Shraddha.

 Shraddha: A Concept of Devotion, Faith, and Reverence in Hinduism

The term Shraddha occupies a profound and multifaceted space in Hindu philosophy, spiritual practice, and culture. Though often translated as "faith" or "devotion," the essence of Shraddha is much more nuanced. It embodies reverence, trust, respect, and sincerity toward one's spiritual practices, elders, scriptures, and the divine. The concept of Shraddha finds its place in various Hindu texts and traditions, playing an integral role in the spiritual evolution of individuals and in the continuity of cultural rituals.

Let's explores the concept of Shraddha in its different dimensions: its philosophical roots, religious practices, ethical implications, and its continued relevance in modern times.

The word Shraddha originates from the Sanskrit root "Shrat," meaning truth or something sacred, and "dha," which means to hold or to sustain. Thus, Shraddha is often interpreted as that which holds onto truth or that which upholds the sacred. It is a concept that encourages sincere devotion and dedication to one's spiritual journey, rooted in an unwavering belief in the higher truth or the divine.

In Hindu philosophy, Shraddha is not blind faith but an informed, conscious commitment to the path of righteousness (Dharma) and truth. It is considered essential for spiritual progress, as seen in the Bhagavad Gita, where Lord Krishna emphasizes the importance of Shraddha for achieving self-realization. According to the Gita (Chapter 4, Verse 39), "A man who is full of Shraddha, who is absorbed in it, and who has subdued the senses, obtains knowledge, and having obtained knowledge, he attains supreme peace."

Shraddha is thus not limited to religious faith but extends to the pursuit of knowledge, devotion to duty, and reverence toward life's ethical and moral principles. It creates a framework for inner growth, connecting the practitioner to the divine.

Apart from its philosophical depth, Shraddha also refers to a specific ritual performed to honor ancestors, known as the Shraddha ceremony. This ritual, conducted during the period of Pitr-Paksha (a fortnight dedicated to ancestors in the Hindu lunar calendar), is intended to express reverence and gratitude toward deceased forefathers, ensuring their peace in the afterlife. According to Hindu belief, the departed souls, or Pitrs, expect their descendants to perform rituals that would satisfy their spiritual needs in the other world.

The Shraddha ceremony involves offerings of food, water, and prayers. The Pind Daan (offering of rice balls) is a key element of the ritual, symbolizing the giving of sustenance to the souls of the ancestors. The ceremony is believed to help the ancestors attain liberation, or moksha, and also creates good karma for the one performing it.

This observance highlights the cyclical view of life and death in Hinduism, emphasizing the unbroken bond between the living and the dead, united through love, respect, and the performance of duty. The ritual is not merely a social custom but a spiritual act underscoring the virtues of Shraddha — trust in the cosmic order, faith in the continuity of the soul, and devotion to one’s lineage.

In the context of Bhakti (devotional worship), Shraddha takes on the meaning of unwavering devotion toward a personal deity. Saints and poets of the Bhakti movement, such as Tulsidas, Kabir, and Mirabai, often spoke of Shraddha as a necessary condition for experiencing divine love and grace. For devotees, Shraddha means not just outward displays of reverence but an inner attitude of surrender, humility, and complete trust in the deity.

In Bhakti Yoga, the practitioner expresses Shraddha through continuous remembrance of the divine, singing hymns, and performing rituals with utmost sincerity. The belief is that the divine responds to those who approach with a heart full of Shraddha, as seen in the famous verse from the Bhagavad Gita (Chapter 9, Verse 22): "To those who are ever steadfast, who worship Me with Shraddha, I provide what they lack and preserve what they have."

Thus, in the Bhakti tradition, Shraddha is the key to forging a personal, intimate relationship with the divine, one that transcends rituals and doctrines and reaches the realm of pure love and surrender.

Ethical and Moral Implications of Shraddha

On an ethical level, Shraddha also implies a sense of duty, responsibility, and integrity in one's actions. A person imbued with Shraddha approaches all aspects of life—whether spiritual, professional, or personal—with sincerity, dedication, and respect. In this way, Shraddha contributes to the cultivation of virtues such as truthfulness, humility, and discipline.

In the Mahabharata, Yudhishthira, the eldest of the Pandavas, is often cited as an example of someone who acts with Shraddha. His commitment to Dharma (righteousness) and truth, despite the numerous hardships and moral dilemmas he faces, illustrates how Shraddha functions as a guiding principle in making ethical decisions.

A person who possesses Shraddha is also said to be immune to doubt and confusion. They carry a clear conviction in their path and remain steadfast, even in the face of challenges. This steadfastness ensures a calm and focused mind, which is essential for progress in any field—be it spiritual practice, learning, or professional life.

Though rooted in ancient texts and rituals, the concept of Shraddha remains relevant today, as it emphasizes sincerity, integrity, and trust in a higher purpose. In modern times, Shraddha can be seen as a call to live with conviction, to believe in the value of one's work, relationships, and spiritual journey.

For individuals today, Shraddha can translate into faith in oneself, in the values one upholds, and in the ultimate goodness of life, even when faced with uncertainty or adversity. In an era where skepticism and cynicism often prevail, cultivating Shraddha is akin to nurturing a sense of inner strength and purpose.

The ritual of Shraddha for ancestors also continues to hold significance, with many families observing these practices to honor their lineage and stay connected to their cultural and spiritual roots. The ritual serves as a moment of reflection, allowing individuals to remember the contributions of past generations and acknowledge the continuity of life and death in a broader cosmic context. 

In summary, Shraddha is a profound and multi-dimensional concept in Hindu thought and practice, encompassing faith, devotion, sincerity, and reverence. It acts as a foundation for both spiritual growth and ethical living, guiding individuals on their path to self-realization and fulfillment of duties toward their family and society.

Whether understood as faith in the divine, trust in oneself, or reverence for ancestors, Shraddha remains a timeless principle that inspires deeper connection to life’s sacred truths and responsibilities. Through Shraddha, individuals can cultivate a more meaningful, focused, and purposeful existence.

Upeksha.

