது படையெடுத்துவிட்டுத் திரும்பும்போது,தன்னுடன் சுமார் 1 லட்சம் உயர்ஜாதிப்பசுக்களையும் ஓட்டிச்சென்றுவிட்டான்.காரணம்,அந்நாட்டின் பசுக்களுக்கு அவ்வளவு மதிப்பு.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பசுவின் சிறுநீர் போன்ற கிருமிநாசினியை நம்மால் விஞ்ஞானரீதியாக உருவாக்கிடமுடியாது.அதன்மறுபெயர் கோமூத்திரம் ஆகும்.கோமூத்திரத்தை சிறிதுதலையில் தெளித்துக் கொள்வதே கங்கையில் குளித்தபலன் ஆகும்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பசுவைப் பூஜித்தால் மும்மூர்த்தி தெய்வங்களான பிரம்மா,விஷ்ணு,சிவன் இம்மூவரையும் பூஜித்தபலன் கிடைக்கும்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">கி.பி.1947 ஆம் வருடம் 1000 மனிதர்களுக்கு 450 கால்நடைகள் நமது பாரதத்தில் இருந்தன.இது தற்போது கி.பி.2009இல் 1000:50 ஆகக் குறைந்துவிட்டது.அடுத்த நான்கைந்து ஆண்டுகளில் இது 1000:20 ஆகக்குறைந்துபோகக்கூடும்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பசுவுக்கு ஒரே ஒரு முறை அகத்திக்கீரை தானம் செய்தாலே நாம் இப்பிறவியில் செய்த கடும் பாவங்கள் தீர்ந்துவிடும்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பசுவை ஒரு முறை வலம் வந்தால் இந்த உலகை ஒரு முறை வலம் வந்ததற்குச் சமம்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பசுவசிக்கும் மாட்டுத்தொழுவத்தில் பசுவின் அருகில் அமர்ந்து ஜபிக்கும் மந்திரங்கள் மற்றும் தர்மகாரியங்கள் நூறுபங்கு பலன்களைத் தரும்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">இன்னும் சில ஆயிரம் வருடங்களுக்குப்பிறகு ஏற்படப்போகும் நாகரீக வளர்ச்சியால் சில இயற்கை மாறுதல் ஏற்படும்.இதனால்,இந்த உலகம் முழுவதும் சில விபரீதங்கள் ஏற்படும்போது பசுக்கள் இருக்குமிடம் மட்டும் எந்த ஒரு பாதிப்புமில்லாமல் பாதுகாப்பாக இருக்கும் என ஹரேராமா ஹரே கிருஷ்ணா இயக்கத்தினர் வெளியிட்டுள்ள ஒரு ஆராய்ச்சிக்கட்டுரை தெரிவிக்கின்றது.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">பசுவைக் காப்போம்;ஒரு பசுமடம் அமைத்தால்,அதில் நான்கு பங்கு லாபம் கிடைக்கும்.</div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-48450024717651809082011-06-01T22:05:00.001-07:002011-06-01T22:05:31.326-07:00சித்தர்கள் காட்டிய உடம்பெனும் ஆலயம்...!<div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class=" fbUnderline" style="text-decoration: underline;"><strong>சித்தர்கள் காட்டிய கோவிலும் மனிதர்கள் கட்டிய கோவிலும்..!</strong></span></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div class="photo photo_none" style="clear: both; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><div class="photo_img" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img class="img" src="http://a2.sphotos.ak.fbcdn.net/hphotos-ak-snc6/165323_137818259609964_126712174053906_236676_1169401_n.jpg" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;" /></div></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>'உள்ளம் பெருங்கோயில் ஊனுடம்பு ஆலயம்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>வள்ளற் பிரானுக்கு வாய் கோபுரவாயில்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>தெள்ளத் தெளிந்தார்க்குச் சீவன் சிவலிங்கம்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>கள்ளப் புலனைந்தும் காளாமணி விளக்கே'</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">-ஆசான் திருமூலர்-</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">நம் முன்னோர்கள் இயற்கையை வழிபட்டு இருக்கின்றனர். இயற்கையின் தன்மையை உணர்ந்து,வென்று சிவத்தை(கடவுள்தன்மை) யடைந்த மனிதர்களை(சித்தர்களை)வழிபட்டு இருக்கின்றனர். ஆனால் அவர்கள் நமக்கு விட்டுச்சென்ற கோவில்கள் அனைத்தும் நமது உடம்பேயன்றி வேறொன்றும் இல்லை என்று நாம் உணரவில்லை. ஆகவேதான் நாம் நம் நிம்மதியை தேடி கோவில்களுக்கு செல்கிறோம். தவறில்லை. ஆனால் உணர்ந்து செயல்பட்டால் மிக சிறப்பு.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong></strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>"உடம்பினை முன்னம் இழுக்கென்று இருந்தேன்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>உடம்புக்குள்ளே உறு பொருள் கண்டேன்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>உடம்புளே உத்தமன் கோயில் கொண்டானென்று</strong></div><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px;"><strong>உடம்பினை யான் இருந்து ஓம்புகின்றேனே"</strong></span><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">- ஆசான் திருமூலர்</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">என்று மானுட உடம்பின் மகத்துவத்தை மனித மனத்தில் பதிய வைத்த ஆசான் திருமூலர். இதோடு நின்று விடாது,</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>"உள்ளம் பெருங்கோயில் ஊனுடம்பு ஆலயம்"</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">என்று பாடியவர் மேலும் கூறுகிறார்,</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong></strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>"உள்ளத்தின் உள்ளே உளபல தீர்த்தங்கள்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>மெள்ளக் குடைந்து நின்றாடார் வினைகெடப்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>பள்ளமும் மேடும் பறந்து திரிவாரே</strong></div><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px;"><strong>கள்ள மனமுடைக் கல்வி இலோரே!</strong></span><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">என்று உள்ளத்துள்ளே இறைவனைக் காணாது வேறு எங்கெங்கோ தேடி அலையும் வீனரை மூடர் என்றே ஏசுகிறார்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">உடம்பில் நன்மையும், தீமையும் சேர்த்தே இயற்கை அன்னை படைத்துள்ளாள். இந்த உடம்பில் தீமை சேர்த்து படைத்ததின் காரணம், நெல்லுக்கு உமி இல்லை என்றால் மீண்டும் முளைக்காது. ஆகவே, இந்த தேகத்தில் கேட்டையும், ஆக்கத்தையும் சேர்த்து படைத்திருக்கிறாள். கேடாகிய உமி நீங்கினால் அரிசி மீண்டும் முளைக்காது. (புற உடம்பாகிய மும்மல தேகம் நீங்கினால்) அதேபோல் கேடான மும்மலம் என்னும் உமி நீங்கினால் மலமற்ற ஒளி உடம்பாகிய ஜோதி உடம்பு உண்டாகும். ஜோதி உடம்பு உண்டானால் மீண்டும் பிறக்காது (உமி நீங்கினால் அரிசி முளைக்காதது போல).</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong></strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>கங்கையிலே காவிரியில் நூறுமுறை மூழ்கி</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>கணக்கற்ற திருக்கோயில் கால்தேய சுற்றி</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>வெங்கொடிய பலநோன்பு ஏற்றுடலை வருத்தி</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>வேதங்கள் கூறுகின்ற யாகமெல்லாம் செய்து</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>பங்கமிலா வேதியர்கை பணம்அள்ளி தந்து</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>பசுவதைப் பூசித்து அதன்கழிவை உண்டு</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>தங்களுயிர் மோட்சத்தை அடைவதற்கே முயலும்</strong></div><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px;"><strong>தயவில்லார் சத்தியமாய் முத்தியதை யடையார்.</strong></span><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">-ஆசான் வள்ளலார் - 14.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong></strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>குருபோக நாதரைத்தான் கூறுடன் பூஜைசெய்து</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>குருமூலர் சட்டடைநாதர் கொங்கணர் காலாங்கி பாதம்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>குருவென்று பூஜை செய்து கூறும் இச்சுவடி வைத்து</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>குருவென்று பதம் பணிந்தோர் கூறுடன் வேதைகாண்பார்</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>ஆமப்பா யுத்தி சொன்னேன் அழிபுத்தி சொல்லவில்லை</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>ஆமப்பா வேதைகண்டால் கற்பத்தை அதன்பின்கொள்ளு</strong></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><strong>ஆமப்பா சித்தியாகும் அன்புடன் செய்து பாரு</strong></div><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px;"><strong>ஆமப்பா குருவைக்காணு அன்புடன் சொல்லினேனே.</strong></span><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">-ஆசான் கருவூர் முனிவர் -11-</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">மகான் கருவூர் முனிவர் அருளிய கவியின் சாரம் :;</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">சித்தர்கள் அத்தனைபேரும் ஒரே தன்மையுடையவர்கள் ஆவார்கள். இவர்கள் ஆசான் அகத்தீசன் திருவடியை பூஜை செய்தவர்கள் ஆவார்கள். அகத்தீசனை பூஜைசெய்ய பூஜைசெய்யதான் உடம்பையும் உயிரையும் பற்றி அறிந்துகொள்ள முடியும். உயிரின் இயக்கமே மூச்சுக்காற்றின் இயக்கமாகும். மூச்சுக்காற்றின் இயக்கமே உயிரின் இயக்கமாகும். மூச்சுக்காற்று நாள் ஒன்றுக்கு 21,600 முறை வந்து போவதாகும். இந்த காற்றை ஞானிகள் என்ன செய்கின்றார்கள் என்றால், ஆசான் அகத்தீசன் ஆசியால் ரேசகம், பூரகம், கும்பகம் ஆகிய இயக்கத்தை அறிந்து ஆசான் திருவடியை உருகி தியானிக்கின்றார்கள். என்னதான் மூச்சுக்காற்றை பற்றி அறிந்திருந்தாலும், சுழிமுனையில் வாசியை செலுத்த முடியாது. அகத்தீசன்தான் அவரவர் பக்குவத்தை அறிந்து வாசியோடு வாசியாக கலந்து வாசி நடத்தி தருவார் (மூச்சுக்காற்றை இயக்கச் செய்வார்). அவர் வாசி நடத்தாமல் நாமே முயன்றால் கொடிய நோய்வாய்ப்பட்டு இறந்து விடுவோம்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">எனவே, எல்லா ஞானிகளும், ஆசான் அகத்தீசனை பூஜை செய்து பூஜை செய்து ஆசி பெற்றதால்தான் மரணமில்லா பெருவாழ்வு பெற்றுள்ளார்கள். அந்த வரிசையில் போகமகாரிஷி, திருமூலதேவர், சட்டை முனிவர், கொங்கணர், காலாங்கிநாதர் ஆக ஐவரும் ஆசான் அகத்தீசரை பூஜை செய்து ஆசி பெற்றதால்தான் அளவிலா சித்தி பெற்றுள்ளார்கள்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">இவர்கள் பெருமையை கருவூர் முனிவர் அவர்கள், நன்கு உணர்ந்து தம் நூலில் அவர்களை புகழ்ந்து பாடியுள்ளார். நாமும் கருவூர் முனிவர் நூலை படித்தும், பூஜித்தும் ஆசிபெற்றால் பலகோடி ஜென்மங்களில் செய்த பாவங்கள் நீங்கி ஜென்மத்தை கடைத்தேற்றிக் கொள்ளலாம்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">கருவூர் முனிவரும் ஆசான் அகத்தீசர் ஆசி பெற்றவர்தான். எந்த ஞானிகளை நாம் பூஜை செய்தாலும், எல்லா பூஜையும் ஆசான் அகத்தீசன் திருவடியையே சாரும். எனவே மேற்கண்ட ஐந்து ஞானிகளையும் மற்றும் கருவூர் முனிவரையும், அகத்தீசரையும் பூஜித்து ஆசிபெற்றுக் கொள்வோம்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">இந்த உபதேசம் கருவூர் முனிவர் சொன்னதாகும். இதை நல்மனதுடன் சொல்கின்றேன் என்றும், இதை நீங்கள் பின்பற்றினால் ஞானம் பெறலாம் என்றும் சொல்லியுள்ளார்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">எனவே, ஞானிகளை பூஜிப்போம்! நலம் பெற்று வாழ்வோம்!!</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">ஆகவே கோவிலுக்கு செல்வதால் மட்டுமே பலனில்லை. நாம் நம் உடலை புரிந்து கொண்டு அதை சரியாக ஓம்புவதால் மட்டுமே நம்மால் நம் உள்ளம் நன்றாக வேலை செய்யும். நம் உளம் நன்றாக வேலை செய்தால் நம்முடைய சுற்று வட்டாரங்கள் நமக்கு சாதகமாக இருக்கும். ஏனெனில் நம் உலகம் ஒன்றுகொன்று தொடர்புடையதே. ஆகையால் வெற்றி வேண்டுமெனில் நாம் நம்மிலிருந்து ஆரம்பிக்க வேண்டும். அதை விடுத்து கோவில் கோவிலாக ஏறி இறங்கி விட்டு கடவுள் எனக்கு ஒன்றும் செய்ய வில்லையே என்று புலம்புதல் நன்றல்ல. இது அனைவருக்கும்தான். எனக்கும் சேர்த்துத்தான்.</div><div style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div class="photo photo_none" style="clear: both; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><div class="photo_img" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img class="img" src="http://a7.sphotos.ak.fbcdn.net/hphotos-ak-ash2/65850_137819699609820_126712174053906_236678_7324743_n.jpg" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 493px;" /></div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-1238002015615558612011-05-26T23:35:00.001-07:002011-05-26T23:35:27.028-07:00வாழ்க்கை.<span class="Apple-style-span" style="color: #667788; letter-spacing: 1px; text-transform: uppercase;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">அடுத்த நொடியில் என்ன நடக்கும் என்று தெரியாமல் நகர்ந்துகொண்டே இருப்பதுதானே வாழ்க்கையின் சாரமே. எதன் பொருட்டும் எவர் பொருட்டும் எந்த சமரசங்களுக்கும் இடம்கொடாமல் ஒரு மாய நதியைப்போல நம்மைச் சுற்றிலும் ஓடிக்கொண்டே இருக்கிறது வாழ்க்கை.</span></span>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-23586813567338476992011-05-26T23:29:00.000-07:002011-05-26T23:29:27.163-07:00-ஸ்ரீ ராமகிருஷ்ண பரமஹம்சர்<ol><li><span class="Apple-style-span" style="line-height: 14px;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">குழந்தையிடம் தாயின் பாசம்,</span></b></span></li>
<li><span class="Apple-style-span" style="line-height: 14px;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"> கணவனிடம் மனைவியின் காதல்,</span></b></span></li>
<li><span class="Apple-style-span" style="line-height: 14px;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"> பணத்திடம் கருமியின் பற்று- </span></b></span></li>
<li><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 14px;">இந்த மூன்றும் ஒன்றுசேர்ந்தது போன்ற அன்பை உன்னால் இறைவனிடம் செலுத்த முடியுமானால் அந்தக் கணமே இறைவனைக் காண்பாய்.</span><span class="Apple-style-span" style="line-height: 14px;">-ஸ்ரீ ராமகிருஷ்ண பரமஹம்சர்</span></span></b></li>
</ol>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-3500748024544968092011-05-25T02:37:00.000-07:002011-05-25T02:37:24.844-07:00ஒரு தனி உயிர்ரும் மானமும்<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">நாம் ஆயிரம் சமாதானம் சொன்னாலும் பெண்ணை அடிமையாகவே ஒருவனுடைய சொத்தாகவே கருதுகிறோம் என்பதோடு பெண்ணை நமது போக பொருளாகவே கருதுகிறோம். அதற்கு ஒரு தனி உயிர்ரும் மானமும் இருப்பதாக கருதுவதில்லை.</span></span>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-83765592092565228292011-05-25T02:35:00.001-07:002011-05-25T02:35:58.557-07:00மணப்பெண்மணமேடையில் ஒரு மணப்பெண் தலைகுனித்து இருப்பது பூமாலையின் பாரத்தாலோ வெட்கத்தலோ அல்ல. அவமானத்தால்!.அவளை யாரும் உணர்ந்து கொள்ளாத அந்த விரக்தியில் தான் அவள் தாலி கட்டும் நேரத்தில் கண்ணீரால் வெளிப்படுதுகிறாள்A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-46908238439731914792011-05-20T23:08:00.001-07:002011-05-20T23:08:56.142-07:0018 - SIDDHAS GALLERY<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><br />
<span class="style14"><u>........ 18 - SIDDHAS GALLERY</u></span></div><table align="center" border="1" bordercolor="#A07D3D" cellpadding="2" cellspacing="5" style="width: 452px;"><tbody>
<tr> <td width="80"><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha2_agastiyar_jpg.jpg"><img alt="SIDDHAS - AGASTIYAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/agastiyar.gif" width="80" /></a></td> <td width="80"><a href="http://www.palanitemples.com/images/gallery/18-siddhas/sidha13_nandeeswarar_jpg.jpg"><img alt="SIDDHAS - NANDI DEVAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/nandeeswarar.gif" width="80" /></a></td> <td width="80"><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha4_thirumoolar_jpg.jpg"><img alt="SIDDHAS - THIRUMOOLAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/thirumoolar.gif" width="80" /></a></td> <td width="80"><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha16_bogar_jpg.jpg"><img alt="SIDDHAS - BHOGAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/bogar.gif" width="80" /></a></td> <td width="70"><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha9_konganar_jpg.jpg"><img alt="SIDDHAS - KONGANAVAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/konganar.gif" width="80" /></a></td> </tr>
<tr> <td><div align="center" class="style16">AGASTIYAR</div></td> <td><div align="center" class="style17"><span class="style15">NANDI DEVAR </span></div></td> <td><div align="center" class="style17"><span class="style15">THIRUMOOLAR</span></div></td> <td><div align="center" class="style17"><span class="style15">BHOGAR</span></div></td> <td><div align="center" class="style17"><span class="style15">KONGANAVAR</span></div></td> </tr>
<tr> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha15_machamuni_jpg.jpg"><img alt="SIDDHAS - MACCHAMUNI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/machamuni.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha6_korakkar_jpg.jpg"><img alt="SIDDHAS - KORAKKAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/korakkar.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha10_cattaimuni_jpg.jpg"><img alt="SIDDHAS - CATTAIMUNI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/cattaimuni.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha8_sundharanandar_jpg.jpg"><img alt="SIDDHAS - SUNDARANANDAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/sundharanandar.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha12_ramadevar_jpg.jpg"><img alt="SIDDHAS - RAMADEVAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/ramadevar.gif" width="80" /></a></td> </tr>
<tr> <td><div align="center" class="style17"><span class="style15">MACCHAMUNI</span></div></td> <td><div align="center" class="style17"><span class="style15">GORAKKAR</span></div></td> <td><div align="center" class="style17"><span class="style15">CATTAIMUNI</span></div></td> <td><div align="center" class="style17"><span class="style15">SUNDARANANDAR</span></div></td> <td><div align="center" class="style17"><span class="style15">RAMADEVAR</span></div></td> </tr>
<tr> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha5_kudhambaicittar_jpg.jpg"><img alt="SIDDHAS - KUDAMBAI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/kudhambai.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha17_karuvoorar_jpg.jpg"><img alt="SIDDHAS - KARUVOORAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/karuvoorar.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha14_idaikkadar_jpg.jpg"><img alt="SIDDHAS - IDAIKKADAR" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/idaikkadar.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha3_kamalamuni_jpg.jpg"><img alt="SIDDHAS - KAMALAMUNI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/kamalamuni.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha11_valmigi_jpg.jpg"><img alt="SIDDHAS - VALMIKI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/valmigi.gif" width="80" /></a></td> </tr>
<tr> <td><div align="center" class="style17"><span class="style15">KUDAMBAI</span></div></td> <td><div align="center" class="style17"><span class="style15">KARUVOORAR</span></div></td> <td><div align="center" class="style17"><span class="style15">IDAIKADAR</span></div></td> <td><div align="center" class="style17"><span class="style15">KAMALAMUNI</span></div></td> <td><div align="center" class="style17"><span class="style15">VALMIKI</span></div></td> </tr>
<tr> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha1_pathanjali_jpg.jpg"><img alt="SIDDHAS - PATHANJALI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/pathanjali.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha7_thanvanthri_jpg.jpg"><img alt="SIDDHAS - DHANVANTHIRI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/thanvanthri.gif" width="80" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/18-siddhas/siddha18_pamppatti_jpg.jpg"><img alt="SIDDHAS - PAMBATTI" border="0" height="100" src="http://www.palanitemples.com/images/gallery/18-siddhas/pamppatti.gif" width="80" /></a></td> <td colspan="2" rowspan="2"> </td> </tr>
<tr> <td><div align="center" class="style17"><span class="style15">PATHANJALI</span></div></td> <td><div align="center" class="style17"><span class="style15">DHANVANTHIRI</span></div></td> <td><div align="center" class="style17"><span class="style15">PAMBATTI</span></div></td></tr>
</tbody></table></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-20780680013669686822011-05-20T23:07:00.001-07:002011-05-20T23:07:56.815-07:00MURUGA GALLERY<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA GALLERY </u></span></div><table align="center" border="1" bordercolor="#A4803E" cellpadding="6" cellspacing="10" style="width: 533px;"><tbody>
