THE RISHI AGASTHYA AND VINAYAKA

Agasthya is one of the greates names in the Hindu Pantheon. He finds an important place among the Rishis, munis, and The Siddhars. He is also reputed to be the founder of the Tamil language which was taught to him by Murugan Himself. He drew up the first grammer rules for Tamil.

Agasthya was created in a pitcher - kumbha. He got the name Kumbha Muni, Kumbha Sambhava, and KalasOdhbhava from that reason.

 

During the marriage of Siva and Paarvathi, there was an over-crowding in Kailas in the north of the Bharatha Kantam. Because of this, the kantam tilted and sank in the north with an up-lift of the south.

Agasthya was asked by Siva to go to the south of Bharatha to counterbalance the over-crowding of the north.

Agasthya wanted to take a holy thirththa for his penance and ritual purposes. He was given the holy KAveri by Siva. KAvEri was accommodated in the kamandalu of Agasthya and he took it and started on his journey south.

As he proceeded, he approached the vicinities of the asura Kraunja. Kraunja was a master of illusions. The story has already been told briefly, before. Because Kraunja deluded him in the form of a mountain full of maze-like caves and entrapped Agasthya, Agasthya cursed him to remain in the form of a mountain. Then he came to the Vindhya Mountain.

Among the eight important Kula mountains called Ashta Kulaachalams or Ashta Kula Parvathams, Mount MEru was the prime mountain. Vindhya was one of the other seven. The planets went round the Meru in their paths.

Vindhya's jealousy towards MEru was provoked by the Sage Naaradha. Vindhya wanted to show his might and outdo MEru. So he grew and grew and grew. He grew to such dimensions that he stopped the planets in their tracks.

When Agasthya came to Vindhya, he saw the immense size of Vindhya which was blocking his path. Agasthya asked Vindhya to let him pass. But the haughty Vindhya told Agasthya to find his own way.

Hence Agasthya lifted up his hand. It grew and grew and grew. He raised his palm above the top of Vindhya and pressed him down. The immense Vindhya became flattened into a plateau. Vindhya asked for forgiveness and to be restored to his original size. But Agasthya simply answered, "When I come back", and went on.

Then Agasthya came upon the 'Terrible Two' - Vathapi and Ilvalan. He destroyed Vathapi and obtained immense riches from Ilvalan for his marriage with LOpAMudra.

Sages had to marry and have Rishi pathnis. They had to have children who would be raised in the path of Dharma, divinity, and tapas. Failure to produce offspring would cast them in a special form of hell called 'Puth'. A man had to make offerings to his ancestors.

Having a son, would prevent a person from going to the 'Puth' hell. That is why a son is known as 'Puthra'.

So, Agasthya created a most perfect girl whom he named 'LOpAMudrA' and left her in the custody of the King of Kasi, until he came to marry her. He duly married her, thereafter.

LOpAMudrA is a female Rishi. There are twelve schools in the SriVidya upaasana maarga - worship of AmbaaL. Among them, Agasthya propounded one school. LOpAMudrA has initiated another. The importance of Lopamudra is illustrated well in the Sri Lalitha Trisathi.

Agasthya wanted to be initiated into the Path of SriVidya - Worship of the Mother Goddess as Sri Lalitha/Rajarajeswari. So he approached SriHayagriva who is a manifestation of MahaVishnu. Hayagriva has the head of a horse, is four-armed with shanka, chakra, gatha, lotus, SriVatsa, Kausthubha, and PIthAmbara.

SriVidya Path considers Hayagriva as the prime praeceptor of the marga. Hayagriva taught many things to Agasthya about SriVidya and finally culminated with a rendition of the SriLalitha Sahasranama.

Because Agasthya was the husband of LopAmudra, the Great Goddess Herself recommended to Hayagriva to initiate Agasthya into the SriLalitha Trisathi pujai. Both of them have worshipped Sri Lakshmi of Kolhapur and have given us the MahaLakshmi SthOthram' which is hailed as the 'Selva ThiRavu KOl' in Tamil.

Agasthya, then continued south, until he came to the Sahyaadri Mountains. Just before that time, Indra was hiding in Siirgaalzi within the strand of a fibre in a lotus stalk. He had to perform a penance towards Siva. For that, he had to have a special holy thiirththam.

Indra was advised by Naaradha to pray to Vinnayaka to bring a holy thiirththam to Siirgalzi - in this case the KavEri in Agasthya's kamandalu.

Vinnaayaka took the form of a crow and perched on the kamandalu of Agasthya when Agasthya was meditating. When Agasthya realised this, he shooed away the crow. But the Divine Crow tipped the kamandalu and toppled it. Out, poured Kaveri which started flowing. The crow disappeared and in its place stood a small boy. Agasthya thought that the boy was playing some prank and clenching both his fists, went to pound the head of the small boy. But the boy escaped and Agasthya gave chase. Finally the boy vanished and Vinaayaka showed Himself to Agasthya. Agasthya was aghast at the realisation that he had just tried to knock the head of Vinaayaka Himself. As atonement, he knocked his own head with both of his clenched fists.

This became the 'PiLLaiyaar Kuttu' which is an integral part of Vinaayaka worship.

Kaveri flowed towards the place where Indra was doing penance and flowed out into the Eastern Sea and thus became a Holy River of TamilNaadu. Vinayakar scooped up some Kaveri water with His trunk and poured it into the kamandalu of Agasthya.Then Agasthya proceeded further.

Agasthya then went to KuRRalam where he was prevented by the Vaishnavas from entering the temple because he was a Saivaite. But he caused the statue of Vishnu to turn into a SivaLinggam and performed his puujai there.

After that, he settled himself at the Sahya Mountains which are known as the Podhiyil Mountains or Malaiyamalai and wrote out the grammar for Tamil with the help of Vinayakar. AruNagiri Nadhar has mentioned in his ThiruPugal

z -

"muththamilz adaivinai muRpadu girithanil muRpada elzudhiya muthalvOnE!"

He was involved in the First Tamil Sangam. The grammer works by him were named after him as 'SiRRagaththiyam' and 'PEragaththiyam'. There were lost except for some scanty references to some verses from them.These verses are found as references and quotations.

The Sage Agasthya remains as the founder of Tamil language which was Taught to him by Murugan Himself.

That is why Murugan is known as the Tamil God.

And Agasthya is known as the Tamil Muni.

VIGNAKARAN AND VIGNAHARAN

 

Inside the first praharam of SriMinakshi Amman sannidhi, there is a pedastal called peetam to the left side of the entrance. On this pedastal are two Vinayagar idols. These idols are known as the 'Irattai Pillaiyar'.

Only after performing the pujai, will the priest go inside the garbhagriha to perform pujai there.

Pillayar has many qualities. Of them two are deemed as very important. This is expalined in the agamas. They are personified as two figures. One is Vignaharan and the other is Vignakaran.

Among the sthothras of Vinayagar, there is one known as 'KariyaSiddhi Malai'. It is recited during Sankatahara Chathurththi and also for victory in efforts. There is a supportive prayer to this sthothra. It is known as Vinayagar PORRi'. This is a thanksgiving sthothra which is recited as a thanksgiving after fulfillment of desire on reciting KariyaSiddhi Malai.

KariyaSiddhi Malai belongs to the Ashtaka class of Prabandhas whereas the Thanksgiving Malai belongs to the Panchaka or Pancharatna class. In the last verse of that panckaratna, it says,

“For those followers and beleivers, you who destroys vignam obtacles; 
Salutations to You.

For those who do not ask and pray to you, You who gives vignam obstacles, 
Salutations to You”.

It should be noted that there are two divergent qualities mentioned here - Destroyer of vignam obstacles and Giver of vignam obstacles.

This is where the secret lies.The ancient Saivites had worshipped Ganesa as possessing these two qualities.

Normally, before we start to do any deed, we pray to Vinayagar so that we can start without any hitch, so that the deed proceeds without any hindrance and whatever obstacles that may be inherent in that particular project should not happen and finally for the endeavour to suceed.

There are three components to this purpose. There are positive and negative.

Removing obstacles and giving success in endeavours are positive components.

Creating hindrances if not worshipped is a negative component.

Vinayagar performs both functions. Hindrances, obstacles, hitches are known as vignam.

He who destroys or removes obstacles and hindrances is 'Vignaharan'.

He who creates obstacles and hindrances is Vignakaran or Vignakiruthu.

Both of them are Vinayagar.

In Vinayaga Kavacam, it mentions, 
“Let Ekadanthar save me during the whole of the daytime; 
Let Vignakrithu save me during the night and the wee hours and twilight”. 