 

The concept of Upeksha holds a significant place in Buddhist philosophy, particularly as one of the "Four Immeasurables" (Brahma-viharas), which are mental states intended to cultivate compassionate relationships with all living beings. Upeksha, often translated as "equanimity," refers to a state of mental calmness and even-mindedness, especially in the face of hardship, pleasure, or pain. It is the balanced mental state where one rises above dualities such as joy and sorrow, success and failure, or praise and blame.

Etymological and Philosophical Foundations

The term Upeksha comes from the Sanskrit root "upa-īkṣ," meaning "to look over" or "to oversee." This etymology points to its underlying meaning: to rise above or transcend emotional disturbances. In the Pali Canon, Upekkha (its Pali equivalent) is not just a passive indifference but an active awareness, a mindful observation of the world without attachment or aversion.

Equanimity in Buddhist philosophy is not merely a detached or indifferent state; rather, it is the wisdom to understand the transient nature of all experiences. Buddhist teachings emphasize impermanence (anicca), the unsatisfactory nature of worldly experiences (dukkha), and the non-self (anatta). Upeksha arises from the deep realization of these truths, enabling the practitioner to maintain inner peace in both favorable and unfavorable circumstances.

Upeksha as One of the Four Immeasurables

The Four Immeasurables are four qualities—Metta (loving-kindness), Karuna (compassion), Mudita (sympathetic joy), and Upeksha (equanimity)—that form the foundation of Buddhist ethical practice. Each of these qualities is cultivated to reduce suffering and develop deep, altruistic love toward all beings.

Metta encourages unconditional love and goodwill.

Karuna fosters compassion for those suffering.

Mudita nurtures the ability to rejoice in others' happiness.

Upeksha balances these emotions, ensuring that they remain free from attachment and are applied universally.

While the first three qualities are outwardly active, involving emotional engagement, Upeksha acts as a counterbalancing force. Without equanimity, loving-kindness might devolve into favoritism, compassion might lead to overwhelming sorrow, and joy in others' success could turn into envy. Upeksha ensures that these emotions are guided by wisdom and that the practitioner remains serene, not swayed by personal biases or emotional turbulence.

Upeksha and the Practice of Detachment

Detachment, often misunderstood in Western contexts, does not mean a lack of care or concern. Instead, it refers to the release of ego-driven clinging. Upeksha helps individuals to transcend their attachments, whether to people, material things, or emotions, while still remaining fully present and engaged in the world. This practice of detachment aligns with Buddhist teachings on non-attachment and mindfulness.

In the Bodhisattva path, for example, a Bodhisattva must develop profound compassion for all sentient beings, yet this compassion must be accompanied by Upeksha. Without equanimity, the Bodhisattva risks becoming overwhelmed by the suffering of others. Thus, Upeksha is not only about maintaining personal peace but is also necessary to help others effectively. It allows practitioners to engage in compassionate actions without becoming entangled in the emotional fluctuations of their experiences.

The Role of Upeksha in Overcoming Dualities

One of the key insights in Buddhism is the notion of transcending dualistic thinking. We often categorize our experiences into binaries: good and bad, success and failure, joy and sorrow. These dualities shape much of human suffering because they lead to attachment to one pole and aversion to the other. For instance, people tend to cling to praise while rejecting criticism, but this attachment brings inevitable disappointment when circumstances change.

Upeksha invites the practitioner to transcend this dualistic mindset. Instead of being swayed by the oscillations of life, the practitioner cultivates a balanced perspective that recognizes the transient nature of all phenomena. Whether in victory or defeat, in joy or sorrow, Upeksha allows one to maintain an inner steadiness. This does not mean that emotions are suppressed but rather that they are observed mindfully without reactionary impulses.

This teaching parallels modern psychological practices such as mindfulness-based therapies, where individuals are encouraged to observe their emotions without judgment, thereby reducing the emotional reactivity that often leads to suffering.

Upeksha in Modern Life

In contemporary life, the application of Upeksha is perhaps more relevant than ever. The modern world is full of stressors—work pressures, personal relationships, social media influences, and political divisions. Each of these areas tends to heighten emotional responses, whether in the form of excitement, anxiety, frustration, or despair.

Practicing Upeksha in these contexts does not mean withdrawing from life’s responsibilities or disengaging from the world. Instead, it encourages a measured, mindful approach to challenges. In moments of success, Upeksha reminds us not to become overly attached to the highs, and in moments of failure, it encourages resilience by recognizing that all situations are impermanent.

On a broader societal level, Upeksha can contribute to a more balanced and compassionate world. In an age of polarizing opinions and fierce partisanship, equanimity allows for measured responses rather than emotional reactivity. It fosters the ability to listen to others' perspectives without immediate judgment or defensiveness, creating the possibility for genuine dialogue and mutual understanding.

Conclusion

Upeksha is far more than just a philosophical ideal; it is a practical tool for navigating the complexities of human existence. By cultivating equanimity, individuals can rise above the inevitable ups and downs of life, maintaining a sense of inner peace and clarity. In its highest form, Upeksha represents the culmination of wisdom and compassion, where one engages with the world fully yet without attachment, bias, or reactivity. Whether applied in spiritual practice or everyday life, the cultivation of Upeksha offers a path to lasting mental tranquility, ethical clarity, and compassionate engagement with the world.

Aparigraha.

 Sanskrit has a vast vocabulary, and many words carry profound meanings that are rarely used today. Here are a few such words, each with deep philosophical or cultural significance:

1. Maitri (मैत्री) – Friendship or benevolence, but in a broader sense, it signifies universal love and kindness toward all living beings, without any expectation of personal gain.

2. Samskara (संस्कार) – Refers to the deep impressions or imprints left on the mind and psyche from past actions, experiences, and thoughts. It is also used to describe the rituals that purify or refine a person spiritually.

3. Vairagya (वैराग्य) – Dispassion, detachment, or renunciation, especially in the context of spirituality. It refers to the state of being free from attachment to material possessions, desires, and pleasures.

