Sriranga astakam

 आनन्दरूपे निजबोधरूपे ब्रह्मस्वरूपे श्रुतिमूर्तिरूपे ।

शशाङ्करूपे रमणीयरूपे श्रीरङ्गरूपे रमतां मनो मे ॥१॥
Aananda-Ruupe Nija-Bodha-Ruupe Brahma-Svaruupe Shruti-Muurti-Ruupe |
Shashaangka-Ruupe Ramanniiya-Ruupe Shriirangga-Ruupe Ramataam Mano Me ||1||

Meaning:
1.1 (My Mind delights in the Divine Form of Sri Ranganatha) That Form (resting on the Adisesha) absorbed in Bliss (Ananda Rupe), and immersed in His Own Self (Nija Bodha Rupe); That Form embodying the essence of Brahman (Brahma Svarupe) and the essence of all the Shrutis (Vedas) (Shruti Murti Rupe),
1.2: That Form Cool like the Moon (Shashanka Rupe) and having Exquisite Beauty (Ramaniya Rupe);
My Mind delights in the Divine Form of Sri Ranga (Sri Ranganatha) (That Form fills my being with Bliss).

कावेरितीरे करुणाविलोले मन्दारमूले धृतचारुकेले ।
दैत्यान्तकालेऽखिललोकलीले श्रीरङ्गलीले रमतां मनो मे ॥२॥
Kaaveri-Tiire Karunnaa-Vilole Mandaara-Muule Dhrta-Caaru-Kele |
Daitya-Anta-Kaale-[A]khila-Loka-Liile Shriirangga-Liile Ramataam Mano Me ||2||

Meaning:
2.1 (My Mind delights in the Divine Plays of Sri Ranganatha) Those Plays of Him, showering Compassion at the bank of river Kaveri (just like its gentle waves); Those Plays of Him assuming Beautiful Sportive Forms at the root of the Mandara Tree,
2.2: Those Plays of His Incarnations slaying the Demons in all the Lokas (Worlds);
My Mind delights in the Divine Plays of Sri Ranga (Sri Ranganatha) (Those Plays fill my being with Bliss).

लक्ष्मीनिवासे जगतां निवासे हृत्पद्मवासे रविबिम्बवासे ।
कृपानिवासे गुणबृन्दवासे श्रीरङ्गवासे रमतां मनो मे ॥३॥
Lakssmii-Nivaase Jagataam Nivaase Hrt-Padma-Vaase Ravi-Bimba-Vaase |
Krpaa-Nivaase Gunna-Brnda-Vaase Shriirangga-Vaase Ramataam Mano Me ||3||

Meaning:
3.1 (My Mind delights in the various Abodes of Sri Ranganatha) That Abode of Him dwelling with Devi Lakshmi (in Vaikuntha), Those Abodes of Him dwelling amidst all the beings in this World (in Temples), That Abode of Him within the Lotus of the Hearts of the Devotees (as Divine Consciousness), and That Abode of Him within the Orb of the Sun (the Sun representing the Image of the Divine),
3.2: That Abode of Him in the acts of Compassion, and That Abode of Him within the Excellent Virtues;
My Mind delights in the various Abodes of Sri Ranga (Sri Ranganatha) (Those Abodes fill my being with Bliss).

ब्रह्मादिवन्द्ये जगदेकवन्द्ये मुकुन्दवन्द्ये सुरनाथवन्द्ये ।
व्यासादिवन्द्ये सनकादिवन्द्ये श्रीरङ्गवन्द्ये रमतां मनो मे ॥४॥
Brahmaa-[Aa]di-Vandye Jagad-Eka-Vandye Mukunda-Vandye Sura-Naatha-Vandye |
Vyaasaa-[Aa]di-Vandye Sanaka-[A]adi-Vandye Shriirangga-Vandye Ramataam Mano Me ||4||

Meaning:
4.1: (My Mind delights in the Worship of Sri Ranganatha) The Worship performed by Lord Brahma and other (Gods); The Worship performed by the Devotees (considering Him) as the One Lord of the Universe; The Worship performed by Sri Mukunda, and the Worship performed by the Chief of the Suras (i.e. Indra Deva),
4.2: The Worship performed by Sage Vyasa and other (Sages); The Worship performed by Sage Sanaka and other (Kumaras);
My Mind delights in the Worship of Sri Ranga (Sri Ranganatha) (His Worship fills my being with Bliss).

