Sundarar (Tamil Sundarar), also known affectionately as Tampiran Tōḻan (Comrade of the Master, meaning friend of Shiva) was an eighth-century poet who was one of the most prominent Nayanars, the Shaiva bhakti (devotional) poets of Tamil Nadu. Manikkavasagar was one of the four great Sivapuranam is a part of Thiruvasagam ‘sacred utterance’ which is a volume of Tamil hymns composed by the ninth century Shaivite bhakti poet Allal piravi aruppavane oh endru, Chollarkku ariyanai cholli thiruvadi keezhCholliya paatin englsh unarnthu cholluvaarChelvaa shiva purathin ullarSivan adi. The Shiva Purana is one of eighteen Purana genre of Sanskrit texts in Hinduism, and part of the Shaivism literature corpus. It primarily centers around the Hindu god Shiva and goddess Parvati, but references and reveres all gods.

Thyagaraja Temple is a Shiva temple, located in the town of Thiruvarur in Tamil Nadu, India. Shiva is worshiped as Vanmiganathar, and is represented by the lingam. Daily poojas are offered to his idol referred to as Maragatha lingam. The main idol of worship is Lord Thiyagarajar, depicted as a Somaskanda form.His consort Parvathi is depicted as Kondi. The presiding deity is revered in the 7th century Saiva canonical work, the Tevaram, written in Tamil by saint poets known as the nayanars and classified as Paadal Petra Sthalam.

The temple complex covers 30 acres, and is one of the largest in India. It houses four gateway towers known as gopurams. The tallest is the eastern tower, with four stories and a height of 30 metres (98 ft). The temple has numerous shrines, with those of Thyagaragar (Veethi Vidangar) and Neelothbalambal (Alliyankothai) being the most prominent.

The temple has six daily rituals at various times from 5:30 a.m. to 10 p.m., and twelve yearly festivals on its calendar. The temple has the largest chariot in Asia and the annual Chariot festival is celebrated during the month of April.

The present masonry structure was built during the Chola dynasty in the 9th century, while later expansions are attributed to Vijayanagar rulers of the Sangama Dynasty (1336–1485 CE), the Saluva Dynasty and the Tuluva Dynasty (1491–1570 CE). The temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu.

Shiva Perumahan About Sunderar In Tamil Pdf Download

Etymology[edit]

The historic name of Thiruvarur was Aaroor (Arur) and it finds mention in the 7th century saiva canonical work, Tevaram.^[1] The term Thiru is added to all temple cities that are mostly revered by the verses of Tevaram, which is the case of Arur becoming Thiruvarur. Another name of Thiruvarur is Kamalalayaksetra, meaning the 'holy place that is an abode of lotuses'; the town is also referred so due to the presence of the Kamalalayam tank and the temple deity, Kamalambigai.^[2] During the British Raj, the town was termed Tiruvalur,^[3]Tiruvaloor,^[4] and Thiruvalur.^[5] As per the district and municipality websites, the district has the spelling 'Tiruvarur', while the town has it as 'Thiruvarur'.^[6][7] As per Hindu legend, the temple is the place where Kamalaambika's penance to marry Thyagaraja remain unfulfilled.^[8]

History[edit]

According to legend, a Chola king named Muchukunda obtained a boon from Indra(a celestial deity) and wished to receive an image of Thyagaraja Swamy(presiding deity, Shiva in the temple) reposing on the chest of reclining Lord Vishnu. Indra tried to misguide the king and had six other images made, but the king chose the right image at Tiruvarur.^[9]

The temple is believed to have been initiated with a large complex by the Pallavas during the 7th century.^[10] Contemporary history of the temple dates back to the time of the Medieval Cholas. An inscription dated in the 20th regnal year of Rajendra I(1012–1044) beginning with introduction 'Tirumanni valara' is found on the north and west walls of the Thyagaraja shrine.It gives a list of gifts including a number of jewels and lamps to the god veedhividankar(Thyagarajar).It records that the temple was built in stone in the regnal years of the king by Anukkiyar Paravai Nangaiyar.Besides the same lady liberally endowed gold for plating and gilding parts of the vimana, the entrance and the four sides of the shrine.Copper was also donated for plating the doors, corbels of the pillars of the mandapa in front of the shrine.This inscription meticulously records the weight of the endowed gold and copper, besides listing the various ornaments gifted to the temple with description each of them.^[11]