<tr bgcolor="#000000"> <td width="91"><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b1.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/1.gif" width="91" /></a></td> <td width="91"><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b2.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/2.gif" width="91" /></a></td> <td width="91"><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b76.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/76.gif" width="91" /></a></td> <td width="93"><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b57.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/57.gif" width="91" /></a></td> <td width="93"><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b23.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/23.gif" width="91" /></a></td> </tr>
<tr bgcolor="#000000"> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b6.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/6.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b7.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/7.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b8.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/8.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b9.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/9.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b10.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/10.gif" width="91" /></a></td> </tr>
<tr bgcolor="#000000"> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b11.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/11.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b12.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/12.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b13.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/13.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b14.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/14.gif" width="91" /></a></td> <td><a href="http://www.palanitemples.com/images/gallery/muruga_gallery/b15.gif"><img border="1" height="125" src="http://www.palanitemples.com/images/gallery/muruga_gallery/15.gif" width="91" /></a></td> </tr>
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</tbody></table></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-80828395338826842652011-05-20T23:06:00.001-07:002011-05-20T23:06:08.935-07:00WORSHIP OF MURUGA<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>WORSHIP OF MURUGA </u></span></div><div align="center"><img border="3" height="184" src="http://www.palanitemples.com/images/mayil_virutham.gif" width="350" /></div><div align="justify" class="style15">“M<strong>uruga! Muruga! Om Muruga!”</strong> cry out in ecstacy the young and the old, the rich and the poor, the learned and the ignorant, the fashionable and the not-so-fashionable, the saintly and the sinful gathered at Nallur. The cry goes out from the heart though it may not always come out from the month. Such is invariably the scene at all the places sacred to Sri Murugan. Aloofness and reticence, pride and poop, status and position are forgotten and people freely abandon themselves to the bliss of self-forgetfulness and the tenderly loving or wildly intoxicating dwelling on of the glorious aspects of Lord Muruga.</div><div align="justify" class="style15">Childhood innocence, love, beauty, youth, heroism in war are qualities that hold in thrall the worldly minded, those enamoured of the world of form and name, just as Truth and Wisdom (and bliss from contemplation of these) are the sole aim and reason for existence of those seeking to peer into the Beyond, the Kingdom of Eternity. And yet Sri Muruga combines all these apparently conflicting aims, granting to His devotees what ever gifts they ask of Him. All power and strength are vouch safed to those who pray to Him. </div><div align="center" class="style15"> </div><div align="justify" class="style15">He is the “Su-brahm” - the self, the Lord of all the seen and unseen world, which draw their life, move and have their being in Him. His is all the power of action, the Kriya Sakti. His are all the desires, (noble and to us ignoble), as evinced through the numerous living entities, the Ichcha Sakti: His seat is all these multi-coloured world of matter, of form His is the lance (the Vel) like wisdom, which pierces through this mountain of colossal ignorance and delusion surrounding us. and destroying the hosts of demons (asuras) that hold us in bondage, finally severing into two the master demon, the sense of a separate personality—the feeling of the I which has ever held us captive, denying us the whole, the all, he is the Lord without a compeer, the Spirit Eternal, the Paramatman whom the poor mind (subtle matter though it be) can never, never comprehend. The mind may take us part of way help in discriminating a little, but stops after a little while, because Spirit alone, rid of separateness through love, can know Spirit. And then there is no knowing or non-knowing. So the sages, their holy utterances and the scriptures tell us.</div><div align="justify" class="style15">One thing we know for certain. At these holy places, sacred to Murugan, we are no more bothered above hearing arguments about it and about. We don’t come out by the same door as in we went. We come away with an experience irrefutable by any logic. We know we are possessed by an awareness, which rises above our everyday petty selves. It is not mass-hysteria, dragging people down to acts of crime or atrocities. It is an electrification on a mass scale, making everyone bigger and larger, making them forget their bodies and the small people around them (perhaps dimly perceived in some and more pronounced in others). We don’t know how these holy places have always attracted men, making available to common people directly or indirectly their holy thoughts, cleansing their hearts and clarifying their thoughts.</div><div align="center" class="style15"> </div><div align="justify" class="style15">“Ask, and it shall be given.” These holy words were not said in vain. Ask Sri Muruga, the Holy Self enshrined and worshipped there in the temple, the Holy Self that in its loving grace inexpressible came in the form of the Guru, ask him and it shall be given. The worldly minded ask for boons of the world. They get them all with their attendant cares and sorrows, because decay and dissolution are part of the nature of these things. Ask for the gift of ever-remembering his Holy Feet (‘Feet’ and such expressions though not appropriate have still to be used for purpose of intelligibility) for the gift of not asking because in asking there comes the sense of separation, of inadequate love, of being other than the Holy self. Yet for the bliss of worship, sages and saints have likened the Holy self to a child, to a youth, to a young Commander-in-Chief in battle against the hordes of darkness, to a grand ascetic (andi), who has set at nought all these things that the poor world runs after caring not to whom all the worlds runs after, caring not to whom all the worlds, that are and to come, belong, as the passionate lover who comes seeking the lowly maiden Valli (you, myself) living with our savage (Veddah) kinsmen, the senses, to the lance (vel) itself the lance of wisdom that cleaves through and destroys darkness, and in sheer helplessness (in portraying that which is without form) to the empty Void (akasa) as at Kataragama, (where a box is also carried at festivals said to contain a yantra and thus more satisfying to many people). Hence the universal cry, “Om Muruga, Om Muruga” to the great self who grants Bhoga and Yoga, making all his devotees finally emerge in himself, the bliss which sages tell us we can enter but never describe or comprehend. Om Muruga Om!</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-3320525431697014902011-05-20T23:05:00.000-07:002011-05-20T23:05:00.333-07:00MURUGA KEERTHANAS<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u> MURUGA KEERTHANAS </u></span></div><div align="center"><img height="230" src="http://www.palanitemples.com/images/music_murugan.gif" width="222" /></div><div align="justify" class="style15">Hinduism is classified into six orthodox theistic sects, namely Śaivam, Vaishnavam, Śaktam, Ganapatyam, Kaumaram and Sauryam. In this Kumara or Murukan cult, music has been recognized as one of the orthodox avenues of worship. It has been said that Murukan worship began in the Cankam Age. For this we have the reference of <em>velan veriyatal</em>. That ancient <em>veriyatal</em> evolved into Murukan worship and then it was converted into a form of Agama worship. </div><div align="justify" class="style15">There are many paths to worship God. But music is the easiest and the most pleasant path to reach Him. music was an important medium of propagation of bhakti. There are two margas in music to attain God. They are <em>jñāna marga</em> and <em>kīrtana marga</em>. <em>Kīrtana marga</em> is easier and is one within the reach of the common man. </div><div align="justify" class="style15">There are many literary works describing Murukan worship, e.g. Tolkāppiam, Tirumurukāttruppatai, Kuruntogai, Paripātal, Kalitokai, and Cilappatikāram. Besides these works, Arunagiri's Tiruppukal, Vallalar's Teyvamanimālai and Kavi Kunjarabharati's Skanda Purana kirtanas are also sung in praise of Lord Murukan. Also, there are folk traditions which that define Murukan worship in their own style. Not only in literature but also in folk musical forms like <em>cintu, kummi</em>, etc., one may see the forms of Murukan worship. </div><div align="justify" class="style15">From the 19th century to this day there have been many saint composers and musicians have developed Murukan worship through music. Some notable persons are Annamalai Reddiar, Papanasam Śivan, Kotiswara Iyer, Bharatiyar, Periyasami Tooran, et al. This article explains and expresses how the padavarnam, kīrtana, tillana and kāvati cintu illustrate Murukan worship and its development. </div><div align="justify" class="style15">The aim of the author in composing musical forms was to share joy with others which they received from the Lord. Further they also wanted to spread the Murukan cult as well. In this paper an attempt has been made to look into all these aspects with special reference to Murukan worship through musical forms. </div><div align="center" class="style15"> </div><h4 align="justify" class="style15"><strong>Padavarna</strong> </h4><div align="justify" class="style15">In our Indian cultural tradition we praise the Lord through music and also express our thoughts through abhināyam. While kirtana seeks to reach God through praise, the padavarnas attain the same goal through love. </div><div align="justify" class="style15">There are three important divisions in varna: <em>nritta, nritya </em>and<em> abhinaya</em>. For the Pallavi, Anupallavi part nritta and natya is performed. For the Muktayisvara <em>nritta</em> is performed and for the Carana <em>nritta, nritya </em>and<em> abhinaya</em> is performed. Varnas are of two kinds: <em>tana vana </em>and<em> pada varna.</em> </div><div align="justify" class="style15">Padavarnas also called <em>cauka varnas</em> and <em>ata varnas</em> are the composition heard in dance concerts. The entire composition herein has sahitya. The music is in somewhat slower tempo and is intended to give full scope to convey the bhavas. Because of its affinity to padam, both in point of tempo and the theme of the sahitya, this composition is called <em>padavarna jati</em> are found within some padas. </div><div align="justify" class="style15">Padavarnas having a grammar of love theme. Yankī-Nāyakī relationship is well brought out in the padavarna. As we know all the padavarnas of a dignified nature, are on the theme of madhura bhakti, including the outward sringara meaning and the inner philosophical meaning. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Papanasam Śivan's famous padavarna set in Srirañjani raga and in Aditala, portrayed her feelings of love for Murukan. </div><dir> <div align="justify" class="style15">"Swāmi nānuntan atimai entru ulakamelam ariyumē <br />
tāmatam ceyātu vantarul mātorpankā pūtēvi."</div></dir> <div align="justify" class="style15">Here the nayaki asks him pathetically, "Why have you not come. I can't bear your separation. Please come to me soon." She says that he should give up his anger towards her, if any, and enjoy with her and without delay come to her: "Come to me please. Come and remove my sufferings." And she is asking Lord Murukan to gratify her. This theme is depicted beautifully through the characters of Yankī - Nāyaki, the composer of this padavarna bring out many important truths. </div><h4 align="justify" class="style15">Kirtana </h4><div align="center" class="style15"> </div><div align="justify" class="style15">According to the nine kinds of bhakti, kīrtana means songs in praise of God. <em>Pukal</em> in Tamil and <em>kīrtana</em> has the angas pallavi anupallavi and carana. Before the term <em>kīrtana</em> its figured in different musical compositions such as Tēvapani, Tēvaram, Tiruppukal and kīrti tiru akavāl. </div><div align="justify" class="style15">As it is a sacred musical form, a sahitya is about praising God or begging pardon, etc. Sometime it may be also connected with some puranic incidents. Many kīrtanas are hydrological. The music as well as the rhythm of a kirtana are simple in character. It is a composition belonging to the realm of applied music. The music is used there in only as a vehicle to sing the glories of Lord. Even in swear words the music is used simply as a means to approach God. The motive behind the kirtana is the creation of bhaktirasa or the feeling of devotion. </div><div align="justify" class="style15">From 16th century onwards there have been many kirtana composers who have composed in praise of Lord Murukan. Composers who have composed songs in praise of Murukan include Kōtisvara Iyer, Papanasam Śivan, Periyasami Tooran, Mutusami Dikshadar, Kavi Kunjarabharathy and others. </div><div align="justify" class="style15">In the 20th century, Kotīsvara Iyer followed the Kaumara cult or Murukan cult and composed many <em>kritis</em> in praise of Lord Murukan. He composed 72 <em>mela karta kīrtanas</em> in Lord Murukan. These songs are in two volumes known as <em>Kantakānāmutam</em>. In these songs he describes the beauty of Murukan and how to pray and obtain His blessings. Besides Murukan, he add the other supreme is like Śiva, Parvati, Nandi and saints like Patanjali, Sambandar, Nakkeerar, Arunagiri, et al. </div><div align="center" class="style15"> </div><dir> <div align="justify" class="style15">"Ambikai Aranum Centirumālum ānkalaivāni ampuyanum <br />
tumburu Nāratarum Nandi Tēvum tuti Patañcali pulimuniyum <br />
kumpa māmuni Campantar Nakīrar kūrakunaiyankiri mutalām <br />
inbanal adiyār anaivarum Kantan icaiyitarkuriya kāppinarē </div></dir> <div align="justify" class="style15">He followed the style of musical trinity and composed these songs. He added to it interesting devices such as his kula devata's name and also his forefather's name Kavikuñjara Dāsan as his mudra and also used ragamudras. Through these songs he depicts many philosophical ideas and ways of prayer. </div><dir> <div align="justify" class="style15">(ex) Kanta kānamutapānam - jyoticuvarūpini -ati <br />
arul ceyavēnum - rackiapriya -adi</div></dir> <div align="justify" class="style15">The other great persons who have composed Murukan songs are Papanasam Śivan and Periyasami Tooran. Papanasam Śivan attracted people through his music. His kirtanas are full of bhakti and contain the beautiful yati and prastara. He went from one place to another and frequently conducted bhajans and Harikathās. His compositions are set in popular ragas like shanmukha priya, kharaharapriya, todi, etc., including the philosophical meaning. He followed the nine kinds of bhakti and composed more than twenty songs in the raga<em>shanmukhapriya</em>: </div><dir> <div align="justify" class="style15">(Ex) - Saravanabhava ennum - Śanmukhapriya - Adi <br />
Vilaiyada idu nēramā - Śanmukhapriya - Adi <br />
Pārvati nāyakanē - Shanmukhapriya - Adi</div></dir> <div align="justify" class="style15"><em>Sentilāndavan</em> in kharaharapriya, <em>Kārttikeya Gangeya</em> in todi, <em>Kuvialattal</em> in valaji, <em>Murukanai bhaji maname</em> in jonpori are some of his popular songs. In these songs the author says, always pray to Lord Murukan, if you pray always you will attain mukti. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Periyasami Tooran belonged to 20th century. He composed <em>Icai Mani Mañjari, Tamilicaippātalkal, Kīrtanai Amutam, Navamani Icai Mālai, Arul Mani Mālai</em> and served through music. His songs are fully devotional. </div><div align="justify" class="style15">"Iravanai nōkki natakkum muyarciyil eluntavai ennutaiya kīrtanaikal"<strong>3</strong> - Periyacāmi Tooran. Besides Murukan he composed songs to Civan, Cakti, Kannan also. </div><dir> <div align="justify" class="style15">Murukan Murukan - Caveri <br />
Velum mayilum - Carukesi <br />
Kaliyukavartan - Brindavana saranga - Adi <br />
Velavanai ninain - Ramapriya - Jampo <br />
Murukan Tunai - Purvikalyani - Adi <br />
Murukane - Bilahari <br />
Saravana poigaile - Ragamalika - Adi</div></dir> <div align="justify" class="style15">These are all Tooran's famous songs. Though he was devoted to all the gods of the Hindu pantheon, yet at heart he was Murukan bhakta. He composed many songs in praise of Palani Murukan. I like one form that gives pleasure, that is "Murukan"- Periyasami Tooran.<strong>4</strong> </div><div align="justify" class="style15">There are many composers and musicians who continue to worship Murukan through music. To this day Tamil musicians compose kirtanas in praise of Lord Murukan. </div><h4 align="justify" class="style15">Tillana </h4><div align="justify" class="style15">Tillana usually begins with jatis like: </div><dir> <div align="justify" class="style15">"Deem tha Deemta Dheemta <br />
Deemta tana dirana - tana"</div></dir> <div align="justify" class="style15">It is one of the liveliest of musical forms. Most of the tillanas are composed in praise of God. It has the angas <em>pallavi anupallavai</em> and <em>carana</em>. Tillanas have only one carana, having four line sahitya with the signature of the composer occuring in the carana. Through these charana sahityas we recognise the language and deity of the song. </div><div align="center" class="style15"> </div><div align="justify" class="style15">There are many composers who have composed tillanas in praise of Murukan. Leagued Jayaraman famous tillana in praise of Murukan starts with "Dheem Dheem" set in Revati raga and in Adi tala. Through this line the author expresses their love to Murukan: </div><dir> <div align="justify" class="style15">"Kōla Murukanaikkāna ennik <br />
kāla mellām kāttiruntēn <br />
Vēlanō enai ēnō marantān <br />
jālamō en kālamō ariyēn</div></dir> <div align="justify" class="style15">The other tillana "Dheemta Dheemta" set in Hrindavana Saranga raga and in Adi tala, the author asked Murukan to make his dreams come true, adding, "And besides I don't know any person quite like you. So you should bless me Murukan." </div><dir> <div align="justify" class="style15">"Nānvēntum varantantu arulvāi nī mālmarukā <br />
