Introduction
Vedāntic thoughts combined with the impact of the Mahāpuraṇas ushered in a devotional upsurge. The symbol of the age was the Tēvāram saints Appar, Sambandar, Sundarar, Māṇikkavāchakar, and the Ālvars like Periyāḻvar and Nammālvār, who poured forth immortal poems.
Tēvāram saints Appar, Sambandar, Sundarar combined philosophy, legends, and supreme music and dance, singing over 8,000 songs within a span of 150 years that live to this day.
Tiru-jñāṉa-sambandar
Sambandar, the boy saint born into a Vedic family, not only studied the Vedas and the six aṅgas but also performed all the prescribed Vedic rites daily. He sang the greatest number of Tamil classical songs, over 4,250 songs, in as many meters and classical tunes as possible. He is an unparalleled composer of music from 650 CE, whose songs have been sung for almost 1,500 years. The Tamils rightly gave him the privilege of collecting his songs into three books, which they called the first three Tirumuṟais in Tamil. The songs of the Saivite saints were called the Vedas in Tamil. One should not forget that Sambandar was a Caturvedin by birth and profession, and his contribution to Tamil remains unparalleled to this day. Similarly, Saint Appar, born into an agriculturist’s family, has given in his over 3,000 songs the very essence of Vedānta in Tamil, which forms the second group of Tamil Vedas that is venerated to this day. The Vedas, sung over 2,500 years ago, praising the beauties of nature and human thought, have now become the live center of every Tamil household in simple, lucid, and emotional form. They are undoubtedly divine songs. It is impossible to deal with their contribution in this short account. We will see a glimpse from Sambandar’s own Tevaram (known as Tiruk-kaṭak-kāppu), showing how his devotion and Vedic background have contributed to this world-class movement.
Jñāṉa-sambandar was born at Cīrkāḻi village, in Tanjore district, in the age old Kauṇḍinya Gotra, in a family of Vaidika Brāhmanas. He himself mentions these points in his songs. Besides these he gives enough auto biographical information that help in reconstructing his life. This patikam is a special one on many aspects. Usually, Jñāṉa-sambandar’s Tiruk-kaṭak-kāppu contains 10 patikam’s and a concluding pala-sthuthi. However, in this patikam on the lord of Tiruvaiyāru (2.006) under discussion has a bonus song. Another speciality is the use of certain words repeatedly in a single line. Thirdly, he talks in very emphatic way about how Lord Śiva is the giver of the Vedas, Vedāṅgas, and the 18 Mahāpuraṇas. Other special aspects which are also found in other patikam’s are the supreme iconography of Lord Śiva.
Paṇ: Indaḷam/Māyāmāḷava GowḷaiSong Number: 1கோடல்கோங் கங்குளிர் கூவிள மாலை குலாயசீர்ஓடுகங் கையொளி வெண்பிறை சூடு மொருவனார்பாடல் வீணைமுழ வங்குழன் மொந்தைபண் ணாகவேஆடு மாறுவல் லானுமை யாறுடை யையனே.kōṭalkōṅ kaṅkuḷir kūviḷa mālai kulāyacīrōṭukaṅ kaiyoḷi veṇpiṟai cūṭu moruvaṉārpāṭal vīṇaimuḻa vaṅkuḻaṉ montaipaṇ ṇākavēāṭu māṟuval lāṉumai yāṟuṭai yaiyaṉē.Figure 1aFigure 1bExplanation:
The Lord who wears garlands of white kāṇtaḷ, kōṅgam, and cool bilva, gloriously flowing Gaṅga, adorned with the radiant white crescent moon, and who dances skillfully to the rhythm of musical instruments like the vīṇa, muḻavu (drum), kuḻal (flute), and montai (a type of drum). This is the lord of Aiyāṟu. In the second verse, the five things worn by Lord Śiva are mentioned. In the following verse, his divine dance and musical instruments (music, flute and three percusion instruments) are described. Tiru-jñāṉa-sambandar has very skilfully incorporated five things worn by Lord Śiva and five things associated with his divine dance in this patikam to convey the significance of the Lord of five rivers. The truth that Lord Parameshwara’s dance is revered in all places is understood only by those who are knowledgeable in scriptures. Appar also praises Lord Śiva as "ஆடல் அமர்ந்துறைகின்ற ஐயாறு - āṭal amarntu uraikiṉṛa aiyāṟu."