The temple complex seems to have acted as the cultural model for the big Brahadeeswarar temple at Thanjavur of Rajaraja Chola I, wherein he enshrined a vitankar which shared with the Adavallan of Chidambaram the status of state cult. The last Chola monarch to play an important role in the affairs of the temple was Kulothunga Chola III in the early part of the 13th century A.D. It attracted saivas of all schools and was important centre of Golaki matha in the 13th and 14th century. It was also an important Jaina dwelling place, which was attacked by saivas, as is evident from Periya Puranam, account of life of tantiyadigal.^[12]

Architecture[edit]

The temples complex occupies an area of around 33 acres with the Kamalalayam tank to its west. There are numerous shrines and mandapas(halls) in the three spacious enclosures(prakaram). The two main shrines of the temple are for vanmikinathar(Lord Siva) and Thyagarajar. Of the two, the former is the most ancient, and derives its name from tha anthill(putru), which takes the place of linga in the main shrine. Appar, the 7th-century poet saint, refers to the main deity in his hymn as puttritrukondan(one who resides in the ant hill). The Stala vriksham(temple tree) is patiri(trumpet flower tree). The principles and practises of tree-worship and ophilotary are ancient bases whereupon a later date linga worship seems to have been established.^[13]

Here all the nine Navagrahas (planetary deities) are located towards south in straight line also located in northwest corner of 1st (prakaram). It is believed that all the planetary deities got relieved off their curse and hence worshiped Thyagaraja. This temple hold the record of having maximum number of shrines (called sannithis in Tamil) in India. The foot of Thyagaraja is shown twice a year and on other occasions it is covered with flowers. The left leg of the deity is displayed during 'panguniuthram' festival and right leg on 'thiruvathirai'. Some of the major shrines in the temple are of Aananthiswarar, Neelothmbal, Asaleswarar, Adageswarar, Varuneswarar, Annamalieswarar and Kamalambal. The unique feature of the temple is the standing Nandi facing the presiding deity.^[10]

The temple has a lot of halls, with six of them being the most prominent. Bhaktha Katchi hall is located to the left of the image of Moosukuntha Nandi. The festival image of Thyagaraja arrives at this hall after the Panguni Uthiram festival. Oonjal hall is located opposite to the Kabatha Katchi hall. The festival images of Chandrasekarar and Sekari Amman arrive at this hall during the Thiruvadhirai festival. Thulapara hall is named after the legend in which king Mucundaka placed Thyagaraja image of Thiruvarur in one and all others in another plate he received from Indra (the king of celestial deities). Purana hall is located in the northern part of the temple. Rajanarayana hall is a public hall for localities of Thiruvaru. Rajendra Chola hall, also called Sababathi hall houses the museum of the temple.^[14]

Chariot festival[edit]

Kulothunga Chola II (1133–50 CE) enlarged the temple ritual to have fifty six festivals, some of which are followed in modern times.^[15][16] The annual chariot festival of the Thygarajaswamy temple is celebrated during April – May, correspondong to the Tamil month of Chitrai. The chariot is the largest of its kind in Asia and India weighing 300 tonne with a height of 96 ft (29 m). The chariot comes around the four main streets surrounding the temple during the festival. The event is attended by lakhs of people from all over Tamil Nadu. The chariot festival is followed by the 'Theppam', meaning float festival.^[17] The memorial for Thiruvalluvar, Valluvar Kottam, is inspired from the design of the Thiruvarur chariot.^[18]

Processional Dance[edit]

The Thyagarajar Temple at Tiruvarur is famous for the ajapa thanam(dance without chanting), that is executed by the deity itself. According to legend, a Chola king named Mucukunta obtained a boon from Indra(a celestial deity) and wished to receive an image of Thyagaraja Swamy(presiding deity, Shiva in the temple) reposing on the chest of reclining Lord Vishnu. Indra tried to misguide the king and had six other images made, but the king chose the right image at Tiruvarur.^[9] The other six images were installed in Thirukkuvalai, Nagapattinam, Tirukarayil, Tirukolili, Thirukkuvalai and Tirumaraikadu.^[19][20] All the seven places are villages situated in the river Cauvery delta. All seven Thyagaraja images are said to dance when taken in procession(it is the bearers of the processional deity who actually dance). The temples with dance styles are regarded as Saptha Vidangam(seven dance moves)^[21] and the related temples are as under:^[22]