Viganvardhanar also means the same. 

Let Siddheesar save in the south-east 
Let the Son of Uma save me in the south 
Let GanEsurar save me in the south-west 
Let Vignavardhanar save me in the west 

There is a story from Vinayaka Puranam.

A peculiar creation happened due to some reason. It was known as 'KaalaRuupi'. Is it Asura, Yaksha, Rakshasa? He was none of these. He was an entity by himself. In the Cosmos whatever type of negative things, obstacles, hindrances, evil effects, lose, etc., it was him. He was the embodiment of all those negative qualities. KaalaRuupi took the form of all these negative things and appeared as such. So he received the name 'Vigna'.

The Rishis headed by Vasishtar came to Vinayagar and asked Him to subdue Vigna. Vinayagar promised them that He would do so.

When Vinayagar took steps to subdue KaalaRuupi, he took many chaotic forms. But finally he could not overcome the attacks of Vinayagar and surrendered to Him.

He cried, "O KarunaaMuurththi! Please forgive me for all my sins and misdeeds. Please deliver me and accept me as your minion".

Vinayagar told him,"From henceforth, you will not give any problems to my devotees. But you can haunt with your various forms according to your nature, all those people who do not think of me, nor worship me, or perform insults to me. You will not break this injunction".

 Vigna asked for another boon, "You must graciously join my name together with your name as a prefix and use it thus". Vinayagar accordingly called Himself as Vigarajan and VignEswaran. The names Vignaharan, Vignakaran, Vignakrithu, Vignavardhana became his other names.

இரட்டைப் பிள்ளையார்

சாக்தஸ்ரீ 
டாக்டர்.kh.KfH[p tp[a FkhH

 

  

விக்னகரன்

          மீனாட்சியம்மனின் சன்னிதானத்தில் அர்த்தமண்டபம்/கருவறைக்கும் முன்னால், வாயிலுக்குத் தெற்குப்புறமாக ஒரு சிறியமேடை. அங்கு இரண்டு பிள்ளையார்கள் இருப்பார்கள். இருவரையும் சேர்த்து 'இரட்டைப்பிள்ளையார்' என்று அழைப்பார்கள். இங்கு பூஜையாகித்தான் கருவறைக்குள் செல்வார்கள்.

          பிள்ளையாருக்கு இரண்டுதன்மைகள் உண்டு. ஆகமங்களில் அது சொல்லப்பட்டிருக்கும். விநாயகர் வழிபாட்டு நூல்களில் 'காரியசித்தி மாலை' என்று ஒன்று உண்டு. இதனைச் சங்கடஹர சதுர்த்தியன்று படிப்பார்கள். மற்றபடிக்கு,  காரியசித்திக்காகவும் படிப்பார்கள். 

          இதற்குத் துணைநூல் ஒன்று உண்டு. காரியசித்தி மாலையைப் படித்து, அதனால் காரியவெற்றி பெற்றவர்கள், இந்த துணைநூலைப் படித்து விநாயகருக்கு நன்றியைத் தெரிவித்துக்கொள்வதற்காக
இந்த நூல்.

          காரியசித்தி மாலை 'அட்டகம்' என்னும் பிரபந்தவகையைச் சேர்ந்தது. இந்த நூல் 'பஞ்சகம்' அல்லது 'பஞ்சரத்தினம்'  என்ற வகையைச் சேர்ந்தது
          அந்நூலின் கடைசிப் பாடலில்,

      வேண்டிய அடியார்க்கெல்லாம்
            விக்கினம் கெடுப்பாய் போற்றி
      வேண்டி வந்தனை செய்யார்க்கு
            விக்கினம் கொடுப்பாய் போற்றி
      வேண்டுவார் வேண்டிற்றெல்லாம் 
            விளைத்தருள் விமல போற்றி
      மாண்ட துட்டர்க¨ளைக்கொல்லும்
            மறமிகு மள்ள போற்றி.

          இந்தப்படலின் முதலிரு அடிகளைக் கவனியுங்கள். முதல் அடியில் 'விக்கினம் கெடுப்பாய்' என்றும் அடுத்த அடியில் 'விக்கினம் கொடுப்பாய்' என்றும் வருகிறதல்லவா?
          அங்குதான் இருக்கிறது சூட்சுமம்.
          இரண்டையுமே செய்பவராகத்தான் பழஞ்சைவர்கள் விநாயகரை வணங்கியிருக்கிறார்கள்.
          இப்போது, ஒரு காரியத்தைத் தொடங்குமுன்னர், அக்காரியத்தைத் ொடங்குவதற்குத்  தடங்கல் இல்லாமலும், தொடங்கிய காரியம் தொடர்ந்து நடக்கவும், அக்காரியத்தில் விரவியிருக்கும் இயற்கையான தடைகள் ஏற்பட்டுவிடாமலிருப்பதற்கும், அக்காரியம் வெற்றி பெறுவதற்காகவும் விநாயகரை வணங்குகிறோம்.

          இதில் மூன்று வெவ்வேறு குறிக்கோள்கள் அடங்கியிருக்கின்றன. அவற்றில் பாசிட்டிவ் நெகட்டிவ் ஆகிய இரண்டுமே அடங்கியுள்ளன. 
         காரியத்தடையை நீக்குவதும் காரியசித்தி கொடுப்பதும் பாசிட்டிவான தன்மைகள்.
          வணங்கப்படவில்லையென்றால் காரியத்தடையையோ தோல்வியையோ ஏற்படுத்துவது நெகட்டிவான அம்சம்.
          இரண்டையுமே விநாயகர்தான் செய்கிறார்.
          இடையூறுகள் தடங்கல்கள், தடைகள் போன்றவற்றை விக்கினம் என்று சொல்கிறோம் அல்லவா? 
          விக்கினத்தை அகற்றுபவன் அல்லது அழிப்பவன் 'விக்கினஹரன்'. 
          விக்கினங்களைச் செய்பவன் அல்லது ஏற்படுத்துபவன், 'விக்கின கரன்' அல்லது 'விக்கின கிருது'.
          விநாயகர் கவசத்தில் பார்க்கிறோமல்லவா -- அந்த ஏழாவது பாடலில்....

          ஏகதந்தர் பகல்முழுதும் காக்க; இரவினும் சந்தி இரண்டன் மாட்டும்
          ஓகையின் *விக்கினகிருது* காக்க; இராக்கதர்,பூதம், உறுவேதாளம்,
          மொகினி,பேய், இவையாதி உயிர்த்திறத்தால் வரும்துயரும், முடிவிலாத
          வேகமுறு பிணிபலவும் விலக்குபு பாசாங்குசர்தாம் விரைந்து காக்க.

          இதே பொருளில் உள்ளதுதான் 'விக்கினவர்த்தனன்' என்னும் பெயரும்.

          அக்கினியில் சித்தீசர் காக்க; உமாபுத்திரர் தென்னாசை காக்க;
          மிக்க நிருதியில் கணேசுரர் காக்க; *விக்கினவர்த்தனர்* மேற்கென்னும்
          திக்கதினில் காக்க; வாயுவில் கசகன்னன் காக்க; திகழ் உதீசி 
          தக்க நிதிபன் காக்க; வட கிழக்கில் ஈசநந்தனரே காக்க.

          இதற்கு விநாயக புராணத்தில் ஒரு கதை இருக்கிறது.

         'காலரூபி' என்னும் ஒரு கொடிய சிருஷ்டி ஏதோ ஒரு காரணத்தால் ஏற்பட்டுவிட்டது. அதை அசுரன் என்பதா, அல்லது அரக்கன் என்பதா? அதெல்லாம் அவன் இல்லை. அவன் அவனேதான். 

          இயற்கையின் அமைப்பில் என்னென்ன வகையான இடையூறுகள், தடங்கல்கள், தடைகள், இடைஞ்சல்கள், கெடுதல்கள், விக்கினங்கள் எல்லாம் இருக்கின்றவோ அத்தனை வடிவிலும் அந்த காலரூபி தோன்றி அவற்றைச் செய்தான். ஆகையினால் அவனுக்கு 'விக்கினன்' என்ற பெயரும் ஏற்பட்டது. 

          வசிஷ்டர் முதலிய ரிஷிகளின் வேண்டுகோளுக்கிணங்க விநாயகப்பெருமான் அவனை அடக்குவதாக வாக்களித்தார்.

