Tuesday, September 16, 2025

The picture.

The story of the picture. Awe inspiring. 


 This picture has been posted by me before.


Posting again today because of a request received a lady from Bangladesh,  who wanted to see the picture but could not find it.


This is after my 15 year old mother ran into Gurudev's (Rabindranath Tagore) room to tell him that she has passed the matriculation exam. At which Rabindranath Tagore's first reaction was "

ওরে বাবা, তুই তো আমার চেয়েও বড় পন্ডিত হয়ে গেলি". Meaning 'ohh boy. You became a bigger pundit than even myself.'


She then requested Rabindranath Tagore to please agree to come out for a group photo, since a lot of people are waiting outside for a chance to have a picture taken with him, perhaps for the last time, since he was ailing and might not survive the rest of the year.


The were barred from approaching Tagore. His grand daughter used to control the access to his home in Uttarayan.


It usually did not prevent my mother, since she was tom boyish, could dodge the sentries and the grand daughter, and Tagore himself liked her to visit him any time.


So, the elders congregated outside and requested my mother to not just tell him about her passing the mayric exam, but also to request him to come out for a last picture with the elders, who will be waiting outside.


So my mother asked her 'Gurudev' if he would please come out once for a group picture with the elders, who were waiting outside.


Gurudev immediately agreed, although he was not keeping well. His grand daughter could not go against gurudev. He slowly walked outside, supported by helpers, and sat down in a chair placed for him.


He asked my mother to sit at his feet.


And thus, this picture was taken. The real group picture has many people. But my mother asked me to crop and enlarge this cutout from the original.


I hope the lady from Bangladesh finds this post.


The seed.

 Like all Sri shankaracharya stotras this is magical too. It creates a flow that captivates the mind to want to learn it. The seed of knowledge so to say. 

The Vedasāra Śiva Stotram, attributed to Ādi Śaṅkarācārya, is a hymn that celebrates Lord Śiva as the supreme reality, the source of creation, the sustainer of the world, and the ultimate refuge of all beings.

The stotram begins by portraying Śiva in his majestic, awe-inspiring form: the Lord of beings, destroyer of sins, clothed in an elephant’s hide, with the sacred river Gaṅgā flowing from his matted locks. He is the five-faced Lord, the three-eyed one whose eyes are the sun, moon, and fire, radiating eternal bliss. Adorned with sacred ash, riding the bull, and accompanied by Bhavānī (Pārvatī), Śiva is beyond all material qualities, yet present in every aspect of creation.

The hymn then shifts from describing Śiva’s external form to his inner essence. He is the supreme Self, the primal seed of the universe, beyond desire, beyond form, and realized through the sacred syllable Om. From him the world arises, by him it is sustained, and in him it dissolves. He is beyond the five elements and the three states of experience—waking, dreaming, and deep sleep—residing in the “fourth” state (turīya), which is pure consciousness and bliss.

The devotee offers repeated salutations to this cosmic Lord whose nature is knowledge, bliss, and pure existence. Śiva is both the personal God, wielding the trident and protecting his devotees, and the impersonal Absolute, beyond duality, the light of all lights. He alone creates, sustains, and dissolves the universe.

Finally, the stotram concludes with the recognition that everything—moving and unmoving, all beings and all worlds—arises from Śiva, rests in him, and merges back into him. He is the Liṅga-svarūpa, the eternal symbol of the Supreme, embodying both the manifest and the unmanifest universe.

In essence: The Vedasāra Śiva Stotram is both a devotional prayer and a philosophical declaration. It praises Lord Śiva not just as a deity with divine attributes, but as the very ground of existence—timeless, formless, infinite, and yet accessible to the devotee’s love and surrender.

