Sambantar on the Temple

மரபு விக்கி இருந்து

தாவிச் செல்ல: வழிசெலுத்தல், தேடுக

 
Sambantar on the Temple

Translation and commentary by Dr K.Loganathan 2004


The Temple Hymn of Sambantar 1-1

It is becoming increasingly clear that the original meanings of the Vedas is a kind of Tantrism where the Veelvi was practiced as temple rituals as was also the case even in Sumeria. The Brahmanical interpretation is a misadventure and which was opposed very vehemently the Tantric Vedists like Sambantar here who went out of the way to declare himself as a Tamil scholar perhaps by way battling the Sanskritization as part of Brahamization of the Vedas that was probably taking place in his time. There were NO Brahmins like the Brahmins of VarNasrama Dharma at that time but only AntaNar Muniver and so forth and who though recited and studied the Vedas were not people who isolated themselves from the general public . It is best translate such words as sages rather than Brahmins. The Vedas were documents in Arhcic Tamil and perhaps this understanding was still retained during the Bakti period.

Now I am translating with commentary another Patikam by this Sambantar on the Koyil i.e. the Temple of Siva in Sitambaram by way also of elucidating the Tantric Vedism as was understood and practiced by Tamils.

This Patikam is available in the First Book of Tevaram, number 80 where the PaN or raga is KuRinjci. As before I follow the publications by Tarumai Atheenam (1953) and have utilized also the notes added by TaNdapaaNi Tecikar

Loga


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-1

The Way to be Free of the Fall

We have mention here ‘eri oombal' the practice of Yajna which involves the worship of Fire by creating it in a fire pit. It is not clear to me how far into history goes the metaphysical significance of Fire perhaps in analogy with real fire that obviously dispels the surrounding darkness. However it is mentioned very clearly in Sumerian literature as Suluh ( Ta. suualai: kiln, fire pit etc) and it was a ritual in connection of the deity As-im-Babbar, the Primordial (asim>aatim) Brilliance (babbar) . In Suruppak's NeRi (c. 3000 BC) we have mention of the primordial (e)ri that dispels equally ancient gi-=i- > mai, the Metaphysical Darkness

Now this understanding is retained here for the sages who practice this ritual by way learning metaphysical matter (kaRRaaGku eri oombi) do so to destroy the arrival and oppression of Kali i.e. the Kari, the Dark Stuff otherwise also known as Malam, also meaning the Dark Stuff ( Ta. maal : black). These sages having learned the metaphysical truth that unless the Metaphysical Fire is kept on burning deep within, one will be assailed by this Malam and which will bring about diseases death and so forth and hence the FALL. . There must be ritualistic vigilance to keep the Malam from jumping up and attacking the soul and take the soul into the way of the Evil and premature death.

The sages are those metaphysical warriors who battle with this evil Malam and vanquish it by maintaining themselves in the Inner Radiance and the Practice of VeeLvi is a ritual means of to do so.

Now this brings us to the Dance of Fire that Siva executes holding the burning flames in one of His hands, along with cooling the souls with the Amutu that flows out from the Crescent Moon that He also wears, He BURNS but burns only the evil Malam and after eliminating it from the body and soul, He causes the flow of Amutu so that there will be processes of regeneration. Now as the POWER who does this throughout the universes and at all levels, He also becomes the Mutalvan, the Supreme Power. Any Power who has control over death and survival has to be the Supreme Power for it cannot have another power ABOVE Itself This BEING-as-Siva is the Supreme Power for only He can self-destroy and self-regenerate - be absent or present and all by His own Will.

Now it makes sense why Sambantar says that anyone who remains steadfast in love for such a BEING and for His Dance will also be freed of all the Paava Karmas -i.,e evil karmic deposits or falling into evil ways. For as along as the mind remains illuminated by this Fire, the Malam , the Dark Stuff will not be there and hence the person will NOT fall into the wrong ways - the ways of evil deeds.

1.

கற்றாங்கு எரி ஓம்பிக் கலியை வாராமே
செற்றார் வாழ் தில்லை சிற்றம்பலமேய
முற்றா வெண் திங்கள் முதல்வன் பாதமே
பற்றா நின்றாரை பற்றா பாவங்களே

உரை;

தத்துவ விசாரனையில் சிறந்து ஞானம் பெறுவதற்காக தீ வளர்த்து அகத்தே ஞானத்த்£ ஓம்பி உலகத்திலும் உள்ளத்திலும் கரியாகிய ஆணவ மலத்தாக்கத்தை அந்த ஞானப்பிரகாசத்தில் செற்று வெற்றி கொண்டார் வாழும் இடமாகும் திருசிற்றம்பலம் விளங்கும் தில்லைப் பெருங்கோயில். . அதனை மேவி நின்று சிஞானம் புகட்டிக் கொண்டே இருக்கும் யாண்டும் முற்றாதே விளங்கும் பிறை மதியை தன் சென்னியில் தரித்த . சங்கார காரணன் என்பதால் எல்லா தெய்வங்களுக்கும் முதல்வனாகிய சிவபெருமானது நட்டம் செய் திருப் பாதங்களே துணை என்று விடாது பற்றிகொண்டே இருப்பாரை, பாவ கரமங்கள் யாது பற்றாது விலகிச் செல்லும் என்பது உறுதி