Unai nantri orutunaiyum ariyenaiyā <br />
Unaikkāna ōdōdi vantēnē vēlmurukā <br />
enaiyāla varuvāi nī kumarā kuhā "</div></dir> <div align="justify" class="style15">From above these material we may conclude that tillana is also one of the musical form to pray Murukan or expresses their feelings of love. </div><h4 align="justify" class="style15">Kāvati Cintu </h4><div align="justify" class="style15">This type of song is known as<em> kāvati cintu.</em><strong>5</strong> </div><dir> <div align="justify" class="style15">"Tīrāta piniyakattrum kantā - un <br />
Cintu tanai enna colvēn vēntā ānta <br />
tenpotikai munivarukku anputanē upasaritta <br />
tiruvē vēta kuruvē ".</div></dir> <div align="justify" class="style15"><em>Kāvati etuttal</em> ('taking kāvati') is one of the ritualistic functions in praise of Murukan aiming to make our thoughts victorious. These are devotional compositions chiefly by Annamalai Reddiar in honour of Lord Murukan in the 19th century and meant to be sung during a pilgrimage when kāvati is carried on shoulders as an offering. These <em>kāvati cintu</em> describes the beauty of Murukan's templea. Places of Ārupatai Vītu are depicted. He also composed <em>kāvati cintu</em> in the form of Yankī-Nāyaki bhava. </div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-58524968725719411752011-05-20T23:04:00.001-07:002011-05-20T23:04:19.365-07:00MURUGA SYMBOLISM<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA SYMBOLISM </u></span></div><div align="center"><img border="2" height="293" src="http://www.palanitemples.com/images/palani_muruga.gif" width="250" /></div><div align="justify" class="style15">PALANI OCCUPIES an important place among the six abodes of Lord Muruga referred to as `Arupadaiveedu' and glorified by Nakkeerar in Thirumurugatrupadai. The downhill temple at Thiruvavinankudi and the more popular hill shrine at Palani are significant pilgrim centres thronged by tens of thousands of people of Tamil Nadu and Kerala everyday. </div><div align="justify" class="style15">The main shrine up the hill is said to have been built by a ruler of Kerala called Cheraman Perumal in the seventh century. One can find a carving of the king mounted on horseback in the exterior of the northern wall of the <em>sanctum sanctorum</em>. The Navagraha Mandapam built by the Nayaks is a stone structure with four pillars surrounding the central shrine. The other portions of the temple are attributed to the Pandya and a number of local chieftains. </div><div align="justify" class="style15">Palani with its hill shrine at an altitude of 1,500 ft. is on the Dindigul-Coimbatore line and is easily accessible connected by bus services from major towns of Tamil Nadu. There are comfortable devasthanam rest houses, choultries and deluxe cottages for the benefit of the pilgrims and tourists. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Worshipped almost by the entire population of Kerala, the Lord faces the west as though to grace them, responding to their prayers. It is common to find parents from Kerala conducting Annaprasanam for their children in Palani. </div><div align="justify" class="style15">Lord Muruga of Palani in many and varied forms appeals to different grades of humanity. To those who love the tenderness of childhood, he is `Kulandaivelan,' to those who love valour and adventure, he is `Devasenapathi,' to the spiritually thirsty, he is `Swaminatha,' to the common householder, he is the consort of Valli and Deivayanai and to the seers and saints, he is `Palaniandavar.' Thus the Lord manifests Himself in myriad forms, blessing all alike, from the baron to the beggar. </div><div align="justify" class="style15">Deities worshipped in the shrines of Tamil Nadu are usually carved in stone. But the image of Lord Muruga at the hill temple is strikingly different It is an amalgam comprising "Navapashanam" — nine kinds of medicinal minerals (some say it is poisons seven in number blended together in a unique proportion) made by the great mystic — Siddha Bogar. </div><div align="center" class="style15"> </div><div align="justify" class="style15">The legendary background of Palani is as follows: Sage Agasthya bade his disciple Idumban to carry two hills, Sivagiri and Sakthigiri, to his hermitage. Idumba lifted the hills, slung them across his shoulders and started his journey. The form came to be called `Kavadi' by the common man. Overcome with fatigue, Idumba had to break his journey at Palani to replenish his energy and strength. </div><div align="justify" class="style15">As Idumba resumed the journey, he found it impossible to lift the hills; so firmly were they entrenched. Understanding that it was Lord Muruga who made the hills immovable, Iduma challenged Him for a duel but was routed out and killed. But the gracious Lord resurrected Idumba and made him his sentinel at the entrance! Thus came up the shrine of Idumba, half the way up the hill. Since then the custom of bringing offerings to Lord Muruga in the form of a <em>kavadi</em> by his devotees came into vogue. </div><div align="justify" class="style15">There is also another legendary representation as to how Lord Muruga came upon the hill, making it His dwelling, and how the hill derived its name. </div><div align="justify" class="style15">Sage Narada offered a fruit to Lord Siva which became the bone of contention between Muruga and Ganapati. Outwitting Muruga in a contest, Ganapati got it. The disappointed child sought shelter in the hills on the earth, far removed from the home of heaven. Lord Siva himself hastened to the hills of Palani and tried to pacify his son with the theory that Muruga was the fruit of all wisdom and knowledge (<em>Pazham Nee</em>). But the divine child little relented and preferred to settle as a recluse in peace and solitude. Lord Muruga holding a staff in his right hand with his left hand placed on the hip is fittingly adored as `Dhandayudhapani.' Divested of all adornments with a slender cloth around His loin the deity is aptly worshipped as `Pazhani Andi,' reverentially called `Palani Andavar'. The Lord is the very embodiment of Sublime Renunciation. </div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-1913552644337277172011-05-20T23:03:00.001-07:002011-05-20T23:03:38.227-07:00MURUGA IN CILAPPATHIKARAM<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN CILAPPATHIKARAM </u></span></div><div align="center"><img border="1" height="199" src="http://www.palanitemples.com/images/tiruchendoor_murugan.gif" width="300" /></div><div align="justify" class="style15"><strong>0.0 Introduction: </strong><br />
0.1. The purpose of the research paper is to give an extract of the cult of Murukan present in the epic Cilappatikaram. </div><div align="justify" class="style15">0.2. In Cilappatikaram there are references to Murukan temples present in the Chola and Pandya capitals, and some other famous temples of Lord Murukan are also mentioned in the epic. The types of temples and the types of the icons enshrined are worthy of study. A large collection of materials based on the fine arts and folklore is present in the epic. From them the music, dance and folk songs in connection with the cult of the Murukan provide ample material for study. An analysis of the mythology related to the cult of Murukan present in the epic may also shed light on the cult of Murukan as it was during the period when the epic was written. The various names attributed to Murukan and the epithets associated with them may also help us to determine the status of the cult during that period. </div><div align="justify" class="style15">0.3. The traditional descriptive approch is followed. The epic Cilappatikaram serves as the primary source. The secondary sources are the Cankam anthologies and idylls, including the epic Manimekalai, the counterpart of Cilappatikaram. Commentaries of the commentators and the researches done by modern scholars serve as tertiary sources. </div><div align="center" class="style15"> </div><div align="justify" class="style15"><strong>1.0. Names and phrases denoting Murukan: </strong><br />
There are four names attributed to Murukan in Cilappatikaram, namely Cevvel, Netuvel, Arumuka oruvan and Arumukaccevvel. He is also specified as teyvam, iraivan and katavul, the common names used to denote all gods. The explanatory phrases which are used to denote Murukan are based on the weapon vēl, the katampu tree and the mythological elements related to Murukan. </div><div align="justify" class="style15"><strong>1.1.0. Cevvel </strong><br />
1.1.1 The beauty of Kovalan, the hero of the epic Cilappatikaram, is compared to the beauty of Murukan. </div><div align="justify" class="style15">pan teytta moliyinar ayattup parattik </div><div align="justify" class="style15">kan tettum cevvel enru icai pokki1 </div><div align="justify" class="style15">(Women whose speech is sweeter than music praised Kovalan's beauty among themselves. They said that in Kovalan's beauty they could identify Murukan's personality). </div><div align="justify" class="style15">The music of velan who performed veriyattu for Cevvel was heard in the Colaimalai.2 Paripatal stands parallel to Cilappatikaram in specifying Murukan as Cevvel.3 </div><div align="justify" class="style15"><strong>1.1.2. Netuvel </strong><br />
Kannaki, the heroine of the epic, climbed up the hill called Netuvel Kunram4 (the hill where Netuvel is enshrined). Many Cankam anthologies and idylls specify Murukan as Netuvel.5 There are also instances where Murukan is called simply Vēl. 6 It is also found with the epithets viral7 and av-.8 </div><div align="center" class="style15"><img border="1" height="210" src="http://www.palanitemples.com/images/arumugam.gif" width="310" /></div><div align="justify" class="style15"><strong>1.1.3. Arumuka Oruvan </strong><br />
When Kovalan praises the beauty of his wife Kannaki's eyes, he says that it is Arumuka oruvan who gave his vel to frame them.9 The women of the hills also called Murukan Arumuga oruva.10 They praised his six faces and twelve arms (Arumuka oruva = one person with six faces).11 </div><div align="justify" class="style15">Paripatal adores Murukan as having six faces and twelve arms.12 Muviru kayantalai is another term equivalent to Arumukam found in Paripatal (muviru = six; kayantalai = young faces).13 Tirumurukārruppatai gives a detailed description of the six faces and twelve arms.14 </div><div align="justify" class="style15">1.1.4. Cilappatikaram stands unique in attributing the name Arumukaccevvel to Murukan. A temple of Lord Murukan is referred to as Arumukaccevvel Anitikal Kōvil.15 </div><div align="justify" class="style15">1.1.5. The women of the hills while dancing sing of Murukan as: </div><div align="justify" class="style15">kark katappan tarem katavul16 </div><div align="justify" class="style15">Katampun teyvam17 and iraivan18 (the god who wears a garland of katampu flowers that blossom in the rainy season. Katavul = Iraivan = teyvam = deity). Besides the terms iraivan, katavul and teyvam, the Cankam anthologies and idylls use the terms kuricil and iyavul also to denote Murukan.19 They are also common terms used to denote all gods. </div><div align="center" class="style15"> </div><div align="justify" class="style15">1.1.6. The explanatory phrases used by women of the hills to denote Murukan are as follow:20</div><div align="justify" class="style15">alamar celvan makan, son of Lord Śiva who sits under the al tree. <br />
kayilai nan malai iraimakan, son of Lord Śiva who is the deity in the Mount Kailasa. <br />
malai makal makan, son of goddess Parvati. <br />
uruvu nir makonra velenti, He who holds the vel which demolished the mango tree. <br />
alar katampan, He who dwells in the katampu tree. <br />
kolic cevar kotiyon (He who holds the cock flag) and <br />
ven velar (He who holds the vel that brings victory).21<br />
The explanatory phrases found in Paripatal describe the greatness of Murukan.22<br />
Ayteran = charioteer <br />
Varai akalattavan = He who has a chest broad as a hill. <br />
Elulakumali = He who rules over the seven worlds. <br />
Iranku muracinan = He who has a drum that makes a terrific sound. <br />
Marattan = He who destroyed his enemies. <br />
Verikontan = The one on whose behalf veriyattu is celebrated. <br />
Erumai iruntotti elliyum kalai = He who conquered Yaman who rides on the buffalo. <br />
Tirumurukārruppatai also adores Murukan with metaphorical phrases describing Murukan and expressing his qualities.23</div><div align="justify" class="style15">Antanar verukkai = the riches of the brahmins. <br />
Arintor colmalai = the collection of the praises uttered by the learned people. <br />
1.2. Muruku is the name often used in Cankam literature to denote Murukan.24 It is found in Manimekalai also.25 The name Murukan is derived from the term muruku is also found in the anthologies and idylls.26 The name Cey with various epithets is very common in Cankam literature.27 The name Ceyyon is also found.28 There is also an instance where Murukan is denoted as Netiyon.29 Iyalani, a unique name that means natural beauty, is found in Paripatal30 Besides there are about twenty synonymns for Murukan found in Paripatal and Tirumurukārruppatai.31 </div><div align="justify" class="style15">1.3. We can tabulate the names of Murukan and their usages in the Cankam literature (see Table I). The new trend of addressing Murukan as Cevvel, Arumuka and Arumukaccevvel is found in Cilappatikaram. Only Paripatal, a collection of songs which belong to a range of periods, gives us data resembling those of Cilappatikaram </div><div align="justify" class="style15">The names Muruku, Cey and Vel are the base forms used as such to denote Murukan:</div><div align="justify" class="style15">Muruku = fragrance. <br />
Cey = red complexion. <br />
Vel = leader in the earth. <br />
Then the names took the form of base + suffix, viz:</div><div align="justify" class="style15">Muruku + an = Murukan <br />
Cey + on = Ceyon > Ceyyon </div><div align="center" class="style15"> </div><div align="justify" class="style15">where the suffixes, on and, an are allomorphs that denote masculine singular noun. The name Netiyon is formed from the adjective netumai (i. e. greatness) and the suffix, on. The base form Vēl was given prefixes which explain the nature of Murukan. </div><div align="justify" class="style15">am + vēl -> Avvēl (am = beautiful) <br />
viral + vēl -> Vīralvēl (vīral = valour) <br />
netumai + vēl -> Netuvēl (netumai = greatness)</div><div align="justify" class="style15">In Cilappatikaram the way of addressing Murukan took a different direction while framing Cevvel from two base forms. Cey + Vēl, > Cevvēl. Likewise, the way of addressing Murukan took a different dimension when the mythology of the birth of Murukan as one outspring from six persons came into vogue (4.1). In the name Arumukaccevvēl found in Cilappatikaram, the new direction and dimension seem to mingle with each other. </div><div align="justify" class="style15">2.0. Places of worship and the holy images enshrined:<br />
2.1.0. There were two types of temples for Murukan: </div><div align="justify" class="style15">the kōyil and <br />
the kottam. <br />
Ilankovatikal, the author of the epic, clearly differentiates a kottam from a kōyil. Kōyil is the place of worship where vedic mantras were chanted and offerings were given to the gods through fire. Kottam is a place of worship where there was no practice of vedic traditions. Even dead bodies were taken there. <br />
<br />
2.1.1. When the festival for Lord Indra began, the drum from the Vaccirakkottam was carried on an elephant in procession. In the Airavatakkottam a festival pillar was erected. In the Karpakattarukkottam a flag was hoisted to indicate the start of the festival. Lord Indra was given a holy bath. So there were vedic mantras chanted and the holy fire lit as per the vedic tradition in the Civan koyil, Bālarāman koyil, Tirumal koyil, Vacavan koyil, and Arumukaccevvel anitikal koyil (1.1.4). It means that Lord Murukan was enshrined beautifully with six faces in that koyil. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Malati was a midwife. While she was feeding a brahmin child, the child died due to hiccups. Malati was scared to face the brahmin and his wife. So she took the corpse of the baby in her hands and went to Amarar Tarukkottam, Velyanaikkottam, Nilakkottam, Uccikkilan kottam, Urkkottam, Velkottam, Purampanaiyan Val kottam, Nikkantakkottam, Vaccirakkottam, and Pacantaccattan kottam. She prayed to all the gods to give life to the dead child. All the temples visited by her were kottams and Vel kottam is one among them.32 It should be the temple where Vel the weapon of Murukan was enshrined and worshipped. Drums were beaten and conch (kolicceval = cock; kotiyon=He who holds the flag) was blown announcing the sunrise in koliccevar kotiyon kottam at Madurai (1.1.6). Murukan enshrined in the kottam is called Kolicceval Kotiyon. </div><div align="justify" class="style15">2.1.2. A Murukan kottam is referred in pura. also.33 Though the terms kōyil and kottam are not found in Tirumurukārruppatai; the differences between those two types of the temples are mentioned. Nakkirar the author of Tirumurukārruppatai, lists the temples of Murukan temples at Parankunram, Alaivay, Avinankuti, and Erakam. The explanation given for the temple at Alaivay clearly states that one of the faces of Murukan was watching the velvi (i. e. the sacrifice done through fire chanting mantras) performed by the brahmins as per the vedic traditions.34 </div><div align="center" class="style15"><img border="1" height="224" src="http://www.palanitemples.com/images/avinankudi.gif" width="300" /></div><div align="justify" class="style15">The explanation given for Avinankuti also has a hint of velvi. Intiran who had finished hundred velvis visited the temple at Avinankuti to worship Murukan. This means that the temple of Avinankuti also gives place to the vedic way of worship. All the thirty-three crores of devas came to Avinankuti to worship Murukan.35 They are considered as followers of the vedic cult. The temple at Erakam is specified as the place where brahmins who follow the practice of sacrifice through fire came to worship.36 So these three temples should be considered as koyils as per the explanation given by Cilappatikaram. </div><div align="justify" class="style15">Tirumurukārruppatai mentions hillocks sacred to Murukan, each town where festivals for Murukan were celebrated, places where veriyattu was performed, including forests, gardens, lagoons, banks of rivers, lakes, junctions of either three, four, or five roads, the blossoming katampu tree, town halls, trees amidst town halls, symbolic pillars for worship and other nakars as the places of worship of Murukan.37 This long list of places of worship is worthy to be categorised as kottams. So there are both kottams and koyils for Murukan in Tamilnad during the period of Cilappatikaram. </div><div align="center" class="style15"> </div><div align="justify" class="style15">2.2.0. It was beleived that Murukan dwelt in the flowering katampu tree that blossoms in the rainy season. There was also the practice of garlanding Murukan with katampu flowers. References to Murukan associated with the flowers of katampu are already dealt in this paper (1.1.5 & 1.1.6). Alar katampan is a similar phrase found in both Cilappatikaram and Manimekalai.38 Details about Murukan associated with the katampu tree are found in many Cankam anthologies and idylls.39 There was the practice of garlanding the katampu tree and worshipping it as Murukan.40 The flowers were then worn by the vēlan who performed the ritual veriyattu.41 </div><div align="justify" class="style15">Botanists name this tree as Wendlandia notoniana.42 It is also called as Wendlandia thyrsoidea by another school of scientists. The katampu flowers are pale yellow in colour with remarkable fragrance.43 This fact coincides with the term narun katampu (naru = fragrant).44 The phrase urul inark katampu (the katampu flowers which resemble the wheel and axle of a chariot), can be explained on the basis of the type of corolla and androecium of the flowers.45 They have a tubular corolla with epipetalous stamens, which is the reason for the garland of katampu resembling the wheel and the axle of the chariot. </div><div align="justify" class="style15">2.3. Vel the weapon of Murukan was enshrined and worshipped in kottams. It is very common to find references of Murukan associated with his vel. The vel was bright and had the shape of a leaf. The vel kottam where the vel was enshrined for worship is already mentioned in this paper (2.1.1). Cenkotu the hill where Murukan was worshipped is also referred as venvēlan kunru (venvēlan = He who holds the vel victoriously; kunru = hill).46 Kovalan, the hero of the epic, praises the beauty of his wife Kannaki's eyes, saying that they resembled the weapon of Murukan, the vel. </div><div align="justify" class="style15">Arumuka Oruvan <br />
