kaRRadhum suttadhum - Part I

I was always inspired by writer Sujatha. His famous novels and knowledge on science which he exhibited in simple form, that could be understood even by an ordinary man, is a wonder for me.
His kaRRadhum peRRadhum which came in Ananda vikatan was very famous. In his "caption", I start this new forum.  Whatever story/article I got inspired, publised by others, will appear here.  So, here, it is..

To start with God..

திருப்பதி செல்கிறோம், திருவேங்கடமுடையான் ஏழுமலை வாசனை வணங்கி மகிழ்கின்றோம். ஆனால் திருப்பதியில் நம்மில் சிலருக்குத் தெரியாத அதிசயங்கள், உண்மைகள், நடைமுறைகள் எவ்வளவோ உள்ளன. அவற்றிவ் சிலவற்றை தொகுத்து வழங்கப்பட்டுள்ளது.

We visit Thirupathi to worship Lord Balaji. At the same time, we are unaware of certain facts and practices and secrets which are stranger than fiction. They are as follows.

பிரம்மிக்க வைக்கும் திருப்பதி அதிசியங்கள்
திருப்பதி ஸ்ரீ ஏழுமலையான் திருவுருவச் சிலையில் சிலிர்க்க வைக்கும்
ரகசியங்கள் உள்ளன.
There are certain astonishing secrets in Lord Venkateswara's statue.
அவைகளில் சில......... few are


1. திருப்பதி ஆலயத்திலிருந்து 1 கிலோமீட்டர் தொலைவில் "சிலாதோரணம்" என்ற அபூர்வ பாறைகள் உள்ளன. உலகத்திலேயே இந்த பாறைகள் இங்கு மட்டும் தான் உள்ளன. இந்த பாறைகளின் வயது 250 கோடி வருடம். ஏழுமலையானின் திருமேனியும், இந்த பாறைகளும் ஒரே விதமானவை.

There are are very rare stones (rocks) within one kilo meter from the temple. They are known as "Silaa thoranam" These stones(rocks) are available  only here in the whole world. The age of these stones(rocks) is 250 crores of years . The image of Balaji is made out of these stones

2. ஏழுமலையான் திருவுருவச்சிலைக்கு பச்சைக்கற்பூரம் சார்த்துகிறார்கள்.
இந்த பச்சைக்கற்பூரம் ஒரு இரசாயனம். அரிப்பைக் கொடுக்கும் ஒருவகை அமிலம். இந்த இரசாயனத்தை சாதாரணக்கருங்கல்லில் தடவினால் கருங்கல் வெடித்துவிடும். ஆனால், சிலாதாரணத்தில் உள்ள பாறைகளில் இதைத் தடவினால் அந்தப்பறைகள் பெடிப்பதில்லை. ஏழுமலையாக் திருவுருவச்சிலைக்கு 365 நாளும் பச்சைக்கற்பூரம் தடவுகிறார்கள். ஆனாலும்வெடிப்புஏற்படுவதில்லை.

They smear the image of deity with a "type of camphor ". It is a chemical and if a granite stone is smeared with that it will crack in due course. All the 365 days of the year the image is smeared with this chemical. But this image does not show any cracks due to this practice.

3. எந்தக் கருங்கல் சிலையானாலும் எங்காவது ஒர் இடத்தில் சிற்பியின்
உளிபட்டிருக்கும் இடம் தெரியும்.. உலோகச்சிலையானாலும் உலோ கத்தை உருக்கி வார்த்த இடம் தெரியும். ஏழுமலையான் திருவுருவச்சிலையில் அப்படி எதுவும் அடையாளம் தெரியவில்லை. எந்த கருங்கல் சிலையை எடுத்துக்கொண்டாலும் சுரசுரப்பாக இருக்கும். ஆனால் ஏழுமலையான் திருமேனியில் நுணுக்க வேலைப்பாடுகள் எல்லாம் மெருகு போடப்பட்டது போல் இருக்கின்றன. ஏழுமலையான் விக்ரகத்தில் நெற்றிச்சுட்டி, காதணிகள், புருவங்கள், நாகாபரணங்கள் எல்லாம் நகைக்கு பாலீஷ் போட்டது போல் பளபளப்பாகஇருக்கின்றன.
Usually any image made of granite or metal will reveal the chisel marks of the sculptor at least at one spot. If it is metal, the places of joint, after they are heated and poured will be visible. No such marks are visible in the Deity's image. Any stone statue will be rough, but in the statue of Lord Venkateswara, even the minute artist works appears as though they are polished. Even the artist work of the sculptor on ornaments such as "chutti, ear ring, Brows, and Naagabarnam are shining like, as though new jeweleries are polished.