Figure 1a: Kailāsanātha Temple, Vīṇādhara, Photo by RNFigure 1b: Kailāsanātha Temple, Samasta Samhāra Tāṇḍava (Nāṭya Karaṇa - Garuḍaplutam), Photo by RN. Lord Śiva performed five dances in Chidambaram, Madurai, Tiruvālaṅkāṭu, Tirunelveli, and Kuṟṟālam to bless his devotees.
Song Number: 2தன்மை யாருமறி வாரிலை தாம்பிற ரெள்கவேபின்னு முன்னுஞ்சில பேய்க்கணஞ் சூழத் திரிதர்வர்துன்ன வாடை யுடுப்பர் சுடலைப்பொடி பூசுவர்அன்னமா லுந்துறை யானுமை யாறுடை யையனே.taṉmai yārumaṟi vārilai tāmpiṟa reḷkavēpiṉṉu muṉṉuñcila pēykkaṇañ cūḻat tiritarvartuṉṉa vāṭai yuṭuppar cuṭalaippoṭi pūcuvaraṉṉamā luntuṟai yāṉumai yāṟuṭai yaiyaṉē.Figure 2Explanation:
No one knows The lord’s true nature, he is beyond comprehension. Some make fun of him as he wanders surrounded by ghosts (pēi-gaṇam), wearing a loincloth and smeared with ashes from the cremation ground. He is the lord of Aiyāṟu, where swans sing.
Figure 2: Vaṭṭaṇaikal Paṭarnta Nāyakar, Photo by RNSong Number: 3கூறு பெண்ணுடை கோவண முண்பது வெண்டலைமாறி லாருங்கொள் வாரிலை மார்பில் அணிகலம்ஏறு மேறித் திரி வ ரிமை யோர்தொழு தேத்தவேஆறு நான்குஞ்சொன் னானுமை யாறுடை யையனே.kūṟu peṇṇuṭai kōvaṇa muṇpatu veṇṭalaimāṟi lāruṅkoḷ vārilai mārpil aṇikalamēṟu mēṟit tiri va rimai yōrtoḻu tēttavēāṟu nāṉkuñcoṉ ṉāṉumai yāṟuṭai yaiyaṉē.Figure 3Explanation:
He has Uma on one side, wears a loincloth, and eats from a skull. He wears ornaments on his chest such as a garland made of the shell of an aged tortoise, a young snake, and the tusk-like teeth of a boar that no one else would take. He also eats from a white bowl which is the fleshless skull of one of the heads of Brahma. He rides a bull and is worshipped by the gods. He is the lord of Aiyāṟu who gave the four Vedas and the six Vedāṅgas.
Figure 3: Ardharnāri, Gaṅgai-koṇḍa-cōḻapuram, Photo by RNSong Number: 4பண்ணி னல்லமொழி யார்பவ ளத்துவர் வாயினார்எண்ணி னல்லகுணத் தாரிணை வேல்வென்ற கண்ணினார்வண்ணம் பாடிவலி பாடித்தம் வாய்மொழி பாடவேஅண்ணல் கேட்டுகந் தானுமை யாறுடை யையனே.paṇṇi ṉallamoḻi yārpava ḷattuvar vāyiṉāreṇṇi ṉallakuṇat tāriṇai vēlveṉṟa kaṇṇiṉārvaṇṇam pāṭivali pāṭittam vāymoḻi pāṭavēaṇṇal kēṭṭukan tāṉumai yāṟuṭai yaiyaṉē.Figure 4Explanation:
Young women who speak sweet words like music, with coral-red lips, possessing countless good qualities, and eyes like spears (eyes which wins over spears), sing of their virtues and heroic deeds. The lord of Aiyāṟu listens to these women who sing and is pleased. The Tamil word “vaṇṇam” refers to musical notes. Even to this day the term “varnam” is used to denote musical and dance compositions. Another special feature of this patikam is the employment of the word “pāṭi” to emphasize the singing process.