. . . . <br />
ancuvaru netuvel onrunin mukattuc <br />
cenkatai malaikkan iranta ittatu47</div><div align="justify" class="style15">(The incomparable great vel that frightens enemies was donated by Murukan to frame your dark eyes which have red edges). Murukan who holds the vel was worshipped in Centil, Cenkotu, Venkunru, and Erakam.48 He who has the bright and leaf shaped great vel dwells at Netuvel Kunram.49 Because of his vel, Murukan is addressed as Velenti.50 The anthologies call Murukan Velan, Veloy, and Velvalan as he is holding the weapon vel.51 The weapon was described as being bright and leaf shaped.52 </div><div align="center" class="style15"> </div><div align="justify" class="style15">2.4. There were Murukan temples in Centil, Cenkotu, Venkunru, and Erakam. The women of the hills sang and danced in praise of those four temple towns. The hill Cenkotu is given various names like Netuvel Kunram, Venvelan Kunru, and Mancucul Colaimalai in Cilapatikaram.53 A series of events mentioned in the story of Kannaki is said to have happened here. The famous temple of Murukan in Centil is mentioned in the Cankam poetry also.54 The appearence of Murukan there is described in detail in Tirumurukārruppatai.55 He was sitting on the elephant with six faces and twelve arms. The other name used for this town was Alaivay as it is situated on the seashore (alai = waves). Tirumurukārruppatai speaks in praise of Erakam also. Details about the Murukan temple there has already been dealt in this paper (2.1.2). </div><div align="center" class="style15"><img border="1" height="199" src="http://www.palanitemples.com/images/tiruchendoor.gif" width="300" /></div><div align="justify" class="style15">The present name for the temple town Centil is Tiruccentūr. Even now the Murukan enshrined there is called Centilāntavar. The hill Cenkotu had been identified at present in the Curuli hills which is a part of the stretch of Palani hills. The place is now called Venkaikkanal.56 It is very near to the place of origination of the rivers Vaigai and Periyar. Venkunru is a small hillock with two cave temples 80 kilometers from Chennai. The hillock is now called Tavalakiri (tavalam = white, i. e. venmai; kiri = kunru = hill). The village adjoining the hillock is called Venkunru. There is some controversy over declaring Erakam as Swamimalai.57 </div><div align="justify" class="style15">3.0. Arts related to the cult of Murukan<br />
Some dances and music related to the cult of Murukan are mentioned in Cilappatikaram. </div><div align="justify" class="style15">3.1.0. Kunrakkuravai: <br />
It is an akakkūttu that falls under the category potuviyal. It is a vinotakkūttu performed by the women of the hills. It is a group dance, the subject of which is love and victorious deeds. It is a varikkūttu and a part of it resembles a vacaikkūttu also. The performance as a whole is a iyalpukkūttu. </div><div align="center" class="style15"> </div><div align="justify" class="style15">There is a chapter named Kunrakkuravai in Cilappatikaram. The women of the hills perform a group dance in that chapter. As they are common folk who belong to a community lower than the brahmins, kshatriyas and vaishyas, the dance performed by them is a vinōtakkūttu.58 There was no king or his kith and kin to witness the dance. So it is a potuviyal item.59 All the songs of kunrakkuravai are composed in Tamil, so it is a iyalpukkūttu.60 The commentator Atiyarkkunallar clearly states that it is a varikkūttu. It is mentioned as one among the varikkūttus listed in the anonymous song quoted by him.61 There are many folk elements also present in the songs of kunrakkuravai to confirm the fact that it is a varikkūttu. The specific songs sung during the performance deal with love. The women took bath in the spring of the hills are started their performance. </div><div align="justify" class="style15">erronrum kanem pulattal avarmalaik <br />
karrinti vanta putuppunal <br />
karrinti vanta putuppunal <br />
marraiyar urratinom toli nencanre </div><div align="justify" class="style15">ennonrum kanem pulattal avarmalaip <br />
ponnati vanta putuppunal <br />
ponnati vanta putuppunal marraiyar <br />
munnatinom toli nencanre </div><div align="justify" class="style15">yatonrum kanem pulattal avarmalaip <br />
potati vanta putuppunal <br />
potati vanta putuppunal marraiyar <br />
mitatinom toli nencanre62 </div><div align="justify" class="style15">(The waters of the spring descend flowing over the rocks of the hills of my lover. I found no reason to be in a tiff with this water. So, let as take a nice bath in this spring whole-heartedly. </div><div align="justify" class="style15">The waters of the spring reach here after crossing the precious things in this hill. I found no reason to be in a tiff with this water. Let us enjoy a nice bath. </div><div align="justify" class="style15">The waters of the spring come running with the blossoms of his hill. I find no reason to be in a tiff with this water. So came on, let us have a satisfying bath.) </div><div align="justify" class="style15">These three songs talk about the same matter three times using different words. This is a character found in folklore and hence this dance is a varikkūttu. The rhythm of the songs reveals that it can be sung in the kummi tune folk tune, which is still in vogue to this day. During festive occasions ladies of the countryside stood in a circle and performed kummi accompained by the kummi song. The action in kummi is to clap the hands according to the rhythm. The difference in between kummi and kuravai lies in the action of clapping. In kuravai the ladies did not clap but they joined hands and went around according to the rhythm. The way in which they joined hands is also explained by the early grammarians.63 The technical term used is Karkatakak kai Kottu. The equivalent term used by the commentator is nantukkai (katakam = nantu = crab; kai = hands; kottu = joined). He adds that while joining hands in that fashion, the central finger and the ring finger face oneself. Holding each others hand in the style of the limbs of the crab is quite a natural way in practice. </div><div align="center" class="style15"> </div><div align="justify" class="style15">The specific kalaiyar koyil kummi tune is very apt to be sung for these three songs. The rhythm is </div><div align="justify" class="style15">tannanna natinam tannanna natinam <br />
tannanna natinam tannane <br />
tannanna natinam tannanna natinam <br />
tannanna natinam tannane. </div><div align="justify" class="style15">Then the women started singing in praise of Murukan's heroic deed of slaughtering Curan: </div><div align="justify" class="style15">cirkelu Centilum Cenkotum Venkunrum <br />
Erakamum ninka Iraivankai velanre <br />
Paripatalrum pauvattin ulpukkup pantorunal <br />
curma tatinta cutarilaiya velvele64 </div><div align="justify" class="style15">(It is the vel in the hands of the Lord who dwells in the meritorious Centil, Cenkotu, Venkunru and Erakam that is bright and leaf shaped. Once He went into the sea which surrounds the world to demolish Cūran in the form of a mango tree). </div><div align="justify" class="style15">The matter is dealt in two more songs using different words, epithets and explanatory phrases. Thus there are two types of songs; one that deals with love and the other that deals with heroic deeds. Then the ladies sang and laughed at their mother's ignorance. Without knowing the affair of her daughter; the mother proceeded to arrange for velanveriyattu. There are four songs sung with this theme. </div><div align="justify" class="style15">iraivalai nallay itunakaiya kinre <br />
karivalar tancilampan ceytanoy tirkka <br />
ariyalmar rannai alarkatampan enre <br />
veriyatal tanvirumpi velanvaru kenral </div><div align="justify" class="style15">ayvalai nallay itunakai yakinre <br />
mamalai verpanoy tirkkavarum velan <br />
varumayin velan matavan avanir <br />
kuruku peyark kunram konran matavan65 </div><div align="justify" class="style15">(O! my friend with bangles in the forehands! Isn't it a comedy?! While the reason for my illness is my lover who lives in the cool hills where pepper grows in plenty, my mother finds no way to cure me. She thinks that it is due to Lord Murukan who dwells in the flowered katampu tree that I am ill. So she calls velan to come and perform veriyattu. </div><div align="justify" class="style15">Oh, my friend with choice bangles! Isn't it a comedy? The velan will be coming to cure the illness caused by my lover who lives in the great hills. If velan comes, he is foolish. If he is going to be possessed by Murukan; then Murukan is more foolish than velan.) </div><div align="justify" class="style15">Usage of words of rebuke is a common motif found in folklore. The ladies call both Murukan and velan as matavan, i. e. fool. So we have another reason to describe kunrakkuravai as a folk art, hence varikkūttu. Besides the satirical comment of the love-stricken girl about Murukan and velan, it makes it clear that a part of kunrakkuravai belongs to the category vacaikkūttu.66 Then the subject of their songs turn to be a prayer wishing success to their love.67 There are three songs which have the following rhythm. </div><div align="center" class="style15"> </div><div align="justify" class="style15">tanatana tanatana tanatana tanatana <br />
kayilainan malaiyirai makanainin matinutal </div><div align="justify" class="style15">tanatana tanatana tanatana tanana <br />
mayiliyal matavaral malaiyartam makalar </div><div align="justify" class="style15">tanatana tanatana tanatana tanana <br />
ceyalaiya malarpurai tiruvati tolutem </div><div align="justify" class="style15">tanatana tanatana tanatana tanana <br />
ayanmanam oliyarul avarmanam enave </div><div align="justify" class="style15">(Oh! the son of the Lord who dwells on Kailasa! We worship the lotus like feet of your wife Valli, who belongs to the clan of Kuravars, the lady with the elegance of the peacock and moon-like forehead, to bestow good wishes to marry my lover and to prevent any allaiance with other men). Thus kunrakkuravai proves to be an art related to the cult of Murukan. </div><div align="justify" class="style15">3.2.0 Kutaikkūttu and Tutikkūttu: <br />
These are purakkūttus and they fall under the category potuviyal.68 They are variccantikkūttus related to the mythology of Murukan slaughtering Curan. They had specific songs, specific musical instruments and specific make-up for the dancer. </div><div align="justify" class="style15">3.2.1 Matavi performed eleven types of dances in the city Pukar during the festival for Indra. Two among them are kutaikkūttu and tutikkūttu. </div><div align="justify" class="style15">. . . makkatal natuvan <br />
nirttirai arankattu nikarttu munninra <br />
curttiran katanton atiya tutiyum <br />
pataivilt tavunar paiyul eytak <br />
kutaivilt tavarmun atiya kutaiyum69 </div><div align="justify" class="style15">(Admist the great sea, in the beach of an islet which served as a stage, he who competed with the worthy opponent Curan danced tuti. The army of avunars won over by Murukan were subjected to torment. The kutai was broken down. He performed the dance of kutai in front of them). </div><div align="center" class="style15"> </div><div align="justify" class="style15">The author of the epic continues that she had specific make-up for these dances. Tuti is a type of drum. It was usually beaten in battles to evoke the feelings of valour. The dance of Murukan for the drum beats of tuti was called tutikkūttu. The esteemed kutai (umbrella) of the enemy was broken down. When he danced with the kutai in his hand it was called kutaikkūttu. As these dances deal with war and victory they are termed purakkūttus (counterpart of akakkūttu). The people of Pukar saw Matavi's dance. So these dances belong to the potuviyal category. Matavi was a professional dancer. She systematically learnt the art from the age of 5 to 12. Her arankerram or first solo performance was before the king. So these dances performed by her were classical in nature. Hence they are variccantikkūttus (counterpart of varikkūttu). Ilankovatikal also states that these dances have to be performed either in a erect posture or in a seated posture.70 </div><div align="justify" class="style15">3.2.2 The difference between tutikkūttu and kutaikkūttu mentioned by the early grammarians (quoted by Atiyarkkunallar) is that kutaikkūttu has to be danced in the seated posture. There are fields yet to be studied regarding these dances. Does the story of Murukan slaughtering Cūran belong to Aryan mythology or to Tamil mythology or is it a combination of both? Depending on the answer they can be categorised either as ariyakkūttu or Tamilkkūttu or a different one.71 The social status of a kanikai (e. g. Matavi) is above the ilikulam, i. e. lower community. So these two dances have to be categorised as cantikkūttus (counterpart of vinōtakkūttu). </div><div align="justify" class="style15">3.3.0. Velanpani and Veriyattu:<br />
Veriyattu is a ritual dance performed by the common folk to learn the reason for the ill health of people and to cure them. A place was arranged to perform veriyattu. The person who sang and performed veriyattu was called vēlan. It was believed that he would be possessed by the spirit of Murukan during the performance. It is a vinōtakkūttu and falls under the category potuviyal. It is one among the items of varikkūttu. </div><div align="justify" class="style15">3.3.1 Cilappatikaram specifies the velanpani heard in the Colaimalai where Cenkūttuvan with his wife came to enjoy the beauty of nature.72 The women of the hills sang among themselves that the mother is arranging for veriyattu (3.1.1). </div><div align="center" class="style15"><img height="267" src="http://www.palanitemples.com/images/vel_muruga.gif" width="200" /></div><div align="justify" class="style15">Here the vēlan who is expected to perform veriyattu belongs to the clan of kuravars who live in the hills, a community lower than the brahmins, kshatriyas, and vaiśyas. So veriyattu is a vinōtakkūttu. Neither a king nor his relatives was expected to witness it. Only the people of the hills indulge in the ritual. So veriyattu falls under the category potuviyal. As it is a ritual performed by the common people it is invariably a segment of folklore. So veriyattu is one among the variety of varikkūttus. The anonymous song quoted by Atiyarkkunallar (cf. note 61) refers to velanpani as kantanpattu. (velan = kantan; pani = pattu). </div><div align="center" class="style15"> </div><div align="justify" class="style15">3. 3. 2. Tirumurukārruppatai speaks about the appearance of vēlan in detail.73 Not only vēlan but women were also possessed by Murukan74. Perfumes, flowers, grain and goats were offered to Murukan.75 The place specified for veriyattu was decorated with clean sand.76 A rustic orchestra (with songs) was arranged for the performance.77 The practice of determining a doubtful matter with the use of numerology-based kalanku preceded veriyattu.78 The dance named kuravai proceeded veriyattu.79 Lovestruck girls, when subjected to veriyattu, call Murukan as matava (i. e. fool) satirically.80 There are plenty of stray references too in the Cankam poetry about this veriyattu.81 </div><div align="justify" class="style15">4.0. Mythology related to Murukan: <br />
The mythology of Murukan occuring in Cilappatikaram deals with Murukan's birth, his childhood, his wife Valli and his heroic deed of slaughtering Cūran. </div><div align="justify" class="style15">4. 1. 0. Murukan's birth:<br />
Murukan was born as the son of Lord Śiva. Six Krttikā maidens nursed him on the flower beds in Śaravana, a marsh of reeds. Still his rightful mother is considered to be goddess Parvati. </div><div align="justify" class="style15">4. 1. 1. Instances of the parents of Murukan are already dealt in this paper (1.1.6). The Lake Śaravana and the six Krttikā maidens who delivered and nursed Murukan are praised by the women of the hills during the performance of kunrakkuravai. </div><div align="justify" class="style15">caravanap pumpalliyarait taymar aruvar <br />
tirumulaip paluntan . . .82 </div><div align="justify" class="style15">(He was delivered on the flower beds in the Lake Śaravana by the six Krttikā maidens. They gloriously nursed him) </div><div align="justify" class="style15">4.1.2. The term alamar celvan for Śiva, the father of Murukan, is found in the epic Manimekalai and elsewhere in Cankam poetry.83 His mother is denoted by the same term malaimakal besides korravai and palaiyol in Tirumurukārruppatai.84 Paripatal gives a detailed account of the Lake Śaravana and the six nymphs who nursed him.85 Lake Śaravana was in the Himalayas filled with blue waters. Murukan was born on the lotus flowers there. The six rishis agreed with their respective wives who wished to bear Murukan in their womb. They gave birth to six infants as Murukan. Tirumurukārruppatai tells of Agni bearing the precious seed delivered by Lord Śiva in his hands, so that the six rishis' wives could conceive Murukan and deliver six children, namely Murukan.86 </div><div align="center" class="style15"> </div><div align="justify" class="style15">4. 2. 0. Murukan's childhood:<br />