1.

kaRRaaGku eri oombi kalaiyai vaaraamee
ceRRaar vaaz Tillai ciRRamplameeya
muRRaa veN tiGkal Mutalvan paatamee
paRRaa ninRaarai paRRaa paavaGkaLee

Meaning:

The Tillai temple that holds TiruciRRamplam, the Realm of Pure Consciousness is full of sages who by way of metaphysical quests also practice the ritual of VeeLvi and by which they battle and win over the arrival and seizure by Kali (= kari) the dark stuff or Malam ( the cause of death and all miseries) , Now BEING-as-Siva (in addition to dancing with Fire, holding it in one of His Hands) also sports the Crescent Moon ( that is the source of Amutu that cools and rejuvenates) Now anyone who remains steadfast in their LOVE for the Feet of such a BEING, will remain free from falling into evil ways ( because of the metaphysical illuminations the Fire maintains)

Comments:

The phrase ‘eri oombutal' means both the ritual practice of worship of Fire by creating it in a pit as well as activating the Metaphysical Fire deep within the mind and body that will burn off the Malam deep within and which is always there to cause the FALL of the individuals into the evil ways.


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-2

The Yanjna and Sacrificing the Atomic Self

The key metaphysical term here is piRappil Perumaan, BEING birthless and hence also deathless. This means that while BEING manages the whole universe including bringing into presence and then causing its absence by withdrawing it. He never becomes part of this manifest world, on in it, and hence something historical. What is historical including here the various Avatars of VaishNavism like that Boar Turtle Rama Balarama Vamana and so forth are historical and come along with births and deaths. BEING is exempt from this kind of fate for He remains always ABOVE the historical and hence DEATHLESS.

Thus because of this He becomes the only power who can bless the souls freedom from their inherent historicity - coming into phenomenal presence through embodiment and then at the point of death losing that body only to assume another one, perhaps evolutionarily higher at the point of next birth . The CiRRamplam is the metaphysical Space where BEING is and as birthless and deathless. Thus entering into this Paradise, the Realm of Pure Consciousness also becomes the way to be but without getting into repeated embodiments and hence births and deaths. This is attaining Moksa, the most authentic shape of self and the VeeLvi of the sages who crowd the Tillai Temple has some special significance or MEANING in connection with this.

The ‘pacu veeddal'; can literally mean sacrificing the cow or bovine creatures. But this meaning can be ruled out except as belonging to a primitive past and where even by CaGkam times it has assumed the true philosophical meaning of sacrificing the atomic self also known as Pacu. This is what the Sages of this temple seek and for which they practice VeeLvi, eri oombutal.

Now symbolically this also comes with ‘paRappaip paduttal” flattening out the hill-like structures (paRappu = paRampu) or wilderness. The practice of Veelvi requires the flattening out the Ego that stands in the fore front always thrusting itself and in that impeding any genuine metaphysical excursions. Thus having flattened out the Ego, begins pacu veeddal, the destructing of the atomic self and for which purpose the Fire is celebrated ritually. The idea is that through this ritual the Inner Fire , the Agni is activated so that it would burn those things that cause the atomicity and maintains the anma as a Pacu, a bound self.

Now this also explains what is meant by ‘maiyal' that is destroyed by worship of this BEING i.e. One birthless and deathless. This must mean the primordial IGNORANCE that throws the souls into physical embodiment and hence an endless chain of births and deaths. This ignorance is destroyed only by Njanaam and it is this that is sought here by the ritual of Fire .

2

பறப்பை ப் படுத்து எங்கும் பசு வேட்டு எரியோம்பும்
சிறப்பர் வாழ் தில்லைச் சிற்றம்பலமேய
பிறப்பில் பெருமானைப் பின்றாழ் சடையானை
மறப்பிலார் கண்டீர் மையல் தீர்வாறே

