alwars

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AlvarsFrom Wikipedia, the free encyclopediaJump to: navigation, search For the city in Rajasthan, see Alwar. For the village in Iran, see Alvars, Iran.

A Temple having a separate shrine for the 12 Azhwars

The alwar or azhwars (Tamil: ஆழ்வா�ர்கள், āzvārhaḷ [aː ɻʋ aːr] , ‘those immersed in god’) were Tamil poet saints of south India who lived between the sixth and ninth centuries A.D. and espoused ‘emotional devotion’ or bhakti to Visnu-Krishna in their songs of longing, ecstasy and service.[1] Sri Vaishnava orthodoxy posits the number of alvars as ten, though there are other references that include Andal and madhurakavi, making the number twelve.[2] The devotional outpourings of Alvars, composed during the early medieval period of Tamil history, helped revive the bhakti movement, through their hymns of worship to Vishnu and his Avatars. They praised 108 of this deity's holy abodes in their hymns, known as the Divya Desams. Together with the contemporary sixty three Saiva Nayanars, they are accounted as South India's 75 Apostles of Bhakti because of their importance in the rise of the Hindu Bhakti movement. The collection of their hymns is known as Divya Prabandha.

The Bhakti literature that sprang from Alvars has contributed to the establishment and sustenance of a culture that broke away from the ritual-oriented Vedic religion and rooted itself in devotion as the only path for salvation. In addition they helped to make the Tamil religious life independent of a knowledge of Sanskrit. [3] As part of the legacy of the Alvars, five Vaishnava philosophical traditions (sampradayas) have developed at the later stages.[4]

Contents

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1 Etymology 2 Legacy 3 Caste 4 Alvars; their place, month and star of birth 5 See also 6 Notes 7 References 8 External links

Etymology

Alvars or 'Azhwars' literally means 'people who are immersed'. They are so called because they were immersed in their devotion and love to their Lord, Vishnu. .[5] However recently S.Palaniappan has argued that what was originally Āļvār got changed through hyper correction and folk etymology to Āzhvār.[6] Palaniappan cites inscriptional evidence for a gradual sound change from āļvār to āzhvār over a period of two centuries from the 9th century to the 11th century involving references to religious leaders in Vaishnavism, Shaivism and even Jainism and to political personalities. He states: "āzhvār is but a corrupt form of āļvār which has been used interchangeably with nāyanār in secular and religious contexts in the Tamil land" and "... Notwithstanding the Vaishnava claim of unbroken teacher-student tradition, the fact that Nathamuni has used the form āļvār but Piļļān [A disciple and younger cousin of Rāmānuja] ended up using the form āzhvār suggests that there has been an error in transmission somewhere along the teacher-student chain between the two teachers. This error was obviously due to the influence of the sound variation that has occurred in the Srirangam area and elsewhere"

Legacy

The twelve Alvars were all inspired and ardent devotees who transmitted their divine infatuation to millions. They have left behind an imperishable legacy of devotional Tamil poetry - naalaayira Divya Prabhandham (considered to be the essence of the Vedas, in Tamil, and all in praise of Lord Vishnu). These have been rarely equalled either in quantity or in quality ever after.

The one held in greatest esteem among the Alvars is Nammalvar. He lived during the ninth century CE.[7] His contribution to the four thousand prabandhams is as many as 1352. His hymns are considered by the Vaishnavites to contain the essence of the Vedas. His works - Thiruvasiriyam, Thiruviruttam, Periya Thiruvandhadhi correspond to the Yajur, Rig and Atharva Vedas respectively. His other work Thiruvaaimozhi (Divine words) is one of the key works of Vaishnavism.

Periyalvar delighted in worshipping Vishnu as mother, and composed 440 verses treating himself as Yashoda and Narayana as Krishna. He also talks about the beauty of the Lord Krishna right from his birth. Apart from these compositions, Sri Periyazhwar has also composed hymns on various divya desams. Andal, daughter of Periyalvar, has attributed the Tiruppaavai, a most

beautiful collection of 30 verses giving expression to the purest love of God. It is considered to be equivalent to Vedas.

Thirumangai Alvar has done mangalasasanam (sung in praise) of maximum number of Divya Desams.

The last acharya of the Thenkalai Guruparampara, Sri Manavalamuni has composed " Upadesa Rathnamalai" a hymn of 72 verses where talks and praises the Azhwars about their birthstars, place of birth and also about their compositions.

For a detailed list of number of paasurams of all Alvars on each Divyadesam: Mangalasasanam by Divyadesam

Caste

The revered alvars came from all castes, a symbolic notion in Vaishnavism to show that devotion to God transcends above caste. Nammalvar, or Satakopan, belonged to the Vellala caste. Thirumangai Alvar belonged to the Kallara tribe. Thirumalisai Alvar was originally born to a Brahmin community but was raised by Peerambu vetiyan (one who makes use of bamboo for living) caste. Thiruppaan Alvar belonged to Panar caste, Kulashekhara was a King from Kerala. Vishnu Chittar, or Periyalvar, was a Brahmin.

Alvars; their place, month and star of birth

The following tables shows the place, century and star of birth of each Alvar. The Traditional Datings of Alwars have been contested by the historians as in case of many Indian Works and the British trained historians place the dates as follows.Traditional datings take them to the age of Sukhaacharya(srimad Bhagvatam)who while delivering the work to parrekshit spake of Alvars as vaishnavaite saints and many are from dwapura yuga,while swami nammalwar belongs to the commencement of Kali yuga. Kalou Kalu Bhavishyanti narayana parayana. Kvachit Kvachin Mahabhago dramideshucha pureesha tamrabharani nadhi yatra kruta malaa payasvini kaavericha mahaabhago pradeeseecha mahaanadhi.(srimadh bhagvath purana). [8]

Sl no

Alwar Saint Period and Place Composition Month Nakshatra Avatar of

1 Poigai Alvar7th C. AD, Kanchipuram

Mudhal Thiruvandhadhi, 100 verses.

AiypasseeThiruvonam (Sravana)

Panchajanya (Lord Shri Krishna's Conch)

2 Bhoothathalvar7th C. AD, Thirukadalmallai (Mahabhalipuram)

Irandam Thiruvandhadhi, 100 verses.

AiypasseeAvittam (Dhanishta)

Kaumodakee (Lord Vishnu's Mace/Club)

3 Peyalvar 7th C. AD, Mylapore

Moondram Thiruvandhadhi,

Aiypassee Sadayam (Satabhishak

Nandaka (Lord

100 verses. )Vishnu's Sword)

4Thirumalisai Alvar

7th C. AD, Thirumazhisai

Nanmugan Thiruvandhadhi, 96 verses; ThiruChanda Virutham, 120 verses.

ThaiMagam (Makha)

Sudarshanam (Name of Lord Vishnu's weapon discus)

5 Nammalvar9th C. AD, Azhwar Thirunagari (Kurugur)

Thiruvaymozhi, 1102 verses; Thiruvasiriyam, 7 verses; Thiru Virutham, 100 verses; Periya Thiruvandhadhi, 87 verses.

VaigaasiVishaakam (Vishaaka)

Vishvaksena (Lord Vishnu's Commander)

6Madhurakavi Alvar

9th C. AD, Thirukollur

Kanninun Siruthambu, 11 verses.

ChitthiraiChitthirai (Chithra)

Vainatheya (Lord Vishnu's eagle, Garuda)

7King Kulasekhara Alvar

9th century AD, Thiruvanchikkulam, Later Chera kingdom

Perumal Thirumozhi, 105 verses.

MaaseePunar Poosam (Punarvasu)

Kaustubha (Lord Vishnu's necklace)

8 Periyalvar9th C. AD, Sri Villiputhur

Periyazhwar Thirumozhi, 473 verses.

AaniSwathi (Swaathee)

Garuda (Lord Vishnu's eagle)

9 Andal9th C. AD, Sri Villiputhur

Nachiyar Thirumozhi, 143 verses; Thiruppavai, 30 verses.

AadiPooram (Poorva Phalguni)

Bhoodevi (Lord Vishnu's wife, Lakshmi, in her form as Bhudevi)

10Thondaradippodi Alvar

8th C. AD, Thirumandangudi

Thirumaalai, 45 verses; Thirupalliezhuchi, 10 verses.

MaargazhiKettai (Jyeshta)

Vanamaalai (Lord Vishnu's garland)

11 Thiruppaan Alvar

8th C. AD, Uraiyur Amalan Adi Piraan, 10 verses.

Kaarthigai Rogini (Rohinee)

Srivatsa (An auspicious mark on Lord Vishnu's

chest)

12Thirumangai Alvar

8th C. AD, thirukurayalur

Periya Thirumozhi, 1084 verses; Thiru Vezhukootru irukkai, 1 verse; Thiru Kurun Thandagam, 20 verses; Thiru Nedun Thandagam, 30 verses.

KaarthigaiKrithikaI (Kritthikaa)

Saranga (Lord Rama's bow)

See also

Bhakti movements Tamil mythology Nathamuni

Notes

1. ̂ Andrea Nippard (2009). "The Alvars".2. ̂ Flood 1996, p. 1313. ̂ " About Alvars " . divyadesamonline.com. Archived from the original on 2007-06-21.

Retrieved 2007-07-02.4. ̂ Mittal, S. G. R. Thursby (2006). Religions of South Asia: An Introduction. Routledge.

Page 27."As part of the legacy of the Alvars, five Vaisnava (devotion to Visnu) philosophical traditions (sampradaya) emerged that were based on the teachings of ..."

5. ̂ " Meaning of Alvar " . www.ramanuja.org. Retrieved 2007-07-02.6. ̂ "Alvar or Nayanar : The Role of Sound Variation, Hypercorrection and Folk

Etymology in Interpreting the Nature of Vaisnava Saint-Poets", South-Indian Horizons, Institut Francais de Pondichéry (French Institute of Pondicherry), 2005. The actual article is at http://www.linguist.univ-paris-diderot.fr/~chevilla/FestSchrift/supa_9d.pdf

7. ̂ Based on A.K. Ramanujan's Hymns for the Drowning (1993), which in turn is based on Zvelebil's Tamil Literature (1975). Though Ramanujan also mentioned preference for the 7th or the early 8th century by Friedhelm Hardy.