The Essence of Vedasāra Śiva Stotram

Lord Śiva is remembered in the Vedasāra Śiva Stotram not only as a divine figure, but as the very heart of existence itself. The hymn begins with vivid images—the Lord of all beings, clothed in the skin of an elephant, crowned with flowing Gaṅgā, his matted locks radiant with moonlight. His five faces watch over the directions, his three eyes shine as the sun, moon, and fire, and his body is adorned with holy ash. Here is the great God—majestic, yet compassionate—riding the bull, with Bhavānī by his side.

But the stotram does not stop at outer forms. It leads us deeper. Śiva is the seed of the universe, the source from which everything springs, the one who sustains all, and the final refuge into which all returns. He is beyond qualities, beyond time, beyond the five elements, beyond even the states of waking, dreaming, and deep sleep. He is the “fourth,” the state of pure awareness, blissful and unchanging.

As the hymn unfolds, the devotee bows again and again—namaste, namaste—to the one who is the light of all lights, the cause of all causes, the eternal and unborn. Śiva is not limited to form or image; he is the boundless reality pervading the cosmos. Yet, he is also the personal Lord, carrying the trident, dwelling with Pārvatī, destroying the bondage of his devotees, and showering his endless compassion.

Finally, the stotram reminds us: all that we see—moving and unmoving, high and low, vast and subtle—comes from Śiva, lives in him, and merges back into him. He is the Liṅga-svarūpa, the eternal principle behind creation and dissolution, the symbol of the infinite hidden in the finite.

Thus, the Vedasāra Śiva Stotram is both devotion and philosophy. It teaches us to see in Śiva not only the Lord who protects and blesses, but also the absolute truth—timeless, formless, beyond duality. To remember him is to rise above fear, to rest in peace, and to know the eternal joy of the Self.

 In short: This stotram is a gentle path—from worship of Śiva’s outer beauty to realization of his inner essence. It invites us to bow, to surrender, and finally to awaken to the truth that Śiva is not separate from us—he is the Self shining within.


वेदसार शिव स्तोत्रम्

(Vedasāra Shiva Stotram)



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Devanāgarī:


पशूनां पतिं पापनाशं परेशं

गजेन्द्रस्य कृत्तिं वसानं वरेण्यम् ।

जटाजूटमध्ये स्फुरद्गाङ्गवारिं

महादेवमेकं स्मरामि स्मरारिम् ॥


महेशं सुरेशं सुरारातिनाशं

विभुं विश्वनाथं विभूत्यङ्गभूषम् ।

विरूपाक्षमिन्द्वर्क वह्नित्रिनेत्रं

सदानन्दमीडे प्रभुं पञ्चवक्त्रम् ॥


गिरीशं गणेशं गले नीलवर्णं

गवेन्द्राधिरूढं गुणातीतरूपम् ।

भवं भास्वरं भस्मना भूषिताङ्गं

भवानीकलत्रं भजे पञ्चवक्त्रम् ॥


शिवाकान्त शंभो शशाङ्कार्धमौले

महेशान शूलिन् जटाजूटधारिन् ।

त्वमेको जगद्व्यापको विश्वरूपः

प्रसीद प्रसीद प्रभो पूर्णरूप ॥


परात्मानमेकं जगद्बीजमाद्यं

निरीहं निराकारमोङ्कारवेद्यम् ।

यतो जायते पाल्यते येन विश्वं

तमीशं भजे लीयते यत्र विश्वम् ॥


न भूमिर्न चापो न वह्निर्न वायुर्

न चाकाश आस्ते न तन्द्रा न निद्रा ।

न चोष्णं न शीतं न देशो न वेषो

न यस्यास्ति मूर्तिस्त्रिमूर्ति तमीडे ॥


अजं शाश्वतं कारणं कारणानां

शिवं केवलं भासकं भासकानाम् ।

तुरीयं तमःपारमाद्यन्तहीनं

प्रपद्ये परम् पावनं द्वैतहीनम् ॥


नमस्ते नमस्ते विभो विश्वमूर्ते

नमस्ते नमस्ते चिदानन्दमूर्ते ।

नमस्ते नमस्ते तपोयोगगम्य

नमस्ते नमस्ते श्रुतिज्ञानगम्य ॥


प्रभो शूलपाणे विभो विश्वनाथ

महादेव शम्भो महेश त्रिनेत्र ।

शिवाकान्त शान्त स्मरारे पुरारे

त्वदन्यो वरेण्यो न मान्यो न गण्यः ॥


शम्भो महेश करुणामय शूलपाणे

गौरीपते पशुपते पशुपाशनाशिन् ।

काशीपते करुणया जगदेतदेक-

स्त्वं हंसि पासि विदधासि महेश्वरोऽसि ॥


त्वत्तो जगद्भवति देव भव स्मरारे

त्वय्येव तिष्ठति जगन्मृड विश्वनाथ ।

त्वय्येव गच्छति लयं जगदेतदीश

लिङ्गात्मकं हर चराचरविश्वरूपिन् ॥



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IAST / Transliteration:


paśūnāṃ patiṃ pāpanāśaṃ pareśaṃ

gajendrasya kṛttiṃ vasānaṃ vareṇyam |

jaṭājūṭamadhye sphuradgāṅgavāriṃ

mahādevamekaṃ smarāmi smarārim ||1||


maheśaṃ sureśaṃ surārārtināśaṃ

vibhuṃ viśvanāthaṃ vibhūtyaṅgabhūṣam |

virūpākṣamindvarkavahnitrinetraṃ

sadānandamīḍe prabhuṃ pañcavaktram ||2||


girīśaṃ gaṇeśaṃ gale nīlavarṇaṃ

gavendrādhirūḍhaṃ guṇātītarūpam |

bhavaṃ bhāsvaraṃ bhasmanā bhūṣitāṅgaṃ

bhavānīkalatraṃ bhaje pañcavaktram ||3||


śivākānta śambho śaśāṅkārdhamaule

maheśāna śūlin jaṭājūṭadhārin |

tvameko jagadvyāpako viśvarūpaḥ

prasīda prasīda prabho pūrṇarūpa ||4||


parātmānamekaṃ jagadbījamādyaṃ

nirīhaṃ nirākāramoṅkāravedyam |

yato jāyate pālyate yena viśvaṃ

tamīśaṃ bhaje līyate yatra viśvam ||5||


na bhūmirna cāpo na vahnirna vāyur

na cākāśamāste na tandrā na nidrā |

na cōṣṇaṃ na śītaṃ na deśo na veṣo

na yasyāsti mūrtistrimūrti tamīḍe ||6||


ajaṃ śāśvataṃ kāraṇaṃ kāraṇānāṃ

śivaṃ kevalaṃ bhāsakaṃ bhāsakānām |

turīyaṃ tamaḥpāramādyantahīnaṃ

prapadye paraṃ pāvanaṃ dvaita hīnam ||7||


namaste namaste vibho viśvamūrte

namaste namaste cidānandamūrte |

namaste namaste tapoyogagamya

namaste namaste śrutijñānagamya ||8||


prabho śūlapāṇe vibho viśvanātha

mahādeva śambho maheśa trinētra |

śivākānta śānta smarāre purāre

tvadanyo vareṇyo na mānyo na gaṇyaḥ ||9||


śambho maheśa karuṇāmaya śūlapāṇe

gaurīpate paśupate paśupāśanāśin |

kāśīpate karuṇayā jagadetadekastvaṃ

haṃsi pāsi vidadhāsi maheśvaro’si ||10||


tvatto jagadbhavati deva bhava smarāre

tvayy eva tiṣṭhati jaganmṛḍa viśvanātha |

tvayy eva gacchati layaṃ jagadetadīśa

liṅgātmakam hara carācaraviśvarūpin ||11||


O Lord of beings, crowned with Gaṅgā’s stream,

Your matted locks hold the moon’s cool gleam.