4. 2. 1. Murukan has a cock flag. His vehicle has mayil. Reference to the cock flag of Murukan is already been mentioned in this paper (2. 2. 1). His vehicle mayil is praised by the women of hills as nilapparavai (nila = blue; paravai = bird).87 </div><div align="justify" class="style15">4. 2. 2. Paripatal explains in detail how Murukan had his cock and peacock. God Agni, pleased to see the valour of the child Murukan, created the cock from his body and presented it to him. He held the cock in his hands.88 Indran, the king of heaven, was amazed to see the valour of the child. So he created the mayil from a part of his body and presented it to Murukan. He held the mayil also in his hands. The cock served as his flag too.89 The cock flag was erected in places where Murukan was worshipped.90 He was called by the name of his flag too. The detailed account of how Murukan had his mayil is also dealt in Paripatal Tirumurukārruppatai seems to be unique in saying that mayil serves as his flag.91 Purananuru also refers to his mayil.92 </div><div align="justify" class="style15">4. 3.0. Valli, Murukan's beloved:<br />
4. 3. 1. Valli the consort of Murukan belongs to the clan of kuravars. The women of the hills worshipped both Valli and Murukan. They sang that when Murukan appeared before them, Valli would accompany him.93 They also compared heroines with Valli.94 </div><div align="justify" class="style15">4. 3. 2. Paripatal says that Murukan loved the flower-like damsel Valli. It explains that Murukan married her and she is a lady of the kuravar clan.95 Tirumurukārruppatai speaks of Valli sitting beside Murukan as his wife. 96 </div><div align="justify" class="style15">4. 4 Murukan slaughtering the cūran: <br />
Murukan fought with Cūran riding on his elephant Pinimukam. The battle took place after he demolished and crossed the hills Krau&ntiled;cam. Then he went into the sea and reached an islet where he killed Cūran using his vel, thereby demolishing the power of the avunars (the clan of cūran). His battle with Cūran is dealt repeatedly in Cilappatikaram97, several anthologies and idylls98 without contraditions. Paripatal gives a logical explanation that Murukan laid a road to cross the hill Krau&ntiled;cam by cutting it down with the vel.99 </div><div align="justify" class="style15">On tabulating the above-mentioned mythological elements found in the Cankam anthologies, idylls and the twin epics, it is evident that their significance attains a new dimension in Cilappatikaram, Paripatal and Tirumurukārruppatai (see Table II). </div><div align="justify" class="style15">The mythology of Murukan's birth, his cock flag, mayil vehicle, his wife Valli, and the destruction of hill Krauncam are the later elements that mingle with the cult of Murukan. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Conclusion:<br />
Addressing Murukan as Cevvel, Arumuka and Arumukaccevvel is a turning point found in Cilappatikaram There were two types of temples for Murukan. The figure of Murukan with six faces was enshrined in koyils where vedic tradition was followed. There were also kottams where either vel or Murukan was enshrined. No vedic traditions were followed in kottams. </div><div align="justify" class="style15">The tradition of worshipping the katampu tree as Murukan was prevalent in the days of Cilappatikaram also. There were famous Murukan temples in Centil, Cenkotu, Venkunru and Erakam. Kunrakkuravai, velan pani and veriyattu were the folk arts related to the cult of Murukan performed by the common folk. Tutikkūttu and kutaikkūttu were classical dances performed for the common folk. Kunrakkuravai can be categorised under akakūttu, vinotakkūttu, potuviyal, varikkūttu, vacaikkūttu and iyalpukkūttu; veriyattu can be categoried under vinotakkūttu, varikkūttu, potuviyal, tutikkūttu and cantikkūttu. The mythology of Murukan's birth, his cock flag, mayil vehicle, his wife Valli and the destruction of the hill Krau&ntiled;cam are the later elements that mingle with the cult of Murukan. Paripatal seems to be parallel with Cilappatikaram in every aspect. </div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-64418652648996452832011-05-20T23:02:00.001-07:002011-05-20T23:02:49.827-07:00MURUGA IN TAMIL LITRATURE<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN TAMIL LITRATURE </u></span></div><div align="center"><img border="1" height="266" src="http://www.palanitemples.com/images/kurinci.gif" width="200" /></div><div align="justify" class="style15">I<strong>ndia</strong> is a country of long survivals (D.D. Kosambi). It has accumulated since about 5000 years the most diverse ideologies without really changing its basic religious structure - Hindu polytheism. It has adopted, before virtually annihilating Jainism and Buddhism, their basic principles vegetarianism and <em>ahimsā </em>and thus in fact it has reabsorbed the two principal heterodox movements. The strategy of the Brahmins, whether conscious or unconscious, has always been to adopt the most prestigious features of their opponents. Hinduism is thus “a product of a particular kind of mind in a particular environment”, a special kind of religion which must be met on its own terms, a phenomenon of immense, overpowering magnitude, complexity and diversity. It has baffled all attempts at defining it in simple terms or analyzing clearly its component elements (K.A. Nilakanta Sastri).</div><div align="justify" class="style15">What is true about India and Hinduism in general has special relevance when we face one of its most complicated and baffling deities, Subrahmanya-Murugan of the deep South. Sanity, stupidity, sobriety and madness - all can and will be found in the immensely complex construct of human imagination, intelligence, emotional needs and, last but not least, deep and valid insights, that is the phenomenon called 'Murugan'. Let it be clear to the reader that, although I shall have to say many critical words. I believe, with Claude Levi-Strauss, that the kind of logic in mythical thought is as rigorous as that of modern science, and that the difference lies not in the quality of the intellectual process but in the nature of the things to which it is applied: the same logical processes operate in myth as in science: "man has always been thinking equally well."</div><div align="justify" class="style15">The following work does not concern itself with the validity of current religious faith or practices of Murugan worshippers. Although my commentary will be, naturally, openly critical, it should not be interpreted as involving any criticism of the faith and devotion of sincere bhaktas of Murugan.</div><div align="center" class="style15"> </div><div align="justify" class="style15">By virtue of his complex and composite nature, Murugan is all to everyone: to children he is Bala Subrahmanya, the playful child-god; to young men the chaste Kumaran, to scholars the wise six-faced Arumukan, to soldiers Senatipati, to devotees who seek knowledge he is Jnanapandita, to householders and wives he is the bridegroom and husband of Valli and Devasenā, and to ascetics he is the severe Anti of Palani. Finally, to Western scholars such as I, he is a fascinating subject of affectionate investigation.</div><div align="justify" class="style15">Before, however, I shall deal in some detail with a few of the many facets and aspects of this deity I wish to say a few words about those features of Hinduism and Hindu culture which have a direct bearing on our investigation: about the relationship of religion and society, the position of the individual in Hindu social structure, the relationship between man and nature, the nature of Hindu myth in general and Tamil Murugan myths in particular, the phenomenon of bhakti and, also, the methodology to be adopted. Last but not least, we shall throw a very brief glance on the possible historical implications of the research into Murugan.</div><div align="center" class="style15"><img border="1" height="272" src="http://www.palanitemples.com/images/arumugan1.gif" width="200" /></div><div align="justify" class="style15">Nowadays we are used to think of society (or a society) independent of religion. The Indian society is founded on the inter-dependence of castes and, its consequence, of individual men and women in strict hierarchy expressed through ritual separation: this, indeed, seems to be the very heart of Hindu religion. Also, our distinction between philosophy and religion is inapplicable to Hindu India. The individual person who. in our society, is unique, indivisible', an ontological entity and unity, a carrier of definite values, an agent in institutions, and a 'Universal idea' is, in India, a member in one of the <em>jātis</em>, of groups which have each a particular ethics and morality; a being is 'in relation'; a being is always part of a "necessary coexistence of hierarchical contrasts" (Dumont).</div><div align="center" class="style15"> </div><div align="justify" class="style15">Furthermore, there is no rupture between man and nature. In general, the human order is realized, like in Chinese Taoism or Japanese Zen, in conformity with nature. There is almost no possibility for the conflict of man against nature since there is no absolutely autonomous human order independent of the natural order. Nothing would be more alien to traditional Indian thought than to oppose man and nature.</div><div align="justify" class="style15">Thus, in India, there is not a 'universal' and 'common' man as such; there is no universal duty either. Whereas in the West, we count with -- in Judaism, Christianity and Islam, and cultures derived from them -- an absolute dichotomy between god and evil, and with the resulting conflicts and struggles of the individual, in India this opposition is considered only illusory or at the most relative and temporal. The particular duties and ethics see to it that, ideally (!), there are no conflicts.</div><div align="justify" class="style15">David Stacton said that Hindu mythology was "much like a plum pudding. If you do not like the plums in the slice you have, or have been deprived of a flavour, you may always cut another one." In first level of the myth is the <em>story </em>itself, with an immediately recognizable point on at least one plane: the <em>narrative </em>level. Closely related is the <em>'divine' </em>level which concerns mythology as it used to be understood by the scholars of the classics: the metaphorical struggles of divine powers and personalities. Above this is the <em>cosmic </em>level of the myth, the expression of universal 'laws' and processes, of metaphysical principles and symbolic truths; and, below it, transforming often into folklore, is the <em>human </em>level, the search for meaning in individual and social human life. "No one meaning can be labeled the deepest or the truest... The best words are ambiguous, and the more richly ambiguous the more suitable for ... the myth-makers' job. Hence there is no end to the number of meanings which can be read into a good myth."</div><div align="center" class="style15"> </div><div align="justify" class="style15">"Each level always refers to some other level, whichever way the myth is read... We can only choose between various degrees of enlargement: each one reveals a level of organization which has no more than a <em>relative truth </em>(stress mine, KVZ) and, while it lasts, excludes the perception of other levels." Expressed somewhat differently. "Was erzählt wird, ist <em>immer </em>wahr, ebenso wie es auch immer <em>wahr </em>ist." Also, Hindu myth reflects a fundamental feature of Indian thinking: contradictory views are only seemingly contradictory; their opposition is always resolved in a higher synthesis; apparently contradictory opinions are mere temporary illusions. In short, everything is everything else and everything is One.</div><div align="justify" class="style15">This may be difficult for our logic, based as it still is on Aristotelian principles, to accept. However, accepted it must be; if not, Hindu myths will drive us to despair and fill us with disgust. If accepted, and applied, e.g., to one of the basic Murugan myths - the struggle against Cūr who represents the mythological perception of radical evil - it works beautifully.</div><div align="justify" class="style15">In the life of the human race, the mythical is, apparently, an early and 'primitive' stage. In the life of an individual, it is a late and mature one. What is gained is an insight into the higher truth depicted in the actual: "a smiling knowledge of the schema in which and according to which the supposed individual lives." The central position of myth can be expressed by the following chart:</div><div align="justify" class="style15">For those problems which cannot be solved rationally, and God knows we have plenty of such problems, myth utilizes the solution of irrational cult, and emotion achieves what intellect cannot. Thus, myth expresses the need that can never be fulfilled, that is always just out of reach, even in the world of gods (Wendy Doniger O'Flaherty).</div><div align="center" class="style15"><img border="1" height="229" src="http://www.palanitemples.com/images/bala.gif" width="200" /></div><div align="justify" class="style15">The meanings expressed in the Skanda-Murugan myths are far too complex and multivalent to be analyzed adequately with reference to one single model - e.g. to a simple polar opposition combined with a final synthesis. To only suggest the different layers, levels and links of some aspects of the Subrahmanya-Murugan myth, cf. the following:</div><div align="justify"> <ol class="style15" type="a"><li>In the field of physical geography, the myths of Murugan account for the vision of Tamilnadu as his sacred realm. Mythical, <em>puranic </em>space-time is as if spread over the concrete land of the Tamils in the past, present and future. </li>
<li>In the field of social structure. Murugan's marriage to Devasenā and Valli reflects and legitimizes the <em>cakkalatti </em>'co-wife' institution. </li>
<li>On the level of historical development of religion in South India, Murugan's marriage to Devasena and Valli may have been an attempt to consolidate the unity of the Hindus irrespective of whether they were Saivites or Vaisnavites. </li>
<li>On the level of culture, the myth of Murugan supports the claim that Tamil is of divine origin, and accounts for divine patronage of Tamil literature. </li>
<li>On the cosmological level and in the mythological order, the myth reflects the struggle between the cosmic forces of order and chaos, creation and annihilation, good and evil - a permanent topic of Hindu mythology. </li>
<li>On the metaphysical level. Murugan the teacher of Brahma and Siva is revealed as <em>the </em>expert in esoteric knowledge of the most sacred domain. </li>
</ol></div><div align="justify" class="style15">This is <em>by no means </em>an exhaustive list.</div><div align="justify" class="style15">In his classical book <em>Language</em>, Edward Sapir uttered a great warning: "The strong craving for a simple formula has been the undoing of linguists." This is true with regard to anthropologists, too. <em>Reductionism is one of the great dangers of contemporary cultural anthropology. </em>We almost spontaneously transport, while thinking of a religion or a society, our systems of references, terms, relationships - systems which are coordinated with our own thought-structures; and, once transferred into the Indian milieu, we describe Indian phenomena by referring to these very systems. However, one cannot force the Indian reality into a conceptual framework which is pre-established and based on our notions, whether they be Lévi-Straussian, classical structuralist, Marxist, Freudian, Jungian or what not. Take Marx: India has been and is different from ancient Egypt, Greece, or Rome. Marxist orthodoxy still moves within the model of a unilinear evolution - another simplicist image. India is forced into an established historical type. Prof. Ruben tries to find (in vain) a system of slavery in India which prevailed in some early Near Eastern or Mediterranean societies and is 'classically' described by Marx. The occidental conceptions of history are necessarily ethnocentric and sociocentric. Worse, in Marxist-oriented countries, they are 'class-centric' and, I do not hesitate to use the term, racist. A 'proletarian' Leninist vision of Indian evolution is a gross and grotesque distortion of facts.</div><div align="center" class="style15"> </div><div align="justify" class="style15">Marxism applies to India a 'Victorian' evolutionist model, and thereby is incapable or unwilling to recognize and understand another civilization than that which has given it birth.</div><div align="justify" class="style15">On the other hand, one must be careful not to succumb to the "habitual failing of the philologist whose learned candour leads him to infer that all things have their beginning from the time of their first mention in the texts." We must avoid the 'tunnel vision' (D.D. Kosambi) of armchair Indologists who avoid any disagreeable contact with fieldwork - with anthropology, sociology, folklore, or reality at large. The long and exclusive concentration of such scholars on written, particularly Sanskrit, Brahmin-produced documents seems to have impaired their ability to distinguish between myth and reality.</div><div align="justify" class="style15">Our ultimate task, as those who study Indian civilization at large and the religion and myths of the Indian peoples in particular, is to "import new and alternative options of being" which have been realized in another culture.