உரை

பறம்பு அதாவது மலைபோல் நிமிர்ந்து நிற்கும் ஆணவ மலத்தை கீழே கிடக்குமாறு படுத்து, தன்னுள்ளத்திலும் ஏனையர் உள்ளத்திலும் பசுத்துவதைக் கொன்று தொலைப்பதற்காக ஞானத்தீ வளர்க்கும் சிறப்புடைய முனிவர்கள் வாழ்க்கின்ற இடமாகும் திருசிற்றம்பலம் விளங்கும் தில்லப் பெருங்கோயிலாகும். அங்கும் எல்லா உயிர்களும் தேவர்களும் பிறப்பெடுத்து வாழ மூலமாகக் இருக்கும் இறைவன் தான் பிறப்பும் ஆகவே இறப்பும் இல்லாத பெருமானாக இருந்துகொண்டு, எல்லா உயிர்களுக்கும் அருள் பாலிக்கும் பொருட்டு தன் சடையைக் கட்டவிழ்த்து விரிந்து படருமா ஆனந்தத் தாண்டவம் ஆடுகின்றான். இத்தகைய பெருமானை யார் மறவாது தொழுது ஞானம் பெற்று வளர்கின்றார்களோ அவர்களே மீண்டும் மீண்டும் பிறந்து இறந்து அல்லற்படத் தரும் உலக வாழ்க்கையை விரும்பும் மாயா மல மயக்கிலிருந்து விடுபடுவர் கண்டீர்.

குறிப்பு

‘பிறப்பில் பெருமான்' என்பது , இறைவன் அவதாரங்கள் பல எடுப்பான் என்பதை மறுப்பதாகும். இறைவன் யாண்டும் அப்பாலுக்கு அப்பால் இருந்து நடக்கும் அனைத்தையும் அவையே தானாக் நின்று உள்ளவாக் கண்டு மந்திரங்களை அதிட்டித்து பல தெய்வங்களை உருவாக்கி உலகினை தன் பஞ்சகிருத்தியங்களால் நடத்துகின்றான். இவ்வகையில் இறை வடிவங்கள் அனைத்தும் மந்திர சொரூபங்கள் ஆகும். காட்டாக ‘வராக அவதாரம்' என்பது இறைவன் நாதவிந்து தத்துவங்களை ஆட்டி அப்படிப்பட்ட ஓர் தெய்வ வடிவத்தை உண்டாக்கி ஆன்மாக்களுக்கு உதவுவதாகும். எவ்வாறு இத்தகைய தெய்வ வடிவங்கள் சேடிக்கப்படுகின்றதோ அவ்வாறே காலம் வர அவை அழிக்கவும் படும். இது எல்லா இறை வடிவங்களுக்கும் ஒவ்வும். இறைவன் இப்படிப்பட்ட தோன்றி நின்று அழிந்துபோகும் தெய்வ வடிவங்களுக்கு வேறாக மூலமாக பிறப்பிலியாக இருக்கின்றான்.


2.

paRappaip paduththu eGkum pacu veeddu eriyoombum
ciRappar vaaz tillaic CiRRampala meeya
piRappil perumaanaip pinRaaz sadayaanai
maRappilaar kaNdiir maiyal tiirvaaRee

Meaning:

Flattening out the Ego that stands as mount, the sages go on to celebrate ritual of Fire to further kill the atomic or asat self to release the Sat-Self aspects of self. The Tillai temple is full of such sages and who are the most excellent among the people. Now BEING as the birthless and deathless pervades the TiruciRRampalam of this Temple, the Paradise and dances in frenzy lowering His hair so that it reaches very nook and corner of the universes. Now anyone who is not forgetful of this BEING and worships Him ardently will also destroy the primordial metaphysical ignorance that throws them into an endless chain of births and deaths and enjoy Moksa.


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-3

BEING is Absolutely Pure

We have here something like a definition of Tiru CiRRampalam, the Vast Expanse of Pure Consciousness., It is said to be the Temple where resides the Ceyyaan, BEING as Pure Radiance , One absolutely PURE without any defects and blemishes( ceyyaan uRai kooyil CiRRampalantaanee), While BEING assumes many shapes, the various icon or archetypes that remain for the moist part as unconscious but nevertheless effective in regulating thinking and behavior, we have here the form of Ceyyaan, of Pure Radiance which can also be taken as a kind Icon but of a special sort.

This is not only the highest and that which is the form in which He is in the Paradise but also the form in which He promotes the singing of mystical hymns and songs that do not contain anything that is false or misleading and which makes them absolutely authoritative. Now the expression ‘poyyaa maRai paadal” should be taken as ‘songs or hymns that do not mislead' and hence verbal productions that announce only truths and nothing else.

Now this implies that there are mystical songs that resemble such genuine hymns but which are poy - false and which drop out of in time.

Now how do we account for such mystic- looking hymns but which are false?

As Tirumular has observed , BEING discloses strictly in accordance with the boundaries to understanding creatures have. It is for this purpose that He presents Himself in so many iconic forms high and low and in which forms He also possesses the souls and make them sing out something mystical. But they will drop out in due course for such iconic forms themselves drop out when their function is achieved. Not all the gods and goddesses of the ancients are still around and worshipped by the people. Most of them becomes extinct and replaced with something new , sometimes with reshaping or recasting the old.

Now in this, the form of Pure Brilliance is peculiar in that it does not drop out at all and continue to survive all the time , a fact even the SumeroTamils recognized and described as “me su-ti ‘ ( mey sooti) ,'amar su-ti (amara sooti) etc.

The Temple in Citambaram is also of special importance for it cherishes not the various and lower iconic forms but this form of Pure Brilliance.