4. Ananda (आनन्द) – Transcendental bliss or joy, a state of spiritual happiness that arises from being in harmony with the universe or attaining self-realization.

5. Turiya (तुर्य) – The fourth state of consciousness, beyond waking, dreaming, and deep sleep. It is often associated with the experience of pure awareness or enlightenment.

6. Kshama (क्षमा) – The concept of forgiveness, forbearance, or patience. It conveys the idea of inner strength to forgive those who have wronged you, without resentment.

7. Shraddha (श्रद्धा) – It means deep faith or trust, not just in a religious sense but in the sense of unwavering confidence in something or someone, especially in spiritual practice or a higher principle.

8. Upeksa (उपेक्षा) – Equanimity or indifference, particularly in the sense of remaining unaffected by external circumstances, pleasure, or pain.

9. Aparigraha (अपरिग्रह) – Non-possessiveness or non-attachment, a principle in yoga and philosophy that encourages one to live with minimalism and without hoarding material goods.

10. Satya (सत्य) – Truth, but more than just factual truth. It encompasses a deeper understanding of the ultimate reality, integrity, and living in harmony with the eternal truth.

These words convey nuanced concepts that have been central to philosophical and spiritual teachings in India for millennia.

In a world that increasingly equates success with material wealth and accumulation, the ancient Sanskrit concept of Aparigraha stands in stark contrast. Aparigraha, meaning non-possessiveness or non-attachment, is one of the key virtues in both Hinduism and Jainism, as well as being one of the Yamas (ethical guidelines) in Patanjali’s Yoga Sutras. It advocates a lifestyle that is free from the clutches of greed, desire, and excess, urging individuals to live in harmony with their needs rather than their wants. In its essence, Aparigraha is a profound philosophy that calls for detachment from material possessions, emotional cravings, and even ideologies, fostering simplicity and inner freedom.

The Meaning of Aparigraha

At its core, Aparigraha is the practice of not hoarding or becoming overly attached to material belongings, people, or outcomes. The word itself is composed of two parts: "A" meaning “non” and "parigraha" meaning “grasping” or “seizing.” This ethical principle encourages individuals to take only what is necessary and to avoid clinging to things beyond their needs.

However, the concept transcends mere renunciation of physical possessions. It is a call to relinquish mental and emotional attachment as well. In this light, Aparigraha promotes freedom from desires, egotism, and the fear of losing one's possessions or status. This detachment leads to a more peaceful and balanced life, where the individual is not driven by materialistic ambitions or the pressure to accumulate wealth.

Aparigraha in Yoga Philosophy

In Patanjali’s Yoga Sutras, Aparigraha is listed as one of the five Yamas, the ethical guidelines for living a life of balance and integrity. It is closely linked with other Yamas like Ahimsa (non-violence) and Satya (truthfulness), forming the foundation of moral living. Patanjali suggests that when an individual fully embraces Aparigraha, they develop an understanding of the true nature of existence, beyond the illusions of materialism.

From a yogic perspective, attachment and greed are seen as obstacles on the path to spiritual liberation. By practicing Aparigraha, one is able to create mental space for introspection and growth. It leads to a shift from external seeking to internal fulfillment, encouraging a focus on personal and spiritual evolution.

Aparigraha in Jainism

In Jainism, Aparigraha is one of the central tenets. Jain monks and nuns take strict vows of non-possessiveness, renouncing all forms of material wealth and practicing extreme simplicity. The principle is rooted in the belief that attachment to worldly goods creates karma that binds the soul to the cycle of birth and death (samsara). Non-possession, therefore, is seen as a way to purify the soul and move closer to liberation (moksha).

For lay Jains, Aparigraha is practiced in a more moderate way. They are encouraged to live simply, avoid unnecessary accumulation, and practice charity. The concept also extends to emotional and psychological attachments. By reducing desires and letting go of attachments, Jainism teaches that individuals can attain a state of contentment and peace.

Modern Relevance of Aparigraha

In today’s consumer-driven world, the relevance of Aparigraha is more profound than ever. The culture of excess, where people are often judged by what they own rather than who they are, has led to environmental degradation, economic inequality, and personal dissatisfaction. The continuous pursuit of more—whether it be wealth, status, or possessions—leaves many feeling unfulfilled.

Practicing Aparigraha encourages mindfulness in consumption and a conscious effort to reduce waste, whether material or emotional. It promotes sustainable living, urging individuals to consider the impact of their actions on the planet and society. In this sense, Aparigraha is not just a personal ethical practice but a social and environmental imperative.

On a psychological level, Aparigraha helps individuals to free themselves from the burden of ownership. The constant desire to acquire, protect, or maintain possessions creates stress and anxiety. By letting go of this need, one can cultivate a deeper sense of freedom and inner peace. The minimalist lifestyle, which has gained popularity in recent years, reflects this principle, encouraging people to find happiness not in abundance but in simplicity.

Challenges in Practicing Aparigraha

Though the principle of Aparigraha offers immense benefits, it is not without its challenges. In a world that glorifies wealth and material success, practicing non-possessiveness requires a strong will and constant self-awareness. It is easy to fall into the trap of measuring self-worth by external acquisitions. Social pressures and cultural norms can also make it difficult to embrace a life of simplicity.

Moreover, Aparigraha should not be mistaken for asceticism or extreme deprivation. It does not call for one to abandon all possessions or live in poverty. Rather, it encourages balance—taking what one needs while letting go of excess. The challenge lies in discerning between needs and wants, and in cultivating a mindset of abundance even in the absence of material wealth.

Conclusion

Aparigraha is a timeless philosophy that offers a pathway to personal freedom and spiritual growth. It teaches us that true wealth is not found in the accumulation of things but in the ability to live simply, in harmony with our needs and with the world around us. In practicing Aparigraha, we not only free ourselves from the burden of possessions but also open the door to a life of contentment, compassion, and inner peace.

In an era marked by consumerism and excess, the principle of Aparigraha serves as a powerful reminder of the value of simplicity and the joy that comes from letting go.

Vedapari.