ब्रह्माधिराजे गरुडाधिराजे वैकुण्ठराजे सुरराजराजे ।
त्रैलोक्यराजेऽखिललोकराजे श्रीरङ्गराजे रमतां मनो मे ॥५॥
Brahmaa-[A]dhiraaje Garudda-Adhiraaje Vaikunnttha-Raaje Sura-Raaja-Raaje |
Trailokya-Raaje-[A]khila-Loka-Raaje Shriirangga-Raaje Ramataam Mano Me ||5||

Meaning:
5.1: (My Mind delights in the Lordship of Sri Ranganatha) Who is the Lord of Brahma, Who is the Lord of Garuda, Who is the Lord of Vaikuntha and Who is the Lord of the King of Suras (i.e. Indra Deva),
5.2: Who is the Lord of the Three Worlds, Who is the Lord of All the Worlds;
My Mind delights in the Lordship of Sri Ranga (Sri Ranganatha) (His Lordship fills my being with Bliss).

अमोघमुद्रे परिपूर्णनिद्रे श्रीयोगनिद्रे ससमुद्रनिद्रे ।
श्रितैकभद्रे जगदेकनिद्रे श्रीरङ्गभद्रे रमतां मनो मे ॥६॥
Amogha-Mudre Paripuurnna-Nidre Shrii-Yoga-Nidre Sa-Samudra-Nidre |
Shritai[a-E]ka-Bhadre Jagad-Eka-Nidre Shriirangga-Bhadre Ramataam Mano Me ||6||

Meaning:
6.1: (My Mind delights in the Auspicious Divine Sleep of Sri Ranganatha) That Posture of Unfailing Rest (which nothing can disturb), That Complete Sleep (which is full with Fullness), That Auspicious Yoga Nidra (which is absorbed in Itself in Fullness), (and) That Posture of Sleeping over the Milky Ocean (and controlling everything),
6.2: That Posture of Rest is the One Source of Auspiciousness (in the Universe) and One great Sleep which (gives Rest amidst all the Activities and) finally absorbs the Universe,
My Mind delights in the Auspicious Divine Sleep of Sri Ranga (Sri Ranganatha) (That Auspicious Divine Sleep fills my being with Bliss.

सचित्रशायी भुजगेन्द्रशायी नन्दाङ्कशायी कमलाङ्कशायी ।
क्षीराब्धिशायी वटपत्रशायी श्रीरङ्गशायी रमतां मनो मे ॥७॥
Sacitra-Shaayii Bhujage[a-I]ndra-Shaayii Nanda-Angka-Shaayii Kamalaa-[A]ngka-Shaayii |
Kssiira-Abdhi-Shaayii Vatta-Patra-Shaayii Shriirangga-Shaayii Ramataam Mano Me ||7||

Meaning:
7.1: (My Mind delights in the Auspicious Resting Poses of Sri Ranganatha) That Resting Pose adorned with variegated (Garments and Ornaments); That Resting Pose over the King of Serpents (i.e. Adisesha); That Resting Pose on the Lap of Nanda Gopa (and Yashoda); That Resting Pose on the Lap of Devi Lakshmi,
7.2: That Resting Pose over the Milky Ocean; (And) That Resting Pose over the Banyan Leaf;
My Mind delights in the Auspicious Resting Poses of Sri Ranga (Sri Ranganatha) (Those Auspicious Resting Poses fill my being with Bliss).

इदं हि रङ्गं त्यजतामिहाङ्गं पुनर्न चाङ्गं यदि चाङ्गमेति ।
पाणौ रथाङ्गं चरणेऽम्बु गाङ्गं याने विहङ्गं शयने भुजङ्गम् ॥८॥
Idam Hi Ranggam Tyajataam-Iha-Anggam Punar-Na Ca-Anggam Yadi Ca-Anggam-Eti |
Paannau Rathaanggam Caranne-[A]mbu Gaanggam Yaane Vihanggam Shayane Bhujanggam ||8||

Meaning:
8.1: This indeed is Ranga (Srirangam), where if anyone sheds his Body, will not come back again with Body (i.e. will not be born again), if that Body had approached the Lord (i.e. taken refuge in the Lord),
8.2: (Glory to Sri Ranganatha) Whose Hand holds the Discus, From Whose Lotus Feet River Ganga originates, Who rides on His Bird Vehicle (Garuda); (And) Who Sleeps on the Bed of Serpent (Glory to Sri Ranganatha).