</div><div align="justify" class="style15">Although - and this is our firm conviction -- Cevvēl-Murugan is, 'originally', rooted in the prehistoric civilization of the peoples of South India and Ceylon, it was the great Sanskritic-Tamil synthesis in the pre-bhakti and bhakti period that represented the fertile soil in which thrived, for the first time, a vigorous cult of the South Indian Subrahmanya as we know him today. One has necessarily to take a stand, critical and evaluative, towards the all-important emotional, psychological, religious, spiritual, social, literary and artistic movement or trend or development called bhakti. The beginnings of these attitudes may be seen in such old Tamil texts as <em>Tirumurukārruppadai </em>and <em>Parpātal, </em>and some stanzas of the early epic <em>Cilappatikaram. </em>Thus, when <em>Parpāta1 </em>8.56 sings "let us [god and worshipper] remain unseparated <em>(piriyātu irukka-v-en cu<u>rr</u>amōtuta<u>n</u>ē)", </em>this is, indeed, an early expression of basic bhakti emotion. One could quote many similar and perhaps even more telling utterances from the texts mentioned above. The Sanskrit texts which are traditionally considered as the fundament of (Vaisnava) bhakti and its theory, and in which bhakti was systematized and supported by quotations from the scriptures, are the <em>Nāradasūtra </em>(10th Cent.) and the S<em>āndilya sūtra</em> (? date). According to these texts, bhakti is <em>preman </em>'love', expressed in thoughts, words and deeds, and having as its only object god; its substance is <em>amrta </em>'immortality'; the human being who 'has' it in plenitude is perfect, and liberated. It is not identical either with knowledge <em>(jnāna) </em>or with faith <em>(shraddha).</em></div><div align="center" class="style15"> </div><div align="justify" class="style15">Devotional religion means dualism; if it did not, one would end up worshipping oneself, or one's self. The love of man for god and its expression usually employs erotic imagery because the range of analogy in human experience is limited; this is the <em>sthāyī bhava </em>which is raised to the condition of experiencing <em>rasa. </em>Separation is as much a part of the condition of love as is union (particularly as seen in classical Tamil literary conventions where four of the five basic situations represent various types and degrees of separation). Without separation there would be no dynamic coming together.</div><div align="justify" class="style15">In the Tamil situation, bhakti is apparently not a religion of protest against secular Tamil culture (represented at certain periods to a great extent by Jains and Buddhists), but it seems to be an internal development which is based, psychologically, on the high emotionalism of the Tamil people and which employs the ancient <em>akam </em>conventions and traditional pre-bhakti literary genres and forms like the <em>ā<u>rr</u>uppadai </em>'guide-poem'. It is also not, basically, a movement of social protest against any ruling elite. Its most important feature is 'spiritual': the outburst of unbridled emotion, a passionate devotion and surrender to god, is an attempt to solve the mystery of existence and satisfy the cravings of the human heart. Facing the enigma of the human condition at an age when the political, social and cultural situation of South India was in turmoil and when old structures collapsed, intellect was found to be impotent, and emotion took fully over. Tamil became "the language of devotion." Tamil literature became <em>the </em>literature of bhakti.</div><div align="justify" class="style15">This trend continued as a strong and vital stream for about 1,000 years, and it had influenced greatly, perhaps conclusively, the Tamil Hindu mind -- a mind which had proven to be, prior to the 6th-7th Cent. A.D., critically probing, full of the spirit of inquiry, lucid and this-world oriented. The greatest book in Tamil culture - intellectualy speaking - is the <em>Tolkāppiam </em>(with some earliest commentatorial literature like Nakkīrar's or Ilampūranar's commentaries) composed by a "pre-bhakti" Jain author. Undoubtedly the greatest achievement in the field of creative literature has been attained by the Tamils in their classical ('Sangam') poetry of the pre-bhakti period.</div><div align="center" class="style15"><img border="2" height="281" src="http://www.palanitemples.com/images/Muruga2.gif" width="200" /></div><div align="justify" class="style15">Whereas the early bhakti in Tamilnadu was replete with genuine fervour and inspired a few great poets to outpourings of sincere and fiery devotion, it steadily and unfailingly declined: empty formalism, repetitiveness, hollowness, imitativeness on the one hand and, on the other, bizarre and morbid fantasy, repulsive cult of violent emotionalism, hallucinative imagery became the characteristic features of later and late medieval 'devotional' poetry until, in our days, bhakti -- whether in poetry and fiction, films, songs, dance-performances or architecture -- has reached its cheap, lower-middle-classy, vulgar, movie-influenced shapes proclaimed by screaming loud-speakers and in blinking neon-lights.</div><div align="center" class="style15"> </div><div align="justify" class="style15">The processes of Sanskritization-Brahminization and of the development of bhakti outlined above which played such decisive role in the 'originally' pre-Brahminic, pre-Sanskritized Tamil India have, nevertheless, enriched several spheres of knowledge, philosophy, mythology, creative and performing arts, and language and literature. Not everything which is 'bhakti', and adopted and adapted from Sanskritic civilization, proved negative and debilitating; indeed not. On the whole, though, emotionally and intellectually, we cannot but feel that these developments and their resulting cumulative effects were harmful and detrimental to Tamil culture.</div><div align="justify" class="style15">It is our conviction that, while discussing the phenomenon of Murugan, we have to accept as almost axiomatic two fundamental points of departure: Murugan as a composite deity is first; and, second, the components are apparently correlatable with different ethnicities. The most striking feature of Hindu society is its cultural pluralism. Peoples belonging to different grades of material and spiritual culture were received and assigned a definite place in an elastic framework and then allowed to jostle with one another in the activities and ceremonies of their daily lives. Even a scholar like Nilakanta Sastri who - in spite of his undeniable profundity and honesty -- manifested more than once a pro-Sanskritic bias, wrote about the deity we are dealing with as "the transparently indigenous Tamil deity known as Murugan or Velan." And such, indeed, was the <em>Tamil </em>Murugan in the earliest texts: by these 'earliest texts' dedicated to Murugan I do <em>not </em>mean the two very early <em>devotional </em>texts of <em>Paripātal </em>and <em>Tirumurukārruppadai, </em>but precisely the corpus of ancient Tamil texts composed in Early Old Tamil and anthologized later in the <em>Ettuttokai </em>and <em>Pattuppātu </em>collections <em>minus </em>the two devotional texts mentioned above which must be treated separately. Speaking of Murugan. Fr. Gros wrote: ''La littérature qui lui est consacrée est immense, surtout á date tardive, et il est il dieu le plus populaire en Tamilnad." However, we have several dozens of allusions to the 'pre-bhakti' Murugan of the ancient Tamils, and he seems to be somewhat different from the deity as it appears in the two early devotional texts mentioned above where he reveals himself 'already' as a composite deity manifesting a complex fusion of all important elements the genetic history of which precedes any recorded history. The affection of early Tamils for this deity was such that he figured even in grammatical illustration. There is an anonymous <em>nēricaivenpā </em>illustrating one Subject with multiple Verbs, and this Subject is Murugan:</div><dir> <div align="justify" class="style15"><em>Muruka vēl cūrmā mutaratintān valli<br />
purikulanmen mālai punaintan - caranalittu<br />
mēlaya vanor viyancenai tānkinan<br />
vela nitakilittān verpu</em></div><div align="justify" class="style15">"The Beloved Muruga destroyed the root of the mango-tree Cur;<br />
He has adorned Valli's curled tresses with a garland;<br />
Giving his protection, he led the mighty army of the excellent celestials<br />
With a spear he sundered in the midst the mountain."</div><div align="center" class="style15"> </div></dir> <div align="justify" class="style15">While assessing the nature of general cultural history of India, particularly in the South, and the evolution of a deity like Murugan, we must, however, beware not to be trapped in the pitfall of the simplicist view of Indian cultural development that reduces everything to the tension between autochthonous features (primarily 'Dravidian'), and imported Indo-Aryan traits. The cultures thus viewed are fixed and superimposed on the languages: cultural history is fixed to linguistic history with a presupposition of a cultural 'substratum" primarily Dravidian. However, it is hardly possible, probably virtually impossible, to restitute a 'Dravidian' protoculture. Even if it were possible, such rigid dichotomic view would be very incorrect. On the other hand we may, <em>to some extent, </em>agree with S.A. Tyler when he writes, somewhat incautiously, that "all of Indian civilization is built on an underlying base of Dravidian language and culture." I would replace the attribute 'all' by something like 'a great deal'. When it comes, specifically, to religious phenomena, we indeed encounter pre-Puranic pre-Sanskritic, pre-Brahminic gods who have been "silently waiting at the foot of the sacred tree of the pre-Aryan village": the snake, and the anthill which was to become a <em>svayambhū linga </em>in more than one South Indian temple; the monkey which was to become Hanumān, the elephant god Ganesa, the vulture which would become Garuda, the lion, the boar, the tortoise, the fish all of which were in time to be regarded as <em>avatāras </em>of Visnu. And Murugan, Cevvēl, Ceyyo<u>n</u>, Vēla<u>n</u>, who was to be identified with the ever-youthful Kumāra, the war-lord Kārttikeya, with Skanda, and emerge ultimately as Subrahmanya.</div><div align="justify" class="style15">What was, in rough outlines, the nature of that early Tamil civilization which synthesized the pre-Sanskritic deities, "lurking in the pre-Aryan village", with the gods of the Vedic tradition?</div><div align="justify" class="style15">Tamil regional culture has enjoyed a rather special place among the cultures of India. Tamil is one of the two longest-surviving classical languages of India. Moreover, the Tamil plains have been recognized as one of the two primary centers of Indian civilization. The Eastern peninsular coastal plane has been the seat of development of a "Hindu-Dravidian" cultural zone from prehistoric times. It is clear that the script, formal religions, dynastic traditions, and other features of the civilization of the early Tamils developed from assimilation and adaptation of the Indian 'Great Tradition' (which cannot be termed "Sanskritization" in this case since the language media were rather Prakrit and Pali). Although there is neither archaeololgical nor literary evidence of any previous "Dravidian civilization" in the far South, the Iron Age culture was widespread throughout the peninsula.</div><div align="center" class="style15"> </div><div align="justify" class="style15">The rudiments of the ancient Tamil 'semantic algebra' seemed to contain as germinal the two notions of binarism (dichotomic opposition) and hierarchy. In addition, a conception of time in which all events were part of a single synchronic totality (hence a circular rather than a linear conception of time); and the fact that one of the basic and most all-pervading binary oppositions was the notion of 'clean' and 'auspicious' versus 'unclean' and 'inauspicious' - the idea of vital pollution. Most of the cultural messages were expressed in that code.</div><div align="justify" class="style15">One of these fundamental binary oppositions was that of <em>akam: puram </em>which may be also demonstrated by the following chart:</div><div align="justify"> <table align="center" border="1" bordercolor="#745A2C" cellpadding="3" cellspacing="5" style="width: 621px;"><tbody>
<tr> <td class="style15" width="163"> </td> <td class="style15" width="181"><div class="style19"><strong><em>akam</em></strong></div></td> <td class="style15" width="231"><div class="style19"><strong><em>puram</em></strong></div></td> </tr>
<tr> <td class="style15"></td> <td class="style15"><div class="style19"><strong>home</strong></div></td> <td class="style15"><div class="style19"><strong>temple and court</strong></div></td> </tr>
<tr> <td class="style15"></td> <td class="style15"><div class="style19"><strong>(woman, goddess)</strong></div></td> <td class="style15"><div class="style19"><strong>(man, king, god-king, god)</strong></div></td> </tr>
<tr> <td class="style15"><div class="style19"><strong>verbal base and ideology</strong></div></td> <td class="style15"><div class="style19"><strong>myth (folk version)</strong></div></td> <td class="style15"><div class="style19"><strong>myth (high version)</strong></div></td> </tr>
<tr> <td class="style15"><div class="style19"><strong>action:</strong></div></td> <td class="style15"><div class="style19"><strong>cultus and culture</strong></div></td> <td class="style15"><div class="style19"><strong>cultus and culture</strong></div></td> </tr>
<tr> <td class="style15"><div class="style19"><strong>actors:</strong></div></td> <td class="style15"><div class="style19"><strong>communities and functional social groups (worshippers)</strong></div></td> <td class="style15"><div class="style19"><strong>communities and functional social groups (priests etc.)</strong></div></td> </tr>
</tbody> </table></div><div align="justify" class="style15">This is, obviously, the picture of a society which had already undergone several 'mergers', a post-Kalabhra society historically verifiable in the documents of the early Pallava period. However, the basic dichotomy of <em>akam:pu<u>r</u>am </em>is much older. It is within these two principal forms, the "interior" (lyrical <em>akam-</em>form) and the "exterior" (courtly <em>puram</em>-form) that a self-conscious Tamil culture is depicted in the earliest poetry in which variations are acknowledged and even poetically exploited by reference to the well-known five conventionalized physiographical contexts or poetic situations, the <em>tinais, </em>the external and "internal landscapes" (A.K. Ramanujan).</div><div align="center" class="style15"> </div><div align="justify" class="style15">This indigenous framework - and the indigenous conception of love a symbol of which is, too, Murugan and his consort Valli - was invaded, partly violated and raped, partly adopted and adapted, by the attempts of later commentators to force the Tamil ideology into the Procrustean mould of the Brahminic-Sanskritic models. For the Brahmins became, even in Tamil society, especially after the disappearance of the Buddhists and the Jains, the sole repository of all worthwhile knowledge. Their opinions became authoritative since they were omniscient and almost omnicompetent and omnipotent. They were the rigid dogmatists, subservient to received authority, who were convinced that Sanskrit was "the taproot of all Indian culture as we know it in history." Thus it happened that, since the earliest times, we observe a prevalent tendency in South India, too, to eagerly connect the local, the indigenous, the autochthonous, with the 'Great' Sanskritic (Vedic) tradition. Even in the so-called Sangam poems, Tamil rulers tried to connect themselves with the <em>Mahābhārata. </em>Even the tribes in South Indian backwoods, racially probably Negrito-Australoid and linguistically Dravidian, try to establish 'Sanskritic' and 'Brahminic' connections to raise their prestige. However, we must not - emphatically not - see in this process a simple amalgam of two closed, contrastive, well-delimited cultural categories. On the contrary, there is no sharp division discernible, no sharp boundaries, and, in the resulting synthesis, which is not - and never will be - accomplished, no 'natural' contrast. Like with the "Little" and "Great" Traditions, there is a flux, a continuum. The mythology of the (non-Hindu?) tribes (like the Oraons, Gonds, Korkus, Todas...) almost imperceptibly and step by step transforms into the mythology of the <em>gramadevatā </em>and the <em>kuladevatā </em>of the (Hindu, non-tribal) village masses and further into the 'high' Hindu mythology of the 'Sanskritized' literati. There is a constant diffusion and fusion -- a continuum. Thus, too, with the immensely complex, and ever developing, live phenomenon of Subrahmanya-Murugan.</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-81787498324240662032011-05-20T23:01:00.001-07:002011-05-20T23:01:57.078-07:00MURUGA IN HINDU SCRIPT<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN HINDU SCRIPT </u></span></div><div align="center"><br />