With eyes of fire, of sun, of night,

You guard the worlds with endless light.


O rider of the bull so strong,

Destroyer of sorrow, to You I belong.

Clothed in ash, beyond all form,

You are the stillness, the eye of the storm.


From You the stars and rivers rise,

In You they rest, to You they fly.

Beyond all time, beyond all name,

The seed, the source, the deathless flame.


O Śambhu, tender, fierce, and kind,

You dwell within the seeker’s mind.

To You I bow, to You I call,

O Self of selves, O Lord of all.

Joy of uriyadi.

 Uriyadi Utsavam – A Festival of Joy and Devotio

Uriyadi Utsavam is a unique and joyous festival celebrated in many parts of South India, particularly in Tamil Nadu, during Krishna Jayanthi (the birthday of Lord Krishna). The word Uriyadi literally means “breaking the pot tied on a rope,” and the festival is a delightful combination of devotion, tradition, and play.

The central ritual involves hanging an earthen pot (uri) high up, filled with butter, curd, milk, jaggery, or other delicacies that Lord Krishna loved. Groups of young men and children try to break the pot using a stick while others swing it up and down or smear the players with water and colors. The scene beautifully recreates the childhood pranks of Krishna, who, along with his friends, used to steal butter from pots in Gokulam.

The Uriyadi Utsavam is not just a playful event but also a symbolic act of devotion. It reminds devotees of Krishna’s simplicity, innocence, and his mischievous love for butter. Breaking the pot represents the breaking of the ego and reaching the divine sweetness hidden within. It also emphasizes teamwork, unity, and the joy of collective effort, much like Krishna and his cowherd friends.

The utsavam is usually accompanied by folk songs, drums, and temple festivities. Streets come alive with processions of Krishna idols, decorated with flowers and ornaments. In villages, the entire community gathers to watch the Uriyadi, cheering the participants with enthusiasm. In some places, traditional martial arts, dances, and dramas depicting episodes from Krishna’s life are also performed, turning the festival into a cultural extravaganza.

Uriyadi Utsavam is more than a festival—it is a celebration of togetherness. It brings people of all ages to the same place, blurring differences of class or background. Children learn stories of Krishna’s childhood, elders recall their own participation in Uriyadi, and the younger generation continues the tradition with renewed energy.

Uriyadi Utsavam is a vibrant expression of devotion, joy, and cultural heritage. It preserves the playful spirit of Krishna while reminding devotees of deeper spiritual lessons. The clapping, cheering, and laughter that fill the air during Uriyadi echo the timeless message that divinity is not only in solemn rituals but also in play, joy, and shared happiness.

 Kesara chandan tilak viraje, mukut viraje sheesh

2. Murali bajave bansuri madhur, sabko mohne wale

3. Pitambar peet vastra sobhit, vanmala tan pyari

4. Shyam sundar gopala nandlala, gopangan ke praan

5. Mor mukut banmaali dharata, nainan mein prem umange

6. Vrindavan mein ras rachata, sab bhakta mann harata

Krishna’s forehead glows with saffron–sandal paste tilak, and a shining crown adorns His head.

He plays the sweet flute, enchanting the hearts of all beings.

Dressed in yellow garments, with a forest garland on His chest, His form shines with graceThe dark-hued beautiful Gopala, darling son of Nanda, is the very life of the Gopis.

A peacock feather decorates His crown; in His eyes overflows divine love and playfulness.

In Vrindavan He enacts divine sports (rasa lila), stealing the minds of all devotees.



Blend.

 By the river’s song the temple stands,

Where flowing waters wash the lands.

Purity streams from wave to wave,

A holy bath the soul does crave.


The tank, the pond, the river wide,

Hold heaven’s grace on earth beside.

For gods are near where waters flow,

Life and worship together grow.


So temples rise where rivers bend,

Where pilgrim’s path and prayers blend.

Water and worship, hand in hand,

Sacred union across the land.