रङ्गनाथाष्टकम्पुण्यं प्रातरुत्थाय यः पठेत् ।
सर्वान् कामानवाप्नोति रङ्गिसायुज्यमाप्नुयात् ॥९॥
Rangganaatha-Assttakam-Punnyam Praatar-Utthaaya Yah Patthet |
Sarvaan Kaamaan-Avaapnoti Ranggi-Saayujyam-Aapnuyaat ||9||

Meaning:
9.1: This Ranganathashtakam, which is Auspicious, He who recites after getting up early in the Morning,
9.2: All his desires are fulfilled; (And finally) he attains the Sayujya of Sri Ranganatha (Absorption in the essence of Sri Ranganatha) (and gets liberated).

A ritual precedes the playing of Beri Maddhalam at the Srirangam temple

 Srirangam is a treasure house for various instruments that are used in the different rituals. Around 18 instruments are being used for various rituals and Beri Maddhalam is one of them.

The Beri Maddhalam is an instrument that is seen and used only at the Sri Ranganathar Temple in Srirangam. It belongs to the category of the Avanaddha Vadhyas or Membranophones. It is made from the jackfruit tree, the two sides of the instrument covered with goat’s skin. The circumference of both the heads are the same unlike as the mridangam, where one side is small and the other head is slightly bigger. Straps are attached connecting both the faces.

Beri Maddhalam is played with a one-foot long stick, made from Aralikuchi. The player, in a standing posture, wields the stick with one hand only on one face of the instrument, which is strapped on his shoulder. The body of beri maddhalam is slightly longer than the mridangam and has a shorter circumference than Suddha Maddhalam.

According to Srirangam Sri Ranjit Kumar, Beri maddhalam is used only for 27 days in a year, at the Srirangam temple when Brahmotsavam take place. This is played during 9 days in the Tamil months of Thai, Panguni, Chitirai thus making it to 27 during the Brahmotsavam.

During the festival, before Lord Aranganathar is taken out in procession, Bali Sadam is placed for the devathas in all the directions. Before this takes place, about five measures of paddy is poured in front of Lord Namperulal. On top of this, the Beri Maddhalam is kept and prayers are offered. Food offering is pongal prepared without salt. Then camphor light is offered.

After this ritual, the player wears a sacred thread (kaappu) in the hands and the poonal. He is also adorned with a new towel and a turban. The priests first play the instrument after puja and ritual. Then the performer takes over.

a wind instrument that was played during the opening of the ‘Paramapada Vaasal.’ We found out that it was the Velli ekkalam, unique to a few temples. It is an aerophone musical instrument played during temple festivals and processions. It is also played during the ten-day Manavala Mamunigal festival celebrated during Purattasi at Sri Soundararaja Perumal temple, Nagapattinam. It is usually played along with a drum or with another ekkalam.

Ekkalam is a trumpet made of brass or copper. It consists of four valves that are fastened to each other, with a bell at one end. The sound emanating from it is produced by the vibration caused when the performer blows it. The pitch is changed by altering the lip tension and the power of air blown into it.

At Srirangam temple there are two varieties of this instrument — one in silver (velli ekkalam), played along with Tiruchinnam during the Vaikunta Ekadasi festival, and the other in brass (Sembu ekkalam). Besides the Vaikunta Ekadasi utsavam, the five-ft long Velli ekkalam, is played during the Pagal Pathu and Kaisika Ekadasi utsavams, the Navaratri utsavam for Thayar and during Lord Ranganatha’s procession.