4. ஏழுமலையான் திருவுருவச்சிலை எப்போதும் 110 டிகிரி ஃபாரன்கீட்
வெப்பத்தில் இருக்கிறது. திருமலை 3000 அடி உயரத்தில் உள்ள
குளிர்பிரதேசம். அதிகாலை 4.30 மணிக்கு குளிர்ந்த நீர், பால் மற்றும்
திரவியங்களால் அபிஷேகம் செய்கிறார்கள். ஆனால், அபிஷேகம் முடிந்தவுடன் ஏழுமலையானுக்கு வியர்க்கிறது.பீதாம்பரத்தால் வியர்வையை ஒற்றி எடுக்கிறார்கள். வியாழக்கிழமை அபிஷேகத்திற்கு முன்னதாக, நகைகளைக் கழற்றும் போது, ஆபரணங்கள் எல்லாம் சூடாகக்கொதிக்கின்றன.

The image is always kept in 110 degree Fahrenheit. The Thirupathi hills are 3000 ft above sea level. At 4.30 A.M oblations are done with cold water, milk and scented water. After the oblation the image of Balaji sweats and the sweat is wiped with "Peethaambar" cloth. On Thursdays, before oblation, when the jewels are removed the ornaments are felt hot.

திருப்பதி ஆலயம், அதன் வழிபாடு, உண்டியல் வசூல், பூஜை முறைகள், சரித்திர சம்பவங்கள் அனைத்தும் அதிசய நிகழ்வுகளாகஇருக்கின்றன.
Thirupathi temple, the prayers, Hundi collections, Pooja procedures, Historical incidents are very special and astonishing nature.

1. திருப்பதி திருக்கோயில் சமையல்கட்டு மிககூம் பெரியதாகும். பொங்கல்,தயிர்சாதம்,புளிச்சாதம், சித்ரான்னம், வடை, முறுக்கு, ஜிலேபி, அதி ரசம்,போளி, அப்பம், மெளகாரம், லட்டு, பாயசம், தோசை, ரவாகேசரி, பாதாம்கேசரி,முந்திரிப்பருப்பு கேசரி போன்றவை தினமும் பெரிய அளவில் தயார்
செய்யப்படுகின்றன.

In the kitchen, which is very big, Pongal, curd rice, tamarind rice, chitrannam, Vadai, Murukku, Jilebi, Poli, Appam, Moukaaram, Laddu, Paayasam, Dosa, Rava kesari, Badam kesari, cahewnut kesari are prepared in huge quantity.

2. ஏழுமலையானுக்கு தினமும் ஒரு புதிய மண்சட்டி வாங்குகிறார்கள். இதில்
தயிர்சாதம் தவிர வேறு எந்த நைவேத்தியமும் கோவில் கர்பக்கிருகத்திற்குக்
குலசேகரப் படியைத் தாண்டாது. வைரம், வைடூரியம், தங்கப்பாத்திரங்கள்
எதுவும் குலசேகரப்படியைத் தாண்டச் செல்லாது. ஆண்டவனுக்கு நைவேத்தியம் செய்யப்பட்ட எச்சில் மண்சட்டியும், தயிர்சாதமும் ஒரு பக்தனுக்குக் கிடைக்கப் பெற்றால் அது மிகப்பெரிய பாக்கியமாகும். Every day the temple purchase a new mud pot for Balaji and only curd rice is offered to the Lord. No other Neivedhyam ( food preparations) will go inside sanctum, crossing "kulasekara padi (step)" and offered to Lord. Even Gold, diamond vessels will not cross this step. A devotee is considered very fortunate if he gets this mud pot and curd rice.

3. ஏழுமலையான் உடை 21 முழ நீளமும் 6 கிலோ எடையும் கொண்ட புடவை பட்டு பீதாம்பரமாகும். இந்த ஆடையை கடையில் வாங்க முடியாது. திருப்பதி தேவஸ்தான அலுவலகத்தில் 12500 ரூபாய் செலுத்த வேண்டும்.வாரத்தில் ஒரு முறை வெள்ளிக்கிழமை அன்று மட்டும் தான் வஸ்திரம் சாத்துவார்கள். இது மேல் சாத்து வஸ்திரம். பணம் செலுத்திய பிறகு வஸ்திரம் சாத்துவதற்கு மூன்று வருடங்கள் காத்திருக்க வேண்டும்.
The dress of the deity consistsd of 10 1/2 yards length and 6 kgs weight and made of silk,  This cannot be purchased in the shop. Rs.12,500/- is to be paid at Thirupathi Dhewasthaanam's office. only once in a week, i.e on Friday alone they decorate the Lord as outer dress with this cloth.  The person who offered the donation for this has to wait for three years for his turn.