Sunday, September 14, 2025

Limits.

 let’s trace how Dravidian and Tamilian identities have overlapped and diverged through history.

Historical Evolution of Dravidian vs. Tamilian Identity

1. Prehistoric & Protohistoric Period

Dravidian Identity:

Scholars suggest that Dravidian-speaking people might have been linked to the Indus Valley Civilization (2600–1900 BCE). Some argue the Harappans spoke a proto-Dravidian language.

Archaeological evidence in South India (Megalithic culture) shows shared practices like rice cultivation, black-and-red pottery, and ancestor worship.

Identity at this stage was linguistic-cultural, not political.

Tamilian Identity:

Proto-Tamil culture developed distinctly in the Tamil regions of the South.

Early Sangam literature (from ~500 BCE to 200 CE) reflects a self-aware Tamil community with its own kings, poets, and ethics (akam and puram poetry).


Already in Sangam texts, the pride in Tamil as a unique tongue is visible.

2. Sangam Age (500 BCE – 300 CE)

Dravidian:

The word Dravida was not yet a unifying identity. Other South Indian groups (Telugu, Kannada regions) also had flourishing cultures but were not bound under one label.

Tamilian:

Strongly self-defined cultural identity.

Sangam poems glorify Tamil land (Tamilakam), Tamil kings (Chera, Chola, Pandya), and the Tamil language as eternal.

A clear divergence: Tamilian identity was already distinct, while Dravidian was still an outsider’s classification.

3. Early Medieval Period (400–1000 CE)

Dravidian:

Slowly, the idea of South Indian unity under shared cultural features began to emerge (temple culture, bhakti movements).

Tamilian:

Bhakti saints (Alvars & Nayanmars) composed hymns in Tamil, elevating it to a sacred status.

The Chola Empire spread Tamil culture to Sri Lanka and Southeast Asia.

Tamilian identity grew imperial and international, while “Dravidian” was still not a political identity.

4. Medieval & Early Colonial (1000–1800 CE)

Dravidian:

“Dravida” appears in Sanskrit texts to describe southern lands and peoples.

Shared cultural forms (temple architecture, Carnatic music, Sanskritic influence) created a South Indian commonality.

Tamilian:

Tamil continued to assert distinctiveness through literature (Kamban’s Ramayanam, devotional poetry, Shaiva-Siddhanta philosophy).

A tension arose between Sanskritization (Pan-Indian culture) and Tamil pride.

5. Colonial Period (1800–1947)

Dravidian Identity:

European scholars classified Indian languages scientifically; identified Dravidian as a separate family (Robert Caldwell, 1856).

This gave South Indians a linguistic unity, distinct from Indo-Aryan North Indians.

The seeds of Dravidian consciousness were sown.

Tamilian Identity:

Tamil scholars and nationalists (like U. V. Swaminatha Iyer, Maraimalai Adigal) revived classical Tamil literature.

The idea of Tamil as the world’s oldest, purest language grew strong.

Tamil pride and Dravidian solidarity began to overlap, but Tamil identity remained more ancient and sharper.

6. Modern Period (1947–present)

Dravidian:

Became a political ideology in Tamil Nadu through Periyar’s Self-Respect Movement and the rise of DMK/AIADMK.

Emphasized: anti-caste, anti-Brahmin dominance, social justice, opposition to Hindi imposition, regional autonomy.

In broader South India, however, the Dravidian political identity did not unite all Dravidian-speaking peoples (e.g., Andhra, Karnataka, Kerala developed their own politics).

Tamilian:

Tamil nationalism sometimes went beyond Dravidianism, e.g.:

Anti-Hindi agitations (1930s–1960s).

Assertion of Tamil Eelam in Sri Lanka (1970s–2000s).

Global Tamil diaspora continues to reinforce Tamil cultural pride.

Today, Tamil identity is transnational, while Dravidian identity is largely regional-political within Tamil Nadu.