          முதலில் தன்னுடைய அங்குசத்தை ஏவி, காலரூபியைப் பிடித்துவரச் செய்தார். ஆனால் அவனோ யுகப்பிரளயமாக மாறிச் சுழன்று எல்லாவற்றையும் மூழ்கடித்தான். அதெல்லாம் விநாயகர் முன்னிலையில் எடுபடவில்லை. அதன்பின்னர் அவனால் முடிந்தமட்டும் விதம் விதமாகப் போரிட்டுப்பார்த்தான். 
    
          முடிவில் விநாயகர், ஒரு வேலாயுதத்தை அவன்மீது ஏவினார். அதனுடைய ஆற்றல்
தாங்காது காலரூபி, விநாயகரிடமே சரணடைந்தான்.

 
விக்னராஜன்
விக்னவிநாயகர்

          அப்போது அவன், "கருணாமுர்த்தியே! என்னுடைய அபசாரங்களையெல்லாம் மன்னித்து என்னையும் உங்களின் அடியானாக ஏற்றுக்கொள்ளுங்கள்," என்று கெஞ்சினான். 
          விநாயகர், "இனி நீ என் பக்தர்களுக்குத் துன்பம் கொடுக்கக்கூடாது. என்னை வணங்காதவர்களையும் நினைக்காதவர்களையும், எனக்கு அபசாரம் செய்பவர்களையும் நீ உன்னுடைய இயல்பின்படி பல விக்கினங்களின் வடிவெடுத்து நீ பீடித்துக்கொள்ளலாம். இதற்கு மாறாக நீ நடக்கக்கூடாது," என்று ஆணையிட்டார். 
          விக்கினன் இன்னுமொரு வரத்தையும் கேட்டுப் பெற்றுக ்கொண்டான்.                   "தங்களுடைய  திருப்பெயருடன் என்னுடைய பெயரையும் சேர்த்து வழங்கி யருள வேண்டும்".
          விநாயகர் அவ்வாறே தனக்கு 'விக்கினராஜன்' என்றும் 'விக்கினேஸ்வரன்' என்றும் பெயரைச் சூட்டிக ்கொண்டார். விக்கினஹரன், விக்கினநாசனன், விக்கினகரன், விக்கினகிருது, விக்கினவர்த்தனன் என்பவை யெல்லாம் காரணப்பெயர்களாக ஏற்பட்டன.

          இன்னும் கொஞ்சம் விசித்திரமான தகவல்கள் உள்ளன..... 

    இரட்டைப்பிள்ளையார்

          விநாயகரின் இரண்டுதன்மைகளையும் பிரதிபலிக்கும்வகையில் மூர்த்தங்களை நிறுவி அந்தப்பண்டைய சைவர்கள் வணங்கினார்கள். இந்த வழக்கம், காணாபத்தியம்(கணபதி வழிபாடு) என்பது தனியருசமயமாகத் திகழ்ந்த காலத்திலிருந்து வந்திருக்கலாம். 
         மேலும் பழஞ்சைவத்தில் ஆகமத்தாந்திரீகக்கூறுகள் மிக அதிகமாக இருந்தன. அவற்றிற்கும் முற்பட்ட சில கூறுகளும் இருந்தன. அவற்றில் பெரும்பகுதி இப்போது கிடையாது. 
          காணாபத்தியம் சைவத்தில் கலந்தபோது அந்தக்கூறுகளில் சில சைவத்துள்ளும் வந்துசேர்ந்தன. 
          விநாயகரை விக்கினகரனாகவும் விக்கினஹரனாகவும் வழிபடும் வழக்கம் பழமையானதுதான். இருவகைப்பிள்ளையார்களையும் தனித்தனியாக வணக்குவதோடு சிற்சில இடங்களில் சேர்த்தும் வணங்கியுள்ளனர்.
          அப்படிபட்ட சிற்சில இடங்களில் ஒன்றுதான் மீனாட்சியம்மன் சன்னிதியின் வாயிலின் தென்புற மேடை.
         அந்த இரட்டைப் பிள்ளையார்களில் ஒன்று விக்கினஹரன்; இன்னொன்று விக்கினகரன்.
          சிவாலயங்களில் விநாயகர் சன்னிதி தென்மேற்கு மூலையில் நிறுவப்படும்.அங்கு கிழக்குப்பார்த்தாற்போல விநாயகர் அமர்ந்திருப்பார். அவர் விகேஸ்வரன், விக்னஹரன்.
          அதே தென்மேற்கு மூலையில் வடக்குப்பார்த்தாற்போல சில மூர்த்தங்கள் இருக்கும். அவை சப்தமாத்ரிகா என்னும் பிராஹ்மி, மாஹேஸ்வரி, கௌமாரி, வைஷ்ணவி,  வாரஹி, இந்திராணி, சாமுண்டி ஆகியோர். அவர்களுடன் லட்சுமிக்கு மூத்தவளாகிய ஜ்யேஷ்டா தேவி தன்னுடைய புதல்வி, புதல்வனுடன் அமர்ந்திருப்பாள். அந்த இடத்திலும் ஒரு விநாயகர் மூர்த்தம் இருக்கும். அவர் விக்கினகரன். 
          இந்த அமைப்பை மிகவும் பழமையான சிவாலங்களில் மட்டுமே காணலாம்.மீனாட்சியம்மன் கோயிலில் சொக்கநாதர் சன்னிதியைச் சுற்றியுள்ள பிரகாரத்தில் இருக்கின்றது. மிகச்சுத்தமாகப் பார்க்கவேண்டுமானால் சிவகங்கை மாவட்டத்து திருப்புத்தூரில் உள்ள திருத்தளீசுவரர் ஆலயத்துக்குச் செல்லவேண்டும். பிரான்மலை திருக்கொடுங்குன்றீசர் கோயிலிலும் உண்டு.
          நன்மை நடக்கவேண்டும் என்று நினக்கும் அதே வேளையில் கெடுதல் நடக்காமல் இருக்கவும் வேண்டினர். கெடுதலைத் தடுப்பதற்கும் தெய்வங்களை வழிபட்டனர். கெடுதலைக்கொடுக்காமல் இருப்பதற்காகவும் தெய்வங்களை வழிபட்டனர். 
          நாட்டுக்காவலர்கள் தம்மைக் காக்கவேண்டும் என்று எண்ணி 'பாடிகாவல்' என்னும் வரியை அந்த பாடிகாவலர்களுக்குச் செலுத்தியிருக்கிறார்கள். 'பாடிகாவல்' என்றதும் 'body-guard' என்னும் சொல்லுடன் முடிச்சுப்போட்டுவிடவேண்டாம். இந்த 'பாடி, குடியிருப்பைக் குறிக்கும். அதே சமயம், கொள்ளைக்காரர்கள், தக்கியர் போன்றவர்கள் தங்களுக்குக் கெடுதல்கள் ஏதும் விளைவிக்காமல் இருப்பதற்கென்று 'தெண்டு'  எனப்படும் கப்பத்தையும் கொடுத்திருக்கிறார்கள். 

          மலேசியாவில் இந்த வழக்கம் இப்போது அதிகம் இருகிறது.  குண்டர் ஜமா நம்மை ஒன்றும் செய்யாமலிருப்பதற்காக குண்டர் ஜமாவுக்கு 'protection money' என்னும் 'மாமூல்' கொடுக்கிறோம். அந்தந்த வட்டாரம் ஒவ்வொரு குறிப்பிட்ட ஜமாவின் வசம் இருக்கும். 

          
விக்னஹரன்
விக்னராஜன்

          திபெத்தில் ஒரு சிலாவடிவம் இருக்கிறது. விக்னராஜ விக்னேஸ்வரன் என்னும் மூர்த்தம் அது. மிகவும் விந்தையான விசித்திரமான ஆச்சரியமான வடிவம் அது. அதை ஸ்கான் செய்துபோட்டால் பொருத்தமாக இருக்கும். அதுபோலவே ஜ்யேஷ்டா தேவி முதலிய தெய்வங்களின் மூர்த்தங்களையும் போடலாம். நம்மில் அனேகர் அவற்றைப் பார்த்திருக்கமாட்டார்கள்.    

