21st year - Thirumanthiram Recital

A TWO DAY PROGRAM (EIGHT sittings)
31 Dec  2011 & 1st Jan  2012

Venue ::  Padmavathy Thirumana Manadapam,
29, Dharamaraja Koil Street,
Saidapet, Chennai – 600 015

Program Highlights ::

• A Yearly Event – 2011 is 21st year
  
• This year : Nineth Thanthiram(3rd Round) - “Four Parts of Saivam”
• Launch of Tamil Numeral Clock
• Distribution of Nineth Thanthiram copies to the participants
• Sale of Spiritual books, CDs etc
• Full Recital by thousands of participants guided by Odhuvar Muruthis
• Twenty personalities honoured with Title for their contribution to Muthamizh and Saivam.

Teaching Thirukkural to prisioners in Puzhal Jail, Research on Tamizh isai, Discovering Tamil Culture by ocean travel, Publishing rare tamil books, are noteworthy works done by awardees.

Many Othuva Moorthis, Speakers, Scholars grace the occasion lead by Thirumanitra Thamizh Mamani M.P.Sathyavel Muruganar

VIP’s and personalities on this occassion ::

1. Blessings from Chidhambaram Mounamadam Thavathiru Sundaramoorthy Swamigal
2. Padmashri Nalli Kuppusamy
3. Thiru D.Chandrasekar I A S (Retd)
4. Thiru D.Uthirakumaran I A S - Director Small Savings
5. Dr. Elangkumaranar
6. Dr. Aranga Ramalingam
7. Dr. PremRaj - Vasan Eye Care
8. Thiru. G.S.Venkada Prakash - Puthiya ThalaiMurai TV
9. Justice S.Jagadesan, Chennai

and many others…

Program covered by Indian and International media.

Sponsorship and contributions solicited

:: ALL ARE WELCOME ::  Download invite from ::

http://www.pppshare.com/dheivathamizh/Thirumanitram21Invite.pdf

தமிழ் வழிபாடு - அர்ச்சகர்  பட்டய படிப்பு

 

- தமிழில் அர்ச்சனை -  Tamil Archanai

- புதிய தலைமுறை தொலைக்காட்சியில் செய்தி தொகுப்பு.

http://www.dheivamurasu.org/video/

Watch this video with your family. Puthiyathalaimurai TV has made news
clip about tamil archanai and about conducting ceremonies in tamil.

முருகவேள் பன்னிரு திருமுறையில் பன்னிரண்டாம் திருமுறையான

சேய்த் தொண்டர் புராணம்

நூல் வெளியீட்டு விழா

•  12 ஆதினங்கள்
• 12 ஓதுவார்கள்
• 12 வாழ்த்துரை வழங்குவோர்
• 12 சிறப்பு அழைப்பாளர்கள்
• 12 முருகனடியார்கள்   (முதல் பிரதியைப் பெறுவோர்)
• விழாக் குழுவினர்     

 இடம் :: மேல சிந்தாமணி சிதம்பர மகால்,

         திருச்சிராப்பள்ளி - 620 001

 நாள்  :: 19-11-2011, காரிக்கிழமை 

 தொடர்புக்கு ::  சிவ.மா. திருநாவுக்கரசு,   செல் :: 94435 59510

விழா அழைப்பிதழைப் பெற  இங்கே சொடுக்கவும்

முருகவேள் பன்னிரு திருமுறைத் திரட்டு (2) ::
செந்தில் வாழ் அந்தணர்கள்::

    சென்ற இதழில் தேனூர் வரகவி சொக்கலிங்கனார் சேய்த்தொண்டர் புராணம் பாடியருளிய வரலாற்றினைக் கண்டோம்.  இனி, இவ்வினிய புராணத்துள் நுழைவோம்.  நுழையுமுன் ஆசிரியரின் பெயரை இனி தேனூரார் என்றே குறிப்பிடுவோம். இதற்கு காரணங்கள் இரண்டு Read the rest of this entry »

சிவபெருமானுக்குப் பன்னிரு திருமுறை  இருப்பது  போல  முருகவேள் பன்னிரு திருமுறை  என்று  ஒரு திருமுறைத் திரட்டு  உண்டு  தெரியுமா  என்று  சொன்னால்  பலரும்  ஆச்சரியத்துடன் பார்க்கிறார்கள். அதைக் கொஞ்சம் விவரமாகச் சொல்லுங்கள் என்று கேட்கிறார்கள்.