Now this also explains why there is happiness and mirth all around even for the young ladies. Within an atmosphere such a temple creates there cannot be anything that can be source of worries and miseries - there cannot be anything that the people have to FEAR and hence lock themselves up within the homes for reasons of safety and security.

3.

மையார் ஒண்கண்ணார் மாடவீதிக்
கையாற் பந்து ஓச்சுங் கழி சூழ் தில்லையுட்
பொய்யா மறை பாடல் புரிந்தான் உலகேத்துச்
செய்யான் உறைகோயில் சிற்றம்பலந்தானே

உரை.

இளம்பெண்கள் தமது ஒளி மிக்க கண்களுக்குக் மைதீட்டி மாடங்கள் நிறைந்த வீதிகள் நடுவே எவ்வித அச்சமுமின்றி பந்து எறிந்து விளையாடி மகிழ்ந்தவாறு இருப்பர் மக்களுக்கு மனமகிழ்ச்சியை தந்து கொண்டே இருக்கும் தில்லை நகரிலே. ஆங்கு யாண்டும் உண்மையையே பகரும் பல மறைஞானப் பாடல்களை தக்காரை வலித்தாண்டு வெளிபடுத்தும் இறைவனை அதுகண்டு உலகமே ஏத்த, எவ்விதக் கறையும் களங்கமும் இல்லாத செய்யான் வடிவில் இறைவன் தான் திருசிற்றம்பலத்திலே இருந்தவாறு கூத்து உதைப்பதை காட்டும் கோயில் அதுவாகும் என்பதால் இப்படிப்பட்ட ஆனந்தம் சூழ்ந்திருக்கின்றது காண்.

குறிப்பு

‘பொய்யா மறை' என்பதை யாண்டும் அழியாது நின்று நிலவும் வேதங்கள் என்பாரும் உளர். ஆயினும் ‘பொய்யா மறை பாடல்' என்பதின், இதனை வேதங்கள் என்பதோடு பொதுவாக மறைஞானப் பாடல்கள் என்று கொள்வதே பொருந்தும். பண்ணோடு இசைக்க வரும் தேவராப் பாடல் திவ்விய பிரபந்தங்கள் பண்டைய பரிபாடல்கள் போன்றவை இதில் அடங்கும்.

3.

maiyaar oNkaNNaar maadaviitik
kaiyaaR pantu ooccuG kazicuuz
poyyaa maRai paadal purintaan ulakeettac
ceyyaan uRaikooyil ciRRampantaanee

Meaning:

The bright-eyed young ladies, beautifying them further with darkening pastes, play throwing the balls in the streets of Tillai full of mansions and with all kinds of joys ( because of the security it provides) Now in this temple resides BEING as the One who promotes the production of mystical songs that are not tainted with falsities and which si praised by the whole world, Here also lies the CiRRampalam, the Realms of Pure Consciousness and where BEING resides in the form of Pure Radiance ( that does not fail at all)


Comments:

The Poyaa maRai Paadal may, in addition to including the Vedas, also includes the various mystical songs (paadal) that are sung with a certain PaN, musical notes such as Teevram Divviya Prabantam etc. It is asserted that the mystical songs which are promoted by BEING in the form of Pure Radiance cannot be tainted with falsities.


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-4

The Crescent Moon and its Meaning

In the icon of Siva we have some very ancient symbols - the Ganges, Crescent Moon, the Snake, the Trident with a hand drum beating on it and so forth. These are as ancient as Sumerian times at least and may also be prehistoric . The DANCE of Siva-Sakti is certainly the same as that EnKi-Ninsikilla, the Pure Woman executed in Tilmun, the Tillai that is mentioned here.

Here Sambantar discloses a metaphysical insight related to what is symbolically rendered as the Crescent Moon, piRai. It appears that as Siva dances wearing these, the Crescent Moon agitated spreads out rays of soft light like white creepers and hit upon the forehead region of the body straight so that the Third Eye is opened up. Anatomically this place in the body, also called the Ilaadat Taanam is the place of Clear Consciousness and where even symbolic and other mystical matters are translated into conceptual terms.

Now why is this kind of the function of the Crescent Moon should be said ‘iRai kaakkum” i.e. ensures being with the gods and hence prevented from the possible FALL into the hold of the forces of DARKNESS and which would make one do the evil and suffer immensely because of that?

The vision of the Third Eye is the vision of the Celestial World where the gods are no more inferred and believed entities but are directly witnessed entities. Because they are SEEN directly , there is no more uncertainties about their reality. Thus relieved of uncertainties disbelieve and so forth, the person continues his metaphysical odyssey in the company of the gods and with that ensuring that the WAY is the Right Way , a way in which the evil powers do not lurk to jump on , catch the souls and feast themselves.