THANJAVUR, INDIA, December 10, 2004: More than 100 musical instruments of the stringed, wind and percussion varieties have been mentioned in the Thevaram, Divya Prabandham, Tiruppugazh, Karaikkal Ammaiyar's verses, the Kanda Puranam and other Tamil works. They are discussed in the recently released book, Alaya Vazhipattil Isaikkaruvikal by Raama Kausalya available from Minambikai Padippakam, Jatavallabhar Illam, 6/78, Tillaisthanam, Thanjavur-613203. Rs. 125 (it is not clear from this report if the book is in Tamil or English). Most of them are still being played only in temples during daily worship, festivals and processions. The percussion-cum-music instrument Gottu Vadyam is played in the Ambal temple in Avudaiyarkoil during evening worship and no other instrument is allowed to be played inside this shrine. The Veena is said to be played in the morning and late night service at the Srirangam Ranganatha temple by the descendent of a particular family which has been rendering this service for 45 generations. It may be news to many that the North Indian stringed instrument Sarangi was being played as accompaniment to Thevaram singing in temples only in the Madurai and Tirunelveli districts. No temple worship can be imagined without the ubiquitous instrument Nagaswaram, which is played according to a specific pattern from morning till night. No less than 18 instruments are played at the Tyagaraja temple in Tiruvarur. Numerous instruments, including a clarinet, were being played at the Sarvavadyam ritual at Cheyyur near Chengalpattu. Many have, however, become obsolete with the passage of time for want of funds and players.

Srirangam Navarathri Utsavam,Aandal(Temple elephant)playing the music instrument 'mouthorgan

https://youtu.be/4S9FMW3XoHw

to be continued.

pot dance

 https://youtu.be/VeAl0gZdk5Q

Dandiya Raas dance form is performed in a group consisting of men and women. Both men and women wear colorful clothes specially designed for the dance. Beautifully decorated wooden sticks are used as props in the dance. Made of bamboo and painted in different vibrant colors, the sticks look beautiful. While dancing the performers hold the sticks in both the hands and strike them together on the beats of the musical instruments. The performers dance in a group forming a circle. The sticks when struck together produce melodious sound. It is a fast-paced dance which involves a great deal of energy. The Kathiawari Raas dancers of Gujarat are best known for this dance form.  

Garba Raas

It is an ancient dance form of Gujarat which is very popular among the people of this state. This dance form was popularized by Usha, the grand daughter-in-law of Lord Krishna. Originally it was known as Lasya Nritya. This dance is performed only by women. They dress up in colorful attire and do this dance in honor of Ma Jagdambe, the Mother Goddess. This dance is also performed on other religious festivals like Sharad Purnima, Holi and Vasant Panchami.

The performers carry pots on their heads while dancing. They move in circles performing to the beats of devotional songs sung in praise of the Goddess. The term Garba is derived from the word ‘Garbhadip’ meaning a lamp inside an earthen pot. Sometimes the pot is filled with water and sometimes an earthen lamp is lit inside it. The women wear colorful saris in Gujarati style while performing Garba.

Ras Dance

This dance form originated from the Ras Leela performed by Lord Krishna in Vrindavan and Gokul. Traditionally performed by men in groups, this dance is done on the melodious beats of musical instruments such as flute, zanz, cymbals and dhol. Draped in colorful traditional attire, the performers dance with great zeal.

Same to same.

 Sita,s exposition of her status before Ravana in ashoka vana 

Ananya Raghavenaham Bhaskarena prabha yatha.

Ramas exclamation when Sita vindicates her chastity after going through the fire bath 

Ananya hi maha Sita Bhaskarena prabha yatha.

Are the same.  

Man tra

 Mantra  is that which protects one who ponders over it.

Mantras - Sound vibrations that permeate every cell of your being and allow your mind to dissolve and repose. But what are they? What do they mean? Where did they come from? There are so many questions surrounding these ancient syllables. Speaking about Mantras is the revelation of ancient secrets that have been kept sacred from several ages, secrets that continue to benefit humanity irrespective of its circumstances. 

Mantras are impulses or rhythms of the consciousness. They create vibrations in the spirit. Their effects, influence, method and mode of working are all a mystery.

 In Sanskrit, it is said, Manana trayate iti mantra. Mantra is that which saves you from repetitiveness. A repetitive thought is a worry. Mantras help to free you from your worries. Often we wonder why we chant some sounds without understanding their meanings? Can something beyond our understanding help us?

The meaning of every mantra is infinity. It is a sound vibration beyond the cognition of the mind. When the mind is unable to cognize, it simply dissolves and moves into a meditative space.

The mantra is like a seed. Every seed has the potential to become a tree. Similarly, these sound vibrations contain all the possibilities of creation. Some mantras are in the seed form, called the bija mantras. Others are fully expressed, i.e, the fruit of the mantra is also expressed, like the Gayatri mantra.