 விவரம் தானே, கேளுங்கள் : 

1.  திருப்பரங்குன்றம் திருப்புகழ் - முதல் திருமுறை
2.  திருச்செந்தூர் திருப்புகழ்    - இரண்டாந் திருமுறை
3. திருவாவினன்குடி திருப்புகழ்  - மூன்றாந் திருமுறை
4. திருவேரகம் (சுவாமிமலை) திருப்புகழ் - நான்காந் திருமுறை
5. குன்றுதோறாடல் திருப்புகழ் - ஐந்தாந்  திருமுறை
6. பழமுதிர்சோலை திருப்புகழ் - ஆறாந்  திருமுறை
7. பொதுத் திருப்புகழ் பாடல்கள் - ஏழாந் திருமுறை
8. கந்தரலங்காரம் - கந்தரந்தாதி - எட்டாந் திருமுறை
9. திருவகுப்பு - ஒன்பதாந் திருமுறை
10. கந்தரனுபூதி - பத்தாந் திருமுறை
11. நக்கீரர், பரிபாடல் ஆசிரியர்கள், கல்லாடர்,   முதலானவர்கள் பாடல்கள்    - பதினோராந் திருமுறை
12. முருகனடியார்கள் வரலாறு ஆகிய   சேய்த்தொண்டர் புராணம் - பன்னிரண்டாந் திருமுறை

 இவ்வாறாக முருகவேள் பன்னிரு திருமுறை வகுக்கப் பட்டிருக்கிறது. வகுக்கப் பட்டிருக்கிறதா?

வகுத்தவர் யார் என்ற கேள்வி எழுகிறதல்லவா? வகுத்தவர் வேறு யாரும் இல்லை, திருப்புகழ் ஏடுகளை வாழ்நாளெல்லாம் தேடித் தேடி தொகுத்துப் பதிப்பித்த தணிகைமணி செங்கல்வராய பிள்ளை அவர்கள் தாம்!

அது சரி! இங்கு கூறப்படுகிற பதினோராந் திருமுறை வரை பாடிய புலவர்கள், மன்னிக்கவும், செம்புலப் புலவர்கள் முன்னமேயே நாடறிந்த செம்புலப் புலவர்கள். அருணகிரிநாதர், நக்கீரர்,பரிபாடல் ஆசிரியர்கள், கல்லாடனார் இவர்கள் எல்லாம் நாடறிந்த செம்புலப் புலவர்கள் அல்லவா?

ஆனால் சேய்த்தொண்டர் புராணம் என்ற முருகவேள் பன்னிரண்டாந் திருமுறை பாடிய செம்புலப் புலவர் யார்? அது ஒரு பெரிய கதை! Read the rest of this entry »

The journey of soul rather ‘Sojourn’ from the incessant shackles of the births and deaths to redemption leading up to the Beatitude is a great thing, I am afraid, when dealt with will occupy volumes and volumes. I therefore suggest that you may refer to my book on ‘Thriumandhira Cindhanigal’  ( Delay in this regard is due to non-availability of dynamic Tamil fonts.) Read the rest of this entry »

The language Sanskrit has no alphabets in written form. What it has instead is only phonetics. It is because of this, Sanskrit Language has borrowed structures of alphabets from Devanagiri(Hindi) and Granta. Whereas the Devanagiri was created in North India, the Granta was the structure of alphabets created in South India for Sanskrit with Tamil characters as base. The type and style of Granta Lipi has in case of most of the characters similarity with that of Tamil.

Since Sanskrit has no structure of alphabets called ‘lipi’, the hymns of Sanskrit Vedas are called “Ezhudha Kilavi”(Book not in written form).

The Granta Lipi is also waning out from the scene for the nonce. That the Aagamas whatever that are available are all found only in Granta Lipi testifies to the fact that the Aagamas were originally in Tamil only and later copied by vested interest to Sanskrit. Only for this reason the Vaidigas(followers of Sanskrit Vedas) have scant respect for Aagamas. All these go to prove that Aagamas were originally available only in Tamil.

You may have a doubt running in your mind at this as to why then the Aagamas in Tamil are not available at present? The answer is that there had been two great deluges which had swept the terrain south of Kanyakumari whereby the original Tamil Aagamas were devastated and in its place the copied text of Aagamas in Sanskrit(Granta Lipi) escaped to stay beyond Tamil region.

A : Regarding TM68, the purport of the same in succinct is this: Thirumoolar had seven specific disciples who were responsible for bringing seven mutts into being. The seven disciples are: MaalAngan, Indhiran, Soman, Brahman, Rudhiran, Kandhuru, and Kalangi Kanchmalayan. Of these, Soman, Brahman and Rudhiran are the disciples of first batch and the rest form the second batch. These have been implicitly explained by Thirumoolar in his work and hence evidenced internally.

“The soul, which in its real condition was of the form of Siva, was confined and conditioned by its original anava mala. When this mala ceased to obstruct the soul, the soul resumed its original form of Siva.

A : The clarification requested requires elaborate explanations. However I would put it in succinct as this. The word Aanavam is a pure sanskrit word meaning the one which made the Aanma(soul) into a small Anu(atom). The word Aanma in turn means that expanding into omnipresence. This word namely Aanavam is taken in the above meaning by Thirumoolar and referred to in many of the verses in Thirumanthiram.