Thus this metaphysical vision by making it possible the direct SEEING of the celestial deities, ensures the souls move in the right direction. We may recall here that this is the function of the temple architecture - the stones and metals are fashioned to make present the contents of metaphysical world so that even those whose Third Eye remains still closed can have a virtual kind of experience of the genuinely metaphysical

Now exactly what is the mechanism by which the Third Eye is opened?

Each one of these symbolic elements are Yantras the real shape of which are mantra-complexes. The Crescent Moon and so forth are VISUAL forms of mantra-wheels which also have an auditory form. Now they also emerge as differentiations of the Primordial Logos which is compared to the hum of bees here. BEING in His DANCE transmutes the primordial Logos Om into various shapes and through them manages the whole world.

This Dance takes place in CiRRambalam, the realm of Pure Consciousness and without which the destruction of ignorance, the gaining of the vision of the Celestial World and hence moving in the Right Way and so forth is impossible.

Thus it becomes a real pleasure, a genuine happiness to praise this Dance for it is really well placed.

4.

நிறை வெண்கொடி மாட நெற்றி நேர் தீண்டப்
பிறை வந்து இறை காக்கும் பேரம்பலம் தில்லைச்
சிறை வண்டு அறை ஓவாச் சிற்றம்பலமேய
இறைவன் கழல் ஏத்தும் இன்பம் இன்பமே

உரை:

இறைவன் உமை அம்மையோடு அயராது ஆனந்தத் தாண்டவம் ஆடிகொண்டே இருப்பதால், எவ்வித குறையும் இல்லாத வெண் கொடி போன்ற தண்கதிர்கள் மாடம் போன்ற மக்கள் தம் உடம்பில், ஞானக்கண் உள்ள இலாடத்தானமாகிய நெற்றியை நேராகத் தீண்டி சிவமெருமானின் இளம்பிறை மக்கள் ஞானவிழி வழி இறைவனது வழியிலேயே செல்லுமா அவர்களைக் காக்கும். இதனால் சிறிய வண்டுகளின் ரீங்காரம் போன்ற ஓங்காரத்து மந்திர ஒலி ஓவா இசைத்துக்கொண்டே இருக்கும் திருசிற்றம்பலத்தில் இருந்தவாறு நாதாந்த நடம் செய்யும் இறைவனது வீரக்கழல்களை ஏத்தி ஏத்திப் புகழ்வதின் வரும் இன்பமே உண்மையான இன்பம் ஆகும்.

4.

niRai veNkodi maada neRRi neer tiiNdap
piRai vantu iRai kaakkum peerampalam tillaic
ciRai vaNdu aRai oovaac ciRRampalameeya
iRaivan kazal eettum inbam inbamee

Meaning:

On account of the Dance of Siva-Sakti in the vast expanse of Tillai, the Paradise, there are rays of light emerging like white creepers and which reach the forehead part of the body of the human beings opening up the metaphysical eyes ensuring with that the creatures move well guarded by the celestial beings. Now all these happen through differentiating the Primordial Logs, Om that sounds like the hum of bees in CiRRampalam, the Realm of Pure Consciousness. Thus praising the Dancing Feet of BEING the valiant becomes genuine joy as it is not at all misplaced.


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-5

The Wealth Through Worship of the Wearer of the Moon

There is a beautiful poetic play with the word ‘celvam' here which means ‘wealth, riches, prosperity' and so forth. But Sambantar does not mean the ordinary material wealth as the real wealth though this is not despised at all. In the streets that abound with mansions or multi-storied buildings there is abundance of material wealth. But this is not the real wealth in his understanding and such people are not really the wealthy and prosperous.

The really prosperous are those who worship the Moon above in the sky as well as deep in their own soul - in the head area where lies the Realm of Lotus with a Thousand Petals. There is the outer and the Inner Moon and the worship of the outer Moon is to activate the Inner Moon that is mentioned here .

But why should it be singled out for special mention?

It is stated quite clearly that it is only because of the Metaphysical Moon coming down and uniting with land and soul that the nation enjoys economic wealth and the human beings both mental and physical wealth which are not unrelated to each other.

The Moon is the Woman, the creatrix, the In-anna of the Sumerians and only when She unites with the land, the land is productive and hence full of produces of all kinds - grains fruits beverages domestic animals gems and what not. Now it is also the case that when the Moon emerges as the Inner Moon, it cools the body and helps to replenish the dead tissues and so forth so that people get continuously regenerated and rejuvenated. They are also provided with a continuous supply of Psychic Energy so that they becomes tireless workers. The Inner Moon supplies , the Amutu, the ambrosia that defeats diseases exhaustion senility and so forth.

So the really rich and prosperous are such people- perhaps the Siddhas who have focused upon this kind of worship

But Sambantar brings a twist here. Even BEING-as-Siva who resides in CiRRampalam , the Realm of Pure Consciousness in Tillai, the Paradise is also a Celvan, the rich and prosperous. Now what can be the meaning of saying that even BEING as is a Celvan?