4. உள் சாத்து வஸ்திரம் ஒரு செட் இருபதாயிரம் ரூபாய் கட்டணமாகும்.ஒவ்வொரு வெள்ளிக்கிழமையும் 15 வஸ்திரங்கள் சார்த்துவதற்கு சமர்ப்பிக்கப்படும். பணம் செலுத்திய பிறகு வஸ்திரம் சாத்துவதற்கு பத்து வருடங்கள் காத்திருக்க வேண்டும்.

The inner set of cloth set will cost Rs. 20.000/- . Fifteen sets on every Friday is offered to Lord. Those who paid for this service has to wait for ten years for his turn after paying the money.

5. பக்தர்கள் சமர்பிக்கும் வஸ்திரங்கள் தவிர அரசாங்கம் சமர்பிக்கும் சீர்
வஸ்திரங்கள் ஆண்டுக்கு இரண்டு முறை சாத்தப்படுகிறது
Apart from the dress offered by devotees, the Government offerings are offered to Lord twice in a year.

6. ஏழுமலை ஆண்டவனுக்கு அபிஷேகம் செய்ய இன்று கட்டணம் செலுத்தினால் மூன்று ஆண்டுகள் காத்திருக்க வேண்டும்.

If you want to offer Oblations to Lord, you have to wait for three years after paying the money.

7. அபிஷேகத்திற்காக ஸ்பெயினில் இருந்து குங்குமப்பூ, நேபாளத்திலிருந்து
கஸ்தூரி, சைனாவிலிருந்து புனுகு, பாரிஸ் நகரத்திலிருந்து வாசனை
திரவியங்கள் முதலிய உயர்ந்த பொருட்கள் வரவழைக்கப்பட்டு,தங்கத்தாம்பாளத்தில் சந்தனத்தோடு கரைக்கப்படும் 51 வட்டில் பால் அபிஷேகம் செய்யப்படும். பிறகு கஸ்தூரி சாத்தி, புனுகு தடவப்படும், காலை 4,30 மணி முதல் 5,30 மணி வரை அபிஷேகம் நடைபெறுகிறது. அபிஷேகத்திற்கு சுமார் ஒரு லட்ச ரூபாய் செலவு ஆகும்.
For "Abhishekam" Saffron is ordered from Spain,"Kasthuri"(Musk) from Nepal, Civet, the perfume from China. and many other perfumes from Paris. They are liquidised in a Golden plate with Sandal and 51 braced vessel known as "Vattil" with milk is mixed and then poured on the image of the Lord. After the Musk and Civet is applied , from  4.30 A.M to 5.30 A.M the "Abhishekam" is performed. This cost is about Rs. 1.00 lac.

8. ஐரோப்பாவில் உள்ள ஆம்ஸ்டர்டாமில் இருந்து பக்குவப்படுத்தப்பட்ட ரோஜா மலர்கள் பக்தர்களால் திருப்பதிக்கு விமானத்தில் அனப்பி வைக்கப்படுகின்றன. ஒரு ரோஜா மலரின் விலைசுமார்80ரூபாய்.

The well preserved roses from Amsterdam of Europe are sent by devotees  by plane.  The cost of one such rose is about Rs.80/-

9. சீனாவிலிருந்து சீனச்சூடம், அகில், சந்தனம், அம்பர், தக்கோலம்,இலவங்கம், குங்குமம், தமாலம், நிரியாசம் போன்ற வாசனைப் பொருட்கள்
ஏழுமலையான் திருக்கோயிலுக்காக அனுப்பப்படுகின்றன.

Scented articles sch as camphor, Frankincense, sandal, fragrant flowers, cloves, saffron etc., are sent to the temple from China.

10. ஏழுமலையானின் நகைகளின் மதிப்பு ரூ.1000 கோடி, இவருயை நகைகளை
வைத்துக்கொள்ள இடம் இடமும் இல்லை. சாத்துவதற்கு நேரமும் இல்லை. அதனால் ஆண்டிற்கு ஒரு முறை உபரியாக உள்ள நகைகளை செய்தித்தாட்களில் விளம்பரப்படுத்தி ஏலம் விடுகிறார்கள்.