8. ̂ " Birth place and stars of Alvars " . srirangapankajam.com. Retrieved 2007-06-20.

References

Flood, G.D. (1996). An Introduction to Hinduism. Cambridge University Press.

External links

The Twelve Alvars Alvars and Srivaishnavism The Alvar Saints (ramanuja.org) The Alvar Saints of Tamilnadu by Jyotsna Kamat

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Alvars Poigai Alvar Bhoothathalvar Peyalvar Thirumalisai Alvar Nammalvar Madhurakavi Alvar Kulashekhara Alwar Periyalvar Andal Thondaradippodi Alvar Thiruppaan Alvar Thirumangai Alvar

Divya Desams Divya Prabandha Mangalasasanam South India's 75 Apostles of Bhakti

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Kulashekhara AlwarFrom Wikipedia, the free encyclopediaJump to: navigation, search

Kulashekhara VarmaKing of Later Chera Kingdom

Reign 800- 820Successor Rajasekhara Varma

House House of the Later CherasReligion Hinduism (Vaishnavism)

Kulashekhara Varman (also known as Kulashekhara Alvar; Tamil: குலசே�கர ஆழ்வா�ர்) was the founder of Later Chera dynasty in southern India, and the first king of this dynasty from 800 to 820 AD. The Chera power, now based at the city of Mahodayapuram, revived under Kulasekhara Varman in the beginning of the 9th century AD. He was succeeded by his son Rajasekhara Varman in 820 AD.[1]

Kulasekhara Varman was also a Hindu Alvar saint of the Vaishnavite movement in southern India. He is the author of Perumal Tirumozhi, one of the celebrated devotional works in Tamil, and the Sanskrit lyric Mukundamala. In Perumal Tirumozhi, he calls himself the ruler of Killi mountain (Salem), Kudal (Madurai), Kozhi (Uraiyur) and Kongu (Salem-Coimbatore).[1]

He is sometimes identified as Kulasekhara, the author of the Sanskrit works such as Tapatisamvaranam, Subhadradhananjaya and Vichchinnabhiseka.[1]

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Contents

1 Earlier life as King 2 Becoming a saint 3 Works and hymns 4 References 5 External links

Earlier life as King

He succeeded his father Tidaviradhana[citation needed] and it was during his rule the Chera dynasty re-emerged into the political front of the region.

Later Chera dynasty ruled from the city of Mahodayapuram rather than from their ancient capital at Vanchi. The new capital was built around the Shiva temple of Thiruvanchikulam.[2] By 9th century AD Vanchi had fell into the hands of the Pandyas [3] Sovereignty of Kulashekhara Varman was constrained by the pre-existing power of the Aryan-Brahmin settlements across his kingdom and the hereditary chieftains called "Naduvazhis". He was succeeded by Rajashekhara Varman.

Kulasekhara Alwar is said to have married a Pandya Kings' daughter.[4] Kulasekhara Varman is known to have presented his daughter as a Devadasi before the god of Srirangam. The Devadasis- dancing girls attached to the temple- had a high status in society during this period.

Becoming a saint

It is believed that he renounced the crown to become a sanyasi and lived in Srirangam to serve the deity of Ranganatha. He is revered as the 9th of the alvars (one of 12 mendicant saints venerated by South Indian Sri Vaishnavism) and composed bhakti songs filled with yearning towards God called paasurams which are an important part of Carnatic classical music repertory.[citation needed]

Kulashekhara Varman is also one of the celebrated Vaishnavite Alvar poet saints of Bhakti cult in South India. The Bhakti cult consolidated the Vedic religion in the region by introducing it to common people. These saints of Bhakti school brought masses to the worship of personal god in the form of Shiva or Vishnu.[citation needed]

Works and hymns

He is the author of Mukundamala, a beautiful devotional lyric in Sanskrit. His poems are devotional in nature, being dedicated to the most prominent Avatars of Vishnu (Rama and Krishna). The great Advaita philosopher Sankaracharya is a younger contemporary of

Kulshekhara Alwar.[5] Kulasekhara was supported by the Tamil Clans Villavar, Malayar, Vanavar and Pazhuvettaraiyar.

A great devotee of Rama, he considered the painful experiences of Lord Rama to be his own. He is therefore also known as ‘Perum-al’, meaning ‘The Great’ – an epithet for the Lord. His devotion was so intense that he worshipped the devotees of the Lord as the Lord Himself.[citation

needed]

His involvement in the legends of Lord Krishna and Lord Rama has produced some excquisite devotional poetry. In one song, he iddentifies himself with Devaki, the biological mother of Lord Krishna, from which Krishna away to Gokul where Nanda and Yasodha, the foster parents, looked after them. Kulasekara expresses Devaki's desolation at being separated from her child and for union with him. This is the same sense of sorrow of separation and yearning for union that pervades the outpourings of all the mystic poets of India.[6]

References

1. ^ a b c Sreedhara Menon. A, A Survey of Kerala History (1967), D. C. Books Kottayam2. ̂ Early History - History of Kerala - Kerala - States and Union Territories - Know India:

National Portal of India3. ̂ The official web portal of Government of Kerala. "History". Kerala.gov.in. Retrieved

2012-08-29.4. ̂ "Kulashekhara Alvar - The history of srivaishnavam".

Thehistoryofsrivaishnavam.weebly.com. Retrieved 2012-08-29.5. ̂ Sreedhara Menon.A,A Survey of Kerala History(1967),p.152. D.C.Books Kottayam6. ̂ 101 Mystics of India .V K Subramanian

Dictionary of Hindu Lore and Legend (ISBN 0-500-51088-1) by Anna Dallapiccola Naalaayira divya prabhandham: Commentary by Dr. Jagadrakshakan (1997).

Aazhvaargal Research Centre, Chennai 600017.

External links

In the name of a devotee Mukunda Mala Stotra (Prayers of King Kulashekhara) Kulashekara's contribution to theatre Serthi Sevai at Srirangam

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Poigai Alvar Bhoothathalvar Peyalvar Thirumalisai Alvar Nammalvar Madhurakavi Alvar Kulashekhara Alwar Periyalvar Andal Thondaradippodi Alvar Thiruppaan Alvar Thirumangai Alvar




Alvars Bhakti movement Hindu devotees Sri Vaishnava religious figures Medieval Kerala Chera kingdom


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Thondaradippodi AlvarFrom Wikipedia, the free encyclopediaJump to: navigation, search

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)

Thondaradippodi Alvar or Bhaktanghri renu swami was a Tamil Vaishnava Saint who is also named as "Vipra Narayanar" led his life in devotion to Lord Narayana and worked for the Perumal (Lord) by dedicating him with Garlands. He is one of the 12 Alvars.

Contents

1 Birth and Early life 2 Reaching Srirangam 3 Devi and Devadevi 4 Literary works 5 External links

Birth and Early life

Thondaradippodi Alvar was born in a small village by name 'Thiru mandaggudi' in Prabhava year, Margazhi month, Krishna chaturthi, Tuesday in Kettai (Jyestha) Nakshatram (star). His father ‘Veda Visaradhar’ belonged to "Kudumi Sozhiyap Brahmanar" community also called as "Vipra" people, whose routine work is to praise about Sri Vishnu.

On the 12th day after his birth, he was named as "Vipra Narayanar". From an early age, bhakti towards Sri Vishnu was taught to him. He grew up with a well rounded personality. It is said that in spite of being good and beautiful and dedicated to Sri Vishnu bhakti, he had no conceit and treated all the aged persons and persons who are younger to him in the same way and gave proper respect to them.

Reaching Srirangam



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As per lore, Vishwaksena, who was the commander-in-chief of Sri Vishnu's troop, once descended to earth and revealed to Vipranarayanar, why he was born in this mighty world and what are the things that he should follow to attain Mukti.

On hearing the truth of his birth, he showed much love, affection and bhakti towards Sriman Narayanan. As an extension to it, he started thinking what should be the next step to be taken to explore his bhakti. He thought of traveling to all of the temples where the Emperumaan is giving his seva. But, he had a question that from which sthalam he should start with. After a long thinking, he finally decided that he should start from the greatest of all of the Vishnu sthalams, the Srirangam, which is located on the banks of cauvery river should be the starting sthalam he should worship and started traveling towards it.

After reaching the temple, he went inside the moolavar sannadhi and was very happy to see the perumal on the Aadhiseshan (the snake) who is found in sleeping posture. After seeing the beauty of Sri Ranganathar, he did not want to see any of the things around and thought his bhakti and the remaining life should be spent completely for Aranganathan. He thought in what way he can express his bhakti towards the emperumaan and finally he thought he can offer him with the Garland daily to the perumal.

Soon after this thought, he constructed a big Nandhavanam (flower park) in Srirangam, where various beautiful and fragrance flower plants are grown. He built a small hut in the midst of the park. Daily, in the morning, as a daily work, he dedicated the Garland to Sri Ranganathar and only then did his routine jobs. Since, he thought, only Sri Aranganathar is the beautiest thing in this world, he didn't turn up towards any of the women around him. Because of this, all the people thought he doesn't have any feelings towards the people around him. On seeing these kinds of scenes from Sri Vaikundam, thirumagal, Sri Lakshmi questioned Sriman Narayanan that because of having the affection towards him (Sri Ranganathar) and in spite of being a male, he doesn’t know how the love should be expressed towards a women and continued that which women can show her love towards a person like Vipra Narayanan? Knowing the future and what is going to happen, Sri Vishnu casually answered Sri Lakshmi that she is going to see what is going to happen for him.