For BEING-as-Siva is Candraseekaran, the One who wears the Crescent Moon on His tuft. He has this Moon, the source of Amutu, the ambrosia as one of His tools to bless the deserving the souls. This He can do only if He owns the whole of the Moon and which/who is really the Woman whom He keeps as the equal half and always

What is real wealth in terms of the correct ritual practice is NOT the worship of the Moon as such which is simply a tatva , inert and non-intelligent and something that cannot understand people and their conditions. We ought to praise and pray Siva the Wearer of the Moon who is intelligent and who understands all creatures whether they worship Him or not. But this praise and worship with an understanding of the metaphysics of Moon Worship, becomes because of that a real riches in terms of correct ritual practice.

5.

செல்வ நெடுமாடம் சென்று சேண் ஓங்கி
செல்வ மதி தோயச் செல்வம் உயர்கின்ற
செல்வர் வாழ் தில்லைச் சிற்றம்பலமேய
செல்வன் கழல் ஏத்துஞ் செல்வம் செல்வமே

உரை:

இந்த திருசிற்றம்பலம் சிறக்கின்ற தில்லை நகரில் தனிச் சிறப்புடைய செல்வர்கள் பலர் வாழ்கின்றனர். அவர்கள் யாரோ வெனில் , புறத்தில் செல்வச் செழிப்பினைக் காட்டும் மாடங்கள் விளங்கும் திருவீதியில் விண்ணில் முழுமதியாக அகத்தே சிரசின் உச்சியிலே விளங்கும் விந்துவின் ஓர் வடிவமாகிய சந்திரனாக விளங்கும் அம்மையைத் தொழ அவள் உயிரோடு தோய்ந்து ஒன்றாக உடல் நலம் மன நலம் என்னும் செல்வங்கள் உயர அதனை மகிழ்கின்ற சித்தர்கள் ஆகும். இதற்கெல்லாம் மூலமாக அந்த அம்மையை தன் சரிபாதியாக கொண்டு பெருஞ் செல்வனாக விளங்கும் சிவபெருமானின் வீரக்கழல்களை ஏத்தும் நன்மதி எனும் ஞானச் செல்வமே மெய்யான செல்வம் காண்

5.

celva nedumaadam cenRu ceeN ooGki
celva mati tooyac celvam uyarkinRa
celvar vaaz tillaic ciRRampalameeya
celvan kazal eettunj celvam celavamee

Meaning:

The streets of Tillai are full of mansions above which hangs the Moon in the distance. When this Moon descends into the land and into the mind and body of people there arise riches of all kinds - economic prosperity as well as good mental and physical health. Now BEING pervades the CiRRamppalam of this Tillai where abound such rich people and who is also rich because He wears the Moon itself as one of His tools. Now those who praise the divine Feet of such a BEING (instead of the Moon in the sky or in the soul) are really rich for they have a ritual practice that is correct.


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-6

Uma the Eternally Youthful : What does it Mean?

In seeking to understand the essence of this verse , we have to recall that these icons and the mythic tales they bring along are PRESENTATIONS of BEING and for the purpose of educating man on some metaphysical truths. On can say these are elements pedagogy wholly through the images or icons and hence through graphics alone and where we have to INTERPRET these images and wrest out their meanings. Such a way that centers on Icon Thinking is not only very ancient but the essence of Tantrism that comes along with Temple Worship.

These images and tales are NOT the inventions of the human mind but rather DISCLOSURES from the depths ( just like dreams) and all for the purpose of making man think interpretively on these icons and mythical tales and attain an understanding of metaphysical truths that would help one live better the existence already given and which cannot be denied.

Here BEING presents Himself as the famous androgynous reality but where Uma is said to be of Pure Radiance ( varu< paru: brilliance) and with a body that is eternally YOUTHFUL ( taLir meeni) , a body that never dries up shrivels and becomes senile.

This means that a man who has incorporated into himself through Deep Love where separation is unthinkable , a young maiden either as his love or wife, will also enjoy a body of youthful vitality. The young maiden of immense PURITY and because of which she is capable of deep and profound love, a love that does not entertain separation- the psychic and bodily- , becomes also who transfers such a youthful vitality to the man she loves. Now of course this can be both at the biological and metaphysical levels and where this Woman at the metaphysical level can be the apsaras, an angel that fuses with the soul of man and with that blessing him with youthful vigor. In history we have ( as Cambodia) such Apsaras also seen as the five-hooded snake and so forth and which is also a form the Sumerian In-Anna assumes. What it means is that through such a Young Maiden or Apsaras ( or Snake) a man is blessed with KuNdalini Sakti in the form of sexual libido which energizes him and keeps him youthful

Now this explains the meaning of the other two icons. Here ‘karu maan' simply means the black beast and though mostly taken as an elephant, it can also be the Buffalo or any beast that is BLACK in color and which is important. Such a black beast is the symbol of the Dark Forces - the devils, asuras and so forth who can bring about diseases miseries and so forth. To wear the skin of such a beast means to SACRIFICE such an animal , skin it and wear it to show that one has conquered such it. . Thus this symbolism takes us to the real sacrifices of buffalos goats and so forth of early man where he sought to understand such metaphysical meanings through the ritual of sacrifice. But when the authentic essence of such ritual actions are noted as metaphysical meanings, it turns out to be the SACRIFICING the beasts within oneself and a course of meditative actions where IGNORANCE is destroyed and the psychic interior in flooded with the purifying Inner Radiance.