The worth of jeweleries of Lord Venkateswara is Rs. 1000 crores. There is no space  to store them or  time to decorate the deity with these jewels . They are auctioned after publishing in newspapers.

11. ஏழுமலையானின் சாளக்கிராம தங்கமாலை 12கிலோ எடை. இதை சாத்துவதற்கு மூன்று அர்ச்சகர்கள் தேவை. சூரிய கடாரி 5 கிலோ எடை. பாதக்கவசம் 375 கிலோ. கோவிலில் இருக்கும் ஒற்றைக்கல் நீலம் உலகில் யாரிடமும் கிடையாது. இதன் மதிப்பு ரூ.100கோடி.
The Lord's "Saalagrma" golden necklace weighs 12 kilos and requires three priests to carry and place it on the image. "Surya Kattari" weighs 5 kilos; the covering sheets for the feet weighs 375 kilos. The blue gem in temple is nowhere else in this world and it costs about 100 crores.


12. மாமன்னர்களான இராசேந்திர சோழர், கிருஷ்ண தேவராயர், அச்சதராயர்
போன்றோர் .ஏழுமலையானுக்கு பல காணிக்கைகளையும், அறக்கட்டளைகளையும் செய்து அவற்றை கல்வெட்டுகளிலும், செப்பேடுகளிலும் பொறித்துள்ளனர். சோழ அரசியும் இங்கு வந்து காணிக்கை சமர்பித்து இருக்கிறார்.

Emperors like Raajendra chozhan, Krishna Dhevaraayer, Achutha rayer have donated amply to this temple They also created many charitable trusts and the details of which are engraved in stones and copper plates. The queen of Chola also visited the temple and made offerings.

13. ஆஜானுபாகுவாக இருக்கும் மூலவர் ஏழுமலை ஆண்டவனைப்போலவே, அபிஷேக அலங்காரம் செய்து பார்க்க ஒரு சிறிய விக்கிரகம் கி.பி.966 ஜுன் 8ஆம் தேதி வெள்ளியால் செய்யப்பட்டது. இந்த விக்ரகத்திற்கு பல்லவ குறுநில மன்னன் சக்தி விடங்கனின் பட்டத்து அரசி காடவன் பெருந்தேவி நகைகளைத்தந்து, பூஜைக்கு அறக்கட்டளையும் வைத்தார். முதலாம் குலோத்துங்க சோழன் திருமலை தேடிவந்து காணிக்கைசெலுத்திஉள்ளார்.
Since the size of  the deity in the sanctum sanctorum is huge, to make it convenient to perform the oblation and decoration a smaller idol made of silver was installed on 8th June 966 A.D. Kaadavan perundhevi, the queen of Pallava king Sakthi vidangan, donated her jewels to make the idol as well created a charitable trust for the pooja. King Kuloththungan I  visited Thirumalai and made his offering to Lord.
14. திருப்பதி ஓவியங்கள் 300 ஆண்டுகள் பழமையானவை.

The paintings in the temple are 300 years old.

15. வெள்ளிக்கிழமைகளில் வில்வ இலை அர்ச்சனைக்கு உபயோகப்படுத்தப்படுகிறது.
On Fridays the "vilva" (Crat&ae;va religiosa ) leaves are used for "Archana"
மார்கழிமாத அர்சனைக்கும் உபயோகப்படுத்தப்படுகிறது.
It is also used in the month of Margazhi (Dec 15th to  Jan 14).


16. சிவராத்திரி அன்று க்ஷேத்ர பாலிகா என்ற உற்சவம் நடைபெறுகிறது. அன்று உற்சவப்பெருமானுக்கு வைரத்தில் விபூதி நெற்றிப்படடை சாத்தப்பட்டு திருவீதி உலா நடைபெருகிறது.
On sivarathri day a festival called "Kshethra paalikaa" is observed.  The silver idol which is meant to take to procession, is decorated with diamond  sacred ash, and taken out in procession around the temple.தாளப்பாக்கம் அன்னமய்யா, ஏழுமலையானை
பரப்பிரம்மமாகவும், சிவாம்சம் பொருந்திய ஈஸ்வரனாகவும், சக்தி
ஸ்வரூபமாகவும் பாடி, அந்த பாடல்களை செப்பேடுகளில் எழுதிவைத்துள்ளார். Thaalappakkam Annamayya has composed songs on Venkatachalapathi in the form of "parabrahmaa", and also in the form of Eaaswara and Shakthi and engraved the songs on copper plates.
திருப்புகழ் பாடிய அருணகிரிநாதப் பெருமான் திருப்பதிக்கோயிலுக்கு
வந்திருக்கிறார். அவரும் அன்னமய்யாவும் சமகாலத்தவர்கள். சங்கீத
மும்மூர்த்திகளில் ஒருவரான முத்துசாமி தீட்சிதர் சிறந்த வித்யா உபாசகர்,மந்திர சாஸ்திரம் தெரிந்தவர், நூற்றுக்கணக்கான தெய்வங்கள் மீது
பாடியுள்ளார். ஏழுமயைான் மீது சேஷசல நாமம் வராளி ராகத்தில் பாடியுள்ளார். Arunagiri Naadhar who sang "Thiruppugazh" has visited Thiruppathi, He is a contemporary of Annamayya. Muthuswamy Dhikshiter, one of the Music Trinity, who practiced "Sri Vidhya" had composed hundreds of songs on many deities, and his "Seshachala Naadham" in "Varaali" raaga is on this Lord.