           மாங்கோலியா, திபெத், சைனா, ஜப்பான் ஆகிய இடங்களிலும் விநாயகர் சிலைகள் இருக்கின்றன.
           இதில் ஒரு விந்தை என்னவென்றால், விநாயாகரின் மிக மிக அரிதான வடிவங்கள் அங்கு கிடைக்கின்றன.
           பெண் வடிவில் 'கணேசினி' என்ற வடிவு ஒன்று இருக்கும். அது சைனாவில் இருக்கிறது.
            மதுரை மீனாட்சியம்மன் கோயிலில் சங்கத்தார் மண்டபம் என்றொரு இடம் இருக்கிறது. இது சுவாமி சன்னிதியைச் சுற்றியிருக்கும் இரண்டாவது பிரகாரத்தில் இருக்கிறது. முக்குறுணி பிள்ளையார் சன்னிதியிலிருந்து இடப்பக்கம் திரும்பி பிரகாரத்திலேயே நடந்து சென்றால் வடமேற்கு மூலையில் அந்த மண்டபம் இருக்கும். அதற்கு எதிர்ப்புறத்தில் சில விநோத சிற்பங்கள் இருக்கும் பெரும்தூண்களைக் கொண்ட மண்டபம் இருக்கும். அந்தத் தூண்களின் ஒன்றில் கணேசினியின் சிலையைக் காணலாம். 
            சில கணேசினியின் சிலைகள் புலிக்கால்களுடன் இருப்பதைக் காணலாம். அந்த மாதிரி கணேசினியை 'வியாக்ரபாத கணேசினி என்று குறிப்பிடுவார்கள்.
           '   இரட்டை விநாயகர்' என்ற இன்னொரு அமைப்பும்  ் ஜப்பானில் காணப்படும். இரண்டு விநாயகர்கள் ஒருவரை ஒருவர் கட்டி த் தழுவிக்கொண்டு நிற்பதைப ்போன்ற வடிவம் அது.  

 அன்புடன் 

kh.KfH[p tp[a FkhH

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THE GANESA OF THIRUVANAIKKA

There is an episode in the history of the SriMeenakshi Amman Temple at Madurai wherein, the Nataraja's cosmic force caused havoc to those places which were directly in the sight of Nataraja.

Tantrik scholars made use of a very old solution to overcome this problem. They closed the doorway which was directly in front of Nataraja. Outside this wall, they made a shrine and placed a very large Vinayagar called MukkuRuNi PiLLaiyaar. Henceforth there was no problem at all.

The MukkuRuNi PiLLaiyaar became a very powerful source of cosmic energy. Some elements of Tantrik worship are are still maintained. One of them is the constant fumigation with aromatic smoke and the offering of a huge mOdhakam made from mukkuRuNi measure of rice.

The temple of Siva at Thiruvanaikka is a very ancient temple of great importance. The presiding deities of this temple is AkilaandEsvari and JambukEsvara. It was a center for Saiva Cult as well as Saktha Cult. In addition, the Kaapaalika Cult also held it in reverence. Basically AkilandEsvari is MahaVarahi who is also known as DaNdanatha, DaNdiNi, Panchami, among Other names. DaNdanatha is the Commander-in-Chief of the Great Celestial Empress – RajaraEsvari.

 

The Kaapaalikas and other such sects of Saivites had taken control of many Siva temples in Tamilnadu at one time. One among them was the Thiruvaanaikka temple.

The rituals which took place were different from the tame agamic and pseudo-vedic rituals which take place nowadays.

The intensity of the worships and rituals made AkilaaNdEsvari to attain what is known as 'ugra kalai'. This manifestation of Cosmic Energy is very forceful and fiery. Much harm came in the way of the temple.

Adhi Sankara came along in one of his Sankara Vijayams. By means which were best known to him, he wrested control from the Kapalikas and stopped many of the kaula and vaama practices.

He thought that the fiery energy had to be captured and be emanated slowly in quanities which human beings could benefit from.

So he made two thaatankas - big ear-rings. They were very special. Sankara had inscribed the SriChakra in the Thaatankas.

 

With due special pujas, he made them attain 'uru' power which would absorb much of the power and release them in proper quantities.

Directly in front of AkilANdEsvari, he placed a big Vinayaka figure.

Behind the shrine of AkilANdEsvari, he placed a big statue of Murugan on Mayil vahana.

VinAyaka and Murugan absorbed the fiery cosmic power that was very intense and made it into a benefient and nurturing energy.

To this day, Akilandesvari is a very pacific and belevolent giver of boons.Great poets were given their literary power by Her.The great poet KaLamegam was given incredible power of words and poesy by Her.

VIKATA CHAKKARAN

Courtesy of SriSiddhiVinayakar Temple Sungai Petani

Murugan has a whole range of literauary works dedicated in His name. ThiruMurugaRRuppadai, Kandhapuranam, Thiruppugalz, Paripaadal, Kandhar anubhuthi, Kandhar alankaaram, Kandha Sashti Kavacam, KumaraSambhavam, etc.

The important purnas in his name are many. Kandha Puranam, Skantha Puranam, Thanikai puranam, etc.

Skandha Puranam is the largest among the puranams. It is reputed to consist of one hundred thousand slokas or verses.

Kandha Puranam is in Tamil.

There was a priest called Kachchiyappa Sivaachaariyaar who was a native of Kanchipuram. He performed pujai worship to Murugan in the temple Kandha KOttam in Kanchi.

He was a great Tamil scholar.

One day he had a dream wherein he was told by Murugan to compose a poem in His name.

He asked how he was to begin.

The beginning verse was to be dedicated to Vinayakar who was known as 'VikataChakra'.

He was told to start with the words 'thikadasakkara'.

He did so.

And with divine inspiration, he completed the composition of the purana.

Such works had to be made as a presentation in group of scholars and a patron.

It was done in an assembly of scholars in Kanchipuram.

As soon as he started reciting the first word, a scholar stopped him and asked him what was the meaning of 'thikatasakkara'. Because no such word existed in the Tamil language.

Kachchiyappa was flabbergaste. Because in fact, he had not heard such a word.

So he excused himself and said he would come back on a later date and tell the meaning. But the word had been obtained directly from Ganesa. How could it be possibly wrong?

Then he went back and asked Murugan. How was it that the very first word that was given was not a word that was in use and for which nobody knew the meaning.

Murugan told Kachchiayappa to tell the other scholars that a specially invited scholar from Cholza country would come on a specific day and give an explanation.

On the specified day, the assembly met.

Then precisely at the time mentioned a young scholar appeared.

He said the he was from Cholza country. He explained that the word 'thikatasakkara' was actually a combination of three components.

'thikalz' + 'dhasa' + 'kara'.

According to the puNarchchi vidhi - the grammatical rule of combination of words and letters, the components would combine as 'thikatasakara'.

The combination grammatical rule says that lz+sa would combine to give the letter 'da'.

As was very obvious, it would mean a 'display of ten arms'.

Heramba Ganapathy has ten arms.

This is one of the sixteen different forms of Ganapathy; these forms go by the name ‘Murthi Bedham’.

The rule for this particular instance was explained in the grammatical work called 'ViiraCholziyam'. This work was prevalent in Cholza country while it is little known in ThoNdai country where Kanchi was situated.

The assembly was satisfied and accepted the explanation.

After that the scholar from Cholza country disappered into the sanctum sanctorum of Kandha kOttam.

It was none other than Murugan who had dispelled the doubts of the scholars.

THE DATE OF GANESA WORSHIP IN TAMILNADU

 VatApi Ganapathi of ThiruvArUr

It is generally assumed that Ganesa was brought to Tamilnadu by Siruththondar.

The rock-cut Ganesa- the Karpaga Vinaayagar of PiLLaiyaarpatti fame is earlier than the period of Siruththondar. Furthermore, Appar's 3rd Thevaaram hymn staring with, "CuNNa veN chandhana sAndhum sudarth thinggaL sULAmaniyum..." is one his earliest hymns.

Appar was born a Saivite. But he became converted to Jainism. Among the Jains, he was great scholar and weilded a lot of influence. Due to the prayers of his sister, Thilakavadhiyar, intervention of Siva took place. Appar became a Saivite again.

Among the three thousand odd Thiruppadhigams of Appar which are extant at present, the first hymn to be sung was 'kURRaayinavaaRu'.

The conversion of Appar angered the Jains who instigated the Emperor Mahendravarma Pallavar.

Appar antagonised the Jains and the Pallava emperor, Mahendra Varman I. He called forth Appar to present himself before the emperor.

But Appar refused and sang the hymn, 'nAmArkkum kudiyallOm, namanai ancOm'.

This angered the emperor further, who at the instigation of his Jain advisors, made Appar eat poisoned milk rice. But Appar escaped death. Then the emperor had a mad elephant driven to a high-pitch of frenzy and made to run amok at Appar and thus trample him.

It was at that instance that Appar sang a padhikam hymn- ‘CuNNa veN chandhana sAndhum sudar thinggat sULAmaNiyum……’

It was sung within a few days after he became a full-fledged Saivite. As such, it is one of the earliest hymns which was sung by Appar.