Devi and Devadevi

In thirukkarambanoor, there lived two Daasis (Women who dances in front of the king to earn money) by named Devi, who is the elder sister and Devadevi, who is the younger sister. They wanted to dance to the Urayoor king and to get prize from him. Then both of them went to Sri Rangam temple to worship Aranganathar.

When they were going to the temple, they had the chance to see the Nandhavanam, which belonged to Vipra Narayanar. Devadevi wanted to see him and they both went to the small hut. Devadevi, on seeing him, was very much attracted towards him and started loving at the first sight. She expressed her love in words and continued with his work. She did service to convert him towards her side. Soon she completely turned Vipra Narayanar towards her and they both started to live together.

One day, Devadevi said to Vipra Narayanar that she wanted to see her parents and her sister. Vipra Narayanar said that he would too come along with her, since he could not live without leaving her for a second. But her mother did not want him to be in the house and asked Vipra Narayanar to get out of the house for he did not have any wealth. Since, Vipra Narayanar is helpless, he came out of the house and entered a Nandavanam and being so tired, he slept for a while. On seeing this, the Emperumaan wanted him to get of the Maya and wanted him to get along with the right path, which leads to the Thiruvadi of Him (Sri Vishnu).

He changed himself as a Student of Vipra Narayanar and went straight to Devadevi's house and gave him a big silver vessel as given by his Guru to Devadevi.

On getting that her mother thanked him and asked his Guru, Vipra Narayanar to return back to her house. On hearing this, Vipra Naryanar walked fast to the house and hugged Devadevi.

The Next morning, the archakar entered into the Sri Ranganathar sannadhi and found one Vattal (Vessel which is used to do the daily pooja) was missing and complained to the king about this. The king ordered his servants to go in search of the Vattal and they found that in Devadevi's house.

Vipra Narayanar was jailed for one night. On that night, Vipra Narayanar cried and asked the Emperumaan why like this has happened to him and prayed towards him. On the same night, the Emperumaan arise in the dream of the king and explained him what had happened and asked him to free Vipra Narayanar. The king explained that this is a small thiru Vilayaadal (game) of Sri Emperumaan.

Knowing the real truth why he came to the world, he went to Sri Ranganathar temple and praised the Lord. Then, he worshipped all the bhaktas of Sri Vishnu and put the podi (Small tiny dust particles), which is found under the feet of them in his head and sang songs in praise of Sri Ranganathar.

From then, he was called as "Thondaradipodi Alwar". Finally he realised for what he came for to the earth and went to all the Vishnu temples to praise him.

Literary works

He composed Tirumaalai (45 paasuram) Tiruppalli Ezuchi (10 paasuram)

External links

About Thondaradi Podi Alvar Pasurams by Thondaradi Podi Alvar

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Hindu Tamil Saints: Alwars and Nayanmaars of South India

Bakthi /Devotional Period in Tamil History Sangam Age (that lasted till ca. 3rd century AD) is an important period for Tamil Literature. After this, during the next few centuries (Kalabhra Period) there was a lull in literary output. Then came a period of about four centuries



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(6- 10th C. AD) when a number of devotional or Bakthi literature appeared. There were many important saivaite and Vaishnavaite literature contributions. On a latter date, Nambi Andar Nambi and Nathamuni compiled respectively these saivaite and vaishnavaite literary works as "twelve thirumurais" and "naalayira divya prabhandam". Amongst many Tamil devotees who lived and contributed during this period, 63 saivaite ones (known as Nayanmaars) and 12 vaishnavaite ones (known as Alwars) stand out for their extreme devotion and dedication to God. Herein we list details of these Tamil Saints of this Bakthi period.

Alwars (Vaishnavaite Saints) Alvar means one who is "immersed" in the experience of God, the omnipresent mysterious One. Tradition reckons 12 Alvars. They come from all walks of life and all strata of society and include in their ranks one woman. Between the fifth and ninth century, in the Tamil-speaking region of South India, these saints revitalized the Indian religious milieu, sparking a renewal of devotional worship throughout the subcontinent. Traveling from place to place, from temple to temple, from holy site to holy site, they composed exceedingly beautiful poetry to their Divine Beloved, Vishnu, as an expression of their love for Him. Anyone can see why their poetry was so attractive; at once both impassioned and philosophical, their words cut across all barriers of caste and class, attracting all to their faith. In doing so, they sculpted a new religious heritage of intensely emotional bhakti, or love of the Divine, whose impact is still felt today in the Indian religious life. The Alvars composed approximately 4000 Tamil verses. In the 9th-10th centuries, the philosopher-saint Nathamuni went to extraordinary efforts to recover these verses from near oblivion. Nathamuni arranged them as the Divya Prabandham, or Divine Collection, set many of them to music, and rejuvenated the tradition of formally reciting them in temples.

Alwar Saint(Period, Place)

Other names Month Star Sign

Poigai Azhwar7th C. AD, Kanchipuram

Saro-yogi, Kaasaara-yogi,Poigai-piraan, Padma-muni,

Aiypassee Thiruvonam (Sravana)

Panchajanya (Conch)

Web tamilelibrary.org

http://www.shaadi.com/ptnr.php?ptnr=ar1am

Kavinyarporeyeru

Bhoodath Azhwar(7th C. AD, Mylapore)

.. AiypasseeAvittam (Dhanishta)

Kaumodakee (Mace/Club)

Pey AzhwarKairava-muni, Maha-daahva-yaar

Aiypassee Sadayam (Satabhishak)

Nandaka (Sword)

Thirumazhisai Azhwar(7th C. AD, Thirumazhisai)

Bhakthi-saarar, Bhaargavar, Magisaaraapuriswarar, Mazhisai-piraan

Thai Magam (Magha)

Sudarshanam (Discus)

Namma Azhwar(9th C. AD, Azhwar Thirunagari (Kurugur))

Sadagopan, Sadaari, Paraankusun, Maaran, Vakulaaa Baranan, Kurugaiyar-kone

Vaigaasi Vishaakam (Vishaaka)

Vishvaksena (Commander)

Madhura Kavi Azhwar(9th C. AD, Thirukollur)

Inkaviyaar, Azhwaarukku Adiyaan

Chitthirai Chitthirai (Chithra)

Vainatheya (Garuda)

Kulashekara Azhwar(8th C. AD, thirvanjikkolam)

Kolli-kaavalan, Koodal-naayakan, Koyikone, Villavar-kone, Cheyralar-kone

MaaseePunar Poosam (Punarvasu)

Kaustubha (Gem Necklace)

Periya Azhwar(9th C. AD, Sri Villiputhur)

Vishnu-chitthar, Patta-naadan,Battar-piraan, Sri-Villiputthooraar, Sriranganaatha-Svasoorar

AaniSwathi (Swaathee)

Garuda (Chariot)

Andal(9th C. AD, Sri Villiputhur)

Choodikoduttha Naacheyaar, Godai, Godai-piraatti

Aadi Pooram (Poorva Phalguni)

Bhoodevi

Thondaradippodi Azhwar(8th C. AD, Thirumandangudi)

Vibranaaraayanar, Thirumandangudiyaar, Bhakthangirirenu, Palliunartthiya-piraan

Maargazhi

Kettai (Jyeshta)

Vanamaalai (Garland)

Thirupaan Azhwar(8th C. AD, Uraiyur)

Paanar, Muni-vaahanar, Yogi-vaahanar, Kaveeswarar

Kaarthigai Rogini (Rohinee)

Srivatsa

Thirumangai Azhwar(8th C. AD, thirukurayalur)

Kaliyan, Aalinaadan, NaaluKaviPerumaal, Arulmaari, Parakaalan, Mangaiyarkone

Kaarthigai KrithikaI (Kritthikaa)

Saranga (Bow)

Naayanmaars (Saivaite Saints)nAyanmAr refer to the 63 devotees (and 9 general devotees) of Lord Shiva who lived before or during the life time of Sundaramurthy Nayanar. Sundarar praised them all in the thiruththoNdath thokai, he sang at thiruvArUr. "periya purANam" of Cekkizhar talks in detail the life of these 63 devotees. It is important to note that these devotess come from very different background (caste, economic background, main work for living), stages of life (single, married or sanyasi) and include both male and female ones. Some were learned scholars while others did not have any formal schooling. The unifying factor is their extreme devotion to Lord Shiva, through which the bliss of His grace.

Saint Month Star

thirunIlakaNda nAyanAr thai vichAkam

iyarpakai nAyanAr mArkazi uththiram

iLaiyAnkudi mARa nAyanAr AvaNi makam

meypporuL nAyanAr kArththikai uththiram

viraNmiNda nAyanAr chiththirai thiruvAdhirai

amarnIdhi nAyanAr Ani pUram

eRipaththa nAyanAr mAchi hastam

EnAthi nAtha nAyanAr purattAchi uththiram

kaNNappa nAyanAr thai mirugachIrcham

kuN^kiliyak kalaya nAyanAr AvaNi mUlam

mAnak kanychARa nAyanAr mArkazi svAdhi

arivAttAya nAyanAr thai thiruvAdhirai

AnAya nAyanAr kArthikai hastam

mUrththi nAyanAr Adi kruthikai

muruga nAyanAr vaikAchi mUlam

uruththira pachupathi nAyanAr purattAchi asvini

thirunAlaip pOvAr nAyanAr purattAchi rOhiNi

thirukkuRipputh thoNdar chiththirai svAthi

chaNdIcha nAyanAr thai - uththiram

thirunAvukkarachar chiththirai chathayam

kulachchiRai nAyanAr AvaNi anusham

perumizalaik kuRumba nAyanAr Adi chiththirai

kAraikkAl ammaiyAr paN^guni svAti

appUdhi adikaLAr thai chadhayam

thiru nIlan^akka nAyanAr vaikAchi mUlam

naminandhi nAyanAr vaikAchi pUsam

thiru nyAnychampan^dhar vaikAchi mUlam

EyarkOn kalikAmar Ani rEvati

thirumUla nAyanAr aippachi asvini

dhaNdiyadikaL paN^guni chadhayam

mUrgga nAyanAr kArththikai mUlam

chOmAchi mARa nAyanAr vaikAchi Ayilyam

chAkkiya nAyanAr mArkazi pUrAdam

chiRappuli nAyanAr kArththikai pUrAdam

chiRuththoNda nAyanAr chiththirai baraNi

kazaRiRRu aRivAr nAyanAr (chEramAn perumAL nAyanAr)