Shiva Perumahan About Sunderar In Tamil Pdf 2017

Worship and religious practises[edit]

The temple priests perform the puja (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to the Shaiva community, a Brahmin sub-caste. The temple rituals are performed six times a day; Ushathkalam at 5:30 a.m., Kalasanthi at 8:00 a.m., Uchikalam at 10:00 a.m., Sayarakshai at 6:00 p.m., Irandamkalam at 7:00 p.m. and Ardha Jamam at 8:00 p.m. It is believed that during Sayarakshai all the 33 crore devas (celestial beings) are present to worship Lord Thiyagarajar. Further attending the Sayarakshai at Thiruvarur and then attending the Ardha Jamam pooja at Chidambaram is considered to be highly auspicious and beneficial.There are weekly rituals like somavaram (Monday) and sukravaram (Friday), fortnightly rituals like pradosham and monthly festivals like amavasai (new moon day), kiruthigai, pournami (full moon day) and sathurthi.^[23]

The idol of Thiyagarajar is covered with a piece of cloth and flowers, so that only his and amman's face is visible. His right foot and parvathy's right foot are revealed on Aarudhra Dharshan in the month of Margazhi, while his left foot and amman's left foot are revealed on PanguniUthiram.

Music, dance and literature[edit]

Historically, Thiruvarur has been a centre of eminent people in religion, arts and science. Sundarar, an 8th-century Saivite saint, mentions 'I am the slave of all those born in Thiruvarur' in his works in Tevaram.^[24] Two of the 63 nayanmars of Saivite tradition namely, Kalarsinga Nayanar and Tandiyadigal Nayanar were born in Thiruvarur.^[16] The Periyapuranam, a 12th-century Saiva canonical by Sekkizhar, dedicates a chapter to those born in Thiruvarur, including these two saints. The town was a traditional centre of music and dance – the inscriptions from Rajaraja Chola associate a large body of dancers associated with the temple.^[24] Thiruvarur is home to Trinity of Carnatic music, namely Thyagaraja (1767–1847 CE), Muthuswami Dikshitar (1775–1835 CE) and Shyama Shastri (1762–1827 CE).^[25] Muthuswami Dikshitar has sung eulogies of the temple deities of the Thyagarajaswami temple.^[24] Thyagaraja was named after the deity of this temple. There was large influx of the acumen of South Indian culture to the town during the 17th century CE due to the political unrest in Thanjavur and increased patronage of the Maratha kings to Thiruvarur, resulting in developments in music and dance.^[26][27] A unique musical instrument called panchamuga vadyam with each of its five ends ornamented differently is used in the temple. A type of nadaswaram (pipe instrument) called Barinayanam is also a unique instrument found only in Thiruvarur.^[27]

Mahasamprokshanam[edit]

The Mahasamprokshanam also known as Kumbabishegam of the temple was held on 8 November 2015 . The heavy rains blow in thiruvarur at the time of mahasamprokshanam, the people came in lot.^[28]

Notes[edit]