Figure 4: A young women playing the vīṇa, Veṇgopālaswāmy Temple, Śriraṅgam, Photo by Gopu RangarathnamSong Number: 5வேன லானை வெருவவுரி போர்த்துமை யஞ்சவேவானை யூடறுக் கும்மதி சூடிய மைந்தனார்தேனெய் பாறயிர் தெங்கிள நீர்கரும் பின்றெளிஆனஞ் சாடுமுடி யானுமை யாறுடை யையனே.vēṉa lāṉai veruvavuri pōrttumai yañcavēvāṉai yūṭaṟuk kummati cūṭiya maintaṉārtēṉey pāṟayir teṅkiḷa nīrkarum piṉṟeḷiāṉañ cāṭumuṭi yāṉumai yāṟuṭai yaiyaṉē.Figure 5Explanation:
Lord Śiva killed the fierce elephant (Gajasamhāra Mūrti) that terrified many and wore its skin, making Uma fearful. He wears the crescent moon that cuts through the sky. He is adorned with honey, ghee, milk, curd, tender coconut water, and sugarcane juice. He is the lord of Aiyāṟu.
Figure 5: Gajasamhara Mūrthy, Tanjore Art Gallery, Dārāsuram, Photo by RN.
The story of Gajasamhāram, also known as Gajasamhāra Mūrti, is a fascinating episode from Hindu mythology involving Lord Śiva. The term “Gajasamhāram” translates to “the slaying of the elephant.” This story is particularly celebrated in the context of Śiva's fierce and powerful aspects.
According to the legend, there was a demon named Gajasura who took the form of a mighty elephant and began terrorizing the heavens and the earth. The gods, unable to defeat him, sought the help of Lord Śiva. In response, Śiva assumed a fierce form known as Gajasamhāra Mūrti. In this form, Śiva engaged in a fierce battle with Gajasura, ultimately slaying the demon by tearing him apart.
This act of slaying the elephant demon is symbolic of the destruction of ego and ignorance. The story is often depicted in temple sculptures and paintings, showcasing Śiva's dynamic and powerful nature.
Song Number: 6எங்கு மாகிநின் றானு மியல்பறி யப்படாமங்கை பாகங்கொண் டானு மதிசூடு மைந்தனும்பங்க மில்பதி னெட்டொடு நான்குக் குணர்வுமாய்அங்க மாறுஞ்சொன் னானுமை யாறுடை யையனே.eṅku mākiniṉ ṟāṉu miyalpaṟi yappaṭāmaṅkai pākaṅkoṇ ṭāṉu maticūṭu maintaṉumpaṅka milpati ṉeṭṭoṭu nāṉkuk kuṇarvumāyaṅka māṟuñcoṉ ṉāṉumai yāṟuṭai yaiyaṉē.Explanation:
He is present everywhere, his nature unknown to others. He has Uma on one side and wears the crescent moon. He revealed the eighteen Puranas and the four Vedas with their six limbs. He is the lord of Aiyāṟu.