 The Vedas, the foundational texts of Hindu philosophy and spirituality, are considered timeless and divinely revealed. These scriptures encompass a wide range of subjects, including rituals, hymns, philosophy, ethics, and cosmology. However, their preservation and transmission across generations have been possible largely through the efforts of scholars known as "Vedapari." These individuals devote their lives to mastering and interpreting the Vedas, ensuring that this ancient knowledge remains intact and accessible.

The Vedas are composed of four primary texts: the Rigveda, Samaveda, Yajurveda, and Atharvaveda. Each text serves a specific purpose, ranging from hymns of worship (Rigveda) to liturgical formulas (Yajurveda), and musical chants (Samaveda) to rituals and spells (Atharvaveda). These texts were primarily transmitted orally for centuries before they were written down, and this oral tradition was maintained through rigorous memorization techniques.

A Vedapari, or a Vedic scholar, is someone who has undergone years of disciplined study under the guidance of a Guru. Traditionally, the role of a Vedapari is not only to memorize the Vedic verses but also to understand their deeper meaning, including the philosophical and ritualistic aspects. Their expertise extends to the understanding of Sanskrit (the language of the Vedas), Vedic grammar, phonetics, and the corresponding Brahmanas (ritual commentaries), Aranyakas (theological treatises), and Upanishads (philosophical discourses).

One of the most significant contributions of Vedaparis is their role in preserving the oral tradition of the Vedas. The transmission of the Vedas from one generation to the next relied heavily on accurate recitation, as even a small deviation in the pronunciation could alter the meaning of a verse. Vedaparis follow intricate chanting techniques, including Padapatha (word-by-word recitation) and Krama-patha (recitation in a sequence), ensuring that the Vedas remain unchanged over millennia.

The Vedic corpus contains detailed descriptions of various rituals, many of which are still practiced in Hindu ceremonies today. A Vedapari often serves as a priest or a ritual specialist, conducting yajnas (sacrificial rituals), which form the core of Vedic practice. Their knowledge allows them to guide communities in maintaining the sanctity of these rites, which are believed to bring harmony between the individual, society, and the cosmos.

Apart from their role in ritual preservation, Vedaparis also contribute significantly to Vedic philosophy. The later portions of the Vedas, particularly the Upanishads, delve into abstract philosophical concepts such as Brahman (the ultimate reality) and Atman (the soul). Vedaparis are instrumental in interpreting these texts, often engaging in debates and discussions to clarify the esoteric meanings of the scriptures. Their interpretations have influenced various schools of Hindu philosophy, including Vedanta, Sankhya, and Yoga.

In modern times, the role of Vedaparis has evolved, but they face several challenges. The oral tradition is threatened by the diminishing number of individuals pursuing Vedic studies. Globalization and modern education systems have shifted the focus away from traditional learning. Additionally, many ancient texts remain untranslated or difficult to access, limiting their understanding to a select few.

However, efforts are being made to revive and preserve Vedic knowledge. Various institutions and organizations, both in India and abroad, are dedicated to teaching and promoting the study of the Vedas. Online platforms and digital archives have also emerged, making Vedic texts more accessible to a global audience.

The Vedapari plays a crucial role as both a guardian and transmitter of Vedic knowledge. Their dedication ensures that the wisdom of the Vedas continues to inspire and guide people in spiritual, ethical, and intellectual pursuits. As custodians of one of the world’s most ancient bodies of knowledge, they hold a significant place in the continuity of Hindu traditions. Although their challenges in the modern world are manifold, the efforts of these scholars ensure that the Vedic tradition remains a living and vibrant part of human heritage.

Thirunindravur,

 Bhakthavatsala Perumal temple is located at Thirunindravur, Tamilnadu. It is revered as one of the 108 Divya Desam Temple dedicated to Bhagwan Vishnu (Varaha Avatar). Here Bhagwan Vishnu is worshipped as Bhaktavatsala Perumal and his consort Lakshmi as Ennai Petra Thayar (meaning Mother who gave birth to me) also called as Sri Sudhaa Valli. It is the 58th Divya Desam. This place is also known as Srinivasa Kshetram since Lord Vishnu came here and stayed for some time.

Legend of Sri Bhatavatsala Perumal Temple

Legend is that Sagara (Varuna Deva), who is the father of Devi Lakshmi worshipped Bhagwan Vishnu here. Thiruninravur is considered as the place of Goddess as she settled here first and then Lord came here to Her place. The rarity of this temple is that Sri Bhakthavatsala Perumal is staying permanently at his in-law’s place. As Goddess settled here first, the place itself had got its name after her. In Thamizh, ‘Thiru’ means Sri Lakshmi, ‘Ninra’ means stood, ‘Vur’ means place.

The Devas and Asuras jointly churned the White Sea with a mountain (Mandhara) by using Vasuki the snake as a rope. While churning the sea Nectar came out which has the power of keeping anyone alive without death. At that time Devi Lakshmi came out along with the Nectar from the sea and she got attracted by the beauty and majesty of Bhagwan Vishnu. She decided to marry him and to realise her wish she came to Thiruninravur and did a serious penance.

Bhagwan Vishnu was pleased and came there with all the Devas and got married at this place. The Devas after seeing this memorable incident did not want to leave this place. Hence, they turned themselves into bees and started living there. (Still there are bee hives in the temple that are preserved by the temple authorities).

History  

The temple is said to be built in the sixth century AD by the Pallava kings. There are engravings which reveal that king Nandi Varma had originally built the temple. The earliest inscriptions of the temple are dated between 820 to 890 AD during the period of Nripatungavarman. There are inscriptions from the later Chola kings like Rajendra Chola II (1051–1063 AD), Virarajendra Chola (1063–1070 AD) and Rajaraja Chola II (1146–1173 AD). The Pallava inscriptions mention this place as Ninravur and some of them quote it as Virudhurajabhayankar-chaturvertimangalam.

The main tower is an architectural splendour which is a five decked Raja Kopuram. Opposite to the main temple Gopuram is a temple to Lord Hanuman. The king of all the snakes Adisesha also has a shrine in this temple. Other deities worshiped in this temple are Andal who loved Sri Krishna and got merged with him and other Alwars who are the traditional devotees of Bhagwan Vishnu who have attained salvation by their devotion.