1. ^'Muthalam Thirumurai Translation'. Thevaaram.org. 2012. Retrieved 6 September 2012.
2. ^Dhere, Ramchandra Chintaman (2011). Rise of a Folk God:Vitthal of Pandharpur: Vitthal of Pandharpur. Oxford University Press. p. 53. ISBN978-0-19-977759-4.
3. ^Hunter, Sir William Wilson (1908). Imperial Gazetteer of India Vol. XXII Singbhum to Trashi-Chod-Zong. Oxford: Clarendon Press. pp. 225–229.
4. ^Dodwell, Henry (1920). Dupleix and Clive. Forgotten Books. p. 48. ISBN9781451011074.
5. ^Royal Asiatic Society of Great Britain and Ireland (1833), Journal of the Royal Asiatic Society of Great Britain and Ireland, Volume 1, London: Royal Asiatic Society of Great Britain and Ireland, p. 148
6. ^MSME Development Institute (2012). Brief Industrial profile of Tiruvarur district(PDF) (Report). MSME Development Institute, Ministry of MSME, Govt. of India. p. 1. Retrieved 8 June 2012.
7. ^'About the town'. Thiruvarur Municipality, Government of Tamil Nadu. 2011. Retrieved 2013-05-19.
8. ^'Magic on the waters'. Business Line. Chennai: Asia Intelligence Wire from FT Information. 2004. Retrieved 15 January 2019 – via ProQuest.
9. ^ ^abV., Meena (1974). Temples in South India (1st ed.). Kanniyakumari: Harikumar Arts. p. 34.
10. ^ ^abAnantharaman, Ambujam (2006). Temples of South India. East West Books (Madras). p. 59. ISBN978-81-88661-42-8.
11. ^S., Ponnusamy (1972). Sri Thyagaraja Temple Thiruvarur. State Department of Archaeology, Government of Tamil Nadu. p. 32.
12. ^Ghose 1996, p. 58
13. ^Vasudevan, Geetha (2003). The royal temple of Rajaraja: an instrument of imperial Cola power. New Delhi: Abhinav Publications. p. 136. ISBN81-7017-383-3.
14. ^'Halls inside the temple'. Sri Thiyagaraja Temple Administration. Retrieved 2013-05-21.
15. ^Ghose 1996, p. 331
16. ^ ^abAyyar, P. V. Jagadisa (1991), South Indian shrines: illustrated, New Delhi: Asian Educational Services, p. 375, ISBN81-206-0151-3
17. ^'Tiruvarur in religious history of Tamil Nadu'. The Hindu. 16 July 2010. Retrieved 2013-05-19.
18. ^V., Shanmuganathan (2014). A Remarkable Political Journey. Prabhat Prakashan. p. 121. ISBN9788184302578.
19. ^Sundararajan, Saroja (1985). Glimpses of the history of Karaikkal. Lalitha Publications. p. 54.
20. ^Pillai, J.M. Somanasundaram (1994). The great temple at Tanjore. Tamil University, Thanjavur. p. 9.
21. ^'The Journal of the Music Academy, Madras'. 71. Madras: Music Academy. 2000: 35.
22. ^Kersenboom-Story, Saskia C. (1987). Nityasumangali. Motilal Banarsidass Publishers. p. 146. ISBN9788120803305.
23. ^'Sri Thiagarajar temple'. Dinamalar. Retrieved 2013-05-19.
24. ^ ^abcGhose 1996, pp. 59-60
25. ^Kumar, Raj (2003). Essays on Indian Music. Discovery Publishing House. ISBN81-7141-719-1.
26. ^Kersenboom-Story, Saskia C. (1998). Nityasumaṅgalī: Devadasi Tradition in South India. Motilal Banarsidass Publishers Private Limited. p. 41. ISBN81-208-1527-0.
27. ^ ^ab'Arts inside the temple'. Sri Thiyagaraja Temple Administration. Retrieved 2013-05-21.
28. ^'Kumbabhishekam performed'. The Hindu. 9 November 2015. Retrieved 10 November 2015.

References[edit]

• Johri, Pradeep Kumar (2005). Encyclopaedia Of Tourism In 21St Century (Set Of 5 Vols.). Anmol Publications. p. 152. ISBN978-81-261-2404-6.
• Ghose, Rajeshwari (1998). The Tyāgarāja cult in Tamilnāḍu: a study in conflict and accommodation. Delhi: Motilal Banarsidass Publishers Private Limited. ISBN81-208-1391-X.

Bibliography[edit]

• Shanmugasundaram Ponnusamy (1972). Sri Thyagaraja Temple, Thiruvarur. State Dept. of Archaeology, Govt. of Tamil Nadu.