This explanation was shared with me by Dr. Nagaswamy, who often spoke with admiration about this particular verse, one of his favorites. He enjoyed it immensely and mentioned it on numerous occasions. Dr. Nagaswamy was also known by the name Pañca-Nadīśvarar
engum āgi ninṟāṉ - The one who is omnipresent.
iyalbu ariyapaṭā maṅgai - Śiva, whose nature is beyond comprehension.
paṅkam - Defect or fault.
patineṭṭu - The eighteen Puranas.
nāṉgu - The four Vedas.
uṇarvu - The divine grace (paraśiva jñāna) that resides in beings to remove impurities, and the lower knowledge (apara jñana) that clarifies this divine grace, known as the Āgamas.
aṅgam - The vedāṅgas.
The six vedāṅgas are auxiliary disciplines associated with the study and understanding of the Vedas. They are:
Sikṣa (Phonetics): Focuses on the correct pronunciation and phonetics of Vedic texts.
Kalpa (Rituals): Deals with the procedures and rituals for performing Vedic ceremonies.
Vyākaraṇa (Grammar): Concerns the rules of grammar and linguistic analysis to ensure proper interpretation of the Vedas.
Nirukta (Etymology): Involves the explanation and interpretation of difficult Vedic words.
Chandas (Meter): Studies the poetic meters used in Vedic hymns.
Jyotiṣa (Astronomy and Astrology): Focuses on the timing of rituals based on the positions of celestial bodies
Song Number: 7ஓதி யாருமறி வாரிலை யோதி யுலகெலாம்சோதி யாய்நிறைந் தான்சுடர்ச் சோதியுட் சோதியான்வேதி யாகிவிண் ணாகிமண் ணோடெரி காற்றுமாய்ஆதி யாகிநின் றானுமை யாறுடை யையனே.ōti yārumaṟi vārilai yōti yulakelāmcōti yāyniṟain tāṉcuṭarc cōtiyuṭ cōtiyāṉvēti yākiviṇ ṇākimaṇ ṇōṭeri kāṟṟumāyāti yākiniṉ ṟāṉumai yāṟuṭai yaiyaṉē.Explanation:
The lord cannot be understood by reciting the Vedas. He stood as the efulgent light and is the light within all lights, the essence of the Vedas, the sky, the earth, fire, and air. He is the primordial being, the revered deity of Aiyāṟu. In this verse, notice the use of the word “jōti” three times in the second verse.
Vēti - Vedasvarūpaṉ.
Viṇ - Sky.
Eri - Fire God.
Ādhi - Primordial substance.
Even though beings have not learned and known, Śiva himself made himself known to beings and filled the entire sentient and insentient universe with light. He resides as light within the luminous entities like the sun, moon, and fire. Becoming Vedic corresponds to becoming sentient, becoming the sky, land, fire, and wind corresponds becoming insentient.
Song Number: 8குரவ நாண்மலர் கொண்டடி யார்வழி பாடுசெய்விரவு நீறணி வார்சில தொண்டர் வியப்பவேபரவி நாடொறும் பாடநம் பாவம் பறைதலால்அரவ மார்த்துகந் தானுமை யாறுடை யையனே.kurava nāṇmalar koṇṭaṭi yārvaḻi pāṭuceyviravu nīṟaṇi vārcila toṇṭar viyappavēparavi nāṭoṟum pāṭanam pāvam paṟaitalālarava mārttukan tāṉumai yāṟuṭai yaiyaṉē.Explanation:
Devotees worship the lord with fresh kuravam flowers, and some devotees, adorned their entire body with sacred ash, praise him with wonder. The lord, adorned with snakes, listens and is pleased. By praising him daily, our sins are removed.
Song Number: 9உரைசெய் தொல்வழி செய்தறி யாவிலங் கைக்குமன்வரைசெய் தோளடர்த் துமதி சூடிய மைந்தனார்கரைசெய் காவிரி யின்வட பாலது காதலான்அரைசெய் மேகலை யானுமை யாறுடை யையனே.uraicey tolvaḻi ceytaṟi yāvilaṅ kaikkumaṉvaraicey tōḷaṭart tumati cūṭiya maintaṉārkaraicey kāviri yiṉvaṭa pālatu kātalāṉaraicey mēkalai yāṉumai yāṟuṭai yaiyaṉē.Explanation:
Lord Śiva subdued Rāvaṅa, who did not follow the ancient path of the Vedas, by crushing his mountain-like shoulders. He wears the crescent moon and resides in Aiyāṟu on the northern bank of the Kaveri, adorned with a golden belt.