Adi svAti

gaNa nAdha nAyanAr paN^guni thiruvAdhirai

kURRuva nAyanAr Adi thiruvAdhirai

pukazch chOza nAyanAr Adi kruththikai

narachiNka munaiyaraiya nAyanAr purattAchi chadhayam

adhipaththa nAyanAr AvaNi Ayilyam

kalikkamba nAyanAr thai rEvathi

kaliya nAyanAr Adi kEttai

chaththi nAyanAr aippachi pUcham

aiyadikaL kAdavar kOn nAyanAr aippachi mUlam

kaNampulla nAyanAr kArththikai kruththikai

kAri nAyanAr mAchi pUrAdam

ninRa chIr nedumARa nAyanAr aippachi baraNi

vAyilAr nAyanAr mArkazi rEvathi

munaiyaduyAr nAyanAr paN^guni pUsam

kazaRchiNka nAyanAr vaikAchi baraNi

idaNkazi nAyanAr aippachi kruththikai

cheruththuNai nAyanAr AvaNi pUsam

pukazth thuNai nAyanAr AvaNi Ayilyam

kOtpuli nAyanAr Adi kEttai

pUchalAr nAyanAr aippachi anusham

maNkayark karachiyAr nAyanAr chiththirai rOhiNi

nEcha nAyanAr paN^kuni rOhiNi

kOchcheN^kat chOza nAyanAr mAchi chadhayam

thirunIlakaNda yAzppANa nAyanAr vaikAchi mUlam

chadaiya nAyanAr mArkazi thiruvAdhirai

ichainyAniyAr chiththirai chiththirai

cundhara mUrthi nAyanAr Adi svAthi

Sundaramurthy Nayanar8th C. One of the four Tamil Samaya Acharyas (four Tamil religious Teachers)

Thiru Neelakanta NayanarLived in Chidambaram. Potter by caste. thai month, vicAkam

Iyarpahai Nayanarnative of Kaveripoompattinam. Vaisya by caste.markazhi month, uthiram

Ilayangudi Mara NayanarA farmer who lived in a village called IlayangudiAvaNi month, makam

Maiporul Nayanar

A pious King who ruled over the hill tribes of Sethi.karththikai month, uthithiram

Viralminda NayanarVellala by caste. Lived in the hill town of Sengunru.chiththirai month, thiruvathirai

Eirpatha Nayanarborn in Kaaruvur, on the banks of the river Ambiravathi.

Enadinatha NayanarA Shanar (toddy topper) born in Eyinanur in Chola Kingdom.

Kannappa NayanarTinnanar, son of a hunters' King Nagan.

Kungiliya Kalaya NayanarA brahmin born in Thirukadavur in Chola Kingdom; got the name because he always holding a pot (an incense pot)in his hand.

Manakanchara NayanarLived in Kancharur in Chola Kingdom. A vellala by caste, a hereditary Senathipathi. A contemporary of Sundaramurthy Nayanar.

Arivattaya NayanarLived in Kannamangalam in Chola Kingdom.

Anaya NayanarA cowherd in Mazhanad (Trichi district).

Murthy NayanarA vaisya king born in Madura of Pandya King. To adore Lord Shiva with sandalwood paste, smearing it all over the Lingam is regarded as a great form of worship by him.

Muruga NayanarBorn in Tirupukalur. Contemporary of Gnana Sambandar.

Rudra Pasupathi Nayanar

Thiru Nalai Povar Nayanar

Thiru Kurippu Thonda Nayanar

Chandeswara Nayanar

Thirunavukkarasar Nayanar (Appar)

Kulichirai Nayanar

Perumizhalai Kurumba Nayanar

Karaikal Ammaiyar

Thiru Nalai Povar Nayanar

font color="blue">Appuddi Nayanar

Thiruneelanakka Nayanar

Nami nandi adigal

Thiru Gnana Sambandar

Eyorkon Kalikama Nayanar

Dandi Adigal Nayanar

Murga Nayanar

Somasira Nayanar

Sakkiya Nayanar

Siruppuli Nayanar

Siruthonda Nayanar

Cheraman Perumal Nayanar

Gananatha Nayanar

Kootruva Nayanar

Pugal chola Nayanar

Narasinga Muniyaraiyar

Adipattha Nayanar

Kalikampa Nayanar

Kaliya Nayanar

Satti Nayanar

Kanampulla Nayanar

Kari Nayanar

Ninra Seer Nedumara Nayanar

Mangayairkaraciyar

Vayilar Nayanar

Munaiyadavur Nayanar

Idangazhi Nayanar

Pugaz thunai Nayanar

Kotpuli Nayanar

Pusalar Nayanar

Nesa Nayanar

Kochangat Chola Nayanar

Thiru Neelakanta Yazhpanar

Sadaya Nayanar

Isaignaniyar

Manickavacagar

Page visits to the site since Nov 16, 2005:

Stories of 12 divine Alwars Presented by Sri M V Subba Rao

Alwars are Great Vishnu Bhaktas of yester years. There are twelve Alwars : -

Poigai Alwar, Poodath Alwar and Pei Alwar are collectively called as "Mudhal Alwars" were found in the same period of time.

Thirumazhisai Alwar, who treated the Perumal as his friend and has sung melodious Mangalasasanam on Perumal.

Thirumangai Alwar, who was a great king in his starting of life but later, transformed his life to work for the Perumal and for His bhaktaas.

Thondaradippodi Alwar, who is also pouplarly known as "Vipra Narayana" led his life as the slave to the Perumal and worked for the Perumal by dedicating him with Garlands.

Thiruppaan Alwar, who belonged to the Paanar family, praised the Perumal through his beautiful songs and Paasurams.

Periyalwar, is considered as the Mother, Father for Sri Andal and Father-in-Law to Perumal has sung Mangalasasanam on Perumal

Sri Andal, who is also called as "Soodikkodutha Sudar Kodi" is said to be the daughter (brought up) of Periyalwar has created "Thiruppavai" in which she considers Sriman Naryanan as her husband. She is the only lady alwar.

http://www.fropper.com/index.php?ptnr=cu7pf

Nammalwar, who sat below the Tamarind tree without having any food and sleep got Gnana and has sung Mangalasasanam on Perumal and he has worked hard to spread Sri Vaishnavam.

Madhurakavi Alwar, who is said to be the Sishya (Student) of Nammalwar is also one among 12 Alwars.

Kulasekara Alwar, have a great bhakti towards Sri Ramar have also done Mangalasasanam on the Perumal particularly in Malayala Naatu thriuppathigal.


Thirumangai AlvarFrom Wikipedia, the free encyclopediaJump to: navigation, search

Thirumangai Alvar

Thirumangai Alvar (left) with his wife Kumudavalli (right, only her crown is visible, rest of her image is

covered with garlands)Born Kaliyan

http://en.wikipedia.org/wiki/Thirumangai_Alvar



http://en.wikipedia.org/wiki/File:Thirumangai_Alvar.jpg

c. 8th century ADDied c. 8th century ADTitles/honours Alvar saintPhilosophy Vaishnava Bhakti

Literary works

Periya Tirumoli, Tirunedunthandakam, Tirukuruthandakam, Tiruvelukkutirukkai, Siriya Tirumadal and Periya Tirumadal

Thirumangai Alvar or Tirumangai Alvar or Tirumankai Alvar or Thirumangai Mannan (8th century AD)[1] is the last of the 12 Alvar saints of south India, who are known for their affiliation to Vaishnava tradition of Hinduism. He is considered one of the most learned Alvar and the most superior Alvar in the context of composition of verses.[2] He holds the title Narkavi Perumal, the mark of an excellent poet,[2] and Parakala (Beyond Time). Though he is respected as a Vaishnava saint-poet, he, initially, worked as a military commander, a chieftain and then a robber. After his conversion to Vaishnavism, he confronted practitioners of rival Hindu sect of Shaivism as well as Buddhism and Jainism. K. C. Varadachari, author of Alvars of South India describes Thirumangai as:[3]

He was a petty chieftain. He in many respects a dynamic figure, ardent in love, spectacular in his deeds, a rebel and a social reformer, even a kind of Robin Hood, and above all an exquisite lyricist.

Contents

1 Dating and hagiography 2 Early life 3 Married Life 4 As a Vaishnava saint 5 Works 6 Interaction with other faiths 7 Temples 8 Festival 9 Notes 10 References

Dating and hagiography

The traditional date attributed to Thirumangai is year 399 of Kaliyuga, that is 2702 BC, making him traditionally the last of the Alvar saints.[4] Modern scholars have placed the Alvars in between 5th to 9th centuries based on few historical evidence. Dr. N. Subba Reddiar summarizes their views and arrives at the date 776 AD for Thirumangai, making him chronologically the eighth Alvar, though even these dates are disputed.[5]

The hagiographies detailing the life of Thirumangai and other Alvars are Divya charitam (11th century) and Guruparampara-prabhavam-arayirappadi (13th century) and Guruparampara-prabhavam-muvayirappadi (14th century). Other Vaishnava scholars have written hagiographics based on the above works later.[4]

Early life

Thirumangai was born in Thirukuraiyalur, a small village in Tamil Nadu, in a non-Brahmin, tribal family. Thirumangai's real name was Kaliyan or Kalikanti. Thirumangai's father was Nilam, a general under the Chola empire.[1][6] He was skilled in archery and worked as a military commander himself for the Chola king. In recognition of his valour, he was conferred upon the title Parakala and rewarded a small terrority called Ali Nadu to govern, for his military services. Its capital was Thirumangai. He earned the title Thirumangai Mannan or chief of Thirumangai, a name he maintained even when he became a saint.[1][2]

Married Life

Vishnu was the patron deity of Thirumangai Alvar and is believed to have given a vision to the saint.