The hymn, 'CuNNa veN santhana chaandhum' has the refrain, 'ancuvadhu yAdhonRum illai; ini anca varuvadhum illai'.

At which, the mad elephant became tame and subservient and kneeled at the feet of Appar and lifted its trunk in humble obeisance and salutation.

This hymn is recited by Saivites who are in a state of fear to allay, alleviate, and dispel their fears.

The 3rd verse of this hymn has the lines.... "kalamalakkittuth thiriyum Ganapathiyennum kaLiRum".

Mahendravarman, he was succeeded by his son Narasimhavarman. In the thirteenth year of Narasimha's reign, he sent an invasion army to VAtApi, the capital city The army went under the command of his commander-in-chief ParanjOthi. The successful ParanjOthi ransacked VAtApi and set fire to it..

Among the loots taken from VAtApi, he brought a statue of Vinayaka. This statue, he placed in the Siva temple of his home town - Thiruchenggaattangudi.

The 'ancuvadhu yAdhonRum illai' hymn predates Siruththondar's invasion of VAtApi by at least 30 years.

The rock-cut PiLLaiyaar of MahipAlanpatti is also very ancient and is quite unique. There is no other statue like it, in Tamilnadu.

MahipAlanpatti is the PUngunRam of Sangam Age - the home-town of KaNiyan PUnggunRanAr of 'yAdhum UrE, vAyarum kELir' fame. It is now in the PudukOttai District.

The VAtApi theory got strengthened only lately, mainly because of two factors.

One was the "SivagAmiyin Sabadham" novel by Kalki.

The other is the practice of starting every Karnatic Music session with Dikshithar's "VAtApi Ganapathim bajE".

The VAtApi Ganapathi that Muthusami Dikshithar sang of, is in ThiruvAruur. He is also known as the MUlAdhAra Ganapathi.

The second one is in ThiruchengAttangudi. This was placed there by Siruththondar himself.

It is true that Siruththondar brought a Ganesa from VAtApi. But that does not necessarily mean that he brought it here first. People bring all sorts of trophies. Some get famous. Some don't -just like the Durga statue which was also brought from the Chalukyan country by an invasion of the Cholas.

Incidentally, RAjEndra ChOlza himself did bring a statue of Ganesa from the shores of the Ganges River. It is in Gangai Konda ChOlzaPuram and the Ganesa is appropriately called "Gangai VinAyagar". (Actually his C-in-C did it. Rajendra was in Chidhambaram building a new capital city).

ParancOthi alias SiRuththoNdar had brought a statue of Vinayagar from VAtApi.

But before that Ganesa worship was already present in Tamilnaadu. There were certain communities who were having Ganesa as a their primary deity.

Ganesa Worship

By - M.Mukarji vijayakumar

The original basis for Hinduism are the holy books called the "Vedas". In the ancient times, the followers of Vedas developed many forms of worships and cults. And they also quarrelled among themselves. So the Vedic Culture was split. This was taken advantage of, by the Buddhists and the Jains who belonged non-Vedic religions. The Vedic Culture was facing the danger of becoming extinct.

Then the great Adhi Sankara came. He overcame all the non-Vedic religions and combined all the different cults which were based upon the Vedas.

He created six branches of the Vedic religion. Each of them had its own supreme god or goddess. But they were all based on the Vedas. The branch with Siva as the Supreme Lord was called Saivism. For Vishnu, was Vaishnavism. Ambal worship was called Shaktha. Surya had Saura and Muruga had Kaumara as their sub-religions. The branch which followed Ganapathi as its chief god, was called Ganapathya. The present form of Hinduism that we follow now, is an amalgam of all these six sub-religions, with elements of totemism, paganism, ancestral worship, guardian deity worship and animism. During the course of time, all the other five sects accepted Ganapathi and gave Him prominence their systems. In all of them, Ganapathi is worshipped before any puja, ceremony or rites.

When any new venture is undertaken, Ganapathi is first worshipped. He is worshipped to prevent and remove obstacles. It is also beleived that failure to worship Ganapathi will lead to problems.

There are many stories about Ganapathi. He awas created from the Body of Ambal by Herself. She made Him Her guard. In a battle His head was cut off. Siva fixed an elephant's head onto the body. So He became named as Gajaanana.

He was made as the chief of the servants of Siva, Thus He earned the name as Ganapathi, GanaNatha, Ganesvara, and Ganesa. As the remover of ostacles, He is known by the names, VignaRaja and Vignesvara. Since He is worshipped before any other god is worshipped, He is known as Vinayaka - "He who has no overlord".

When Veda Vyasa, composed the great epic of MahaBharatha, Ganesa was asked to do the writing. So Ganesa broke off His right-sided tusk and with it wrote the Maha Bharatha, while Vyasa recited the verses. Because He has only one tusk, He is known as Eka Danta. He always keeps His trunk curled and thus earned the name "Vakra Thunta". His big belly has earned for Him the name, "Lambhodhara". His large body gives Him the name Maha Kaaya. His size, shape, and elephant-head together, have given Him the name Vikata. He has the Moon as the tilaka on His fore-head. So He is called Palachandra. In Tamil, he is known as the Pillaiyar. This is because He is the eldest son of Siva and Ambal.

Once upon a time, there was an Asura demon who threatened the worlds. Ganesa went after Him. But the asura changed into a huge rat, called the bandicoot. Ganesa sent His noose called Paasa and tied him. Ganesa's Paasa removed all the ignorance from the asura. But he remained in the form of the rat which is known as Mushika. Hence Ganesa is also called Mushika Vahana. There are many exploits of Ganesa. He used His intellect to win a competition with His younger brother Muruga. His prize was the Divine Mango.

The sage Agastya is known as the Tamil Muni. He brought one of the seven holy rivers to South India. It was contained in a pitcher. But Ganesa played a trick on him by taking the form of a crow and and toppling the pitcher of Agastya. This released the river and it ran out as the Kauveri River towards the sea, enriching, on its way, Karnataka and TamilNadu. The enraged Agastaya chased after the crow, which then took the form of a boy. Agastya went to knock hard on the boy's head. Just then Ganesa showed His true form to Agastya. Agastya was shocked with the sacrilege that he was about to have committed. In atonement of his act, Agastya knocked hard on his own fore-head. It was thus that the Pillaiyar Kuttu was born.

Ganesa also stopped Ravana, the Lord of Langka, from taking the hrine of Siva MahaBaleswara to Langka. If he had taken it there, he would have become invincible.

He also stopped Vibhishana, the younger brother of Ravana, from taking the shrine of Sri Ranga Natha to Langka. Thus Sri Ranga Natha became fixed in Sri Rangam, near Tiruchi. Ganesa occupies a temple on top of the Tiruchi Hill, and is known as the "Uchchi Pillaiyar" of Tiruchi Malaikkottai.

After Agastya settled down in the Podhiyil Mountains of TamilNadu, he compiled the grammer for the Tamil language. This was written on the side of a mountain by Ganesa with His tusk. This grammer was known as Agaththiyam. This book was later lost, and Tolkaappiyam took its place as the chief grammer book, for some time. This episode is mentioned by the Saint Arunagiri Nathar in the first hymn of his Thiruppugaalz, which is dedicated to Muruga.

One of the greatest poets in Tamil is Auvaiyaar. She was an ardent worshipper of Ganesa. She has dedicated a hymn called "Vinaayagar Agaval" to Ganesa. This hymn is a Mantra Verse and contains deep spiritual knowledge about Kundalini Yoga. After the dedication of the hymn, Ganesa lifted up uvaiyaar with His trunk and placed her in Thiru Kaiyilaaya Heaven.

Ganesa's mantra which starts as "Ganaanaamthvaa Ganapathim" is found in the Vedas. Ganesa worship has been practiced for a long time in TamilNadu by the class of merchants, known as the "Nagaraththaar". The famous illaiyaarpatti Temple in the Ramanathapuram District of TamilNadu was founded by them. It is a temple where a giant figure of Ganesa has been carved out of an rtificial cave, which was cut out on the side of a hill of granite stone. These types of temples are known as "rock-cut temples". This temple is at least 1600 years old.

There is a famous Ganapathi in Kasi, known as Dundi Ganapathi. Then we have the Vatapi Ganapathi of Thiruvaarur and Thiru henggaattangudi.

All performances of Karnatic music always start with a kirthanai dedicated to Ganesa. The most famous and commonest sung kirthanai, is the "Vaathaapi Ganapathim bajeeham", which was composed by Muthuswamy Dhikshithar.