Overlap & Divergence

Overlap:

Shared Dravidian heritage (languages, temple culture, art, social reform).

Dravidianism in Tamil Nadu drew heavily from Tamil heritage.

Divergence:

Tamil identity is older, sharper, and global, centered on language and literature.

Dravidian identity is broader, newer, and political, centered on South Indian unity against northern domination.

In essence:

Tamil identity existed long before “Dravidian” was even a concept.

Dravidian identity gave Tamils a political platform, but Tamilian identity gave them a cultural soul.

Dravidian Identity and Sanātana Dharma: Two Worlds, One Heritage

The debate between Dravidian identity and Sanātana Dharma is one of the most intriguing in Indian history. At first glance, they may appear to be in conflict—one linguistic and political, the other religious and philosophical. But a closer look reveals a story of interaction, overlap, and shared heritage.

What Is Dravidian Identity?

The term Dravidian began as a linguistic label. Scholars in the 19th century grouped Tamil, Telugu, Kannada, and Malayalam into the Dravidian family of languages, distinct from Sanskrit and the Indo-Aryan family.

In the 20th century, however, Dravidian identity became a political movement. Leaders like Periyar E.V. Ramasamy redefined it as:

A celebration of Tamil and other Dravidian languages.

A call for social justice and opposition to caste hierarchy.

A rejection of Sanskrit dominance and Hindi imposition.

A shift towards rationalism and self-respect.

In short, Dravidian identity became a cultural and social assertion against what was seen as Brahminical hegemony.

What Is Sanātana Dharma?

Sanātana Dharma, more commonly known today as Hinduism, literally means “eternal law.” It is a religious and philosophical framework, not bound by ethnicity or geography.

It is rooted in:

Texts: The Vedas, Upaniṣads, Epics, and Purāṇas.

Philosophy: Dharma (duty), Karma (action), Mokṣa (liberation).

Diversity: Rituals, devotion (bhakti), ascetic paths, and philosophy.

Language: Sanskrit as its sacred medium, though it flourished in local tongues too.

Unlike Dravidian identity, Sanātana Dharma claims to be universal and timeless, open to all who walk its paths.

Dravidian vs. Sanātana Dharma: The Differences

Aspect Dravidian Identity Sanātana Dharma

Nature Cultural, linguistic, political Spiritual, religious, philosophical

Region Rooted in South India Pan-Indian, global

Focus Language pride, social reform Dharma, rituals, liberation

View of Caste Anti-Brahminical, egalitarian Historically tied to varṇa-jāti system

View of Sanskrit Seen as imposition Revered as sacred

Identity Source Tamil/Dravidian languages Dharma, philosophy

Far from being isolated, the two have deeply influenced one another:

Sangam Age (500 BCE–300 CE): Tamil texts celebrated Murugan, Vishnu, and Shiva, showing early blending of local and pan-Indian traditions.

Bhakti Movement (6th–9th century CE): Tamil Āḻvārs and Nāyaṉmārs composed hymns in Tamil that became central to Hindu worship.

Medieval Acharyas: Thinkers like Rāmānuja and Madhva rooted profound Hindu philosophy in Dravidian cultural soil.

Colonial Era: Missionaries and Orientalists sharpened distinctions between “Dravidian” and “Hindu.”

Modern Politics: Dravidian parties emphasized separation, opposing what they saw as “Brahminical Hinduism.”

Overlaps and Shared Heritage

Despite political differences, everyday life in South India reveals harmony:

The grand temples of Tamil Nadu—Srirangam, Madurai, Chidambaram—are both Dravidian architectural marvels and Sanātana Dharma’s sacred spaces.

Tamil bhakti poetry unites linguistic pride with universal devotion.

Millions of Tamil-speaking Hindus live comfortably as both Dravidian in culture and Sanātani in faith.

Two Identities, One Soul

Dravidian identity and Sanātana Dharma are not enemies—they are two layers of South Indian life. One expresses the cultural pride of language, region, and social justice. The other expresses the timeless search for dharma, devotion, and liberation.