According to the traditional account, he married Kumudavalli, a Vaishnava doctor's adopted daughter at a place Thiruvellakkulam (also known as Annan Kovil)and became a Vaishnava, devotee of the Hindu god Vishnu, under her influence. The temple-god of Thirunaraiyur (Naraiyur Nindra Nambi) - a form of Vishnu - is believed to have initiated Thirumangai into Vaishnavism, by teaching him the pancha samskara. Kumudavalli also got him to promise that he would feed a 1008 Vaishnavas every day for a year. Unable to bear the heavy expense of feeding a thousand people, Thirumangai resorted to highway robbery. One day, Thirumangai tried to remove rings from the toes of a bride but could not do so. Then he realized the bride was none other than goddess Lakshmi, the consort of god Vishnu. Vishnu (Narayana) revealed himself to Thirumangai and transformed him by teaching the Narayana mantra or Ashtaksara

http://en.wikipedia.org/wiki/File:Vishnu.jpg

http://en.wikipedia.org/wiki/File:Vishnu.jpg

(the eight syllabled) - "namo narayanaya", turning the robber into a saint and starts singing the first verse of Peria Thirumozhi/ Peria Thirumoli (Vaadinen Vaadi).[1][6][7]

The first ten verses of Thirumangai's poem Periya Tirumoli sing of his transformation, after receiving the spiritual knowledge from Vishnu.[6] He sings about his transformation thus:[8]

I became a thiefdeceitful and dishonestI wandered hither and thitheryet light dawned upon me -I reached Your feetand instantly your grace fell upon mewith melting heart and choked voiceyour praises I singbathed in streaming tearsI repeat day and nightthe sacred name of Narayana (Vishnu)

As a Vaishnava saint

Transformed by his encounter with God, Thirumangai gave up his chieftainship and became a devout Vaishnava, dedicated to god Vishnu. To atone for his sins, he visited 88 of the Divya Desams, a group of 108 Vishnu shrines primarily in south India.[2] He spread the poems of older Alvars in his wandering.[3] He was also well versed in earlier Tamil literature like Naaladiyar, Thirukkural, Sangam literature and Jain literature.[9]

Thirumangai preached against penance and advocated bhakti (devotion) as way to attain salvation. He composed 6 poems in Tamil, together acoounting for 1361 verses. In the book Divya Prabandham, 1361 verses of Thirumangai are included, making them the most composed by any Alvar.[3] Tamil Vaishnavas consider them as the six Tamil Vedangas or Angas of the 4 poems of Nammalvar, which are considered as Vedas.[2][10] His most important work is Periya Tirumoli, composed of 1084 hymns. The others are: Tirunedunthandakam (30 verses), Tirukuruthandakam (20 verses), Tiruvelukkutirukkai (a single long poem of 47 lines), Siriya Tirumadal (155 lines) and Periya Tirumadal (297 lines).[6][10]

A late ninth century text, Tamilalangaram by Dandapani Swamigal describes him of having the rare privilege of biting god Vishnu's toes and being pardoned for all his sins, as he wrote in Tamil.[11] Vaishnavas consider him as a divine incarnation of Sharanga, Vishnu's bow.[12]

Works

Periya Tirumoli is the composition of hymns illustrating the greatness of Vaishnava shrines and their presiding deity as well as God's numerous attributes. His songs extol the largest number of shrines - over 40 forms of Vishnu, from Badrinath in North India to Thirukkurungudi in the extreme South. Thirumangai also discusses causes of human suffering and ways to overcome it

to achieve salvation. Vedanta Desika praises the work as "a deep insight in spiritual knowledge".[1][6][10]

The word thandakam in Tiru-nedun-thandakam and Tiru-kuru-thandakam refers to the staff used for support for climbing a hill, this refers to God as the support for sustence of the soul in context of the poems. The words nedu and kuru signify the length of the compositions and its poetic meter. In Tirunedunthandakam, Thirumangai speaks as a Nayaki (consort of the Lord), who separated from her beloved God (Nayaka). Tirukuruthandakam speaks dependency of the soul on God and its way to escape suffering being God, who is the sole supporter.[6]

Tiruvelukkutirukkai deals with the concept of surrender to God to attain freedom from suffering, the nature of God and the means of attaining Him.[6]

Periya Tirumadal and Siriya Tirumadal use the madal, an ancient Tamil custom which is practiced by a rejected lover to win back his love, though it is prohibited for women. The custom evolves singing about his love in love, devoid of food and sleep and finally trying to commit suicide before her if all things fail.[10] Thirumangai sings as a woman threatening Lord to finish her life if He can not reciprocate her love. He assumes the role of a gopika (milkmaid) who threats Krishna (a form of Vishnu) with madal. He defends the gopika's actions of performing the prohibited madal, by saying that he follows the Sanskrit literary tradition who permits madal for women, not the Tamil one.[13] His songs are also based on akam love poems, and talk of employing bees and storks are messengers to God.[3] He goes to the length of portraying himself as the nayaki, pining for the love of Vishnu.[6][9]

Interaction with other faiths

Thirumangai was a self-confessed religious bigot.[9] He was instrumental in the decline of Jainism in south India.[14] He is known for building of the third wall at the Vishnu temple, Srirangam for which he melted a gold Buddha statue from the Negapatam monastery. This indicates a conflict with Buddhism.[15]

Thirumangai plundered "refractory" Shaivas (devotees of the Hindu god Shiva) and lived on the acquired wealth.[2] He is described as cold-hearted Vaishnava who defeated the rival Shaivas by his words or even "argumentum ad baculum".[2] Vaishnava texts like Divyasuri charitam and Guruparamparai prabhavams tell of his meeting with Thirugnana sambandhar, a Shaiva saint, who went to meet Thirumangai on his own and invited Thirumangai to his home town Sirkazhi so that Thirumangai would compose a poem in praise of the local deity Thadaalan.[9] On the request of Thirugnana sambandhar at Sirkazhi, Thirumangai composed a poem on the spot, which was admired by the Shaiva - who granted Thirumangai a trident as a mark of appreciation.[16]

Temples

In Hampi's Vitthala temple complex, a temple was dedicated to Thirumangai.[17]

Festival

The Thirumangai Alvar Mangalasasana utsavam(festival)[18] in the month of Thai(Jan-Feb) witnesses 11 Garudasevai a spectacular event in which festival images idols from the 11 Thirunaangur Divyadesam shrines in the area are brought on Garuda mounts to Thirunangur. An idol of Thirumangai Alvar is also brought here on a Hamsa Vahanam(swan) and his paasurams(verses) dedicated to each of these 11 temples are recited. The Utsavar(festival deity) of Thirumangai Alvar and his consort Sri Kumudavalli Naachiyar are taken in a palanquin to each of the 11 temples, through the paddy fields in the area. The paasurams(poems) dedicated to each of the 11 Divyadesams are chanted in the respective shrines.

Notes

1. ^ a b c d e Subramanian p.492. ^ a b c d e f g Pillai pp. 192–43. ^ a b c d Das p. 414. ^ a b Chari p. 105. ̂ Chari p.116. ^ a b c d e f g h Chari pp. 29–327. ̂ [1]8. ̂ http://books.google.co.in/books?

id=xYglQ5ossEkC&pg=PA313&dq=Tirumangai&lr=&as_brr=3#PPA314,M19. ^ a b c d http://books.google.co.in/books?

id=KnPoYxrRfc0C&pg=PA4337&dq=Thirumangai+Alvar&lr=&as_brr=3&hl=en#PPA4337,M1

10. ^ a b c d Padmaja p. 5911. ̂ Vēṅkaṭācalapati, Ā. Irā (2006) In Those Days There was No Coffee: Writings in

Cultural History, p. 10512. ̂ Chari p.1313. ̂ Padmaja pp. 59–6014. ̂ Singh, N. Kr. (2001). Encyclopaedia of Jainism. Anmol Publications. pp. 878.

ISBN 978-81-261-0691-2.15. ̂ Das p.3716. ̂ "Thirumangai Azhwar's unique distinction", The Hindu, Jul 18, 200217. ̂ http://books.google.co.in/books?id=KA7A4R-

bA3wC&pg=PA106&dq=Tirumangai&lr=&as_brr=3&client=firefox-a#PPA106,M118. ̂ " Garuda Sevai'" . [2].

http://www.ibiblio.org/sripedia/ramanuja/archives/feb08/pdfUQOxvBFB4v.pdf. Retrieved 2011-08-19.

References

Tamil Literature By M. S. Purnalingam Pillai Asian Educational Services, 1994 ISBN 81-206-0955-7, ISBN 978-81-206-0955-6 [3]

101 Mystics of India By V K Subramanian Published by Abhinav Publications, 2006 ISBN 81-7017-471-6, ISBN 978-81-7017-471-4 [4]

A History of Indian Literature, 500–1399 By Sisir Kumar Das, various, Sahitya Akademi [5]

Temples of Kr ̥ṣṇa in South India By T. Padmaja [6] Philosophy and Theistic Mysticism of the Āl ̲vārs By S. M. Srinivasa Chari

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http://en.wikipedia.org/wiki/Andal


AndalFrom Wikipedia, the free encyclopediaJump to: navigation, search For other uses, see Andal (disambiguation).

Andal

BornKothai7-8th Century A.DSrivilliputhur

Titles/honours Alvar saintPhilosophy Srivaishnava Bhakti

Literary worksTiruppaavai, Naachiyaar Thirumozhi

This article contains Tamil text. Without proper rendering support, you may see question marks or boxes, misplaced vowels or missing conjuncts instead of Tamil text.