External links[edit]

Sundarar (TamilSundarar), also known affectionately as Tampiran Tōḻan (Comrade of the Master, meaning friend of Shiva)^[1] was an eighth-century poet who was one of the most prominent Nayanars, the Shaivabhakti (devotional) poets of Tamil Nadu. He was a contemporary of Cheraman Perumal and Kotpuli Nayanar who also figure in the 63 Nayanmars.^[2][3] The songs of praise are called Thiruthondathogai and is the original nucleus around which the Periyapuranam is based.^[4] The Periya Puranam, which collects the legends of the Nayanars, starts and ends with him. The hymns of seventh volume of the Tirumurai, the twelve-volume compendium of the poetry of Tamil Shaiva Siddhanta, were composed by him.

Life[edit]

Sundarar is unique among the Nayanars in that both of his parents are also recognized as Nayanars. He was born in Thirunavalur into an Adi Saiva family who worked as temple priests. His original name was Nambi Aroorar. The chieftain ruler of the local kingdom (Thirumunaipadi-Nadu), Narasingamunaiarayar, enthralled by the divine aesthetic possessed by young Sundarar who was playing in the street, adopted him and brought him up as his own son. Sundarar was a contemporary of the great Pallava emperor Rajasimha, who was also a Nayanmar saint as well as the author of many devotional hymns works in Tamil literature. A temple inscription in Tiruvarur states that Sundarar's father, Sadayan Nayanmar, belonged to the same ″gotram″ (lineage) of the renowned sage Bharadwaja. His mother Isaignani, also a Nayanmar saint, belonged to same the ″gotram″ of the great sage Gautama. From epigraphs, it is also inferred that a hagiography on Sundarar named Sva Swami Mitra Prabhandam translated as travelogues of how he got in the good graces of the Lord, Sri Shiva.

After he came of age, his parents wanted him to get married. Sadaiyanar sought Sandakavi Sivachariar’s consent to obtain his daughter’s hand for Sundarar. Sandakavi Sivachariar’s and his daughter Kamalagnana Poongathai were living in Puthur (modern-day Manamthaviznthaputhur) at the time. Sivachariar gladly consented, but the wedding was not to take place. All lavish arrangements had been made in Arulmigu Sokkantheeshwarar Temple at Puthur for the wedding. According to a legend, while Sundarar was being married, the service was interrupted by an old ascetic who asked for Sundarar as his servant, making a namesake claim that Sundarar's grandfather pledged him according to an ancient palm leaf manuscript in his possession. Sundarar and those assembled at the wedding were outraged and belittled the old man as a madman (piththaan: Tamil).^[5] Nonetheless, a court of Vedic scholars concluded that the palm leaf was legally valid. Crestfallen, Sundarar resigned himself to servitude in the old man's household and in following him to Thiruvennainallur village, was led to the Thiruvarutturai Shiva temple.

The old man was said to be Shiva (Lord Thyagaraja) himself, who told him 'That the document shown was only a namesake reason and he wanted Sundarar to be reminded of his actual form as Alalasundarar, a servitor in the holy abode Kailasam, who had to be born on Earth both due to moments of worldly thoughts that overcame Shiva. The fact that the southern Tamil region that had done great ″thavam″ during a period of the Kali Yuga and needed to be blessed with an account of lives of great Nayanmars called Tiru-Thondar Thokai also contributed to my decision. You will henceforth be known as Vanthondan, the argumentative devotee. Did you not call me a mad man just a short while ago? Begin your hymn addressing me 'O mad man!'.^[6] Lord Sivan also advised vanthondar that while on earth he should sing in Tamil. Accordingly, Sundarar began his first poem by addressing Shiva as Pittaa pirai chudi.. meaning O mad man, who has the crescent as his crown...^[5][7][8]

Subsequently, Sundarar moved around Tamil Nadu, visiting several Shiva Temples of Tamil Nadu. In Tiruvarur, in the Thanjavur district, he fell in love with a girl named Paravayar, of the Rudra Kanigayar caste of female ascetics, and married her. Sundarar was held in such a high regard by his contemporary Nayanmar saints like Viranmindar, Kalikamanar etc. that he was offered royal treatment by those rich servitors. One another Nayanmar saint namely Kotpuliyar, a Vellala, praised for some magnificent services also offers sundarar hand of his daughter but the saint politely declines and instantly picks up the girl and puts in his lap and dedicates a hymn to siva in the end of which he says that he considers the girl equivalent to his daughter. The same treatment is accorded by the saint to yet another girl namely singati. In many hymns, Sundarar makes this declaration of love filled, gracious patronage to the children that he accorded.