Now this also explains the meaning of the Icon Form of Siva as NilakaNdan, the Blue-Throated. To be such an individual means keeping the most potent Killer Poison at the throat itself and thus disallowing it to enter the digestive system and with that bring about death. Now this shows that in keeping oneself always YOUTHFUL one also keeps death away from one at least for the most part. Now this Killer Poison is the Malam, the Dark Stuff and instead of holding it at the throat, if it is eliminated completely , then it means also conquering death altogether and becoming a Siddha, the one who dies the final death so that he is liberated completely from being embodied again.

For Sambantar such metaphysical truths associated with the icon forms of Siva become the reason why he would worship Siva and not any of the other deities,.


6.

வருமாந் தளிர்மேனி மாதோர் பாகமாந்
திருமாந் தில்லையுட் சிற்றம் பலமேய
கருமான் உரிப்போர்த்த கறைசேர் கண்டத்தெம்
பெருமான் கழல் அல்லாற் பேணாதுள்ளமே

உரை:

சிவபெருமான் சுத்தமான ஒளி பொருந்தியதும் யாண்டும் வாடாது இளமைப் பொலிவோடு திகழும் தளிர்மேனியை உடைய உமையை யாண்டும் தனது நிறைவான ஓர் பாதியாகக் கொண்டு, தெய்வீகத் திருவெல்லாம் முற்றாக அமைந்துள்ள திருத் தில்லையுள் தூய்மையன ஞானபிரகாசம் நிறைந்த திருசிற்றம்பலத்தை மேவி நின்று இந்த உலகினை நடாத்துகின்றான. இனி விக்கினங்களை போக்குபவன் தான் என்று காட்டும் வகையில் கரிய மிருகத்தின் உரிபோர்த்தியும், மரணாவத்தைகளை போக்குபவன் தான் என்று காட்டுமா கருத்த கண்டத்து நீலகண்டனாகவும் விளங்குகின்றான. இதனால் எல்லா தெய்வங்களுக்கும் தெய்வமாக விளங்கும் இந்தப் பெருமானின் திருவடிகள்: அல்லாது வேறு எதையும் எனது உள்ளம் பேணாது காண்.

6

varumaan taLirmeeni maatoor paakmaan
tirumaan tillaiyud ciRRam palameeya
karumaan urip poortta kaRaiceer kaNdattem
perumaan kazal allaaR peeNaatuLLamee

Meaning:

Siva has Uma, the Woman who is Pure Radiance and with an ever youthful body , as an equal half of Himself and as thus pervades the Realm of Pure Consciousness (ciRRampalam) in the Paradise of Tillai, the ground of all divine qualities. Now his BEING also shows Himself as One who wears the skin of the Dark Beast ( elephant? Buffalo?) and who has His throat darkened by poison that is held up there. Now in noting all these , my heart will not worship the feet of any deity except this Great One.


Mutalaam TrumuRai Patikam 80

The Temple Hymns of Sambantar 1-7

Becoming the Head Only and Worshipping by It.

In Hindu thinking in general there has been various attempts to categorize people to make sense of the DIFFERENCES in aptitudes and preferences they show in their dispositions. The most inglorious and totally unethical is that of the VarNasrama Dharma that throws these differences to the biological factors and hence birth and impose a hierarchical organization in which the Brahmins are placed at the top and all others placed below with a false metaphysics where these different kinds of people are said to have emerged from the Face chest thighs and feet and in that order. It is really unfortunate that such a false metaphysics and false sociology has crept into the whole gamut of Sanskrit literature in terms of Dharma and so forth pushing aside and burying the more humane and scientific Tantric account of it and which is available in this verse.

Here Sambantar, a Tantric Vedist brings out this Tantric sociology that avoids the inhumanity and Adharma of Brahmanism and in connection with the worship of BEING as He is in CiRRampalam, the Realm of Pure Consciousness.