True to the meaning of the above, Thirumoolar in his seventh thantra under the caption Purudan and Jeevan written poems as below which will be of nearest context to your requirement. May be it is not given in one poem as a whole but scattered in two/three poems in juxtaposition.

Purudan:

Anuvul avanum avanul anuvum
Kanuvara nindra kalappathu unaraar
Inayili eesan avanengum thaanaagi
Thanivara nindraan saraasaram thaanay (TM 2010)

Padar konda aalathin viththathu pola
Sudar konda anuvinai thoovazhi seyya
Idar konda paasa irulara votti
Nadar konda nalvazhi naadalu maamay (TM 2009)

Jeevan:

Mayviya seevan vadivathu sollidil
Kovin mayirondru noorudan koorittu
Mayviya koorathu aayiram aanaal
Aaviyin kooru nooraayirathu ondray (TM 2011)

In TM 2011, Thirumoolar gives an account of how much the size of a soul is, which none other than him ventured to say. He says, the size of a soul is approximately equivalent to one in lakh of a hair shred of tail of a cow. Note that the said hair should be split along the grain i.e. it should be split vertically and not horizontally. This is tantamount to saying that the size of the soul is far more small that it is as invisible as an atom.

It may also be noted that he has referred in this context to hair shred of a cow, which will not be dark but in contrast gray, meaning the soul is a light but dimmed.

Thirumoolar, therefore, taking this into consideration of the above refers ‘purudan’ as anu in TM 2010. The meaning of the verse is self-explanatory.

In TM 2009, Thirumoolar says the very same idea in other words that the purudan is as small as a seed of Banyan tree. It is capable of catching light and hence the soul in an atom form, on lighting by external means, here by splendorous light of the Almighty, attains a stage of purity, pure from ignorance (Aanavam). The soul having been tangled in the clutches of Aanvam (here it is referred as Irul) is extricated out of it and comes into the right path where it can reach the Almighty in dancing form (here it is referred as natar).

These three poems, very closely related to each other, considered and analyzed adjacently will serve the purpose of your requirement.

I have also another point to tell you. People normally call uyir as soul. But it is not right. The word soul in English means mind and activities associated with it. In this meaning it refers to purudan mentioned above. The right word for uyir in English will be self.

Regarding TM89 and Mazhu I would like to have this put before you with reference to the context of the TM poem. The formless Almighty takes the form only with the intention to come down to the level of thinking of sentient beings esp. mankind. This is because the mind of the man is capable of receiving things only in forms and these forms are analyzed within Budhdhi Thathuvam culminating in the experience of knowing a thing related to the forms. In keeping with this process, the Almighty which is formless originally takes forms whatever the mankind pleases only to facilitate intimacy between Him and the souls. One such form is that which is used to be alluded in Saivism namely, Lord Siva. Lord Siva is narrated as having so many extra-ordinary appendages like Maan, Mazhu and His vehicle known as bull. These are appended to Him only with certain implications, more so they are nothing but personification of great ideas and principles of Saivism. To detail on the above, let us take Maan first. This represents Asuththa maayai which develops into material body of souls and the worldly expanse. In Saiva Sidhdhaantha doctrine, this asuththa maayai is called as Moola Prakruthi Maayai consisting of 24 thaththuvas otherwise grouped as Aanma Thaththuvam. This is palpable to senses and is materially solid. There are seven more thaththuvam called Vidhya thaththuvam above the level of Aanma Thaththuvam each sublime to one another. This is called as Misra Maayai otherwise known as Suththaasuththa Maayai. This is admixture of both Suththa and Asuththa Maayai. There is another band in this series which is called as Suththa Maayai otherwise known as Vindhu Maayai, consisting of five Siva Thaththuvams, each sublime to one another. Lord Siva utilizes the existence of Maayai, which is formless and the seed of cosmos to create material world and bodies of souls only to kindle and improve the knowledge of souls. This Maayai, as has been given above processed and categorized into three categories which are Suththa, Asuththa and Suththaasuththa Maayai. Of these Suththa and Suththaasuththa Maayai have no forms whereas Asuththa Maayai has forms. These are codified as Vindhu, Mogini and Maan respectively. As Vindhu and Mogini Maayai have no forms these could not be represented in the appendage of Lord Siva, whereas suththa Maayai having form and codification as Maan(deer) has been represented in the appendage of Lord Siva as having been held in his hand. Just as above Petram i.e. the bull is representation of souls which take Lord on to them and do service loyally. Mazhu represents tripod held in the hands of Lord Siva which is representation of small deities known as Brahma, Thirumaal and Rudhran entrusted with the job of creation, protection and destruction respectively in service to the Lord Siva. In the poem, Thirumoolar conveys that in keeping with the idiosyncrasy of souls the Lord has taken forms of pleasure of mankind such as Petram , Maan and Mazhu and on meditating, making the same diffuse into that of formless which is the original of the Almighty. Doing so the Lord has entrusted him(Thirumoolar) unto the Lotus Feet of Him.