There are many hymns dedicated to Ganesa in Tamil. In fact, any literary work or works on other types of sastras, have always a hymn of protection, called "Kaappu Cheyyul". This is usually addressed to Ganesa to remove obstacles and to give victory in the enterprise.

Thus we may have almost a hundred thousand hymns dedicated to Ganesa over all these centuries.

But there are many hymns and works dedicated specifically to Ganesa. We have the Vinaayagar Agaval, Vinaayagar Kavacam, Kaariya Siddhi

Maalai, Ganesa Thoththiram, Mooththa Pillaiyaar Thiru Irattai Mani Maalai by Nambi Aandaar Nambi, Mooththa Pillaiyaar Thiru Mummanik Kovai by Adhiraavadigal, and Mooththa Naayanaar Thiru Irattai Mani Maalai by Kapila Deva Naayanaar. Adhi Sankara has composed a hymn to Ganesa called "Ganesa Pancha Ratnam". This was dedicated to the Ganesa in Madurai Meenakshi Temple. Ganesa is said to have danced to the rhythm of the hymn. He has also composed another sthuthi called "Ganesa Bhujangam". Naaradhar has composed the "Sankashta Naasana Ganapathi Sthothram".

Among the Mantras, we have the names of Sankashta Naasana Ganapathi which are twelve in number. They are called the Dvaadasa Naama. The sixteen mantra names are called Shodasa Naama; twenty-one mantras are known as Eka Vimsathi Naamaavali; one hundred and one names are known as the Ashttoththara Satha Naamaavali; thousand mantra names go by the name of Sahasra Naamaavali". The great Tantrik sage, Baskara Raya, has given a full explanation for all the thousand mantras.

Apart from these, there are the Beeja Mantras, the Moola Mantras, and the Devata Gayathri Mantras. There are many Mantrik Dhyana Slokas for Ganesa.

There is a main purana dedicated to Ganesa, called Vinayaka Purana. This has been translated into Tamil by Kachchiyappa Munivar. Ganesa occupies a very important position in Kandha Purana. He helped Muruga marry Valli after many difficulties.

If not for Ganesa, we would not be having the Thevaram Hymns.

The Thevaram Hymns are part of a collection of Saivite Holy literature. The Thevaram hymns were composed on Lord Siva by the saints Appar, Sambandhar, and Sundarar. Sundarar was the last of the three authors.

After Sundarar ascended to Thiru Kaiyilayam, the hymns were safely kept in a safety vault in the Nataraja Temple of Cithambaram and forgotten. But a few Thevaram hymns were sung in temples here and there.

After about ten generations later, Raja Raja Cholza became the emperor of South India and Ceylon. He was an ardent Saivite. He heard the few extant Thevaram hymns, but could not find the rest of them.

There was a boy called Nambi Aandaar Namb, in a place called Thiru Naaraiyur. In that place, is a temple for Ganesa, who is known there as the "Pollaa Pillaiyaar". Ganesa performed several miracles to Nambi, and Nambi could talk with Him.

So Raja Raja asked him to help find the Thevaram hymns. Nambi in turn appealed to Ganesa, and Ganesa revealed the secret place where the hymns were stashed away.

Raja Raja and Nambi went to Chidambaram, located the place, and found the Thevaram hymns. With the help of Ganesa, the melody or Pan for each Thevaram hymn was also found out from a woman.

Nambi went on to compile the first eleven sections of the Saivite Holy Books called the Thiru Murai.

Raja Raja took great measures to spread the Thevaram and have them sung regularly in all the Siva temples. He himself made a shrine of Siva called "Thevara Devar" and offered personal worshipto Him with Thevaram hymns.

The important festival for Ganesa is the Vinayaka Chathurthi. This comes on the 4th day of Sukla Paksha, in the month of vani(Sravana) - September/October. This is the day that Vinayaka took Avatara. Just as Vishnu has ten avataras or incarnations, Ganesa has sixteen avataras.

Among the Virathas, Chathurthi Viratha, Sankatahara Chathurthi Viratha, Ganesa Shashti Viratha, and Velli Viratha are important.

The Sankatahara Chaturthi Viratha occurs during the fourth day of the They Pirai or Krishna Paksha, every month. Every year, we have the Maha Sankatahara Chathurthi.The viratha starts before sun-rise and lasts until moon-rise just before mid-night. This is observed in order to overcome difficulties and problems. People suffering from the bad effects of Moon or Mars can perform this viratha.

There are thirty-two forms of Ganesa. Each one of them have their own Mantras, Slokas, Sthothras, and rituals. Each one is worshipped following a specific method, for very specific purposes.

Some of the forms are Sakthi Ganapathi, Maha Ganapathi, Siddhi Ganapathi, Lakshmi Ganapathi, Bala Ganapathi, Heramba Ganapathi, Bakthi Ganapathi, Vira Ganapathi, Uchchishtta Ganapathi, Vigna Ganapathi, and Sankata Naasana Ganapathi.

Ganesa can be worshipped in many ways. There are elaborate homas, pujas, etc. But at the same time Ganesa worship can be the simplest of all.

Ganesa statue can be installed under a tree and He can be worshipped straight away. A figure of Ganesa can be moulded by hand, with clay, cow-dung, flour, turmeric powder, or sugar and a very simple puja can be performed . He can be worshipped with Arugu grass, Nandi Avarththam flowers, Bilva, and Vanni leaves. He likes sweet fruits. Special among them are the Wood-Apple, Mango, Pomegranate, Naaval, Bananas, and Jack-fruit. Milk, Honey and Sugar-syrup are also favourite offerings. Chundal nuts, Green Grams, Kolzukkattai, Modhakam, and Paayasam are also His favourites. Juice of sugar-cane is offered in some special types of worship. Panchamirtham also is very much liked, just as His brother, Muruga.

Ganesa's favourite Bali is the shattering of coconuts. This is known as "Sidharu Kaay".

Ganesa likes very simple, straight-forward, honest, and dedicated Bhakthi.

அநீஸ்வராய நம:
கணேஸ்வராய நம:

   

சாக்தஸ்ரீ 
டாக்டர் எஸ்.ஜெயபாரதி

    சமீபத்தில் ஓர் இழையில் 'நிரீஸ்வரவாதி' என்ற சொல்லைப் பயன்படுத்தியிருந்தேன்.
    விநாயகருடைய நாமாவளியில் 'அநீஸ்வராய நம:' என்ற நாமமந்திரம் வருகிறது. 
    இரண்டு சொற்களும் ஒரே மாதிரியாகத் தோன்றினாலும் இரண்டுமே முற்றிலும் வெவ்வேறு பொருள்களைக் கொண்டவை. மிகவும் ஆழமும் அகண்டாகாரமும் உடைய சொற்கள். 
    ஈஸ்வரன்' என்பவன் 'தலைவன்', 'மேலாண்மையுடையவன்' என்று சில அர்த்தங்களை யுடையது.  
    'நிரீஸ்வரவாதி'கள் இறைப் பொருள் சித்தாந்தம் இல்லாதவர்கள்.

    'அநீஸ்வரன்' என்றால் 'தனக்கும் மேலே ஒரு தலைவன் இல்லாதவன்' என்று பொருள். 
    இதைக் கொஞ்சம் விரிவாகப் பார்ப்போம்.

    விநாயகருக்குரிய கணேச பஞ்ச ரத்தினத்தில் ஆதிசங்கரர் 
பாடியுள்ளது - 

முதாகராத்த மோதகம் ஸதாவிமுக்திஸாதகம் 
கலாதராவதம்ஸகம் விலஸிலோகரக்ஷகம்
அநாயகைகநாயகம் விநாசிதே பதைத்யகம்
நதாசுபாசுநாசகம் நமாமி தம் விநாயகம்

முதாகராத்த மோதகம் - மகிழ்ச்சியுடன் கரத்தில் மோதகத்தைக் கொண்டுள்ளவர்

ஸதாவிமுக்திஸாதகம் - தம்மை வழுத்துபவர்களுக்கு எப்போதும் முக்தியைக் கொடுப்பவர்

கலாதராவதம்ஸகம் - கலா என்பது சந்திரனின் கலை - பிறைச்சந்திரன். பிறையணிந்தவர் சிவனென்பது மட்டுமே மக்கள் சாதாரணமாக அறிந்திருப்பது. 
ராஜராஜேஸ்வரி, புவனேஸ்வரி, பாலா திரிபுரசுந்தரி, ஆத்யகாளி எனப்படும் மகாகாளி தசமுகி ஆகிய அம்பிகை வடிவங்களும் பிறையணிந்திருப்பார்கள். 
மகாகணபதி, வல்லபகணபதி, உச்சிஷ்டகணபதி என்னும் வடிவங்களுக்கும் முக்கண்களும் பிறைச்சந்திரனும் உண்டு. 