17. அபிஷேகத்தின் போது ஏழுமலையான் தனது மூன்றாவது கண்ணை திறக்கிறார் என்ற ஐதீகம் உள்ளது.
 It is believed that Lord Venkateswara opens his "third eye" at the time of oblation.

18. ஏழுமலையானின் ஸ்தல விருட்க்ஷம் புளிய மரம்.

The temple tree of Lord Venkateswara is tamarind tree.

19. எந்த சாத்வீக, சாந்தமான தெய்வத்தின் திருவுருவச்சிலையிலும் கையில்
ஒரு ஆயுதமாகிலும் இருக்கும். ஆனால் ஏழுமலையான் திருவுருவச்சலையில் எந்த ஆயுதமும் கிடையாது. அவர் நிராயுதபாணி. அதனால்தான் தமிழ் இலக்கியத்தில் நம் முன்னோர்களால், வெறுங்கை வேடன் என்று அழைக்கப்பட்டார்.

 Any God's statue with grace and tranquility will also have at least one weapon. But, in the statue of Lord Venkateswara you will not find any weapon. He is considered "devoid of any weapon" That is why he was praised in our olden days literatures, as a "hunter with empty hand"

20. 1781 ஆம் ஆண்டு பிரிட்டிஷ் பீரங்கிப்படை தக்கோலம் என்ற இடத்தில்
முகாமிட்டிருந்தது. அப்படையின் 33 ஆவது பிரிவைச்சேர்ந்த லெவெல்லியன் என்ற போர் வீரர் படுகாயம் அடைந்தார். அவர் குணமடைய ஏழுமலையானை
பிராத்தித்திருகிறார். குணமடைந்ததும் ஓர் இந்து சிப்பாய் மூலம்
நேர்த்திக்கடன்செலுத்தியிருக்கி றார்.

In the year 1781 the British Cannon army was camping in a place called "Thakkolam". One Mr. Levellian, who belonged to 33rd wing was injured very badly. He prayed to Lord for his cure and after he got well he sent his offering through a Hindu soldier.

21. ஆங்கிலேயர்கள் சர் தாமஸ் மன்றோ, கர்னல் ஜியோ ஸ்டிராட்டன் போன்றவர்கள் ஏழுமலையானின் பக்தர்கள் ஆவர்.

The britishers, Sir Thomas Manroe, Colonel Geo Strottnen are devotees of Lord Venkateswara.

22. திருமலையின் புனிதத்தன்மை கருதி 1759 முதல் 1874 வரை எந்த
ஆங்கிலேயரும் மலை ஏறவில்லை. ஆங்கிலப்பாதிரிகள் மலையில் ஏதாவது ஒரு பகுதியில் ஒரு சிலுவை நட விரும்பினார்கள். ஆனால் அதற்கு ஆங்கிலேயத் தளபதிகளே அனுமதி அளிக்கவில்லை. திருமலை திருக்கோயிலில் நித்யபடி பூஜைகள் நடக்க வேண்டும் என்று ஆங்கிலேயர்கள் விரும்பினார்கள். பூஜைகள் சரிவர நடக்காவிட்டால் தங்கள் ஆட்சிக்கு பங்கம் வரும் எனக் கவலைப்பட்டார்கள்.

Considering the divinity of Thirumalai, No English man went to Thirupathi from 1759 to 1874. Some christian preists wanted to place a cross in the mountain, But, even British Commanders did not give permission for the same. They wanted the oblation and poojas should be performed in the temple. They believed and feared, if not, their ruling will be affected.