Andal (Tamil: ஆண்டா�ள் Äṇţāḷ, an 8th century or earlier [1]) is the only female Alvar of the 12 Alvar saints of South India, who are known for their affiliation to Srivaishnava tradition of Hinduism. She is credited with the great Tamil works of Thirupavai and Nachiar Tirumozhi that are still recited by devotees during the Winter festival season of Margazhi. Andal is known for her unwavering devotion to the god Vishnu, the patron deity of the Srivaishnavas. The Srivilliputhoor Temple is dedicated to her and marks her birthplace.[2] Adopted by her father, the Alvar saint Periyalvar who found her as a baby, Andal avoided earthly marriage, the normal and expected path for women of her culture, to "marry" Vishnu, both spiritually and physically. In many places in India, particularly in Tamilnadu, Andal is treated more than a saint and as a form of God herself.

Contents

1 Early life 2 Marrying the Lord 3 Literary works 4 Status in the Society 5 References



Early life

Andal is believed to have been discovered under a Tulsi(Basil) plant in the temple garden of Srivilliputtur, by a person named Vishnucitta who later became one of the most revered saints in Hinduism, Periyalvar. The child was named Kodhai. This is popularly thought to mean "a beautiful garland" in Tamil [3] but it is unlikely as in ancient times this was a popular personal name even for men as evidenced by Sangam era male names such as Kodhai as mentioned in a Purananuru poem on a Chera king Ko-k-Kodhai. The name Kodhai is often Sanskritized as Goda.She has been accepted as a reincarnation of bhooma devi.She is considered to br bhooma devi avatar just after that of Seeta devi(wife of mahavishnu in the form of lord Rama).The series of bhooma devi's incarnations start from the varaha puranam-In Hindu mythology, Vedavati is speculated to have been the spirit of Sita Devi, the wife of Lord Rama in the epic Ramayana. She was another avatar of Devi Laxmi.Vedavati is the daughter of Brahmarishi Kusadhvaja, who is the son of Brihaspati, Lord-Guru of the Devas, the Gods. Having spent his life chanting and studying the sacred Vedas, he names his daughter Vedavati, or Embodiment of the Vedas, born as the fruit of his bhakti and tapasya. [edit]Dedication to Vishnu

Kodhai was raised by Vishnucitta. Kodhai grew up in an atmosphere of love and devotion. Vishnucitta doted on her in every respect, singing songs to her about Lord Vishnu; teaching her all the stories and philosophy he knew; and sharing with her his love for Tamil poetry. As Kodhai grew into a beautiful maiden, her love and devotion for the Lord grew to the extent that she decided to marry none but the Lord Himself only. As days progressed, her resolve strengthened and she started to live in a dream world with her beloved Lord and was constantly fantasizing about marrying Him. [4]

Vishnucitta had the responsibility of delivering flower garlands to the Lord's temple, everyday. Kodhai made these garlands and sent it to her beloved Lord through her father. Eventually she started acting unusual by wearing the flower garland which was meant to be offered to the Lord. This is generally considered sacrilege in Hinduism because the scriptures teach the devotees not to offer to the Lord, a thing that has already been used by a human being. However, Kodhai felt she should test to see how the garland suited her and only if it did, she should offer it to the Lord. One day, she was caught red-handed by her father in this strange act, and as an orthodox devotee he was extremely upset. He rebuked her and told her not to repeat the sacrilegious act in the future. Frightened and apologetic, Kodhai made a new garland for the offering that day. Legend says that that very night the Lord appeared to Vishnucitta in his dream and asked him why he had discarded Kodhai's garland instead of offering it to Him. The Lord is believed to have told Vishnucitta that He had whole-heartedly accepted Kodhai's offering all this time. This moved Vishnucitta so much even as he started to realize the Divine Love that existed between the Lord and his daughter. From this day on, Kodhai is believed to have been respected by the devotees and came to be known as "Andal", the girl who "ruled" over the Lord. She is also known by a phrase Soodi kodutha Sudarkodi which means "The bright creeper-like woman who gave her garlands after wearing them".

Marrying the Lord

As Andal blossomed into a fifteen-year-old beautiful young woman of marriageable age (girls were married at a much younger age in those days), her father prepared to get her married to a suitable groom. Andal, however, was stubborn and insisted that she would marry only the Lord at Srirangam. This perplexed and worried her father. Legend has it that he had a vision give by the Lord, once again, and was instructed to send Andal to Srirangam; the lord simultaneously commanded the priests at Srirangam, in their dreams, to prepare for the wedding. Andal who was anxious to reach Srirangam was unable to control herself in her urgency to meet her beloved Lord. She ran into the sanctum sanctorum of the Lord and is believed to have merged with Him completely at that point.[5]

S.Chandrasekar, Travel writer & photographer says that the descendents of Periyazhwar preserve to this day the padhuka, sacred beads and vastra used by him and some ornaments of Andal at Srivilliputur. In Jan 2012, Vijay TV visited the ancient house where Periyazhwar lived with his daughter and interviewed the members.

Literary works

Andal composed two works in her short life of fifteen years. Both these works are in Tamil verse form and are exceptional in their literary, philosophical, religious, and aesthetic content. Her contribution is even more remarkable considering that she was a girl of fifteen when she composed these verses and her prodigiousness amazes readers till date.

Her first work is the Thiruppavai, a collection of thirty verses in which Andal imagines herself to be a Gopi or cowherd girl during the incarnation of Lord Krishna. She yearns to serve Him and achieve happiness not just in this birth, but for all eternity, and describes the religious vows (pavai) that she and her fellow cowherd girls will observe for this purpose. [6]

[7]

The second is the Nachiar Tirumozhi, a poem of 143 verses. Tirumozhi, literally meaning "Sacred Sayings", is a Tamil poetic style. "Nachiar" means Goddess, so the title means "Sacred Sayings of the Goddess." This poem fully reveals Andal's intense longing for Vishnu, the Divine Beloved. Utilizing classical Tamil poetic conventions and interspersing stories from the Sanskrit Vedas and Puranas, Andal creates imagery that is possibly unparalleled in the whole gamut of Indian religious literature. However, conservative Srivaishnavite institutions do not encourage the propagation of Nachiar Tirumozhi as much as they encourage Tiruppavai. This is because Nachiar Tirumozhi is belongs to an erotic genre of spirituality that is similar to Jayadeva's Gita Govinda.

The impact of these works on the daily religious life of the South Indian has been tremendous. Just like the Ramayana and the Mahabharata, the Thiruppavai is recited with great religious fervor by women, men, and children of all ages, particularly in Tamil Nadu. The daily services in most Srivaishnava temples and households include this recitation. Both of these works, particularly the Thiruppavai, has been studied extensively by innumerable scholars. It has also been translated into a number of languages over the centuries.

Status in the Society

Andal is now one of the best-loved poet-saints of the Tamils. Pious tradition reckons her to be the veritable descent of Bhūmi Devi (Sri Lakshmi as Mother Earth) in bodily form to show humanity the way to His lotus feet. She is present in all Srivaishnava temples, in India and elsewhere, next to her Lord, as she always desired. During the month of Margazhi, discourses on the Tiruppavai in Tamil, Telugu, Kannada, Hindi and English take place all over India. [8]

References

1. ̂ A history of Indian literature, 500-1399: from courtly to the popular . Sisir Kumar Das, Sāhitya Akādemī

2. ̂ "History of Srivilliputtur".3. ̂ " Ramanuja Darshanam " . Retrieved 2007-07-14.4. ̂ " Andal Biography " . Archived from the original on 23 July 2007. Retrieved 2007-07-10.5. ̂ Women Saints of East and West Swami Ghanananda, John Stewart-Wallace6. ̂ " Life of Andal " . tiruppavai.org. Archived from the original on 5 July 2007. Retrieved

2007-07-10.7. ̂ " Andal's Wedding" . Youtube - Andal Kalyanam - Vishaka Hari.

http://www.youtube.com/watch?v=9HwrCLPczOU.8. ̂ " Āndāl, Saint Goda " . womenhistory. Retrieved 2007-07-10.

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Thiruppaan AlvarFrom Wikipedia, the free encyclopediaJump to: navigation, search

Thiruppaan Alvar



http://en.wikipedia.org/wiki/Thiruppaan_Alvar



Portrait of Thiruppan Alvar

Born8th Century A.DUraiyur

Titles/honours Alvar saintPhilosophy Vaishnava BhaktiLiterary works Amalaanathi Piraan

Thiruppaan Alvar is one of the 12 Alvar saints of South India, who are known for their affiliation to Vaishnava tradition of Hinduism. The temples revered by these azhwars are termed Divya desam. He was born into a community, then considered as outcastes and untouchables. Birth being no requisite qualification for devotion towards Sriman Narayana, he is traditionally listed among the twelve great Alvars. Thirupaan Alvar has composed one collection on Srirangam divya desam containing 10 paasurams (verses) - AmalanAdhipiran.

Contents

http://en.wikipedia.org/wiki/File:Thiruppan.jpg

1 Birth in the Paanar community 2 Reaching Srirangam 3 Ten Paasurams 4 One of the Paasurams 5 Commentary and Interpretations 6 Audio Link 7 References

Birth in the Paanar community

Thiruppaan Alvar was born in Purthurmadhi year, Kaarthigai(Nov-Dec) month, on a Wednesday in the Rohini Nakshatra(star) in a small village of Alagapuri near Srirangam in the 8th or 9th century C.E. He was born in Paanar Cheri. Paanars are a community of musicians and traditional songmakers who are capable of moving their audiences to states of ecstasy and bliss. Because of these skills they had an influence over the Devas (demigods) and Sages. The Paanar community were considered as outcastes and were victims of the social dynamics of their times.

It is said that Alvar is the amsam(form) of the small mole (legend has it that all alvars are avatars of some part of the Lord), called as Srivatsam on the chest of Sriman Narayanan. Having a veena(string instrument) in his hand, he was always to be seen singing the glories of Sri Vishnu. He was soon famous in and around these Tamil lands of Southern India. His skills as a bhakti(divine) musician and his abilities to express and invoke bhakti amongst his listeners, drew audiences from afar. He was soon to be known as "Paanar perumal".