Rāvaṅa, being a great devotee of Śiva, obtained great boons such as the dominion over the three worlds. The Vedic and Āgamic paths were not new to him; they were ancient paths. When ignorance took over, he forgot those ancient ways and attempted to lift and move Mount Kailāṣ. Because of this, the heroic Chandraśekara (Śiva) pressed down with just the tip of his big toe, crushing Rāvaṅa’s mountain-like shoulders.
mathi - moon that never waxes or wanes.
maindhanar - the heroic one.
kātalāṉ - the desire to reside in that place.
Tiruvaiyāru is located on the northern bank of the Kāvēri River.
araicey mēgalaiāṉ - the one who wears the golden girdle around the waist. Megala - a special golden cloth.
Here, Dr. Nagaswamy explains that Lord Śiva being a lover of rivers (nadī-priya), he loves to reside on the banks of river Kāvēri which has beautiful temples on its banks similar to that of beads in a māla.
Song Number: 10மாலுஞ் சோதி மலரானு மறிகிலா வாய்மையான்காலங் காம்பு வயிரங் கடிகையன் பொற்கழல்கோல மாய்க்கொழுந் தீன்று பவளந் திரண்டதோர்ஆல நீழலு ளானுமை யாறுடை யையனே.māluñ cōti malarāṉu maṟikilā vāymaiyāṉkālaṅ kāmpu vayiraṅ kaṭikaiyaṉ poṟkaḻalkōla māykkoḻun tīṉṟu pavaḷan tiraṇṭatōrāla nīḻalu ḷāṉumai yāṟuṭai yaiyaṉē.Figure 7Explanation:
He is the embodiment of truth, unknown to Viṣṇu and Brahma and stands as Liṅgodbhava. He resides under the shade of a banyan tree, with beautiful legs like golden pillars and feet like coral fruits. The banyan tree, like the golden anklet of the deity, has the qualities of gold, softness, brightness, and beauty, and it sprouts. The fruits of the banyan tree are red like coral are metaphorically called coral.
Figure 7: Liṅgodbhava, Thirumeyam, Photo by RNSong Number: 11கையி லுண்டுழல் வாருங் கமழ்துவ ராடையான்மெய்யைப் போர்த்துழல் வாரு முரைப்பன மெய்யலமைகொள் கண்டத்தெண்டோண்முக்க ணான்கழல் வாழ்த்தவேஐயந் தேர்ந்தளிப் பானுமை யாறுடை யையனே.kaiyi luṇṭuḻal vāruṅ kamaḻtuva rāṭaiyāṉmeyyaip pōrttuḻal vāru muraippaṉa meyyalamaikoḷ kaṇṭatteṇṭōṇmukka ṇāṉkaḻal vāḻttavēaiyan tērntaḷip pāṉumai yāṟuṭai yaiyaṉē.Explanation:
The Jain monks who beg for food and the Buddhists who wear foul-smelling robes speak false doctrines. Knowing this, we praise Nīla-kaṇṭa, the blue-throated, eight-shouldered, three-eyed Śiva as the supreme truth. The lord of Aiyāṟu will protect us.