விநாயகர் அகவல் :

சீதக்களபச்சுஎந்தாமரைப்பூம்
பாதச்சிலம்பு பல்லிசை பாட 
பொன்னரைஞாணும் பூந்துகிலாடையும் 
வண்ணமருங்கில் வளர்ந்தழகெறிப்ப 
பேழைவயிறும் பெரும்பாரக்கோடும் 
வேழமுகத்தில் விளங்கு சிந்தூரமும் 
அஞ்சுகரமும் அங்குசபாசமும் 
நெஞ்சில் குடிகொண்ட நீலமேனியும் 
நான்றவாயும் நாலிருபுயமும் 
மூன்று கண்ணும் மும்மதச்சுவடும் 
இரண்டு செவியும் இலங்கு பொன்முடியும் 
திரண்ட முப்பரிநூல் திகழொளி மார்பும் 
சொற்பதம் கடந்த துரியமெய்ஞான 
அற்புதம் திகழும் கற்பகக் களிறே!

முருகனுடைய திருவுருக்களில் மகாசுப்பிரமணியர் என்னும் வடிவம் உண்டு. 
மீனாட்சியம்மன் கோயிலின் சில கோபுரங்களில் இந்த வடிவின் சிலைகளைக் காணலாம். இவ்வடிவிலும் ஒவ்வொரு முகமும் முக்கண்கள் பெற்று, பிறைகள் அணிந்தவாறு காட்சியளிக்கும்.

இந்த வரியின் பொருள் - சந்திர கலையைத் தலையில் தரித்திருப்பவர்.

விலஸிலோகரக்ஷகம் - தம்முடைய பக்தியில் திளைத்து மகிழ்ச்சியாக இருக்கும் பக்தர்களைக் காப்பவர்

அநாயகைகநாயகம் - அநாயக ஏகநாயகம் - தங்களைப் பாதுகாக்கக்கூடிய தலைவன இல்லாதவர்களுக்குத் தாமே ஒரே தலைவராக விளங்குபவர்

விநாசிதே பதைத்யகம் - இப தைத்ய என்னும் சொல் கஜாசுரனைக் குறிக்கும். 
இபம் - யானை. 
காசியப முனிவருக்கு திதி என்னும் மனைவி உண்டு. அவர்களுக்குப் பிறந்தவர்கள் அசுரர்கள். திதியின் புத்திரர்கள் என்பதால் தைத்யர் என்று பெயர். 
கஜாசுரனைக் கொன்றவர்.

நதாசுபாசுநாசகம் - தம்மை வணங்குபவர்களின் பாவங்களை எப்போதும் நாசம் செய்பவர்

நமாமிதம் விநாயகம் - அப்படிப்பட்ட விநாயகரை வணங்குகிறேன்.
நதாசுபாசுநாசகம் நமாமி தம் விநாயகம்

    அப்படியே இரண்டாம் பாடலையும் பார்ப்போம் -

இரண்டாவது பாடல்:

நதேதராதிபீகரம் நவோதிதார்க்கபாஸ்வரம்
நமத்ஸ¤ராரி நிர்ஜரம் நதாதிகாபதுத்தரம் 
ஸ¤ரேச்வரம் நிதீச்வரம் கஜேச்வரம் கணேச்வரம் 
மஹேச்வரம் ஸமாச்ரயே பராத்பரம் நிரந்தரம் 

நதேதராதிபீகரம் - தம்மை வணங்காதவருக்கு அடிக்கடி பயத்தைக் கொடுத்துத் தடுத்தாட்கொள்பவர்.
விநாயகரின் பல மூர்த்தங்களில் விக்னஹரன் என்று விக்னகரன் என்றும் இரண்டு உண்டு. 
அவரை வணங்காது தொடங்கப்படும் காரியங்களில் விக்னங்கள் ஏற்படுத்துபவர் விக்னகரன்.
ஆகவே எந்தக் காரியத்தைத் தொடங்கும்போதும் விக்னம் ஏற்படாமல் இருப்பதற்காக வழிபடப்படுபவர். 
இன்னொருவராகிய விக்னஹரர், இடையூறுகளை நீக்குபவர்.    
இவர்கள் இருவரையும் சேர்த்து 'இரட்டைப் பிள்ளையார்' என்று சொல்வார்கள். 
மதுரை மீனாட்சியம்மன் சன்னிதியில்கருவறைக்குப் பக்கத்தில் இவர்கள் இருவரின் திருவுருவங்கள் இருக்கின்றன.

நவோதிதார்க்கபாஸ்வரம் - நவ உதாதித அர்க்கபாஸ்வரம் - உதய கால சூரியனைப
்போல் விளங்குபவர்

நமத்ஸ¤ராரி நிர்ஜரம் - ஸ¤ரர் என்போர் தேவர்கள்; அவர்களின் விரோதிகள் அசுரர்கள்; ஸ¤ராரி என்பது அசுரர்களைக் குறிக்கும். தம்மை வணங்கும் தேவர்களின் விரோதிகளான அசுரர்களை அழிப்பவர்.

நதாதிகாபதுத்தரம் - ஆபதுத்தரம் என்றால் ஆபத்திலிருந்து காப்பாற்றுதல். 
தம்மை வணங்குபர்களை ஆபத்துக்களைலிருந்து காப்பாற்றுவர்.

ஸ¤ரேச்வரம் - தேவர்களின் தலைவர்

நிதீச்வரம் - நவநிதிகளுக்கும் அதிபதி; புதையல்களுக்கு அதிதேவதை.

கஜேச்வரம் - யானைகளுக்கு அதிபதி

கணேச்வரம் - கணங்களுக்கெல்லாம் நாதராக இருப்பவர்
 
மஹேச்வரம் ஸமாச்ரயே பராத்பரம் நிரந்தரம் - மஹா ஈஸ்வரனாக விளங்குபவரும் பரத்தும் பரமாக இருப்பவரும் ஆகியவர். 

அப்படிப்பட்ட கணபதியை வணங்குகிறேன்.

    இந்த இரு பாடல்களிலும் வரும் சில சொற்களைக் கவனிக்க வேண்டும். 

அநாயகைகநாயகம் - அநாயக ஏகநாயகம் - தங்களைப் பாதுகாக்கக்கூடிய 
தலைவனில்லாதவர்களுக்குத் தாமே ஒரே தலைவராக விளங்குபவர்

    இந்த இடத்தில் இருவகையாகப் பொருள் கொள்ளலாம். 

மேலேயுள்ள பொருள் ஒன்று.

அநாயக - தனக்கென்று தனக்கும் மேலாக ஒரு தலைவனில்லாதவன் 
ஏகநாயகம் - அனைத்துக்கும் ஒரே தலைவனாக இருப்பவன்.

    இரண்டாவது பாடலில் வரும் - 

ஸ¤ரேச்வரம் நிதீச்வரம் கஜேச்வரம் கணேச்வரம் 
மஹேச்வரம் ஸமாச்ரயே பராத்பரம் நிரந்தரம் 

தேவர்களுக்கும், அனைத்து செல்வங்களுக்கும், யானைகளுக்கும், கணங்களுக்கும் தலைவனாக இருப்பது மட்டுமல்லாமல் எல்லாவற்றுக்கும் எல்லாருக்கும் பெருந்தலைவனாக இருப்பதையும் குறிக்கிறது. 

    அதுதான் அந்த 'அநீஸ்வராய நம:' என்பதன் சுருக்கமான பொருள்.

அன்புடன்

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kh.KfH[p tp[a FkhH

HIRUVILAIYADAL PURANAM
THE NATIONAL PURANAM OF PANDYA NADU
BY 
M.MUKARJI VIJAYAKUMAR

 

    Hinduism has a very rich body of religious works and literature.
Vedas and their associated works and their branching sciences and fields,
etc. 
    There is a body of literature called Puranas and Ithihasas. 
They are collection and compilations of stories, history, descriptions, 
explanations of rituals, geography, etc. 
    The Puranas are 18 in number. They are the major puranas. 
Apart from these there are the minor puranas. 
    Then there are the sthala puranas. These deal with the 
greatness of a particular holy place or religious centre. 
    There is one unique purana which is of a different calibre. 
    This the ThiruViLaiyaadal PuraNa. 
    This purana describes the 64 Divine Sports and Exploits of  
Lord Siva of Madurai known as Chokanatha or Sundaresvara. 
    There have been several puranas which dealt with the same theme. There is a Sanskrit version known as Halasya Mahathmiyam. 
    The stories which form the corpus of the latest version of the Thiruvilayadal puranam are ancient. Some of the stories go backwards in time to the period of the second Tamil Sangam. 
    Many of the 64 stories have been mentioned by Thirugnyanasambandhar and Thirunavukkarasar. That would take them back before the 6th century AD. 
    Which would mean that whatever puranas about them that existed, must have vanished. 
    The latest version was composed by Parajothi Munivar in the 16th - 17th century.     