One of the strictures on outcastes was that they were not to come anywhere near the Cauvery river, considered sacred and pure by the people of the region. Following this stricture Paan Perumal did not come anywhere near the Kaveri river, but mostly stood alongside its banks facing the Srirangam temple and sung his praises to the Lord.[1]

Reaching Srirangam

The following incident in the life of the Alvar, is considered a "divine play" or lila of the Lord. The supreme bhakti and devotion that Paanar held within him had to be brought out and explicated as an example of devotion to the supreme. As is the wont of the Lord, the other bhaktas(devotees) of the world had to be made aware of such a soul in their midst.

One day, a devout brahmin in the service of the temple, by name Loka Saaranga came to the river for taking water for use in the temple. He motioned to Paanar to move away. But, PaaNar was so engrossed in the rhapsody of his music that he did not hear this. Lokasaranga threw a small stone in his direction to shake him up. But, the stone accidentally fell on the forehead of PaaNar and it started to bleed. PaaNar quietly retired.

Unaware of the injury caused, Loka Saaranga returned to the temple. He was taken aback on seeing blood oozing out from the forehead of the image of Lord Ranganatha. But, none could connect the two incidents. That very night, the Lord appeared in the dream of Loka Saaranga and commanded him to fetch Paanar to the temple the next morning. Accordingly, Lokasaranga requested PaaNar to come to the temple. But, PaaNar referring to his low birth declined even to set foot on the holy earth of Srirangam lest he pollute the holy place. When he was told of the Lord's commandment, PaaNar was beside himself and was lost in a deep trance. Loka Saaranga said that if that were his objection PaaNar could get on his shoulders and he offered to carry PaaNar to the temple. Loka Saaranga carried Paanar who was in a state of trance.This also earned the Alvar title, the sobriquet, Munivaahanar (the one astride a priest).

When they reached the Sanctum Sanctorum, PaaNar experienced the bliss of Ranganatha and composed the 'Amalan Adhipiraan' a poem describing the beauty from head to foot of the Lord in 10 verses and laid his life at the feet of the Lord. The poem is considered to be sweeter than even the 'sound of music' of the Veena.

Ten Paasurams

The first pasuram(hymn) sung by Alvar is on Arangan's feet. On seeing the Thiruvadi(lotus feet)of Aranganathan he sang:

Neel madhil Arangathamman thrukkamalpadham vandhu en Kanninullana okkinrathe.

He then started to see the whole thirumeni (body) of Emperumaan and he sung a total of ten paasurams(hymns) which explain the beauty of Sri Ranganathar from his thiruvadi(foot) to thirumudi(head).

He explains in his ten paasurams(hymns) about the clean saffron cloth which is worn on the body of Ranganathar, his jewels the thiru vayiru(stomach) from where Lord Brahma originated, the broad chest, the red lips and finally on explaining the beauty of the two broad eyes, he fell down. After some time, Thiruppaan Alwar was not found and he went in to the body of Thiruvaranganathan. Like Andal, whose thoughts were always on Aranganathan, and was enraptured by the love of the Perumal, Thiruppaan Alwar was also captured by this love and he became a part of the Lord along with his mortal sheath.

Thiruppaan Alwar has composed a total of ten paasurams, where he has explained about how a human life should be lived. His principal purport in them is : "Perumal is the principal supreme entity and our aims and aspirations should be to attain Him through total surrender to him signified by our placing all of ourselves at his lotus feet." [2]

One of the Paasurams

Kondal vannanaik kovalanay venneyUnda vayan en ullam kavarndhanai

Andar kon ani arangkan en amudhinaikKanda kangal marronrinaik kanave

Meaning:[3]

I have seen the One whose color is like dark raincloudsHe is the one with the mouth that swallowed the butter of cowherds,He is the Lord of the devas,He is Lord Ranganatha,He is my nectar, my life!My eyes have seen my Lord and will not see anything else!

Commentary and Interpretations

Thiruppaanaalvar's 10 verse Amalannadhipiraan and the Alvar's Bhagavad Anubhavam(experiences of the divine) moved many of the Vaishnava Acharyas(gurus). These ten verses are housed in the Sixth Prabhandam of the Mudalaaiyram of the Divya Prabandha. This Alvar by tradition is considered to be Ayonija or one, who is not born of mortal human beings.[4] He is also considered as an Amsa of (Sri Vatsa mark, the mole on the chest ) of Sriman Narayana. He was brought up however as a foster-child by a childless couple of the Paanar caste (wandering minstrels akin that of Neelakanta Yazhpaanar, who accompanied Thiru Gyana Sambhandar in Tamil Saivite tradition).

Swami Vedanta Desikan was moved very much by the Composition of this Alvar and wrote a commentary called 'Munivahana Bhogam' in Sanskritized Tamil - Manipravalam. He also composed four verses in Tamil in His 'Prabhanda Saaram' to elaborate on the significance of the contribution of this Alvar. He went on to compose a Stotram(divine text) in Sanskrit known as 'Sri Bhagavad Dhyana Sobhaanam'.

Sri Vedanta Desikan was so moved by the ten verses of Amalanaadhipiraan that he paid multiple tributes to the Alvar. Swami Desikan was so overwhelmed by the profoundity of the alvar's bhagavad anubhavam that he declared the ten verse compendium to be the essence of countless Vedic texts.

Audio Link

Audio Link of amalanAdhipirAn

References

1. ̂ " Birth of Paan " . divyadesamonline.com. Archived from the original on 2007-06-29. Retrieved 2007-07-22.

2. ̂ " Amaladhipiran " . ibiblio.org. Retrieved 2007-07-22.3. ̂ " koNdal vaNNanaik " . www.ramanuja.org. Retrieved 2007-07-22.4. ̂ http://www.ibiblio.org/sripedia/ebooks/vdesikan/munivahana_bhogam/

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NammalvarFrom Wikipedia, the free encyclopediaJump to: navigation, search

Nammalvar

Born8 C. A.D.Thiruvenparisaaram(presently known as thirupathisaaram)

Titles/honours Alvar saintPhilosophy Vaishnava Bhakti

Literary worksThiru Virutham,Thiru Vaasiriyam,Periya Thiru Andaathi

Nammalvar also Nammazhwar,Nammaazhvaar, Nammazhvar, Nammaalvaar, Nammalwar;Tamil: நம்மா�ழ்வா�ர்) was one of the twelve Alvars, well known for his many hymns on devotion to Vishnu. Legend gives him the date 3102 B.C. (i.e., the beginning of the kali yuga). He was born in the asterism Visakham, in what is now thirupathi saaram (also known as Thiruvenparisaaram), Tamil Nadu.[1] His name means "our own alvar (alvar means "one immersed in God"). He was also known as Maran and Sadagopan.

Contents

1 Child prodigy discovered 2 First disciple 3 Writings 4 Acme of devotion 5 A sample hymn 6 See also 7 References 8 Sources 9 External links

http://en.wikipedia.org/wiki/File:Nammazhwar.jpg

Child prodigy discovered

He was born in a small town called Thiruvenparisaaram, in the southernmost region of the Tamil country — Nagercoil. His father, Kari, was a petty prince who paid tribute to the Pandyan King of Madurai.[2] He must have been born fully enlightened because as a baby he never cried or suckled and never opened his eyes. According to legend, as a child he responded to no external stimuli and his parents left him at the feet of the deity of Lord Sri Adhinathar in Alwarthirunagari. The child then got up and climbed into a hole in a tamarind, sat in the lotus position, and began to meditate. It appears he was in this state for as long as sixteen years when a Tamil poet and scholar in North India named Madhurakavi Alvar saw a bright light shining to the south, and followed it until he reached Nammalvar's tree. Unable to elicit any reaction from the child, he asked him a riddle: "If the small is born in a dead's body(or stomach), what will it eat and where will it stay?" meaning, if the subtle soul is embodied in the gross body, what are its actions and thoughts? Nammalvar broke his lifelong silence and responded, "That it will eat, and there [3] it will rest!" meaning that if the soul identifies with the body, it will be the body but if it serves the divine, it will stay in vaikunta and eat(think) of God. Madhurakavi Alvar realized the divinity of this child.

First disciple

Madhurakavi Alvar was himself a great devotee, when he asked Nammalvar the right question and made him speak. Immediately he took him for his Acharya (Teacher, Guru). Nammalvar consented to being his guru, instructed him in the doctrines of Vaishnavism and thereafter glorified Lord Vishnu. He composed on the spot a thousand hymns praising Vishnu, each one starting with the last word of the previous poem. We owe it to Madhurakavi Alvar for setting them to music. Madhurakavi Alvar became the Alvar's student and went on to compose poems about his prodigal master. The following is an interesting episode regarding the way the two of them met. Madhurakavi Alvar was on a pilgrimage in North India, when all of a sudden, he began to observe a bright light shining forth from the southern direction. This seemed to be beckoning him and so he began to proceed in the direction of its source. His travails brought him to the scenic banks of the river Tamirabarani, to the Hamlet/town of Kurugoor. He observed that the light that drew him emanated from a divine being, one seemingly in his teens sitting within the hollow of a tamarind tree. He spent his time scrutinizing all these. He then proceeded to try to gain the attention of the one under the tree by various means, finally resorted to asking him a question which goes as follows :MadhuraKavi Alwar : settrathin vayitril siriyadhu pirandhaal, yethai thindru enge kidakkum ?Nammalwar : Atthai thindru Ange Kidakkum.These words were the first the Great One ever spoke. These simple words carry a world of meaning that could fill eons of thought and a ton of discussion.

Writings

His contribution of four works (numbering 1296 hymns) to the four thousand of the Divya Prabhandham includes the entire fourth thousand and part of the third thousand. these works are

Tiruvaymozhi (1102 verses), Tiruviruttam (100 verses), TiruvAsiriam (7 verses) and Periya Tiruvanthadi (87 verses).