23. திருப்பதி அலமேல்மங்கைக்கு உள்பாவாடை கத்வால் என்ற ஊரில் பருத்தியில் தயார் செய்யப்படுகிறது. செஞ்சு இனத்தைச்சேர்ந்த நெசவாளர்கள் இதை பயபக்தியுடன் நெய்கிறார்கள். உள் பாவாடை சீமாட்டியின் திருமேனியில் படுவதால், இதை நெய்யும் போது நெசவாளர்கள் மூன்று வேளை குளிப்பார்கள். அவர்கள் மது, மாமிசம் உண்ணமாட்டார்கள். வெள்ளிக்கிழமை அபிஷேகத்திந்கு பரிமள அறையில் வியாழன் இரவு அறைத்து தயார் செய்யப்படுகிறது. குங்குமப்பூ கலவையும் அபிஷேகத்திக்கு சேர்கப்படுகிறது. வெளிநாடுகளிலிருந்து வாசனை திரவியங்கள் பக்தர்கள் அனுப்பிய வண்ணம் உள்ளனர். ஒரு வாரத்திற்கு ரூ,50000 மதிப்புள்ள வாசனை திரவியங்கள் வருகின்றன.

The skirt to Alarmel mangai is made of cotton at a place called Gadwaal. The weavers of this dress are from a community called Chenchu with lot of devotion. Since this dress is in direct touch with the deity's idol, the weavers will not consume meat or alcohol and they bathe thrice a day. To perform the oblations on Friday, all scented ingredients are ground on the previous night in a special room meant for this purpose. Saffron is also added for oblations. The devotees from abroad send regularly scented materials worth of Rs.50000?- per week

24. ஏழுமலையான் வாரத்தில் நான்கு நாட்கள் அம்பாளாகவும், 2 நாட்கள்
விஷ்னுவாகவும், ஒரு நாள் சிவனாகவும் கருதப்பட்டு பூஜை நடைபெற்று
வந்துள்ளது.

Lord Venkateswara is treated as "Ambaal" for four days, Vishnu for two days and as Lord Siva for a day in a week, for the purpose of Pooja.

25. ஏழுமலையானின் அபிஷேக நீர் குழாய் மூலம் புஷ்கரணியில் கலக்கிறது. ஆகவே இது புனிதமான நீராகும். இங்கே குளித்துவிட்டு நீரில் நின்ற படியே இரு கைகளாலும் தண்ணீரை எடுத்து குளத்திலேயே விடவேண்டும். இது விசேஷ வழிபாடாகும்.

The water from oblation of Lord,is led by pipes into the temple tank. Since it is considered holy water, the devotees are required to take bath by standing in the water. and take the water in both the hands and leave it back into the tank. This is considered as the special worship.

25. வெள்ளிக்கிழமை அதிகாலை அபிஷேகத்திற்கு முன்பு ஒரு விசேஷ சாத்து முறை நடக்கும்.வடகலை சம்பிரதாயத்தில் '' வேங்கடமெனப்பெற்ற" என்ற பாசுரமும், தனியன்களும் இடம் பெறும்.  On Fridays, in the early hours, before oblation, a special prayer will be done. At that time as per vadakalai practice , the paasuram" Venkatamena petra" and "dhaniyans"will be chanted.சாத்துமுறையின் போது பூ, வஸ்திரம் இல்லாமல் ஏழுமலையான் திருமேனியுடன் இருப்பார். During the prayer the deity will be without any flowers or cloth.முதலில் ஒரு தீபாராதனை எடுக்கப்படும். பிறகு தென் கலை சாத்து முறை சேவிக்கப்படும். First a lamp worship is done and then the same worship will be repeated as per "Thenkalai" practice.பிறகு நைவேத்தியம் செய்யப்படும். பிறகு ஒரு தீபாராதனை செய்யப்படும். ஏழுமலையான் அந்த தீப ஒளியில் கண்ணைப் பறிக்கும் அழகோடு இருப்பார். Then offerings to God and lamp worship is done and at that time the Lord will shine with exquisite beauty.

26. கி.பி.1543ல் விஜயநகர மாமன்னர் அச்சுதராயர் பத்மாவதிதாயாருக்கு
திருக்கோயில் எழுப்பி கும்பாபிஷேகம் செய்துள்ளார். கி.பி.1764ல் நிஜாம்
தெளலா என்பவனின் தலைமையில் வந்த முஸ்லீம் படைகளால் இடித்து
தரைமட்டமாக்கப்பட்டன. இதன் இடிபாடுகள் இன்றைக்கும் உள்ளன.