The height of the Main deity is around 10 ft (3.0 m). The Utsava Moorthy (procession deity) is called Patharaavi is made of panchaloha and is accompanied by two consorts as in most Vaishnavite temples. There is a separate shrine for the goddess Ennai Petra Thayar (also called Sudhavalli), the consort of Bakthavasala.

One of the incarnations of Bhagwan Vishnu is ‘Vamana’. During this avatar he took his original shape and lifted his mighty legs that went up to Brahma Loka and Bhagwan Brahma washed the leg and performed abhishekam with the holy water from his kamandalam. A drop of it spilled out and the drop is said to have become the holy pond in this temple which is called as punniyatheertham (holy waters). This holy water is believed to have removed the curse on Moon God when he took bath here. It is said that Bhagwan Vishnu himself took the water and performed Abhishekam to Devi Lakshmi and hence she is also called as Abhisheka Valli.

The Bakthavatsala Perumal temple follows the traditions of the Tenkalai sect of Vaishnavite tradition and follows Pancharatra rituals.

Shaiva Kshetram

Tirunindravur is also the home town of Pusalar, who is one of the sixty-three Nayanar saints mentioned in Periyapuranam. Periyapuranam is a Tamil poetic account depicting the lives of the sixty-three Nayanars, the canonical poets of Tamil Shaivism. It was compiled during the 12th century by Sekkilhar. Among all the hagiographic Puranas in Tamil, Sekkilhar’s Tiruttondar Puranam or Periyapuranam, composed during the rule of Kulottunga II (1133–1150 CE) stands first. Pusalar conceives the design of the temple which he wanted to build for Bhagwan Shiva in his deep worship.

Meanwhile, Rajasimha Pallava, the King of Kanchi had undertaken the task of erecting a temple for Bhagwan Shiva. On the completion of the task, the king wanted it to be named Rajasimeswaram and duly consecrated. Hence the king fixed a date for the consecration. The Lord appears in King’s dream and directs him to meet Pusalar. The King realizes the ardent devotion of Pusalar and builds the temple as conceived by Pusalar and after that he performs the consecration ceremony for the Rajasimeswaram temple built by himself.

Pusalar’s temple for Bhagwan Shiva became famous as Hridayaleeswara temple. The inner roof of the temple is designed like that of a heart divided into four compartments probably displaying Poosalaar’s conception. Parvati here is worshipped as Maragathambika. Poosalaar’s statue is found with folded hands in the shrine of Hridayaleeswara (also known as Irudhayaleeeswara).  Irudhayaleeswara is also worshipped as Manavaleswara. People with an ailing heart are said to visit this temple seeking the grace of Irudayaleeswara for speedy recovery. The temple has a 5 tier gopuram at the entrance and two precincts.

Rama Temple

The Rama temple of Tiruninravur is known as Kaiunakaramurti and Daasharathi and fondly referred to as Eri Katha Rama. This small shrine of Rama facing east is located in a very scenic spot about half a kilometer west of the Bhaktavatsala Perumal temple, with the holy tank known as Ksheera Pushkarini on one side and bordered by the vast lake named Varuna Pushkarini on another. The legend associated with Lord’s name as Eri Katha Rama goes as follows.

It is believed that the lake in Tiruninravur was once flooded in a storm and the bunds were in the verge of breaking when the villagers prayed to Sri Rama. Sri Rama is said to have created a fence of arrows around the lake that prevented it from breaking whereby the village was saved. The villagers showed their gratitude by building a temple on the banks of the lake for Sri Rama. Thus, the name Eri Katha Rama, which means Rama who controlled the Lake from getting overflown and flooding the town.

Itihas

There is an interesting episode connected with this temple. It is believed that once, the sister of Sri Ramanuja named Nachiyaramman and her husband Ananta Dikshitar came from nearby Sri Purushamangalam (now called Nazarethpettai near Poondamallee). This couple did not have children for a long time. On their way to Tirumala Hills (Tirupati) they halted for the night in Tiruninravur at the Eri Katha Rama temple.

Sri Rama appeared to Ananta Dikshitar in his dream and bestowed him with a boon that he would get a son who would be His own incarnation. Just as Ramanuja of Sriperumbudur was the incarnation of Adisesha, he was named Daasharathi (Rama, the son of Dasaratha) later known as Mudaliyandan (i.e., Vishwakshena, commander in chief of the army of Bhagwan Vishnu) who became Ramanuja’s very ardent disciple.

This tiny Rama temple, which is built on a slightly elevated level, enshrines the very tall images of Rama, Lakshmana and Sita on the same pedestal. The height of the Rama image, the principal deity is approximately eight feet and the other images are equally tall. The captivating image of Rama is two-armed holding a bow and arrow. His brother Lakshmana is placed next to him. He is seen with his hands in an unusual posture as if holding his bow in a horizontal way.

The graceful image of Sita with a beautiful smile, holding a lotus is placed to Rama’s right. The three deities are made of stucco (composed of sand and hydrated lime mixed with water). The stucco images are fascinating and they are reminiscent of the similar imposing stucco images of Ulagalanda Perumal and few other deities found in the temples in Kanchipuram. The beautiful processional images or utsava murtis of Sri Rama, Lakshmana, and Devi Sita and Hanuman of this temple are kept in a separate shrine very near the main sanctum inside the Bhaktavatsala Perumal temple.

In front of the main sanctum of the Rama temple of Tiruninravur there is a small-pillared mandapa. In this small mandapa is enshrined a unique image of Hanuman who is seen carrying Rama and Lakshmana on his shoulders with the legs of the heroes hanging on side, front and back. Hanuman holds a scepter and a shield in his right and left hand respectively. He is seen treading on the writhing figure of a demoness. This image of Hanuman very much conforms to the episodes of the legends and myths.

At the time of the Brahmotsavam in the Bhaktavatsala Perumal temple, the processional image of Perumal visits the Rama temple in Mohini avataram. This shrine, just like the Bhaktavatsala Perumal temple, follows the Pancharatra rituals of worship.