Tiruvaymozhi describes Ranganatha as a metaphor to discussing the philosophical details in

The nature of the paramatma (divine soul) The nature of the jeevatma (living soul) The means for the jeevatma (living soul) to attain the goal of Paramatma (divine soul) The blocks and hurdles on the way and The goal moksha (divinity).

The latter 2 are described in detail in the srivaishnava website [1]. In the Srivaishnava canon, these four represent (in Tamil language) the four Sanskrit vedas, respectively, the Sama Veda, Rig Veda, Yajur Veda and Atharva Veda. According to tradition "He poured the cream of these vedas" into his songs and poetry that were the result of deep mystic experience. Though Nammalvar did not visit any of the 108 divyadesam temples talked about in the Vaishnava religion it appears from his works he must have had the vision of all the archa forms in the temples he had glorified in his hymns.

Acme of devotion

The subject matter of the four works was certainly the five principles, namely, the Lord, the soul, the means, the end, and the obstacles to spirituality. Through all this ran a thread of the acme of devotion to Lord Krishna. Whatever Krishna ate, whatever he drank, whatever betel He chewed was the dearest to the saint. The supreme object of life was to be at the Lord's lotus feet and to serve him eternally in blissful love. Therefore seek him all your life, praise him, surrender to him, speak of his glories and exploits, revel in his majesty and continue the recitation of his names. This was his message to the world at large. Like Gautama Buddha who appeared in the northernmost part of India and finally engulfed not only India but Asia and the whole world by his teachings, Nammalvar was the star of the southernmost part of India whose work engulfed the whole world of Vaishnavism.

A sample hymn

Makes me serve him all the time and everywhere;Anchors me thus by seating himself in my mind;Swerves me not by gracing me in his service alone;Krishna's wish is my wish, my pleasure, my glory.

(#3102 of Sacred Book - By Sri. Srirama Bharathi Araiyar)

See also

Ramanuja Manavala Mamunigal Hindu reform movements

References

1. ̂ Hindu spirituality: Postclassical and modern.K. R. Sundararajan, Bithika Mukerji2. ̂ "Nammalwar" from Essays on Philosophy and Yoga, VOLUME 13 THE COMPLETE

WORKS OF SRI AUROBINDO, © Sri Aurobindo Ashram Trust 19983. ̂ Encyclopaedic Dictionary of Puranas: (A-C) ; 2.(D-H) ; 3.(I-L) ; 4.(M-R) ; 5.Swami

Parmeshwaranand.

Sources

A.K. Ramanujan, introduction, in Nammalvar, trans. A.K. Ramanujan, Hymns for the Drowning: Poems for Vishnu.

Sri Srirama Bharathi Araiyar 'Sacred Book'. 1995: Dhivya Prabhanda Pathasala, Jalladam Pattai - Chennai, India 601 302.

A. Srinivasa Raghavan, Nammalvar, (in "Makers of Indian Literature" Series), Sahitya Akademi, New Delhi, India, 1975/1998.

Sujatha, (Tamil), (in Alvargal - Oor Eliya Arimugam), Visa Publications, Chennai, India, 2007.

External links

Vaishnavism Nammalvar : Hymns for the drowning translations by AK Ramanujan Alvars and Srivaishnavism Srivaishnava Sampradhayam Thrikodithanam Mahavishnu Temple - Temple associated with Nammalvar Araiyar Sevai http://www.araiyar.com

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Poigai AlvarFrom Wikipedia, the free encyclopediaJump to: navigation, search

Poigai Alvar

Born7th C. A.DTiruvekkaa near Kanchipuram

Titles/honours Alvar saintPhilosophy Vaishnava BhaktiLiterary works Mudal Thiruvandaadhi

This article contains Indic text. Without proper rendering support, you may see question marks or boxes, misplaced vowels or missing conjuncts instead of Indic text.

Poigai Alvar (Tamil: பொ��ய்கைக ஆழ்வா�ர், Telugu: ము�దలాళ్వారు�లు�) is one of the 12 Alvar

saints of South India, who are known for their affiliation to Vaishnava tradition of Hinduism. The temples revered by the verses of azhwars are termed Divya desam.

He is one of the three principal alwars (collectively called முதல�ழ்வா�ர்கள்) who are known to be not born from any human being. The other two pricipal alwars are Bhoothathalvar and Peyalvar

Contents

1 Time period 2 Birth 3 Story of first composition 4 Style of composition 5 References

Time period

The period of alwars is indeterminate, and according to traditional conviction they belong to 4200 – 2700 BC (Dwapara to Kaliyuga), where as modern linguistic research analyzing their composition of devotional songs (included in divya prabandham) suggests that they belong to 5th to 9th century AD. It is said Kaliyuga commenced from 3102 BC and Nammalwar was born in the first year of Kaliyuga where as the other four Poigai, Bhutha, Peya and Thirumazhasai were born in the ending years of Dwapara.

Birth

Paigai Alvar was found in a small pond near the Yadhotakaari temple at Tiruvekkaa. In Tamil, small pond is called poigai, and that is why he was called Poigai. At Kanchipuram there is a temple inside the Deva-sarovara lake. This temple enshrines an idol of Saroyogi in a recumbent posture with eyes closed in meditation. From childhood, Shri Poigai Alwar had immense devotion to Lord Vishnu. He mastered all the Vaishnava speeches and led his life according to it. [1]

Alwar Saint

Period and Place

Composition Month Nakshatra Tithi Avatar of

Poigai Alvar

7th C. AD, Kanchipuram

Mudhal Thiruvandhadhi, 100 verses.

AiypasseeThiruvonam (Sravana)

Shukla Ashtami

Pāñcajanya

He was variously called Saro-yogi, Kaasaara-yogi, Poigai-piraan, and Padma-muni.

Tamilகைககைத சே�ர் பூம்பொ��ழில் சூழ் கச்�� நகர்

வாந்துத"த்தபொ��ய்கைகப் �%ர�ன் கவா%ஞர் சே��சேரறு -

கைவாயத்துஅடியவார்கள் வா�ழி அருந்தமிழ் நூற்றந்தத"

�டிவா%ளங்கச் பொ�ய்த�ன் �ரந்து

Transliterationkaidhai sEr pUmpozhil sUzh kachchi

nagar vandhudhiththapoygaip pirAn kavinjar pOrERu -

vaiyaththuadiyavargaL vAzha arunthamizh

nURRandhAdhipadiviLangkach seydhAn parindhu

“ Kanchi derives its name from Brahma who is known as ka:, who worshipped the Lord in this kshetra. In that famed city, in a lotus flower within a lotus pond, under the star Thiruvonam (Sravanam) which is the star of the Lord Himself, Poygai Azhvar was born. He gave the wonderful

”

Mudhal Thiruvandhadhi pasuram which is like a lamp that drives away the darkness of the mind and lifts the soul up.[2]

Story of first composition

There is an interesting story as to how God appeared to mudhal alwars at Thirukkoilur [3]

It was day time but the rain clouds have overcast the sky and cover of darkness spread all around. The torrential rain began beating the earth. Wandering Poigai aazhwar found out a small hiding place which was fit for one person to lie down. He had just occupied the space that Boodath, coincidentally arrived there looking for a hiding place. Poigai accommodated him by sitting, as only two persons could be accommodated by sitting. In the meanwhile, under strange coincidence, Pey also came soliciting against the heavy downpour. He was also accommodated as all the three preferred to stand because the space was too tight to accommodate three sitting persons. The darkness had become denser and inside the small room they were not able to see each other. In the meanwhile they felt that some fourth one also forced his way among them.

The thundering of the clouds and associated lightning were frequently being witnessed. It so happened that some of the lightning could help flash light inside the room. The three alwars could immediately see the fourth one with an exquisitely charming face; it was sublime and divine. The three alwars could immediately realize that it was Narayana Himself huddling among them.

Poigai wished to see His face continuously but the lightening was playing the hide and seek game. With a view to maintain the continuity of light and never miss the view of the divine face, he instantly composed 100 songs wishing the earth to be a big pot full of ghee of ocean where the sun could be the burning wick.

Tamilகைவாயம் தகளய� வா�ர்கடாசேல பொநய்ய�கபொவாய்ய கத"சேர�ன் வா%ளக்க�க - பொ�ய்ய

சுடார் ஆழிய�ன் அடிக்சேக சுட்டிசே5ன் பொ��ல் மி�கைல

இடார�ழி ந"ங்குகசேவா என்று

Transliterationvaiyam thagaLiyA vArkadalE

neyyAgaveyya kadhirOn viLakkAga - seyyasudar AzhiyAn adikkE sUttinEn sol

mAlaiidarAzhi nIngkugavE enRu

“ Light a flame

”

with the world as a lamp, the oceans as oil and the sun as the match; I string this garland of verses to remove the darkness. [4]

This song can also be interpreted as the alvar praying to God to remove the darkness and ask for His unlimited knowledge and power.

Bhoothathalvar also sang 100 songs imagining to light the lamp constantly through ardent love for Him. The third one Peyalvar sang another 100 songs where he could describe the enchanting charm of the divine face and described the association of Narayana equipped with chakra and sankha, and His divine consort goddess Lakshmi.

Style of composition

Shri Poigai Alwar’s composition was set in the Andhadhi style. The most noteworthy feature of the work is that the ending word or the syllable of each verse becomes the beginning word of the succeeding verse and the last word of the hundredth verse becomes the beginning of the first verse, thus making the hundred verses a true garland of verses.

References

1. ̂ http://www.keybusinessplan.com/alwars/alwars-poigai-alwar-kanchipuram-iyppasi-thiruvonam-temples.html

2. ̂ http://www.acharya.org/books/eBooks/vyakhyanam/MudhalThiruvandhadhi-VyakhyanaSaram-English.pdf

3. ̂ http://www.enotes.com/topic/Muthal-aazhvaargal4. ̂ http://starsindia.org/mudhal-alwars/

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