Seen together, they show the richness of South India, where the eternal dharma found its voice in the ancient and beautiful Dravidian tongues.

1. Anti-Brahminical ≠ Anti-Brahmin

When Dravidian thinkers (especially Periyar and later political leaders) used the term “anti-Brahminical,” they were not always referring to individuals who were Brahmins. Instead, they were critiquing the “Brahminical order”—meaning the social dominance and hierarchical privileges that they felt were upheld through religion and caste.

So:

Anti-Brahminical = opposition to the system of caste hierarchy and priestly monopoly.

It is not necessarily hostility to Brahmin people as a community, though in practice it sometimes spilled over into social tensions.

2. Anti-Varṇāśrama = Anti-Caste Order

Sanātana Dharma in its classical form included Varṇāśrama Dharma—the four-fold division of society (brāhmaṇa, kṣatriya, vaiśya, śūdra) combined with four stages of life (student, householder, forest-dweller, renunciate).

In theory, this was meant to be based on guna (qualities) and karma (action), not birth.

In practice, it hardened into a birth-based caste system with social restrictions.

The Dravidian movement strongly rejected this, hence the anti-varṇāśrama stance. It was less about denying spirituality and more about dismantling inherited inequality.

3. Is That “Wrong”?

It depends on perspective:

From a Sanātana Dharma perspective, rejecting varṇāśrama altogether can be seen as rejecting an ancient framework of social and spiritual order. Reformers within Hinduism (like Swami Vivekananda, Dayananda Saraswati, Gandhi) also criticized caste by birth but tried to reinterpret varṇāśrama instead of discarding it.

From a Dravidian perspective, the system was oppressive in lived experience, especially for non-Brahmin communities. So opposing it was seen as a moral duty and a path toward equality.

4. The Nuanced Reality

It’s important to note that South Indian Hindu traditions themselves had powerful anti-caste voices even before Periyar:

The Nāyaṉmārs and Āḻvārs often came from non-Brahmin backgrounds and composed verses rejecting caste superiority.

Saints like Tiruppāṇ Āḻvār (a devotee from a marginalized community) were venerated within temple traditions.

Philosophers like Rāmānuja worked to make temple worship accessible beyond caste barriers.

This shows that critique of caste was not necessarily anti-Sanātana Dharma—it often arose within it.

So in summary:

Anti-Brahminical / Anti-varṇāśrama in the Dravidian sense was a call for social equality, not always a rejection of dharma itself.

Whether it is “wrong” depends on one’s standpoint—traditional dharmic or modern egalitarian.

In lived practice, South India shows a spectrum, where Dravidian pride and Sanātana Dharma often continue side by side in the same communities.


Paairam.

 "Paairam" (பாயிரம்) is a Tamil literary term. It usually means a prefatory verse or an introductory benediction at the beginning of a poem, epic, or literary work.

In classical Tamil works, the Paayiram (also spelled Paayiram, Pāyiram, Pāyiram) is like a prologue, sometimes in the form of a few verses.

It sets the stage for the main work, explaining the subject, purpose, and often offering invocation to God, teacher, or patron.

It also asks for blessings so that the composition may be fruitful and the reader/listener may benefit.

For example:

Tirukkural has a Paayiram of 4 verses written by later commentators introducing Valluvar and the work.

Periyapuranam, Kamba Ramayanam, and other epics begin with such Paayiram verses.

Kamban begins his work with a Paayiram (introductory verses). The very first verse is an invocation to Lord Ganesha:

Example Paayiram (from Kamba Ramayanam)

Tamil (in transliteration):

"Ainthu karatthaanai aindhu pozhudhum

Ainthu padaiththaanai aindhu padaikkum

Ainthu uzhudhaanai aindhu ozhukkum

Ainthu avanaiththaan adiyen padaikken."

