Tuesday, January 19, 2021

ayudham

 This outstanding Bronze Vishnu from Tamil Nadu (13th Century) is presently in Los Angeles County Museum of Art. I am trying to learn about the symbolism of Vishnu icons. The word Vishnu derives from the Sanskrit root ‘vis’ which means ‘present everywhere. The four arms of Vishnu are symbolic of His sway in all four directions - everywhere. A verse in the Krishna Upanishad says: “The world rests as the lotus in the palm of my hand, the cosmos revolves around my finger like a discus. I blow the music of life through my conch and wield my mace to protect all creatures.” However most Vishnu icons in temples and museums have the ‘Shanka’ or Conch and the ‘Sudarshan Chakra’ or Disc and the forearms do not carry the ‘Lotus’ and the ‘Mace’. I am still looking for a standing icon of Lord Vishnu carrying all four ‘Ayudhas’. In this outstanding bronze, now with the Los Angeles County Museum of Art, His right hand is raised in Abhaya Mudra (granting fearlessness to his devotees) and the left hand rests near His waist in Katyavalambita Mudra (‘katya’ means paying homage and ‘valambita’ means hanging, which is said to assure those who pay homage to the Lord that their problems and suffering associated with their lives will not go beyond their hip level. The left hand of Lord Venkteswara Idol in Tirumala also is in Katyavalambita Mudra, but His right hand is in Varada Hasta Mudra.





This prayer is addressed to the five weapons of Lord Vishnu viz

  • Holy wheel (Sudarshana),
  • Conch (Pancha Janya),
  • Mace(Gomodhakee),
  • Sword kadga and
  • bow(Sarngam).

They are considered to be great sages in the service of Lord Vishnu.

Sudarshana the holy wheel was made by Viswakarma out of the dust from the sawing of the Sun, which was done to reduce his harshness. This became necessary because Viswakarma’s daughter was married to Lord Vishnu.

His conch is Pancha janya. There was an Asura called Panchaja who was hiding himself in a conch. This asura abducted the son of the teacher of Lord Krishna. Lord Krishna waged a war against Panchaja and killed him. He retained the conch for his use. The other orgin of this conch is that it was one of the byproducts of churning the milky ocean.

His mace was made out of the bone of one Rakshasa called Gadha who was the son of sage Kashyapa. It was made by Viswakarma and presented to Lord Vishnu.

His bow Sarnga was supposed to be made by God Brahma and presented to Lord Vishnu[1].

Sphurad sahasrara Shikhadhi theevram,
Sudarshanam Bhaskara koti thulyam,
Suradvisham prana vinasi vishno,
Chakram Sadaham saranam prapadhye., 1

I surrender always to the Vishnu’s wheel,
Which is sharper than thousands of flames,
Which is equal to billion suns,
And which takes out the life of Rakshasas.

Vishnor mkhothonila poorithasya,
Yasya dwanir Dhanava dharpa hantha,
Tham Pancha janyam, sasi koto shubhram,
Sankham sadaham saranam Prapadhye., 2

I surrender always to Lord Vishnu’s conch,
Which makes sound due to the air from mouth of the Lord,
Whose sound humbles the pride of Rakshasas,
And which shines like billions of moons.

Hiranmayim Meru samana saram,
Koumodhakeem daithya kulaika hanthrim,
Vaikunta vamagra karabhimrushtam,
Gadham sadaham saranam prapadhye., 3

I surrender always to Lord Vishnu’s mace,
Which is golden and shines like mount Meru,
Which is Koumodhaki, the destroyer of Rakshasa clans,
And which is lucky to be touched by the left hand of Vishnu.

Raksho uraanaam katinogra kanadach,
Chethakshara sonitha digdha dhaaraam,
Tam Nandakam nama Hare pradeeptham,
Gadgam sadaham saranam prapadhye., 4

I surrender always to the sword of Lord Vishnu,
Which is hard, powerful and shines red due to the blood,
Which flows when it cuts the heads of Rakshasas,
And which is called Nandaka and shines in the hand of the Lord.

Ya jjayani nadha sravanath suraanam,
Chethamsi nirmuktha bhayani sadhya,
Bhavanthi daithyasani bana varsha,
Sarngam sadaham, saranam prapadhye., 5

I surrender always to the Sarnga bow of Vishnu,
Whose sound heralds victory in the mind of devas,
And whose presence removes the fear from their minds,
By reminding of the arrow down pour against Asuras.

Phala Sruthi (Herald of benefits)

Imam hare Panchayudha nama,
Sthavam padeth yo anudhinam Prabathe,
Samastha dukhani bhayani sadhya,
Papani nasyanthi, sukhani santhi., 6

Those who read daily morning,
This prayer to the five weapons of Lord Vishnu,
Would get rid of all their sorrows and fears,
Destroy their sins and establish their pleasures.

Vane, rane, Shathru jalagni madhye,
Yadruchaya Apadsu maha bayesu,
Idham patan stotram anakulathma,
Sukhi bhaved thath krutha sarva raksha., 7

In the middle of forest or war or among enemies,
Or when surrounded by water or fire,
Or unexpected dangers or during great fears,
If the worried man reads this prayer,
He would be happy as this provides all round protection.


Friday, January 15, 2021

vridavana astakam

 

Na yoga, na sidhir na mamasthu moksho,

Vaikunta loke pi na prasadathvam,

Premapi na syad ithi chet taram thu,

Mamasthu vrindavana eva vasa., 1

Taranam janur yathra vidhir yayase,
Sad bhaktha choodamanir uddhavo pi,
Veekshyaiva madhurya dhooram tad asmin,
Mamasthu vrindavana eva vasa., 2
Kim they krutham thapa kshithithi,
Gopyo pi bhume sthuvathe sma kirthim,
Yenaiva krishnangri padankithesmin,
Mamasthu vrindavana eva vasa., 3
Gopanganaa lampata thaiva yatra,
Yasyam rasaa poornatamathvam apa,
Yato raso vai sa ithi sruthisthaan,
Mamasthu vrindavana eva vasa., 4
Bhandeendra Govardhana rasa pithais,
Trisimake yojana panchakena,
Mithe vibhuthwad amithe be chasmin,
Mamasthu vrindavana eva vasa., 5
Yathradhipathyam vrusha bhanu putrya,
Yenodhayeth prema sukham janaanaam,
Yasmin mamasa balavath yato asmin,
Mamasthu vrindavana eva vasa., 6
Yasmin maha rasa vilasa leelaa,
Na prapayam srirapi sa thapobhi,
Tatrollasa manju nikunja punje,
Mamasthu vrindavana eva vasa., 7
Sadaa rurunyanku mukhaa visankam,
Khelanthi koojanthi pikalee kirah,
Sikandini yatra natanthi thasmin,
Mamasthu vrindavana eva vasa., 8
Vrindavanashtakam ethad uchai,
Patanthi ye nischala budhyasthe,
Vrindavanesangri Saroja sevaam,
Sakshat labhanthe janusontha yeva., 9

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 AuspiciousHe 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).


Tuesday, January 12, 2021

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.