Mantras are a secret. That which is kept a secret alerts the sub-conscious mind. The mantras work at the level of the consciousness. When we want a seed to sprout, it needs to be sown into the soil, hidden, a secret. If it is simply thrown around, birds may eat them up. We can read and learn about mantras and their uses from books and the internet but that will only satisfy the intellect and not translate into experience.

When we chant the mantras, or listen to them, we get purity of mind and word. This prepares us for meditation. As a result of the sound vibrations, different patterns of the mind re-arrange themselves to become tranquil. Agitation is reduced, helping us to turn inward. For instance, when we laugh, our happiness increases. When we cry, the heaviness of our sorrow is released. Just the sounds of laughter and crying have helped. Mantras act in a similar manner. Repetition of the Mantras creates a psychological or mental response that is very deep and beyond the realm of words or expression. It can only be experienced. Speech falls short as it cannot go beyond the expression level into the experiential level.

When the mind is calm and centered, it can turn inward. Only a mind turned inward can experience the vastness and beauty of the Divine consciousness. When our focus is outward on the objects of the senses, our mind is scattered and racing behind one craving or another. Physical senses seek to know all about the external universe. Meditation is the tool for inner exploration. Antarmukhi Sada Sukhi – one whose mind is turned inward is ever in bliss. Mantras are the tools which allow the mind to dissolve and repose in the Self.

Why should we repose in the Self? How is this going to help in our day-today life? 

When the river is calm, the reflection is clearer. When the mind is calm, there is greater clarity in the field of expression. Our sense of observation, perception and expression improve.  As a result we are able to communicate effectively and clearly. 

Most of our problems or misunderstandings arise because of a lack of proper communication. When our mind is free from agitation, the way we interact and communicate is so much more pleasant and effective. Our efforts are not hindered by rifts caused due to communication gaps. This leads to a lot of positivity in our outlook and progress in life.

Mantras are as subtle as the air which creates ripples in the water as it gently moves over it. Air is all-pervading and at the same time affects specific regions. The field of the mantras is also such. It is all –pervading and also creates an impact on the one who is practicing.

S rahasya U

 The Sarasvati-rahasya Upanishad  “the Secret Knowledge of the Wisdom Goddess” is a late medieval era Sanskrit text and one of the minor Upanishads of Hinduism.The text is classified as one of the eight Shakta Upanishads and embedded in the Krishna Yajurveda.

The Upanishad is notable for glorifying the feminine as the Shakti (energy, power) and as the metaphysical Brahman principle, and extensively uses a combination of Bhakti and Vedanta terminology. the underlying philosophical premise of this text corresponds to Advaita Vedanta.The text is important to the Goddess traditions of Hinduism. Even though this text is of relatively late origin, Sarasvati as goddess is traceable to Vedic literature from the 2nd millennium 

The text has been influential in the Shaktism (Goddess) tradition of Hinduism. Many of its verses are found incorporated in later Shakti texts such as the Vakyasudha, a treatise on non-dualist Vedanta school of Hindu philosophy.

The text has two chapters each in a distinct format. The first is structured in the style of litany hymns found in the Rigveda to Devi (goddess Sarasvati), the second part is in the Shloka (metered verse) format. The wording of the text has been layered in a way that it can be interpreted in two ways, first of dualistic Bhakti (devotional worship), second of a discourse between the devotee and the goddess representing a steady journey of the devotee towards the Vedanta philosophy, with the text's final verses climaxing with non-dualism premises,

The text opens with benediction unto goddess Saraswati. This benediction, also found in other Upanishads of Krishna Yajurveda, begins with "Do thou protect us, do thou preserve us". She is praised as the essence of truth, universal empress, who manifests in all things, nourishing minds and souls, and asking for her blessing. She is called the goddess of wisdom, radiant, resplendent in white, who manifests as syllables, words, sentences, meaning and understanding, thereby purifying and enriching the soul of man. She is, according to Sarasvati-rahasya Upanishad, the goddess of anything that flows, of music, of poetry, of voice, of language, of art, of imagination. The chapter 1 of the text presents the devotee's litany with words such as, "Oh Goddess, increase my understanding", "Sarasvati! make me like yourself" and "Sarasvati, may we remain immersed in you!"