In Thiruvottriyur, a sea-side suburb of Madras, he prayed at the Padampakkanathar/Thyagarajar/Vadivudaiamman Temple, where he saw a farmer's girl, Sangiliyar, who was preparing flower garlands and married her, promising never to leave.^[6]

Sundarar is also famous for declaring in many hymns that one reality of lord Sivan is apprehended by selfless, dispassionate and attachment free service to him. He also declares that all beings are created equal by the lord.

At Tirupunkoor near Thillai Chidambaram a famous saivite temple, the region was devoid of rains for a long time. A local chola prince requested sundarar to address the problem, thereupon the saint put up a wail for justice saying that 12 of land be given to the temple if it rains by his service and upon completing the song to lord sivan rains lashed incessantly. After many such days, sundarar was summoned by the prince again to fix the problem of heavy rains. sundarar once again insisted that 12 more acres be given to the temple should the rains cease after his song. The same happened and the temple became richer by 24 acres more.

At Avinashi, near Coimbatore, There is an ancient Siva temple where Sundarar prayed to lord sivan to give back life to an eight-year-old boy who had died untimely many years ago. On hearing his hymn lord sivan bestowed his grace and the boy who was swallowed by a crocodile was instantly returned by the same crocodile.

The legend states that at Tiruvarur he recited the names of all sixty-three future Nayanars: this recitation is called Tiruttondar-Tokai. In it, he refers to himself as the servant of servants of these saints.^[4] His fame reached the ears of the Cheraman Perumal, who came to Tiruvarur. Both embarked on a pilgrimage. But Sundarar became tired of life and was taken up to heaven by a white elephant. The king followed him on his horse. Sundarar prayed to Shiva to take Cheraman Peruman along with him to heaven, which was readily accepted.^[9] This occurred in 'Swathi Nakshatra' in the Tamil month of 'Aadi'.^[10]

Shiva Perumahan About Sunderar In Tamil Pdf Pdf

Compilation[edit]

Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns after hearing short excerpts of Tevaram in his court.^[11] He sought the help of Nambiyandar Nambi, who was a priest in a temple.^[12] It is believed that by divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram.^[11][12] The brahmanas (Dikshitars) in the temple are supposed to have disagreed with the king by saying that the works were too divine,and that only by the arrival of the 'Naalvar'(The four saints)-Appar, Sundar, Thirugnanasambandar and Appar would they allow for the chambers to be opened.Rajaraja,however,created idols of them and prepared for them to be brought to the temple through a procession. but Rajaraja is said to have prevailed.^[11][13] Rajaraja thus became to be known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai.^[13].

In another version of the story, Rajaraja is said to have experienced a dream from lord Shiva telling Rajaraja that the hymns in Thillai Nataraja Temple, Chidambaram are in a state of destruction and to recover the remaining hymns from the chambers.The brahmanas (Dikshitars) in the temple,however,are supposed to have disagreed with the king by saying that the works were too divine to be accessed,and that only by the arrival of the 63 Nayanmars would they allow for the chambers to be opened.Rajaraja,devising a plan,consecrated idols of each of them and prepared for them to be brought into the temple through a procession.It is said that the 63 idols are still present in the Thillai Nataraja Temple.When the vault was opened, Rajaraja is said to have found the room infested with white ants,and that the hymns were salvaged as much as possible.

Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the temple.^[13] Nambi arranged the hymns of three saint poets Sambandar, Appar and Sundarar as the first seven books, Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28 hymns of nine other saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40 hymns by 12 other poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the labours of the 63 nayanar saints and added his own hymns as the 11th book.^[14] The first seven books were later called as Tevaram, and the whole Saiva canon, to which was added, as the 12th book, Sekkizhar's Periya Puranam (1135 CE) is wholly known as Tirumurai, the holy book. Thus Saiva literature which covers about 600 years of religious, philosophical and literary development.^[14]

The earlier Pallava inscriptions of Dantivarman and Kampavarman inform about the singing of Tirumurai in temples to the sounding of udukkai(small drum) and talam(cymbals).