Song Number: 12பலிதி ரிந்துழல் பண்டங்கன் மேயவை யாற்றினைக்கலிக டிந்தகை யான்கடற் காழியர் காவலன்ஒலிகொள் சம்பந்த னொண்டமிழ் பத்தும்வல் லார்கள்போய்மலிகொள் விண்ணிடை மன்னிய சீர்பெறு வார்களே.paliti rintuḻal paṇṭaṅkaṉ mēyavai yāṟṟiṉaikkalika ṭintakai yāṉkaṭaṟ kāḻiyar kāvalaṉolikoḷ campanta ṉoṇṭamiḻ pattumval lārkaḷpōymalikoḷ viṇṇiṭai maṉṉiya cīrpeṟu vārkaḷē.Explanation:
The lord who wanders begging for alms and performs the Paṇḍaraṅgam dance resides in Aiyāṟu, free from worldly sorrows. Those who master the ten verses of Sambandar, born in the coastal city of Sīrkāḻi, will attain eternal glory in the heavens.
Paṇṭaṅkaṉ refers to the one who performs the dance called Pāṇḍaraṅgam. In the Kaṭalāṭu-kātai of the Cilappatikāram, the celebrated commentator Aṭiyārkku-nallār mentions that Lord Śiva, in the form of Bhairavi, danced in front of the chariot driven by Brahma with the four Vedas as horses, covering his body with silk garments and wearing ashes, in a dance called Pāṇḍaraṅgam. According to the ancient Tamil grammatical treatise Yāpparuṅkalam, there are said to be six kinds of Pāṇḍaraṅgam dance. The Tripura-Samhara legend involves Lord Śiva destroying the three cities of the Asuras, known as Tripura, with a single arrow. This story is detailed in various Purāṇas, including the Matsya Purāṇa, Padma Purāṇa, and Śiva Purāṇa.
Kali means poverty. The phrase “kali kaḍinta kaiyāṉ” refers to Tiru-jñāṉa-sambandar, who removed immense poverty with his sacred hand that nurtures fire (Brahmins who perform Vedic rituals in front of fire altars) and revealed the truth.
Kaḍinta means removed. Tiru-jñāṉa-sambandar’s sacred hand is said to have undoubtedly removed the sufferings like poverty of the people.
Kāḻiyar Kāvalaṉ refers to the protector of Kāḻi. It implies that all the Brahmins in Kāḻi were devotees of the Lord’s sacred feet, and Tiru-jñāṉa-sambandar was their leader. It also indicates that those who received Śiva’s grace were considered protectors by the virtuous.
Olikoḷ Campantaṉ refers to Śiva-jñāṉa-sambandar, who sings with the supreme sound (Paranāda).
Conclusion:
This patikam celebrate the divine attributes and actions of Lord Śiva, particularly in his form as the lord of Aiyāṟu. Each verse highlights different aspects of his nature and deeds:
Adornment and Dance: Śiva is adorned with garlands, the crescent moon, and dances skillfully to various musical instruments.
Mystery and Asceticism: His true nature is unknown, and he is depicted as an ascetic wandering with ghosts, wearing ashes from the cremation ground.
Duality and Worship: He has Uma on one side, wears a loincloth, and is worshipped by gods while riding a bull.
Praise and Music: Young women with sweet voices sing his praises, and he listens with pleasure.
Victory and Adornment: He defeated a fierce elephant and wears its skin, adorned with various offerings.
Omnipresence and Knowledge: He is omnipresent, with Uma on one side, and revealed the Purāṇas and Vedas.
Light and Primordial Being: He is the light within all lights, the essence of the Vedas, and the primordial being.
Devotion and Purity: Devotees worship him with flowers and sacred ash, and he removes their sins.
Power and Protection: He subdued Rāvaṅa and resides in Aiyāṟu, adorned with a mēkalai.
Truth and Beauty: He is the embodiment of truth, unknown to Viṣṇu and Brahma, and resides under a banyan tree.
Supreme Protector: He is praised as the supreme truth, protecting devotees from false doctrines.
Eternal Glory: Those who master the verses of Sambandar will attain eternal glory in the heavens.
These verses collectively portray Lord Śiva as a powerful, mysterious, and benevolent deity, revered for his divine dance, omnipresence, and ability to protect and purify his devotees.
Endnotes and References:Tiruk-kaṭaik-kāppu: 2.006