Pilgrims going to Tirunindravur can visit all the three temples, Viz., Bhaktavatsala Perumal, Hridayaaleswara and Lord Rama as they are located very near to one another.

indhu = chandran

 

Thiru Indhalur Divyadesam Parimala Ranganathar Temple is one among the Pancha Ranga Kshetrams. The remaining four are Trichy Divyadesams Srirangam Aranganatha Swamy Temple, Koviladi Appankudathan Temple, Srirangapatnam Ranganathar Temple in Karnataka and Kumbakonam Sarangapani Temple. The temple is located just 2 KM north of Mayiladuthurai with a 5 Tiered Raja Gopuram. Chandra Bhagwan worships near the face of the Lord, where as the Sun at the feet and Lord Brahma Devar from His naval. Since Chandran underwent a penance, the place is being called in his name Thiru Indhalur - Indhu means Chandhran. Taking bath in River Cauvery in the Tamil Month of Aypasi is more sacred than bathing in River Ganges Moolavar   :   Parimala Ranganathar Blessing Posture   :   Veera Sayana Posture Facing East Thayar   :   Chandra Shaba Vimokshana Valli , Pundareekavalli Nachiyar Utsavar   :   Maruviniya Maindan Utsava Thayar   :   Parimala Ranganayagi Vimanam   :   Vedhachakra Vimanam` Theertham   :   Indu Pushkarini Thiru Indhalur Divyadesam Parimala Ranganathar Temple River Cauvery worships the Almighty on His head side where as Mother Ganga His feet. Yama Darma and King Ambareeshan also worship Parimala Ranganathar at HIS feet. Cauvery has greater importance here than River Ganga. The Almighty is blessing as Maruviniya Maindhan, Sugantha Vananathan and Andhiya Rangan in Kidantha Thirukkolam ( Reclining Posture ) in Veera Sayanam Facing East with Four Hands Ekadasi Fasting - Once there was a King named Ambareesan followed Ekadasi Vradha very meticulously. Finally he was about to complete his 1000th Ekadasi Vradha. People of his country felt very happy that their King is about to complete the great Vradha for 1000th time and made arrangements for the celebrations. But it was an Unhappy news for those who lived in the celestial world. Because once a person complete his 1000th Ekadasi Vradha, then he would be elevated equal to the person in the celestial world. They approached the Sage Durvasar to help them out. Durvasar, familiarly known for his temperament agreed and came down to the King’s place. By that time the Ambaresan just finished his Ekadasi Vradha and was about to have his food in a particular auspicious time. Ekadasi Vrada becomes complete only when the devotee has his food the next day in a prescribed time. By seeing Sage Durvasar, King Ambareesan felt glad and gave him a warmth welcome. Durvasar requested the King that he would be back to him for the lunch after a bath in a river and went. The Sage’s plan was to pass on the time. King Ambareesan waited for a long time and the time for fasting was nearing. Everyone near by forced him to have food. But King Ambareesan knows the temperament of the Sage and got afraid. Chief Acharyas asked the King at least to have few drops of water to complete the Vradha and the king was about to have. By knowing this through his power, Durvasar sent a ghost to kill the King. Frightened King ran away and sought asylum at the Almighty’s feet here. To save his adherent devotee, Paranthaman looked the Ghost and the Ghost ran away. Durvasar understood the power of Ekadasi Fasting. He begged the Almighty for the pardon. When the King was asked by the Almighty of his wish, he requested HIM to bless the devotees here as Parimala Ranganathar. When Devas and the demons churned the milk ocean to obtain the Nectar, Chandra appeared before Sree Mahalakshmi, hence enjoys the status as Her elder brother. He occupies the second place next to Sun in the planetary line. The other story is that he was born to Sage Athiri and his wife Anusuya, according to Puranas. Moon is handsome and is the disciple of Jupiter and well versed in scriptures. He conducted a yagna called Raja Suya which was attended by a huge number of Rishis and Thara wife of Jupiter. When they looked at each other in the event, Chandhran and Thara began to love each other. Shocked Deva Guru Jupiter reported this to Lord Vishnu and cursed his disciple with leprosy. Meantime, a son was born to Moon and Dhara named Bhudhan ( The Planet Mercury ). As advised by Lord Vishnu, Moon returned Thara to his Guru. Later Budhan became one of the planets. Moon Committed His Next Mistake - He married the 27 daughters of Dakshan promising him that he would treat each one with equal love. But he did not. He was very fond of Rohini alone and ignored others. The aggrieved daughters approached their father Dakshan and narrated their condition. Angry Daksha cursed that his handsome face will depreciate day by day. Full moon began to face the impact of the curse. Chandran had to suffer a double curse. To purify himself from his sins, Moon apologised and requested his Guru Brahaspati to suggest remedy and he was directed by his Guru to undergo a three phased parikaram. It was to appeal to the blessings of Lord Vishnu for punishment for his sins. Moon as the first step in his three phased parikaram, Moon undertook bath at the Chandra Pushkarani and performed poojas at Srirangam Divyadesam, Thiruindhalur Divyadesam and Thalaichangadu Kshetram and undertook severe penance invoking the blessings of Lord Vishnu who appeared here in a Chandra Vimanam along with Shengamalavalli Thaayar and liberated Moon fully from all his curses. Hence the Lord here is also referred to as Chandra Saabha Haran. Chandran then requested the Almighty to fulfill the wishes of the devotees who pray here in this temple, just as he did and to relieve them from the curses and Dhoshams. Argument between Thirumangai and Parimala Ranganathar - Once Thirumangai Azhwar came down to worship Parimala Ranganathar here at Thiru Indhalur Divyadesam, the Almighty had an idea to play with Thirumangai and HE shut the doors. Alwar was not able to see the beauty of the Almighty reasoning that Alwar was late to the temple and the Darshan time was over. Disappointed Thirumangai got into an argument with the Almighty and told Him that he had come all the way to see HIS Beauty, since the doors was shut let HIM have all HIS beauty with himself and enjoy on HIS own. He also added that the whole world will talk ill about HIM as he shut the doors and not permitted the devotee who had come all the way to see HIM. But HE ignored everything and kept a long silence and told Alwar that he need not worry about all those things and HE will take care of all the ill feelings. Eventhough Thirumangai attempted repeatedly to pacify Perumal so that to worship Him, all went in vain. Finally Alwar was about to leave without even praising Him. By sensing that Alwar may leave without any praise. Parimala Ranganathar asked him to praise on HIM. Alwar rejected HIS request and told HIM that when HE was not even allowed to see HIS beauty, he was not ready to praise. Almighty asked him if he was able to praise on other Perumals just by sitting in his own place, why not here in his temple?. Fnally compromised Thirumangai Alwar praised Lord Parimala Ranganathar with his 10 pasurams. and pleased Almighty gave him Darshan. Since Chandran underwent a penance, the place is being called in his name Thiru Indhalur - Indhu means Chandhran. Taking bath in Cauvery in Tamil Month of Aypasi is more sacred than bathing in Ganges