Meaning in English:

"I worship the One with five arms (Lord Ganesha),

Who created the five great elements,

Who rules the five senses,

Who moves the five vital airs —

To Him, I bow and begin my song."

Purpose of this Paayiram

1. Invocation: Kamban invokes Lord Ganesha so his work may proceed without obstacles.

2. Blessing: By starting with the divine, the poet asks for blessings on both the poet and the listener.

3. Setting the Tone: It tells the audience: “This is no ordinary story — it begins with the sacred.”

4. Literary Convention: Almost all great Tamil works begin with a Paayiram.

 In short, the Paayiram is not part of the story proper but an auspicious and respectful opening.

Tirukkural itself (1330 couplets by Valluvar) has no Paayiram, but later commentators such as Parimelazhagar and others composed four Paayiram verses as an introduction to praise Valluvar and his work.

Here are the four Paayiram verses, with translation and meaning:

Paayiram 1

Tamil (transliteration):

"Thiruvalluvar ennum thirunāmattāl

Peruvalluvar peṛṛa pirapanchamum ēṭṛṛu."

Meaning:

By the sacred name “Tiruvalluvar,”

The world itself has gained greatness.

Praises the poet Valluvar: his very name brings honor to humanity.

Paayiram 2

Tamil (transliteration):

"Thiruvalluvane pōl oruvar uḷarē?

Piraviyil thān pugazhum pāthippināl."

Meaning:

Is there anyone equal to Tiruvalluvar?

His glory shines by the merit of his birth itself.

Declares that no other poet or sage can be compared to him.

Paayiram 3

Tamil (transliteration):

"Thamizh nāṭṭu ulaginil vāzhum

Valluvane pōl oruvar uḷarē?"

Meaning:

In the Tamil land and in the wide world,

Is there another like Valluvar?

 Universalizes Valluvar’s greatness, saying his wisdom transcends Tamil Nadu and belongs to all.

Paayiram 4

Tamil (transliteration):

"Thiruvalluvar oruvar ulaginil ēnṛāl

Ulagam aṟiyum uḷaṅgu."

Meaning:

If one says “there is Tiruvalluvar in this world,”

That alone explains the glory of the world.

 The very existence of Valluvar is proof that the world is blessed.

These four Paayiram verses are not part of the Kural itself, but serve as a floral garland of praise (mangala verses) tied to the front of the book, so readers approach the text with reverence.

The Paayiram of Periyapuranam (12th century, by Sekkizhar).

Unlike Kamban’s Ramayanam or the Tirukkural Paayiram, here the Paayiram does three things at once:

1. Invokes Lord Siva (to sanctify the work)

2. Praises the Nayanmars (the 63 Saiva saints whose lives the book narrates)

3. Explains the purpose of the text

Periyapuranam – Opening Paayiram

Tamil (transliteration):

"Ulagellām uyya oruvar aruḷāl

Maṟaiyōdum oḻukkamum vayiṅgu

Thiruvēṇi thannul thiruvaruḷ seydhān

Periyapurāṇam ivvulagam aṛiya.

Meaning in English:

By the grace of the One Lord (Siva),

The Vedas and right conduct flourish together,

In Thiruvarur, He showered His divine grace,

And thus was born this Periyapuranam,

So that the whole world may know (the greatness of His devotees).

Purpose of this Paayiram

Divine sanction: The work is not just poetry — it is granted by Lord Siva Himself.

Sacred intent: It teaches both Vedic wisdom and ethical life.

Introduction: Tells the reader what the text is about: the lives of the saints who lived for Siva.

Universal vision: The word “ivvulagam aṛiya” (so the whole world may know) shows Sekkizhar’s confidence that Periyapuranam is timeless and meant for everyone.

So, compared to Tirukkural’s Paayiram (which is mostly praise of the author), the Periyapuranam Paayiram is more like a sacred preface, placing the whole work under divine light and stating its aim.