The text presents the conversation between Sarasvati and the devotee in the second chapter. Here, she is stated to be the power, inspiration and knowledge source for Brahma, the latter credited with authoring the Vedas. Thereafter, the text presents its theory of changing reality (Maya) and unchanging reality (Brahman). Sixteen of the text's verses from this chapter are referenced and found in their entirety in Vakyasudha (literally "A Nectar of Sayings"), an Advaita Vedanta text, as verses 13, 15–20, 23–28 and 30–32. The theme of these verses,  is that "Brahman, the Absolute, is the ultimate ground of the objective world, and the innermost self (soul) of the subjective consciousness structure of man". It is the Vedantic theology of spiritual unity in everything.

The verses of Saraswati-rahasya Upanishad present a discussion of Maya as the changing reality, and Brahman as the unchanging reality. For example, the following verses appear in both this Upanishad and the Vakyasudha:

तथा सर्गब्रह्मणोश्च भेदमावृत्य तिष्ठति
या शक्तिस्त्वद्वशाद्ब्रह्म विकृतत्वेन भासते ।
अत्राप्यावृतिनाशेन विभाति ब्रह्मसर्गयोः
भेदस्तयोर्विकारः स्यात्सर्गे न ब्रह्मणि क्वचित् ।

In the same way, this power is used to conceal the distinction between Brahman and the phenomenal universe; by its efficacy Brahman appears as being of the nature of modification. Even in this case, with the destruction of concealing, the distinction between Brahman and the phenomenal universe becomes manifest. Therefore change can exist only in the phenomenal universe, but by no means in Brahman.

 The text, after its ontological discussion, presents six methods of Dharana-Samadhi (concentration-union), and meditation is a means to self-knowledge and the realization of the Goddess within oneself as self-luminous, free from duality and endowed with "Being, Consciousness and Bliss".

स्वानुभूतिरसावेशाद्दृश्यशब्दाद्यपेक्षितुः
निर्विकल्पः समाधिः स्यान्निवान्तस्थितदीपवत् ।

Once the mind becomes freed from false ideas arising from the attachment to empirical objects, the mind becomes steady like a sheltered lamp and the practitioner experiences the highest bliss in realizing his true self.

 My consciousness shines in your world,

like a beautiful face in a soiled mirror,
Seeing that reflection, I call myself you,
an individual soul, as if I could be finite!

A finite soul, an infinite goddess,
these are false concepts,
in the minds of those unacquainted with truth.

No space, my loving devotee,
exists between your Self and my Self,
Know this and you are free,
This is the secret wisdom.

 

The gait

 

There are 18 types of gait or nadai of the lord a few are mentioned below. If the readers can add to the article it will be great help.

With skill and devotion, Sri Padham Thangigal ‘walk’ the deities in unique ways

What are temples without processions? It is a delight to watch the deity, with all the paraphernalia, being carried around on the shoulders of men, who seem to do it with effortless ease. Actually, not much thought is given to the carriers — Sri Padham Thangigal — who do their duty with love and devotion. But not all Vaishnava temples have this team. Therefore men, who are able to walk long distance carrying the deity, are roped in. Exceptions are the Srirangam temple and Sri Parthasarathy Swami temple in Triplicane, Chennai. The deity being carried on ‘wheels’ on festive occasions has become a regular feature of processions across most Divya Desams in Tamil Nadu.

Grandeur in gait

In Srirangam, Lord Namperumal, the utsava deity, is carried in the traditional way and in that style, which is unique. Continuing the 1,000-year-old tradition, the Sri Patham Thangis of Srirangam wear a coloured turban and carry the deity on their shoulders through the entire length of the procession never once placing it on a stool, even during his long outings.

Historical rights

Till the middle of the 19th century, the Kainkaryam of carrying Namperumal was performed by Uthama Nambi, Parasara/Veda Vyasa Bhattar, Annangar Swamy and Rangachar, each in charge of a corner. There was also an order in the way the positions were taken. Left side of the Lord was first, then the right side followed by the right and left sides on the rear.

Lord Namperumal is renowned for his beautiful gait. Says Parasara Badri Bhattar, one of the historical rights holders of the Sri Padham Service, “In the past, Sri Patham Thangigal used to practise the different walks of the Lord, including Voyyali, Simha Gathi and Sarpa Gathi. From noon, they practised for hours in the hot sun on the Manal Veli, in the eastern side of the temple. This was how they perfected the art of carrying the Lord on their shoulders.”