    ThiruviLaiyAl puraNam is the national puranam for Pandya nadu. 
    The present version was composed by Parajothi Munivar in the 16th century. 
    He was a native of Vedaranyam of Tanjavur District. He was Tamil scholar. He wrote the Vedaranya Puranam in Tamil from the original Sanskrit form. After its completeion, he started on an itinery which took him to many Saivite pilgrimage centres. He went to all the important places like Chidambaram, Thiruvanaikkaa, Thiruvannamalai, Thiruvarur and finally reached Madurai. He became very popular with people of Madurai who revered him. He stayed in Madurai and was performing his worships to the Siva of Madurai. 
    One day the people of Madurai made a popular request. They wanted Paranjothi Munivar to compose a puranam involving the 64 Divine Sports of Siva which took place in Pandyanadu centred around Madurai. 
    While he was cogitating upon this proposal, SriMeenatchi Amman appeared in his dream. She ordered him, "Sing the sporty exploits of My Lord". 
    Thereupon, he woke up and started immediately, singing the first hymn which he dedicated to SiddhiVinayaka. 

saththiyaay sivamaagi thanipara
muththiyaana mudhalai thuthi seya
siddhiyaagiya soRporuL nalguva
siddhiyaanai than seyya poRpadhamE

It started with sathi - sakthi being the mangala vacaka which denotes the dynamic motivational force which induced him to compose the epical poetry.

    He impregnated the epic with all forms of suvai - finesse and beautiful verses. The epic which he named 'ThiruviLaiyadal Puranam'. He sang a total of 3363 verses of all styles.  
Together with preliminary essential parts of an epic, such as the SiRappu Paayiram, Praise to God, Merits of the Country, Merits of the City, Greatness of Mount Kailas, History of the Purana, etc. He composed it into three major kantams - Madurai kantam, Kudal kantam, Thiruvaalavaay kantam. Madurai, Kudal, and Thiruvaalavay are names of Madurai. Each kantam was constituted of patalam. Each patalam described each of the 64 Divine Sports. Apart from these, the first patalam contained special chapters on the thalam - holy town, thirtham - the holy water springs, and murthi - God of the place and also a decade of 10 songs. It contains 18 of the 64 Holy Sports. The second kandam called the Kudal Kandam contains the ninteenth to the forty-eighth patalas. The third or Thiruvaalavaay Kandam contains the forty-ninth to the sixty-fourth kantams. As an epilogue, he has composed some verses which extoll the virtues the Thiruvilaiyadal and a composition of one hundred verses for Madurai.
    The Thiruvilaiyadal Puranam was the National Purana for the people of Pandya Country.

    When Thirumalai Nayakkar was building the PuduMandapam @ Vasantha Mandapam, Paranjothi was always staying in that Mandapam. He spent his time there watching the progress of the work.
    The Pudhu Mandapam is a pavilion hall of sold stone masonry. 
It is beautifully carved with intricate designs. 
It is 333 feet by 105 feet. The height is 25 feet. 
If you look at the dimensions, you will notice that the Naayakkar's 
architect had used the Golden Mean - Fibonacci ratio. 
It has 124 beautiful carved and sculpted pillars. 
Twelve of the pillars have big statues of all the Naayakkar kings 
upto Thirumalai Naayakkar.
    At the eastern end of the hall, is a very ornately carved throne 
pavillion - 'kolu mandapam'. This is made of polished granite and woodwork. 
    The shrines of Minnatchi Sundareswarar are kept kere on the pattabhishekam day. Thirumalai Naayakkar receives the sceptre of Madurai from the Goddesss Miinaatchi to rule as Her Viceroy. 
    Out of the 124 pillars 50 of them contain big statues. 
    Rare forms of Siva are to be seen. Out of the sixty four divine sports - Thiru ViLaiyaadal - of Siva, seven of them are depicted 
in seven of the pillars. 

    The Madurai Miinaatchi Sundareswarar Temple was renovated 
extensively by Thirumalai Naayakkar who ruled Madurai country from 
1623 - 1659. He lived upto a ripe old age in pomp and glory. He also 
made many embellsihments and additions to the temple. 
    Among the many structures that he caused to be put up, were 
two notable buildings 
    Both were built as an additional complex to the Eastern Gopuram. 
Just in front of this gopuram, is a splendid building called PudhuMandapam. 
    In front of the Pudhu Mandapam the Naayakkar anted to build a very huge and tall tower. If it had been completed, it would have been the tallest structure in South Asia for several centuries. This, however, was not to be. 
    Because it was never completed. 

    The subject of our discussion is the PudhuMandapam.

    The Pudhu Mandapam is a pavilion hall of sold stone masonry. 
It is beautifully carved with intricate designs. 
    It is 333 feet by 105 feet. The height is 25 feet. 
    If you look at the dimensions, you will notice that the Naayakkar's 
architect had used the Golden Mean - Fibonacci ratio. 
It has 124 beautiful carved and sculpted pillars. 
Twelve of the pillars have big statues of all the Naayakkar kings 
upto Thirumalai Naayakkar. 
    I have already written an interesting account of the building of 
Pudhu Mandapam with reference to the subject of Saamudrikaa Lakshanam and the minister, NiilaKanta Diikshitar.
    At the eastern end of the hall, is a very ornately carved throne 
pavillion - 'kolu mandapam'. This is made of polished granite and woodwork. 
    The shrines of Minnatchi Sundareswarar are kept kere on the pattabhishekam day. Thirumalai Naayakkar receives the sceptre of Madurai from the Goddesss Miinaatchi to rule as Her Viceroy. 
    Out of the 124 pillars 50 of them contain big statues. 
    Rare forms of Siva are to be seen. Out of the sixty four 
divine sports - Thiru ViLaiyaadal - of Siva, seven of them are depicted 
in seven of the pillars. 
    The sixty four Thiru ViLaiyaadals have formed the theme of a big 
literary work called 'Thiru ViLaiyaadal PuraaNam'. This was composed by ParanjOthi Munivar. 
    The sculptors were incorporating scenes from ThiruviLaiyadal Puranam and sculpting them as panels in the pillar faces. According to Dr.A.V.Jeyachandrum,  the great genius and scholar who is an authority on Madurai and Miinaatchi Temple says, in his post doctoral thesis, these panels and works would have acted as further inspirational catalysts to his creative genius. He says:
    "A traditional account relates that Paranjothi was an eye witness to the construction of Pudhu Mandapam by Thirumalai Naayakkar and while it was taking shape, he used to linger around the place, when one day he met an old ascetic who in palm leaves gave the direction for the composition of this literary work on ThiruViLaiyaadal. It is likely that the Pudhu Mandapam, an edifice of such architectural magnitude and sculptural elegance had inspired Parajothi to compose the work of ThiruViLaiyaaadal PuraaNam - a work rich in diction, spiritual outburst and in poetry of superior order".

    Paranjothi was a multifaceted all-round genius of great calibre. 
    His sweep of knowledge was very wide. He had mastred many of the branches of knowledge which were extant at his time. 
    When he deals with the chapter wherein Siva appears as a Gemstone Merchant, he describes all the classifications of the various gem stones - not only the nine important types but the subclasses which are within those classes. He also explains the types good stones and types of blemishes in them. In another place he deals with everything about gold. He even explains the origins of gold. Mined gold, washed gold, gold nuggets, gold sand. And most surprising of all, gold which was produced from copper or mercury through rasavadham - alchemy, the transmutation of base metals into gold.
    There are some important chapters which deal with the history of Saint Manikavasagar. Manikavasagar was sent by the King Arimardhana Pandya to buy Arabian horses for his cavalry and chariot division. 
    In this chapter, Paranjothi describes about various classes of horse in minute and accurate detail. He also describes how the Arab merchants of those days were dressed like.
    We will go into a precise expostion of the Thiruvilayadal Puranam.......

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