</div><div align="center" class="style15"><img border="2" height="129" src="http://www.palanitemples.com/images/hinduscript.gif" width="387" /></div><div align="justify" class="style15">Bangles and Squirrel Sign from 'The Squirrel Sign: Title of Murukan'. 'Bangles + squirrel' (Fig. III b) is interpreted by scholars as an ancient divine title. I. Mahadevan argues with Asko Parpola that the term 'muruku' meaning 'bangles' can be traced to prehistoric inscriptions of the Indus Valley civilization.</div><div align="center" class="style15"><img height="35" src="http://www.palanitemples.com/images/term_hindu.gif" width="35" /></div><div align="justify" class="style15">A Note on the Muruku Sign of the Indus Script in light of the Mayiladuthurai Stone Axe Discovery </div><div align="justify" class="style15">There are two near-identical signs in the Indus Script (Nos. 47 & 48, I. Mahadevan 1977) depicting a seated god identified as muruku for reasons summarised in this Note. (For background details, see my 1999 paper Murukan In The Indus Script).</div><div align="center" class="style15"><img alt="UNICORN SEAL, HARAPPA, FOUND 1998" border="1" height="127" src="http://www.palanitemples.com/images/mayiladuthurai.gif" width="250" /></div><div align="justify" class="style15">A deity in the Indus script is likely to be an ideogram with a recognizable anthropomorphic form. The sign will also be of frequent occurrence and occur in repetitive passages suggesting some religious formula. Signs 47 and 48 representing a seated human-like figure meet the requirements and are identified as prima facie representing a popular Harappan deity.</div><div align="center" class="style15"><img border="1" height="63" src="http://www.palanitemples.com/images/Indusscript47_48.gif" width="99" /></div><div align="justify" class="style15">The deity is represented as a skeletal body with a prominent row of ribs (in sign 48 only) and is shown seated on his haunches, body bent and contracted, with lower limbs folded and knees drawn up.</div><div align="center" class="style15"><img border="1" height="73" src="http://www.palanitemples.com/images/MURUGA_HINDU.gif" width="250" /></div><div align="justify" class="style15">The two related but distinct signs of the Indus script seem to have later coalesced into one symbol (resembling sign 47) outside the Harappan region. (For pictorial parallels from later times, see illustrations in I. Mahadevan 1999). </div><div align="center" class="style15"> </div><div align="justify" class="style15">According to the interpretation proposed here, the seated posture is suggestive of divinity and the skeletal body gives the linguistic clue to the name of the deity. The basic Dravidian word mur (Ta. muri, Ka. muruhu, Pa. & Ga. murg, Go. moorga etc., DEDR. 4977) means 'to bend, contract, fold' etc. Applying the technique of rebus, we get mur (Ta. murunku, murukku; Ma.murukka, Kol., Nk. murk, Malt. murke etc., DEDR 4975) meaning 'to destroy, kill, cut'. etc. Thus the name of the deity muruku and his characteristics 'destroyer, killer' are derived. </div><div align="justify" class="style15">The skeletal forms in the pictograms suggest that the god was conceived as a disembodied spirit. </div><div align="justify" class="style15">Turning to the oldest layer of Tamil Sangam literature, We find that muruku/ murukan was a spirit who manifested himself only by possessing his priest (velan) or young maidens. The priest performed the veri dance to pacify the spirit. The earliest references to muruku in Old Tamil portray him as a 'wrathful killer' indicating his prowess as a war god and hunter (P.L. Samy 1990). Another important clue is the frequent association of the muruku and the load-bearer signs in the Indus Texts, paralleled by the association of murukan with kavadi in the Tamil society. Outside the Indus valley, the muruku symbol has been found on a seal from Vaisali, Bihar, dating probably from ca. 1100 BCE. (for details and previous references, see. I. Mahadevan 1999). </div><div align="justify" class="style15">In Tamil Nadu, the muruku symbol was first identified from the pottery graffiti at Sanur, a megalithic site. B.B. Lal (1960) correctly identified this symbol with sign 47 of the Indus script. In recent years the muruku symbol has turned up among pottery graffiti found at Mangudi (TN Dept. of Archaeology, 2003) and at Muciri, Kerala (V. Selvakumar et al, in press). </div><div align="center" class="style15"> </div><div align="justify" class="style15">All these occurrences on pottery belong to the Late Megalithic-Iron Age period overlapping with Early Historic Period (broadly, ca. 3cent. BCE-3 cent. CE). It is likely that the symbol retained the same meaning and sound value as at Harappa, though it occurs only as an isolated symbol on Megalithic pottery and not part of a script. 2</div><div align="justify" class="style15">However, the latest discovery of an Indus Text with four signs engraved on a Neolithic polished stone celt (ca. 2000-1000 BCE) from Tamil Nadu is a revolutionary advance with far-reaching implications. Unlike the megalithic graffiti, the text on the Neolithic tool is in the classical Indus script characters. The first and the second signs (signs 48 and signs 342), namely muruku and the 'jar' (to be read as -an) also form a well-known and very frequent combination on the Indus seals and sealings especially from Harappa. The third and fourth signs also occur in the Indus script (signs 367 & signs301), but their value is not yet known. </div><div align="justify" class="style15">We can therefore conclude that the Harappans and the Neolithic people of Tamil country spoke the same language, namely Dravidian. It is recorded that the Neolithic people of South India were in contact with the Late Harappan or post -Harappan people of the Deccan. It is known that gold for the ornaments found at Mohenjodaro came from the Kolar gold fields in Karnataka. Finally, reference can be made to the traditional accounts in old Tamil literature tracing the origin of the Velir cheiftains to migration from the Saurashtra region of Gujarat which was at that time part of the Harappan civilization. </div><div align="justify" class="style15">It is emphasised that the occurrence of the Indus text on the Neolithic tool and the consequences flowing therefrom are independent of the tentative phonetic values and meanings proposed by me. </div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-66272602724932823632011-05-20T22:46:00.001-07:002011-05-20T22:46:49.227-07:00MURUGA IN TAMIL TRADITION<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u> MURUGA IN TAMIL TRADITION </u></span></div><div align="center"><img border="1" height="269" src="http://www.palanitemples.com/images/vinayaka_muruga.gif" width="200" /></div><div align="justify" class="style15">Tamil Sangam Literature (early centuries CE) mentions Murugu as a nature spirit worshipped with animal sacrifices and associated with a non-Brahmanical priest known as a Velan , a name later used to refer to the deity himself. The worship of Murugu often occurred in the woods or in an open field, with no particular associated structure. The rituals practiced included the Veriyaattu, a form of ritual-trance-dancing, which is still a common part of Murugan worship in Tamil Nadu, Kerala and Malaysia. Murugu was believed to hold power over the chaotic and could be appeased by sacrifices and Veriyaattu to bring order and prosperity.</div><div align="justify" class="style15">Tolkappiyam, possibly the most ancient of the extant Sangam works, glorified Murugan, " the red god seated on the blue peacock, who is ever young and resplendent," as " the favoured god of the Tamils."[7]. The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( circa 400-450 CE) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding diety the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam).</div><div align="center" class="style15"> </div><div align="justify" class="style15">The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru.</div><div align="justify" class="style15">One poem in the Paripaatal describes the veneration of Murugan thus:</div><div align="justify" class="style15">"We implore thee not for boons of enjoyment or wealth, But for thy grace beatific, love and virtuous deeds".</div><div align="justify" class="style15">Architectural findings of pottery in several places in Tamil Nadu and elsewhere had ideographic inscriptions of this name as far back as 3rd century BCE.[8] According to noted epigraphist Iravatham Mahadevan, the ideographs signify a brave warrior capable of killing evil demons to save the devoted.</div><div align="justify" class="style15">Lord Muruga was worshipped for giving the meaning of the Pranava Mantra (OM) to Lord Shiva himself.<br />
<br />
Tamil liturgy<br />
Murugan is venerated through out the Tamil year. There is a six day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the demons. Vaikasi Visakam or the full moon of the Tamil month of Vaikasi signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war. This reveals the link between Skanda and Kujan (Mangala).</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-45337622556108318532011-05-20T22:45:00.003-07:002011-05-20T22:45:52.101-07:00MURUGA IN PURANAS<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN PURANAS </u></span></div><div align="center"><img border="1" height="289" src="http://www.palanitemples.com/images/balamurga.gif" width="200" /></div><div align="justify" class="style15">Though slightly varying versions occur in the Puranas, they broadly follow the same pattern. By this period, the identification of Shiva/Rudra with Agni, that can be traced back to the Vedas and Brahmanas, had clearly made Karthikeya the son of Shiva.</div><div align="justify" class="style15">The Skanda Purana narrates that Shiva first wed Dakshayani (also named Sati), the granddaughter of Brahma, and the daughter of Daksha. Daksha never liked Shiva, who, symbolizing destruction and detachment, begs for food, dances in a graveyard smeared with ashes, and has no possessions, not even good clothes for himself. Daksha publicly insults Shiva in a Yagna ceremony, and Dakshayani immolates herself. The Yagna is destroyed although protected by all the other Gods and the rishis. Taraka believed that, because Shiva is an ascetic and his earlier marriage was conducted with great difficulty, his remarriage was out of the question, hence his boon of being killed by Shiva's son alone would give him invincibility.</div><div align="justify" class="style15">The Devas manage to get Shiva married to Parvati (who was Dakshayani, reborn), by making Manmatha (also known as Kama), the God of love awaken him from his penance, but Manmatha incurred the Lord's wrath indicated by the opening his third eye - "Netri Kann" , and being destroyed & resurrected. Shiva hands over his effulgence of the third eye used to destroy Manmatha to Agni, as he alone is capable of handling it until it becomes the desired offspring. But even Agni, tortured by its heat, hands it over to Ganga who in turn deposits it in a lake in a forest of reeds (shara). The child is finally born in this forest (vana) with six faces-eesanam, sathpurusham, vamadevam, agoram, sathyojatham and adhomugam. He is first spotted and cared for by six women representing the Pleiades - Kritika in Sanskrit. He thus gets named Karthikeya. As a young lad, he destroys Taraka. He is also called Kumara (Sanskrit for "youth</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-23716967222099242502011-05-20T22:45:00.001-07:002011-05-20T22:45:20.414-07:00MURUGA IN VEDAS<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN VEDAS </u></span></div><div align="center"><img border="1" height="274" src="http://www.palanitemples.com/images/agastya_murugan.gif" width="190" /></div><div align="justify" class="style15">The Atharva Veda describes Kumaran as 'Agnibhuh' or son of Agni, the fire god. The Satapatha Brahmana refers to him as the son of Rudra and the ninth form of Agni. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-89239447697426046592011-05-20T22:44:00.002-07:002011-05-20T22:44:42.773-07:00MURUGA IN HINDU EPICS<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN HINDU EPICS </u></span></div><div align="center"><img border="1" height="225" src="http://www.palanitemples.com/images/muruga_hinduepic.gif" width="300" /></div><div align="justify" class="style15">The first elaborate account of Karthikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Karthikeya is said to have been born to destroy the Asura Mahisha.[5] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Karthikeya as he sees the latter as a threat, until Shiva intervenes and makes Karthikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'.It can mean either lord of Devasena or Lord of the army(sena) of Devas.</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-51266742437352741582011-05-20T22:44:00.000-07:002011-05-20T22:44:04.904-07:00MURUGA IN SANSKRIT LITRATURE<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA IN SANSKRIT LITRATURE </u></span></div><div align="center"><img border="2" height="266" src="http://www.palanitemples.com/images/muru.gif" width="250" /></div><div align="justify">S<span class="style15">ati, the consort of Shiva immolated herself at the Daksha Yagna, which was later destroyed by Shiva. Sati was reborn as Uma, or Parvati the daughter of the mountain king Himavaan (the Himalayas). Shiva withdrew himself from the universe and engaged himself in yogic meditation in the Himalayas.</span></div><div align="justify" class="style15">In the meanwhile, the demon Surapadman ravaged the earth and tormented its beings. It was realized by the gods that only the son born of Shiva could lead the gods to victory over Tarakasuran, Surapadman and their demon companions. They plotted with Kamadeva, to shoot a flower arrow at Shiva, as he sat in meditation, so as to make him fall in love with Parvati. When Kama aimed his arrow, Shiva opened his third eye and burned Kama to ashes instantly.</div><div align="center" class="style15"> </div><div align="justify" class="style15">The sparks of the fiery seed of Shiva were unbearable; even the fire God Agni could not bear them; this fire was then transported by the river Ganga into the Saravana forest into a pond called the Saravana Poigai(located at mouths of river Ganga), where the sparks became six children. They were raised by the six Krittika or Kartika - the stars that make up the Pleiades, earning the name Karthikeya. Parvati combined these six babies into one with six faces, ie. Shanmukha or Arumugan. Since he was born in the Saravana he was also called 'Saravanabhava.'</div><div align="justify" class="style15">Murugan became the supreme general of the demi-gods then escorted the devas and led the army of the devas to victory against the demons. The six sites at which Karthikeya sojourned while leading his armies against Surapadman are Tiruttanikai, Swamimalai, Tiruvavinankudi (Palani), Pazhamudirsolai, Tirupparamkunram and Tiruchendur. All these sites have ancient temples glorified by the Tamil poems of Tirumurugaatruppadai of the Sangam period (circa the 3rd century CE).And these six sites collectively came to be known as "Arupadai Veedu" (Lang:Tamil), it means the six battle camps of the Lord.</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-23058855549165833802011-05-20T22:42:00.003-07:002011-05-20T22:42:53.929-07:00SASTI POOJA AT HOME<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u> SASTI POOJA AT HOME </u></span></div><div align="center"><img border="2" height="188" src="http://www.palanitemples.com/images/sastipooja_home.gif" width="250" /></div><div class="style15">Here is a simple method to perform Skanda Shasti Puja at home. You can do this Puja on all six days of the Skanda Shasti Vratam or on the Soorasamharam day. <br />
<br />
Before beginning any Hindu puja try to create a calm and pleasant atmosphere. Try to keep all the puja items near you. </div><blockquote> <div class="style15"><strong>Puja Items Needed</strong><br />
<br />
Small idol or picture of Ganesha<br />
A vel or picture of Lord Subrahmanya<br />
Sandal Paste, water, turmeric, kumkum, flowers and usual puja items</div><div class="style15">After bath, clean the puja area. </div><div class="style15">First pray to Lord Ganesha for removing all obstacles.</div><div class="style15">Now the main Puja begins</div></blockquote><div align="justify" class="style15">First meditate on Lord Muruga – You can do this silently or by chanting Om vali devasena samedha Shri Subrahmanya Swaamine namaha dhyaayaamii.<br />
<br />
Now invoke Lord Muruga – Take the idol or picture or Vel and keep it near you or hold it in your hands. You can silently pray to Muruga or chant Om Vali devasena… swaamine namaha aavaahayaamii<br />
<br />
Now you can place the idol in the appropriate place chosen by you in the puja area – you can chant – Om aasanam samarpayaamii<br />
Now you can sprinkle some water – Om…namaha arghyam<br />
Now you can pour some water on the feet or near the Vel – Om… namaha paadhyam<br />
Sprinkle some water again – Om... namaha aachamaniyam<br />
Now you can sprinkle rose water or usual water – Om… oupachaarika snaanam<br />
Sprinkle some water again as final purification – Om...snaanaanandharam aachamaniyam<br />
<br />
Now you can offer turmeric paste or if you have special dress for idol you can offer it –Om... vastraartham akshadaam<br />
<br />
Now you can offer Sandal Paste to the Vel or idol – Om gandhaan dhaarayaami<br />
Now you can do decorations with flowers or garlands – Om...gandhsyopari alankaaranaartham akshadaam<br />
<br />
Now you can offer kum kum – Om...haridraa kumkumam<br />
<br />
Finally, you can offer some flowers – Om...pshpaih poojayaami</div><div class="style15">Now you can light the lamp and chant Skanda shashti kavacham, Subrahmanya Bhujangam or read Skanda Purana or any tale related to Lord Muruga.<br />
<br />
You can also perform archana after lighting the lamp or your usual method of daily puja with camphor and agarbathis.If you have prepared any food (navediyam) you can offer it to the lord and perform Arathi. At the end of the Puja you can thank Lord Ganesha for helping in successfully conducting the pooja.</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-66371126453556736782011-05-20T22:42:00.001-07:002011-05-20T22:42:16.336-07:00KANDA SASHTI VIRTHAM<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u> KANDA SASHTI VIRTHAM </u></span></div><div align="center"><img border="1" height="225" src="http://www.palanitemples.com/images/sastivirtham.gif" width="300" /></div><div align="justify" class="style15">Lord Muruga is worshipped in a significant and grand manner in Tamil Nadu, India. The festival of Kandha Sashti Viratham lasts for six days, starting with the day following the new moon in the month of Aswin, and is extremely important for devotees of Lord Muruga. This year the festival is from November 12 to 17, 2004. </div><div align="justify" class="style15"> The ‘sashti’ or sixth day of the full moon and the sixth day of the new moon are favorite days for Lord Muruga. Some devotees of Lord Muruga observe partial or full fast on each Sashti day and throughout the Kanda Sashti period. </div><div align="justify" class="style15"> The Sashti falling in on the waxing moon period in the Hindu lunar month of Aippasi or Aswin (October-November) is the day on which Lord Muruga is believed to have killed a super-demon called Sura Padman. This is commemorated in the six-day festival of Kanda Sashti as a symbol of perpetual destruction of evil by God. Each of these six days is, by custom, set apart to recite the glory of Lord Muruga from one of the six scriptures in His praise, namely: Tirumurukarruppadai, Kandar Kalivenba, Kandar Anubhuti, Kandar Alankaram, Kanda Sashti Kavacam and Kanda Puranam. Giant-sized images of four demons (asuras) are moved on uplifted chariots, and these are symbolically encountered and destroyed by the Lord. </div><div align="center" class="style15"> </div><div align="justify" class="style15"> For this festival only, the deity of Chinnakumarar comes down from the hill temple, kills the demons (asuras) at the corners of the four direction while on a festive procession around the hill, and triumphantly returns to His abode in the hill. This is on the sixth day, i.e., the sashti day. All the other events of the festival take place in the hill temple. On the seventh day, Muruga marries Valli. This divine marriage is celebrated both in the hill temple and in the Periyanayaki Temple. <br />