In 1921, an English translation of Sundarar's hymns was done by Francis Kingsbury and GE Phillips, both of United Theological College, Bangalore (Edited by Fred Goodwill) and published in a book as Hymns of the Tamil Śaivite Saints, by the Oxford University Press.^[15]

In temple worship services[edit]

Tirumurai was one of the sole reasons for converting Vedic ritual to followed in Shiva temples.^[16] Though these two systems are overlapping, Agamic tradition ensures the perpetuation of the Vedic religion's emphasis on the efficacy of ritual as per Davis.^[16]Odhuvars, Sthanikars, or Kattalaiyars offer musical programmes in Shiva temples of Tamil Nadu by singing Tevaram after the daily rituals.^[17] These are usually carried out as chorus programme soon after the divine offering. There are records from Kulothunga Chola III from Nallanyanar temple in South Arcot indicating singing of Tiruvempavai and Tiruvalam of Manickavasagar during special occasion in the temple.^[13] From the 13th century, the texts were passed on to the Odhuvars by the Adheenams or charitable establishments. The charitable establishments that ran on the philanthropy of individuals and merchant caravans had come to be because after the 13th century, the time of ancient nation states viz. cholas etc. was finished and the temples became only denominated, voluntary, charitable places. This is briefed by a 15th-century, Chidambaram temple inscription.During the time of cholas etc. the temple hymn service workers were known as uvacchar and marars. These terms are of very ancient origin and traceable to even early sangam times.

Periya Puranam, the 11th-century Tamil book on the Nayanars that forms the last volume of the Tirumurai primarily had references only to Tevaram and subsequently expanded to 12 parts and is one of the first anthologies of Tirumurai.^[18] One of the first anthologies of moovars hymns called the Tevara Arulmuraitirattu is linked to Tamil Saiva siddhantha philosophy by grouping ninety-nine verses into 10 categories.^[18] The category headings are God, soul, bond, grace, divine intiation, methodology, enlightenment, bliss, mantra and liberation - correspond to Umapthi's work, Tiruvarutpayan.^[19]Tirumurai kanda puranam is another anthology for Tirumurai as a whole, but primarily focuses on Tevaram. It is the first of the works to refer the collection of volumes as Tirumurai.^[19]

List of temples revered by Sundarar[edit]

The Paadal Petra Sthalams are 276^[20] temples that are revered in the verses of Tevaram and are amongst the greatest Siva temples of the continent. Vaippu Sthalangal are places that were mentioned casually in the songs in Tevaram.^[21] The focus of the moovars (first three poets) hymns suggests darshan (seeing and being seen by God) within the puja (worship) offering.^[22] The hymnists made classificatory lists of places like katu (forest), turai (port or refuge), kulam (water tank) and kalam (field) being used - thus both structured and unstructured places in the religious context find a mention in Tevaram.^[22] Out of the 276 locations only one is in Kerala at Mahadeva Temple, Thiruvanchikulam.

Shiva Peruman About Sundarar In Tamil Pdf Download

Notes[edit]

1. ^Studies in history: Volume 10; Volume 5; Volume 10; Volume 5. Jawaharlal Nehru University.
2. ^Origin and early history of Śaivism in South India, page 179
3. ^The guru tradition: voice of the guru, page 225
4. ^ ^abTen saints of India, page 35
5. ^ ^abSisir Kumar Das. A History of Indian Literature, 500-1399: From Courtly to the Popular. Sahitya Akademi, 2005 - India - 302 pages. p. 33.
6. ^ ^ab'A short introduction to Saivism, page 223'
7. ^Don Handelman; David Dean Shulman. Śiva in the Forest of Pines: An Essay on Sorcery and Self-knowledge. Oxford University Press India, 2004 - Religion - 246 pages. p. 167.
8. ^Meenakshi Khanna. Cultural History of Medieval India. Berghahn Books, 2007 - History - 248 pages. p. 59.
9. ^Dallapiccola, A. L. (2002). 'Sundarar or sundaramurti nayanmar'. Dictionary of Hindu lore and legend. London, UK: Thames & Hudson: Thames & Hudson. Retrieved 3 December 2017.
10. ^'Hindu Tamil Saints: Alwars and Nayanmars of South India'. http://tamilelibrary.org. Retrieved 21 March 2018.External link in |website= (help)
11. ^ ^abcCulter 1987, p. 50
12. ^ ^abCort 1998, p. 178
13. ^ ^abcdVasudevan 2003, pp. 109-110
14. ^ ^abZvelebil 1974, p. 191
15. ^Kingsbury, F (1921). Hymns of the Tamil Saivite Saints (1921)(PDF). Oxford University Press. pp. 35–68. Retrieved 8 July 2014.
16. ^ ^abCort 1998, p. 176
17. ^Ghose 1996, p. 239
18. ^ ^abPrentiss 1992, p. 140
19. ^ ^abPrentiss 1992, p. 144
20. ^'A comprehensive description of the 276 Shivastalams glorified by the Tevaram hymns'. templenet.com. Retrieved 11 January 2011.
21. ^International review for the history of religions, Volumes 15-17. International Association for the History of Religions, CatchWord (Online service)
22. ^ ^abPrentiss 1992, pp. 51-52