Grandeur in gait

Grandeur in gait

It was never easy to get the position of a Sri Padham Thangi. The aspirant had to first prove his capability at the Kamalavalli Nachiyar temple in Woraiyur before being given an opportunity to carry Lord Namperumal at Srirangam. Singaperumal Uthama Nambi (80), a descendant of Uthama Nambi says that they used to perform this sacred service with the help of disciples. “We considered the sacred food we received for our service as a great blessing,” he adds.

In the last half a century, the Sri Patham Thangis in Srirangam have come to be appointed by the HR & CE. Fifty-six year-old K. Srinivasan is now the leader of the Sri Patham Thangi group. “Even as a child, the different gaits in which the deity ‘walked’ during the procession fascinated me. I watched the way the Sri Patham Thangis adapted themselves to the special movements, especially in events such as Kona Voyyali and the devotion they showed during Utsavams such as Poochatru. I got myself trained by the seniors at a very young age,” says Srinivasan, who considers it a great blessing to have had the opportunity to carry the Lord on his shoulders for three decades.

Tough job

Given the weight of the massive floral garlands, the annual Poochatru Utsavam is one of the most difficult for the Sri Patham Thangis. They stand at the Manal Veli Mandapam carrying the ‘heavy’ Lord on their shoulders. The festival showcases their dedication. Sporting a big smile, they remain on their feet, carrying Namperumal on their shoulders. The 10-day Utsavam for Perumal is followed by a week-long Utsavam for Thayar, at the end of which, each of them is seen with a bruise on their shoulder.

The official ‘Sri Patham Thangis’ of the temple also take the support services of the Srirangam Vethal Group, a team of around 200 selfless service volunteers to carry the Lord on street processions especially on long trips and during Brahmotsavam.

It is a treat to the eyes when hundreds of them take turns to carry Lord Namperumal on his annual Panguni trip to Jeeya Puram and Woraiyur. One of the most spectacular processions of Lord Namperumal is on the eighth day of the Brahmotsavam in Chitirai. With the entire southern stretch of the East Chitirai Street lined with thousands of devotees, the Sri Patham Thangis carry the Lord, atop the Golden Horse Vahana, at great speed diagonally one way and then the other in a zig-zag motion, forward and back. The entire action lasts around 15 minutes and never ceases to amaze an onlooker.

It is also the day of the year when one hears the loudest round of applause for the Sri Patham Thangis after they have completed the exciting Kona Voyali presentation in front of the chariot.

Retaining the tradition

Pon. Jayaraman is a happy man. A decade ago, when he (current Joint Commissioner at the Srirangam Temple) took over as the Executive Officer at the Parthasarathy Temple in Thiruvallikeni, the first thing he noticed was that traditional Vaishnavites were not carrying the Lord on street processions. This saddened him. He encouraged and motivated the Vaishnavites to get involved in this sacred activity. What started off in a small way, led to the revival of the practice and the temple now has a 150-member team.

“I was keen that this service too should be carried out in the same traditional way and with the same devotion as the Divya Prabhandham recital that the temple is already renowned for,” says Jayaraman. “I am delighted to see the positive transformation of the scene in the past ten years. It gives me a great satisfaction that I played a role in this revival. I am particularly happy that a lot of youngsters are getting involved in this service,” he adds.

SrImath Andavan’s anubhavam:Oh PadhukE! When Your Lord goes on SanchAram and adopts different gathis (movements ) such as the gait of a lion ( Simha Gathi ), elephant gait ( Gaja gathi) , tiger gathi (SaardhUla Gathi), Bull gathi (Vrushabha gathi) and Serpent gathi (Sarpa gathi), UyyAra nadai, You replicate it in tune with those movements. The bells on You generate various plesant ensemble of naadham that is delightful to listen to. The sequential movement of each of You as a pair remind one of the two Veda PaarAyaNa ghOshtis following the Lord responding to each other. One ghOshti has samhithA paarAyaNam and that is followed by the other ghOshti reciting krama paatam of the same passage. The difference is only in the Svarams that change in the two versions. It is like a chain made up of sequential links.

The traditionalists now carry the Lord on processions that take place almost 300 days in a year simply as a service without any monetary benefit. Most of them are employed with corporate companies and yet turn up on time for processions. The team has school and college students.

Especially pleasing is the way they carry the Lord during the elephant and horse processions during the two Brahmotsavams as well as the famous Garuda Sevai.