</div><div align="justify" class="style19">How to observe Shasti Vratam? </div><div align="justify" class="style15">The Shasti fasting begins with sunrise. The fast is broken on the next day morning after praying to Lord Surya (Sun God). Most people observing the fast make it a point to visit Murugan Temple on this day. </div><div align="justify" class="style15">It is a complete fast in many places. But this might not be quite possible for many people due to job, health and other reasons. So many people take some sort of vegetarian food on this day – this is usually a single meal in the afternoon or night. Many people opt for a fruit diet on the day. Some avoid solid food. </div><div align="justify" class="style15">In several Kerala Muruga temples, many devotees eat a single rice meal at noon given from the temple. The cooked rice is consumed without any major side dishes. The method of fasting differs from region to region. But all non-vegetarian food is avoided on the day. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Devotees listen to stories related to Skanda and reading of Skanda Purana. Another activity during the day is the reciting of Kanta Shasti Kavasam. </div><div align="justify" class="style15">Fasting is not just abstaining from food but it also an attempt to instill positive thoughts. Many people use fasting as a means to fight against anger, lust, impatience and other negative tendencies. All Vratas associated with Hindu religion is an attempt to realize the Brahman.</div></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com1tag:blogger.com,1999:blog-6898479421675060367.post-47835466093258539232011-05-20T22:40:00.001-07:002011-05-20T22:40:24.382-07:00PAZHAM NEE<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u> PAZHAM NEE </u></span></div><div align="center"><strong><u><strong>Pazham Nee (you are the fruit)</strong></u> </strong></div><table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td bgcolor="#ff9933" width="114"><img height="150" src="http://www.palanitemples.com/images/pazham_nee0.gif" width="114" /></td> <td align="left" bgcolor="BF9954" valign="top" width="270"><div align="center"><br />
<strong>Pazham Nee-1</strong><br />
<br />
The story of how murugan become Palani Andavar (Lord of Muruga) and how devotees started carrying Kavadi to Palani.</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 402px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="254"><div align="center"> <strong><br />
Pazham Nee-2<br />
<br />
</strong>Devas ask for Shiva's help. <br />
Ashura (titans) are making their life unbearable.<br />
</div></td> <td align="left" bgcolor="#ffcc99" height="137" valign="top" width="132"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee1.gif" width="136" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="124"><img height="150" src="http://www.palanitemples.com/images/pazham_nee2.gif" width="128" /></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="260"><div align="center"><br />
<strong>Pazham Nee-3</strong><br />
<br />
For fighting against ashuras, Shiva agrees to beget a son . So, from the ray of Shiva's Third Eye, Six baby boys were born.</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 398px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="243"><div align="center"><strong><br />
Pazham Nee-4<br />
<br />
</strong>Devas worshipped Lord Shiva, <br />
Parvathi and their saviour Skanda-Muruga.</div></td> <td align="left" height="137" valign="top" width="139"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee3.gif" width="135" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="114"><img height="150" src="http://www.palanitemples.com/images/pazham_nee4.gif" width="159" /></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="270"><div align="center"><br />
<strong>Pazham Nee-5</strong><br />
<br />
Rishi Naradhra presented a Jnana Pazham (Fruit of wisdom) to Lord Shiva. But who will enjoy it? was a riddle.<br />
</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 402px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="230"><div align="center"><strong><br />
Pazham Nee-6<br />
<br />
</strong>Lord Shiva said to murugan and vinayagar that "Who is the first person among you both to go round the world will have the fruit".</div></td> <td align="left" height="137" valign="top" width="156"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee5.gif" width="152" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="138"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee6.gif" width="127" /></div></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="246"><div align="center"><br />
<strong>Pazham Nee-7</strong><br />
<br />
The contest begins. Murugan immediately took off his peacock vehicle to go round the world. Ganapati remained calm.</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 399px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="227"><div align="center"><strong><br />
Pazham Nee-8<br />
<br />
</strong>Pillayar thinked brilliantly. He<br />
went around his parents Lord Shiva and Uma Devi.</div></td> <td align="left" height="137" valign="top" width="156"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee7.gif" width="150" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="138"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee8.gif" width="142" /></div></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="246"><div align="center"><br />
<strong>Pazham Nee-9</strong><br />
<br />
Pillayar intelligently wins and claims the Janan Pazham by saying that "One's parents are their world". </div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 402px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="230"><div align="center"><strong><br />
Pazham Nee-10<br />
<br />
</strong>Murugan after returning felt disappointment and cheated. He <br />
shouted in anger that "Pillayar did not circle the <br />
world, like I did!".</div></td> <td align="left" bgcolor="BF9954" height="137" valign="top" width="156"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee9.gif" width="144" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="138"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee10.gif" width="127" /></div></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="246"><div align="center"><br />
<strong>Pazham Nee-11</strong><br />
<br />
Murugan left the home and goes to south. His father and Mother felt<br />
sad, but gave their blessings.</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 402px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="230"><div align="center"><strong><br />
Pazham Nee-12<br />
<br />
</strong>Murugan comes to South India, <br />
meets Avvaiyar and <br />
tested her wisdom.</div></td> <td align="left" height="137" valign="top" width="156"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee11.gif" width="154" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="131"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee12.gif" width="161" /></div></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="253"><div align="center"><br />
<strong>Pazham Nee-13</strong><br />
<br />
Idumban's task. The Ashura carries Sivagiri and Sakthigiri mountains <br />
as Kavadi (burden) from South to Pothigai.</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 402px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="230"><div align="center"><strong><br />
Pazham Nee-14<br />
<br />
</strong>At Palani, due to heavy load Idumban were not able to carry it because Murugan were sitting in Sivagiri hill. Later Murugan killed Idumban. </div></td> <td align="left" height="137" valign="top" width="156"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee13.gif" width="168" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="138"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee14.gif" width="138" /></div></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="246"><div align="center"><br />
<strong>Pazham Nee-15</strong><br />
<br />
Muruga likes Palani and blesses it as Palani Ândavar, Lord of Palani<br />
</div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" height="136" style="width: 402px;"><tbody>
<tr> <td align="left" bgcolor="BF9954" height="137" valign="top" width="253"><div align="center"><strong><br />
Pazham Nee-16<br />
<br />
</strong>Palani Andavar were honoured by gods and rishis at Palani.</div></td> <td align="left" height="137" valign="top" width="133"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee15.gif" width="127" /></div></td> </tr>
</tbody> </table><br />
<table align="center" bgcolor="BF9954" border="1" bordercolor="#886A33" style="width: 400px;"><tbody>
<tr> <td align="left" height="148" valign="top" width="138"><div align="center"><img height="150" src="http://www.palanitemples.com/images/pazham_nee16.gif" width="135" /></div></td> <td align="left" bgcolor="BF9954" height="148" valign="top" width="246"><div align="center"><br />
<strong>Pazham Nee-17</strong><br />
<br />
Palani, where Lord Muruga's <br />
aboundant grace is <br />
easily obtained.</div></td></tr>
</tbody></table></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0tag:blogger.com,1999:blog-6898479421675060367.post-91033567889061904222011-05-20T22:38:00.001-07:002011-05-20T22:38:33.164-07:00MURUGA WEDDING INFORMATION<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div align="left"><span class="style14"><u>MURUGA WEDDING INFORMATION </u></span></div><div align="justify" class="style15"><a href="" name="_VPID_23"> </a></div><a href="" name="_VPID_23"> <div align="justify" class="style15"><strong>I. Deivayanai</strong> </div><div align="center" class="style15"><img border="1" height="304" src="http://www.palanitemples.com/images/davayanai_muruga.gif" width="200" /></div><div align="justify" class="style15">Lord Shanmukha after His victory over the Asuras released all the Devas, who had been groaning as prisoners under the tyranny of the Asuras. To the great joy of the Devas, Subrahmanya returned to Tiruchendur with His victorious army and stayed there for a while. The Devas, along with Indra now released and at ease, worshipped the Lord there for all His mercy and goodness to them. Then they arranged a grand Puja for the Lord and glorified Him in a befitting manner. </div><div align="justify" class="style15">In the early days of His residence in Kailasa with His Father, the Lord had met the daughters of Lord Vishnu, Amrutavalli and Sundaravalli by name. At first sight of the glorious son of Lord Siva, of whose <em>Bala Lilas </em>they had already heard, they both fell in love with Him. On being acquainted with this, the Lord graciously ordained that they should be born again—one as the daughter of Indra and the other of Nambirajan, a king of the hill tribes in South India. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Accordingly, Amrutavalli had been born as the daughter of Devendra and had grown up to be of marriageable age. Availing himself of the golden opportunity at Tiruchendur, Indra humbly reminded the Lord of His promise and requested Him to accept the hand of Amritavalli, his daughter now known as Deivayanai, in marriage. Other Devas who were assembled there also supported his petition to the Lord. Lord Shanmukha consented and camped with His party at Tiruparankundram, a place north of Tiruchendur, near Madurai. Arrangements were immediately in full swing for a fitting celebration of the marriage. Invitations were sent out to all Devas to attend the function. Lavish preparations were made for their reception and comfort. Everyone invited had arrived and the ceremony was due to commence. Lord Shanmukha felt sore at the absence of His dear Father and Mother, when at the mere thought of them, Lord Shanmukha saw before Him His father Lord Siva with his consort, and Lord Ganesa. Everybody’s joy at this reunion knew no bounds; and with heavenly pomp and magnificence the marriage of Lord Skanda with Deivayanai took place. After the marriage, all the Devas, with the permission of Lord Skanda and Lord Siva, retired to their respective worlds and joyously resumed their activities. </div><span class="style15"></span></a><a href="" name="_VPID_24"> <div align="justify" class="style15"><strong>II. Valli</strong> </div><div align="center" class="style15"><img border="1" height="319" src="http://www.palanitemples.com/images/valli_muruga.gif" width="200" /></div><div align="justify" class="style15">Upendra, one of the Avataras of Lord Vishnu, once went to Vaikuntha to have Darshan of the Adimurti, Lord Vishnu, and Maha Lakshmi. When the three were in the hall, a great sage, Kanva Rishi, came in. To the great disappointment and chagrin of the sage, he was neither welcomed nor paid the usual respects by any one of the three who were there. In a rage he cursed them as follows: </div><div align="justify" class="style15">Lord Vishnu was to be born as a dumb sage devoted to Lord Siva for many births; Lakshmi Devi was to be born as a deer roaming in deserted forests; and Upendra was to be born as a hunter of wild game. To mitigate the severity of the curse, Vishnu did rigorous Tapas on Lord Siva. Siva appeared before him and, knowing the purpose for which his devotee was performing the Tapas, called Kanva Rishi and asked him to reduce the period of his curse from ‘many births’ to one birth. This was duly done; all the three were to be restored to their original states on the marriage between Skanda and Valli in the fullness of time. </div><div align="center" class="style15"> </div><div align="justify" class="style15">Lord Vishnu thereafter came to the world as Sivamuni, a dumb saint, and was living in a forest. In the same forest, Upendra wandered about as a hunter. And Lakshmi in her life as deer was roaming about in the same forest. As preordained, the sage Sivamuni saw the beautiful deer and, strangely enough, felt passionate and agitated. The deer returned the love which the sage had evinced to her at sight. The sequel was that the deer was delivered of a human child, a girl. Seeing the child so different from herself, the deer abandoned the child to its fate and quitted the forest. Upendra, now in the form of a hunter, happened to arrive at the spot where the child was crying in a cluster of <em>Valli kodi </em>(a sort of creeper). He took up the child and, calling her Valli as she was found in a <em>Valli kodi, </em>brought her up in a manner befitting his station in life. </div><div align="justify" class="style15">III. The Marriage </div><div align="justify" class="style15">Devarshi Narada now reminded Skanda about His meeting with Sundaravalli in Kailasa and informed Him that she had been born as Valli, daughter to Nambirajan, the king of a hill tribe in South India. From the Rishi, Skanda also came to know that Valli was doing Tapas with the sole object of marrying Him. Desirous of bestowing His grace on her without delay, Skanda left for the hills, Valli’s home. Disguised as a hunter, he saw the maid who was driving off the birds that were destroying the corn in the fields. He presented himself before her in the field and enquired of her whether any deer had come that way. The maid replied in the negative and took him to task for violating the proprieties by talking to a stranger maid in the manner in which he had done, when she was unchaperoned. But the hunter replied to her only by a contemptuous and defiant laugh! Enraged at this rude behaviour of the hunter, Valli cried out to her brothers for help. The unabashed hunter, however, proceeded to ask her to marry him on the spot and added that the main purpose of his coming to her was only to do so. In response to the cry of Valli, her seven brothers came running to the spot with their retinue where the hunter and Valli were. To the mystification and amazement of Valli and to the disappointment of the brothers, the mischievous hunter transformed himself into a big tree. Thinking that it was only a childish prank of Valli, they all went back, as they were unable to find any person in the vicinity except an innocent tree! As soon as their backs were turned, the tree reassumed the shape of the hunter, but he was unceremoniously driven out at the point of a stick by Valli. After a while Valli saw a tired and tottering old man coming towards her. Taking pity on him and on his helplessness, she offered him some fruits and water. The old man, while partaking of the offerings, made a proposal of marriage to her! This only provoked an amused and contemptuous smile from Valli! But she informed the old man politely that she had taken a vow to marry none but Lord Shanmukha. At this juncture, to the terror of Valli who had a dread of elephants, an elephant came rushing towards where they were standing in the field. Frightened out of her wits, she ran towards the old man and fell into his arms for protection and safety. The old man, however, when he had got Valli’s assurance that she would marry him, mysteriously sent the elephant away. Now that all danger was over, Valli treated the whole matter lightly and refused to keep up her promise: she argued that to frighten a girl and get a promise out of her in that condition was unfair and that morally she was not bound by such a promise at all. No sooner were these words out of her mouth than the dreaded elephant came charging again. Her terror was so acute that she willingly and solemnly promised to marry the old man, if only he would send the awful elephant away out of her sight. At the same moment, to her great astonishment and joy, she saw before her Lord Skanda with the Vel in His hand, exactly where the old man had stood courting her in such a strange fashion. Valli apologised to Him for her silly conduct and begged for His grace. Very much pleased with the intensity of her devotion, the Lord accepted her as His consort. </div><div align="center" class="style15"> </div><div align="justify" class="style15">News of her meeting with a hunter and an old man spread far and wide in the neighbouring villages. Taking the hunter to be a vagabond, her father and brothers came up to Valli’s abode, in order, they said, to knock some sense into that impudent scoundrel. Lord Skanda, who had again taken the form of a hunter, by a flourish of his Vel, burnt them all to ashes. But at the request of Valli, they were again brought back to life. Realising the fact that he was none but Lord Subrahmanya (the guardian angel of their family), they all prostrated themselves before Him and begged for His mercy. </div><div align="justify" class="style15">To the great joy of Nambirajan and the Devas and in the presence of Devarshi Narada, the wedding of Valli was celebrated. With Valli and Deivayanai as His consorts, the Lord retired to the Skanda Hills near Kailasa, where He has His abode. </div><div align="justify" class="style15">“Thus, to protect the good and to punish the wicked, the Supreme Lord came down taking the form and name of Skanda. With the peacock as His Vahana, the cock for the emblem on His banner and with Vel in His hand, Lord Skanda took His abode in the Skanda Hills, where He lived with His consorts Valli and Deivayanai.” </div><div align="justify" class="style15">Glory to Lord Subrahmanya! Glory to His consorts Valli and Deivayanai! Glory to the Divine Weapon Velayudha! Glory to the peacock, the Vahana of Skanda! Glory to the cock on his banner! Glory to Lord Siva by whose grace everything is done! Glory to all who read and hear this story of Lord Subrahmanya and His Lilas! May the blessings of Lord Shanmukha be upon you all! </div></a></div>A SENTHILKUMARANhttp://www.blogger.com/profile/09168494195311161179noreply@blogger.com0