Shiva Perumahan About Sunderar In Tamil Pdf Free

References[edit]

• Ayyar, P. V. Jagadisa (1993). South Indian shrines: illustrated. Asian Educational Services. ISBN81-206-0151-3.
• Bhargava, Gopal K.; Shankarlal C. Bhatt (2006). Land and people of Indian states and union territories. 25. Tamil Nadu. Delhi: Kalpaz Publications. ISBN81-7835-381-4.
• Callewaert, Winand M.; Rupert Snell (1994). According to tradition: hagiographical writing in India. Otto Harrasowitz. ISBN978-3-447-03524-8.
• Coward, Harold G. (1987). Modern Indian responses to religious pluralism. New York: State University of New York. p. 151. ISBN0-88706-571-6.
• Cort, John E. (1998). Open boundaries: Jain communities and culture in Indian history. Albany: State University of New York Press. ISBN0-7914-3786-8.
• Cutler, Norman (1987). Songs of experience: the poetics of Tamil devotion. USA: Library of Congress Cataloging-in-Publication-Data. ISBN0-253-35334-3.
• Eliot, Charles. Hinduism and Buddhism, Vol II. (of 3). Middlesex: Eco Library. ISBN978-1-4068-6296-6.
• Harman, William P. (1992), The sacred marriage of a Hindu goddess, Delhi: Indiana University Press, ISBN978-1-59884-655-3.
• Khanna, Meenakshi (2007). Cultural History of Medieval India. Delhi: Social Science Press. ISBN978-81-87358-30-5.
• Prentiss, Karen Pechilis; Karen Pechilis (1999), The embodiment of bhakti, New York: Oxford University Press, ISBN0-19-512813-3.
• Vasudevan, Geetha (2003), The royal temple of Rajaraja: an instrument of imperial Cola power, New Delhi: Abhinav Publications, ISBN81-7017-383-3
• Zvelebil, Kamil (1974). A History of Indian literature Vol.10 (Tamil Literature). Otto Harrasowitz. ISBN3-447-01582-9.

Further reading[edit]

• Swamigal, Sundaramurthi. 'tEvAram of cuntaramUrti cuvAmikaL tirumuRai 7, part 1 Poems (1-517)'(PDF). http://projectmadurai.org. Retrieved 13 December 2011.External link in |publisher= (help)
• Swamigal, Sundaramurthi. 'tEvAram of cuntaramUrti cuvAmikaL tirumuRai 7, part 2 Poems (518-1026)'(PDF). http://projectmadurai.org. Retrieved 13 December 2011.External link in |publisher= (help)
• Dictionary of Hindu Lore and Legend (ISBN0-500-51088-1) by Anna Dallapiccola
• Songs of the harsh devotee by David Dean Shulman
• The religion and philosophy of thevaram by M.A. Dorai Swamy
• Development of Religion in South India by K. A. Nilakanta Sastri
• Arupathu Moovar Kadhaigal by Durgadas S. K. Swamy (Prema Pirasuram publishers)
• Origin and early history of Śaivism in South India By Sadananda (Swami.)
• Ten saints of India By T. M. P. Mahadevan
• A short introduction to Saivism By Subodh Kapoor

External links[edit]