Vedupari.

 How a king turned minstrel. 

The story of Tirumangai Mannan is enacted at the Srirangam temple .

Tirumangai Mannan as Azhwar after the Vedu Pari event. 

The last of the Azhwars- Thirumangai Azhwar - made a significant contribution, visiting and singing the praise of Lord Vishnu in over 85 temples (Divya Desams). While all other Azhwars got things done by showing love and devotion to the Lord, Thirumangai Azhwar alone was different. The only Azhwar with a spear in his hand, he was aggressive, even threatening in his interactions with the Lord, who sometimes had to come down a step to please Thirumangai and to get him to sing praise - a couple of cases in point being Thiru Indhalur and Thiru Ninravur Divya Desams.

Born in Thiru Kuraiyulur, 2 km from Thiruvali-ThiruNagari near Sirkazhi, Thirumangai Mannan (king), who belonged to the Kallar Community, fell in love with the beautiful Kumudavalli of Annan Koil (another Divya Desam near Sirkazhi). To get Thirumangai Mannan initiated into Vaishnavism and devoted to Lord Vishnu, Kumudavalli laid tough ‘wedding’ conditions, one of which was to feed 1008 Vaishnavites every day. Thirumangai Mannan, in this attempt, lost a lot of his wealth. But determined to fulfil her conditions, he turned a thief and resorted to ‘stealing.’

One night, Thirumangai saw a newly married couple, decked with jewellery, coming his way. It was Lord Ranganatha of Thirunagari taking along with him Amruthavalli Thayar of Thiruvali. In that darkness, in Vedarajapuram (the village between Thiruvali and Thirunagari), Thirumangai waylaid the couple threaenig idisguised Lord Ranganatha and threatening them with his spear.

Having relieved the two of their jewellery, Thirumangai put the booty in a bag and found it too heavy to even lift it from the ground. Lord Ranganatha revealed himself and initiated the bandit king into the ‘Ashtakshara Mantra.’ The divine couple appeared in their wedding splendour.

‘Thirumangai Mannan’ thus became ‘Thirumangai Azhwar.’

Thirumangai Azhwar wanted the Margazhi Festival to be a Tamil Divya Prabhandham festival as against just the Vedic recital that existed before his time. The 10-day ‘Era Pathu’ festival called ‘Thiruvoimozhi Thirunaal’ was specially created for the Lord to listen to the beautiful Tamil composition of Nammazhwar.

It was a night filled with fervour and nostalgia at Thiruvali-Thirunagari, a divyadesam about 10 km from Sirkazhi, with over 5,000 devotees gathering to witness the unfolding of the Vedu Pari utsavam on the streets of Veda Raja Puram, a remote village near Thiru Kuraiyalur, the birth place of Thirumangai Azhwar. While Vedu Pari is performed at different divyadesams, the one at Veda Raja Puram is special because it was here that the episode took place and hence re-enacted in a traditional manner.

Vedu Pari relates to the late night robbery that brought about a transformation in Mangai Mannan who later came to be hailed as Thirumangai Azhwar.

Tirumangai Mannan as Azhwar after the Vedu Pari event.

The last of the Azhwars- Thirumangai Azhwar - made a significant contribution, visiting and singing the praise of Lord Vishnu in over 85 temples (Divya Desams). While all other Azhwars got things done by showing love and devotion to the Lord, Thirumangai Azhwar alone was different. The only Azhwar with a spear in his hand, he was aggressive, even threatening in his interactions with the Lord, who sometimes had to come down a step to please Thirumangai and to get him to sing praise - a couple of cases in point being Thiru Indhalur and Thiru Ninravur Divya Desams.

Born in Thiru Kuraiyulur, 2 km from Thiruvali-ThiruNagari near Sirkazhi, Thirumangai Mannan (king), who belonged to the Kallar Community, fell in love with the beautiful Kumudavalli of Annan Koil (another Divya Desam near Sirkazhi). To get Thirumangai Mannan initiated into Vaishnavism and devoted to Lord Vishnu, Kumudavalli laid tough ‘wedding’ conditions, one of which was to feed 1008 Vaishnavites every day. Thirumangai Mannan, in this attempt, lost a lot of his wealth. But determined to fulfil her conditions, he turned a thief and resorted to ‘stealing.’

One night, Thirumangai saw a newly married couple, decked with jewellery, coming his way. It was Lord Ranganatha of Thirunagari taking along with him Amruthavalli Thayar of Thiruvali. In that darkness, in Vedarajapuram (the village between Thiruvali and Thirunagari), Thirumangai waylaid the couple the disguised Lord Ranganatha and threatening them with his spear.

Having relieved the two of their jewellery, Thirumangai put the booty in a bag and found it too heavy to even lift it from the ground. Lord Ranganatha revealed himself and initiated the bandit king into the ‘Ashtakshara Mantra.’ The divine couple appeared in their wedding splendour.

‘Thirumangai Mannan’ thus became ‘Thirumangai Azhwar.’