Emperor of Vizianagarm, Achutha Royar constructed a temple on 1543 for Padmavadhithaayar. In the year 1764, this was demolished by Muslim army led by Nizam Dhowla and the remains are still there.

27. திருவில்லிப்புத்தூர் கோவிலில் இருந்து ஸ்ரீ ஆண்டாள் அணிந்த மாலைகள்
திருபதி கொண்டு வரப்பட்டு ஏழுமலை ஆண்டவனுக்கு சாத்தப்படுகிறது. ஸ்ரீ
ஆண்டாள் ஏழுமலையானை கடவுளாக வழிபட்டு வாழ்த்தி வணங்கிணார்.

The garlands worn by Sri Aandaal from Thiruvilliputhtur temple are brought to Thirupathi and placed on the God. Sri Aandaal worshipped Balaji with devoton as her deity. 

28. திருமலை திருக்கோவிலில் 1180 கல்வெட்டுக்கள் உள்ளன. இதில் 236 பல்லவ, சோழ, பாண்டியர் காலத்தவை. 169 கல்வெட்டுக்கள் சாளுவ வம்ச மன்னர்கள் காலத்தவை. 229 கிருஷ்ண தேவராயர் காலத்தவை. 251 அச்சுதராயர் காலத்தவை. 147 சதாசிவராயர் காலத்தவை. 135 கொண்டை வீடு அரசர் காலத்தவை. நந்திவர்மன்(பல்லவர்) ஆண்ட கி.பி.830 தொடங்கி 1909 வரை உள்ளன. கல்வெட்டுகளில் 50 கல்வெட்டுக்கள் தான் தெலுங்கு, கன்னட மொழிகளில் உள்ளன. மீதம் 1130 கல்வெட்டுக்கள் தமிழில் தான் உள்ளன.
There are 1180 carvings on stone. In this 236 belong to Pallava, Chola and Pandiyas, 169 to chaalukyaas. 229 toKrishna Dhevaroyar, 251 to Achudha royar, 147 to Sadasivaroyar and 135 to Kondai veedu kings. During the period between Nandh varma Pallava of 830 A.D and 1909, there are only 50 engravings are of Telugu and Kannada language and the rest of 1130 carvings are only in Tamil

MADHURA MANI, MADURAI MANI, MADHURA NERAM

Ever energetic “Yessel” organised a programme on MMI live on Saturday, the 26th May 2012.

 It was organised in Krishna gAna sabhA. Yessel must have got lot of confidence after seeing the crowd in RK Convention Centre.

To tell you about the RK Convention Centre Programme, last month there was another live recording of MMI that had been played and nearly 300 people attended in the centre which has the capacity of only 100. One could see people sitting in stairs listening to the concert. (confirmed by KGS secretary)

 To my knowledge, I have never seen a recording being played in a sabha and attended by 200-300 people with an empty dias. I have seen concert with empty rasikas seat but not vice-versa

 This programme in KGS was received with an overwhelming response and nearly 300-400 people attended and even last rows were also seen people sitting in few seats. I was really in awe at that time and the magic of gAna kalA dhara.

 This was for the first time that the podium is empty throughout 3 hours and 30 minutes with only a portrait of Shri MMI and people were clapping, besh, sabhAsh many times to acknowledge the best of music of Shri MMI. I was wondering if some unknown person visited that day, what he would have thought about us- Audio playing, podium empty......and rasikas sitting in rapt attention....!

 This concert was the programme of 1957 at Mumbai –Shri MMI with Shri LGS and Shri PMI and Shri Umalyalpuram Kothandarama Iyer-Ghatam. Though I have the recording with me and I have heard it few times, KGS acoustics and MMI’s voice erewas superb and one should be there to experience that. Honestly, at home, I would never have heard this concert continuously for 3.30 hours. I wanted to make it at any cost as I missed RK Convention concert.

 Interesting, I met a person who attended 1957 concert in Mumbai. He added that the concert was held at PoddAr College hAll and not in ShanmugAnandA hall as the hall was not constructed at that time. This was like- rasikas sitting on the floor and the artists sitting on the bench covered by carpet. Kudos to the person who recorded the concert. He also added that it was july concert on a Thursday, with heavy pouring outside. I realised later that the disturbances in between must have been because someone opening the nearby door.

 Brihaspathe-atAna kriti-one of the navagraha kritis was not played (deleted) because it was Saturday. I strongly felt that kriti also should have been played. Any kriti on any day by MMI is a beauty..

 Another news was that LGJ was 27 years old and a bachelor.