The key term is that of ‘Talai aaNaarkaL', those who become the HEAD itself and which is vastly different from saying ‘issuing from the Head of BEING” and because of that being born as a Brahmin etc. To become the head only shows that people in general can identify themselves with the different parts of the body as their action centers and hence having different dispositional traits depending upon which part of the body one identifies oneself with. For example those who identify themselves with the hands and legs and becoming indifferent to the other parts will be CONCRETE OPERATIONAL, to use a Piagetian term and where they would THINK but only in ACTIONS. For such people DOING something concretely will the same as THINKING even on the divine essences.. Such people are Cariyaavaati, those who indulge in Cariyai, various kinds of practical actions like services to society , temple maintenance, idol worship pilgrimages and so forth. Then we have the Kiriyavati, those who practices the Kiriyai, like mantra recitals, singing hymns ritual actions and so forth. Then we have the Yogavati, those who practice various kinds austerities by way of making the body a means of accessing the deeper metaphysical reaches. The body is tamed by various kinds of postures so that from within itself and through such postures, deep metaphysical insights are accessed and enjoyed. Then comes those who are ruled by the head, the Talai aanarkaL mentioned below. Such people are the metaphysical and who seek out an UNDERSTANDING of all so that there is NOTHING as the mystical or unconscious. They seek to UNCOVER that is covered up so that their mind is totally illuminated and by virtue of which their understanding becomes totally translucent , something where there is no OPACITY at all. Such people are Sivanjaanaies , the Siddhas and so forth and it is mentioned that it is such people who would contemplate on BEING as Siva who shows Himself as various kinds of iconic forms where the WOMAN is given equal importance as MAN.

Now we can see an EVOLUTINARY development in such dispositions and in which one can grow from being fixated to the limbs to the thighs chest and head, from being a Cariyavati to Njanavati and so forth. For within such an evolutionary development \ there is common Pull Unto BEING and which serves as the propellant , that which makes a person develop and evolve. This PULL by BEING is COMMON to all and hence all are the SAME despite the differences in the aptitudes and dispositional traits.

Now we can see why this Tantric view is NOT the same as that of VarNasrama Dharma (VD) - the VD cannot accommodate the SAMENESS of all human beings in terms of the different ways in which they respond to the Pull of BEING already within them and which makes them religious, in the genuine sense. The VD denies the evolutionary possibilities and the fluidity in the dispositional traits - it freezes all by casting everything into the biological heritage bringing in the support not the sciences but the authority of the Vedas for this social mischief.

Mutalaam TrumuRai Patikam 80


7.

அலையார் புனல் சூடி ஆகத்தொரு பாகம்
மலையான் மகளோடு மகிழ்ந்தான் உலகேத்தச்
சிலையால் எயில் எய்தான் சிற்றம்பலம் தன்னைத்
தலையால் வணக்குவர் தலை ஆனார்களே

உரை:

உமை அம்மையில் ஓர் வடிவாகிய அலைகள் நிறைந்த கங்கையை சிரசில் சூடி , ஆகத்தில் மலையமான் மகளாக பிறப்பெடுத்த பார்வதியை தன் சரி பாதியாக வைத்து அம்மையப்பராகத்தோன்றும் இறைவனை அதன் சிறப்பினைக் கண்டு உலகமே உவந்து ஏத்துகின்றது. இப்படி இந்த சக்திகளை தன்னொடு வைத்து மா சக்திமானாக விளைங்கும் உருத்திர சிவன், ஆணவம் கன்மம் மாயை என்னும் பாசங்களால் எழும் கோட்டைகளை தன் ஞானத்தீ கக்கும் அம்புகளை எய்து எரித்து இல்லாது போக்குகின்றான். இப்படிப்பட்ட இறைவன் அருட்பெருன்சோதியாக விளங்கும் திருசிற்றம்பலத்தில் , உடலின் ஏ¨னாய் உறுப்புகளோடு அவையே தானாக இருப்ப்தை ஒழித்து, ஞானச்சிந்தனை மாத்திரம் செய்யத் தரும் தலையோடு மாத்திரம் ஒன்றித்து தலையே தான் ஆன சிறப்புடை சிவஞானிகள் , இறைவனை ஞானச்சிந்தனையிலேயே வணங்குவர் காண்

7.

alaiyaar punal cuudi aakattoru paakam
malaiyaan makaLoodu makizntan ulakeettac
cilaiyaal eyil eytaan ciRRampalam tannait
talaiyaal vaGkuvar talai aanaarkaLee

Meaning:

The whole world praises profusely the Androgynous form of BEING where while keeping the Woman as GanGka on His tuft but keeps as His equal half, Parvati the daughter pf the Himavaan. Such a BEING because of the Power supplied by these Sakties aimed the arrows of metaphysical illuminations and singed to ashes the castles of Ignorance of various kinds in which people remain imprisoned,. Now such a BEING pervades the CiRRampalam, the Realm of Pure Consciousness in this Temple of Tillai and only those who are ruled by their head will worship this BEING through deep metaphysical reflections.



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Ulagankmy

"http://heritagewiki.org/index.php?title=Sambantar_on_the_Temple&oldid=12336" இருந்து மீள்விக்கப்பட்டது
இப்பக்கம் கடைசியாக 10 பெப்ரவரி 2013, 08:39 மணிக்குத் திருத்தப்பட்டது. இப்பக்கம் 1,500 முறைகள் அணுகப்பட்டது.