Thirumangai Azhwar wanted the Margazhi Festival to be a Tamil Divya Prabhandham festival as against just the Vedic recital that existed before his time. The 10-day ‘Era Pathu’ festival called ‘Thiruvoimozhi Thirunaal’ was specially created for the Lord to listen to the beautiful Tamil composition of Nammazhwar.

At the Ranganatha temple in Srirangam, the story of ‘Vedu Pari’ is enacted every year as part of the eighth day celebrations of the Era Pathu festival. The episode took place last week. Namperumal seated atop a golden horse was brought to the sand expanse on the eastern side of the temple. The deity held in his right hand a sword, javelin and arrows while his left hand held the reins. A speciality was the performance of Kona Vaiyali (zig zag fast paced procession).

The gathering was also treated to an enactment of Vedu Pari as young members of the Kallar community armed with long sticks surrounded the deity. Thirumangai, who earlier in the evening walked in as the king (Mannan) with a bow and arrow in hand, was seen in a completely different form at the end of the Vedu Pari, dressed as Azhwar, one who had just received the initiation of the Ashtakshara Mantra.

The drama was followed by a ceremony, where the list of the Lord’s jewels was read out. This is the only day in the year when the list of jewels is read out.

Veena Ekantham

The events of this annual Vedu Pari Utsavam came to an end with Veena Ekantham, a unique and the only one of its kind veena presentation. Srirangam is the only Divya Desam where this Yaazh Isai tradition of waking up the Lord and putting him to sleep is followed.

Namperumal listened in peace for almost an hour from 1 a.m. to the sweet tunes of the four-member Sathya Kootam Veena Vidwans (Srinivasan, Ramanujam, Govindan and Gopalakrishnan) and their presentation of Thirumangai Azhwar’s pasurams.

One could almost visualise the Lord nodding in happiness when they presented ‘Vaadinen Vaadi Varunthinen Manaththal …..Narayana Ennum Naamam’- the first song of Thirumangai Azhwar after he identified the disguised Lord Ranganatha during Vedu Pari.

Thirumangai, in this first Periya Thirumozhi Pasuram, expresses his wilting mind and wavering thoughts and how he finally found that chanting the Narayana Mantra gives one the peace of mind in life. Their final song on the Vedu Pari night – ‘Eth Sariga Sathanambu Ekantha Ranga’ (Vijaya Ranga Sokka Nathar’s composition) put Namperumal to sleep after a long and tiring evening with the Lord entering his sanctum at around 2am.

Vedu Pari Highlights

8th Day of Thiruvoimozhi Thirunal celebrated as Vedu Pari

900 year old ‘Veena Ekantham’ puts Namperumal to sleep

Only occasion of Kona Vaiyali inside the temple

The story of 900-year old Veena Ekantham

Ramanuja, who returned to Srirangam after his exile, laid down very specific processes to be followed in each area of service allocating a role for people from different walks of life.

Origin

Having found reference to Yaazh Isai (Veena Recital) in several pasurams including in Thirumangai Azhwar’s Periya Thirumozhi-‘Pannin In Mozhi Yaazh Narambil Petra’, NamAzhwar’s Thiruvoimozhi praising the sweetness of Veena recital – ‘Soozh Kandaai En Thollai Vinaiyai Yaazhin Isaiye Amuthey Arivin Payaney Arierey’ and Thondaradipodi Azhwar’s Thirupalli Yezhuchi – ‘Etham Il Thannumai Ekkam Matha Thali Yaazh Kuzhal Muzhavamodu’, Ramanuja wanted the Veena Recital to be an integral part of the daily routine at the Srirangam temple and gave it the most sacred role- that of both waking up the Lord as well as putting him to sleep.

Ramanuja assigned ‘Sathya Kootam’, a clan that belonged to a village near Srirangam for the Yaazh Isai performance. Thus began the Veena recital at the Ranganatha temple in Srirangam. Over nine centuries, this has come to be included in the Limca book of records for paternal service at temples and its longevity and the now 76-year old former National College (Tiruchi) Vice- Principal, Veena G. Rangarajan features in the Limca records as the 45th descendent of this tradition.

Different Ragas of Thirupalli Yezhuchi

Every morning at around 5.15, the veena vidwans present for about 30 minutes Thondaripodi Azhwar’s 10 beautiful verses called Thirupalli Yezhuchi to wake Lord Ranganatha from his sleep. They have broken up these 10 verses of Thondaradipodi into five different ragas, one raga for every two verses- Roopalam, Bilahari, Dhanyasi, Malaya Marutham and Saveri.

Similarly in the evening for about 20 minutes beginning 10 p.m., they present Kulasekara Azhwar’s Pasurams to put the Lord to sleep. The evening presentation has been composed in 4 different Ragas starting with Neelambari, going on to Ananda Bairavi, Sahana, Revathi and ending again with Neelambari.

They present this daily Veena Recital for 262 days (there are no recitals on some special festival days) in the year. In addition to this daily service, they also present the Veena recital on another 29 festival days. They were paid Rupees3 Paise48 every month for their divine service! 

900-year history

During the 10 day Era Pathu festival, they present Yaazh Isai for about an hour every evening. Interestingly, while the daily morning and evening recitals are solo performances presented in a sitting posture, Veena Ekantham during the Era Pathu Thiruvoimozhi festival is presented as a group in a standing posture with the Veena tied to their shoulder. In all, they present around 250 pasurams during this Tamil Prabandham festival. In addition, they also present Kritis composed by Thyagaraja, Dikshitar, Arunachala Kaviraya, Adi Shankara, Purandaradasa and Venkatathri Swamigal in languages such as Telugu, Kannada and Sanskrit.

The tunes composed by them are elegant and simple in its presentation and in a conversational style. Perfecting this Veena recital takes at least 10 years, the first 2-3 years, in perfecting the vocal music, the next few years in learning the Veena and finally learning the art of presenting the pasurams through the Veena.

This is the only Divya Desam in India where this Yaazh Isai tradition of waking up and putting the Lord to sleep has been followed, and that for 900 years now