 Shri LGJ’s presence moved many of the rasikAs, including me in tears. Each and every time when the violin played, whether it is Bairavi, vAchaspathi, kAmbodhi... I could not stop seeing this Great Man in sheer admiration.. “Oh God. What a magic he created during those years”. In KGS, when I saw his hands trembling and one of his colleagues lifted his hand, I was crestfallen and thought- “the hand which created magic and making me everyday even today (today morn, I was listening to GNB,LGJ, PMI) -and could not reconcile the reality of age factor.  If we take take the Ranjani ragamalika pallavi in that concert.  The way he played ranjani varNam with Shri GNB (my morning) and the way he played for Shri MMI - what a difference. what an ecstacy. MMI's occassional accolades..!!!!. 

 While MMI was singing swaram in Bairavi,  LGJ's assistant was wiping his tears with a cloth. I did not know whether it is the music or because of his health. But it was really touching scene I will never forget in my life.

Let me take Einstein’s comment on Gandhi, to suit to our Shri LGJ

 “Generations to come, it may be, will scarce believe that such one as this ever in flesh and blood walked upon this earth. We are happy to see him live sitting next to us in flesh and blood”

 His son’s GJR krishnan’s smile, while LGJ playing violin, was to show the “Proud” movements of son-father relationship.

 Coming back to Shri MMI, also met few people who attended 400-500 concerts. I could have got more stories if they are asked to speak. But the concert duration and the paucity of time as  KGS needed to close the halll.  Another wonder was at least 60-70 people were there till the last minute and no one walked out during Tani. !!!!!!.

 One thing is certain- I need to precaution Yessel to be more careful in arranging the programmes like this.. If it is continued, certain  things will happen

1. He may have to hold the session in Chepauk statdium or Nehru stadium very soon

2. This will spread to all the other metros and we can meet Yessel only in the Airports.

3. Cleveland will have a session of his 1963 Programme.

4. Above all, December season, MMI will be a tough competition for other artists. The other sabhas may have to refuse to give timing for other artists  because of overwhelming response to MMI concert.

5. MA- December season will read like this.

24.12.12- 7.30 PM Madurai Mani Iyer- Vocal


TN Krishann- Violin


Palani Subramaniya Pillai-Mridangam


Umayalpuram Kothandarama Iyer- Ghatam


This was 1962 programme held in Calcutta


With an introduction speech by Trichy sankaran on his guru Palani and about the programme.


No season tickets will be allowed for this. Only Daily tickets. Price will be.....


Raskias will be requested to take the seats one hour before the programme.


There was no 4.30 PM concert on this day.

 Rasikas request was pouring after RTP, He started with yerumayil in Mohanam followed by kandhan karunai, kaa vAA vAA – all murugan songs.

 Thanks yessel... once again, for making my week end so nice and wonderful. With the scorching heat outside and humid condition, this was a sort of  big relief.

RA Ganapathy attained Mukti

Shri Ra Ganapathi attains Lotus feet of Mahaperiyava

This is to inform our friends that Shri. Ra. Ganapathi has departed our world. The moment of his passing came around 7:30 PM on this auspicious Maha ShivaRatri evening. The family has stated that he was very conscious and aware at the moment of his passing. He started a japam as he started on his way.

He had been well aware of the forthcoming end for the last few days and has shared it with a few people close to him. As many of us are aware, he has written a number of books (over 35) and articles on Satvik matters. His career as we knew it, started with Jaya Jaya Shankara in 1962, which was published as a serial in the weekly, Kalki and was then published as a book. Over 10 in years in Kalki, and over another 25 years as a freelancer, he has written a number of books and articles touching on the life and words of Shri Kanchi Maha Periyava, as also Shri Satya Sai Baba, Shri ramakrishna Paramahamsa, Swami Vivekanada, Sharadamani and Bhakta Meerabai.

He was gifted in the area of music as well and some of his kritis and bhajans have been rendered by reknowned karnatak musicians. Shri Ganapathi never coveted any fame nor material possessions. A number of us have known him to never touch money and have watched his needs and legal obligations being miraculously met over and over for a number of years, long before he had acquired any name recognition.

A phenomenon called Abhishek Raguram - Part I

A phenomenon called Abhishek Raguram

 Definition of Phenomenon is “observable fact” or “Experience”. Like this, in my life, I have so many      experiences like:

T     Through my father, I have experienced Varagoor perum
       Through shri, Venki, Guru at Dubai, oneness with parAshakthi

T     Through paramAcharyal’s discourse, always felt the in debth knowledge from a messiah of God.

        From my wife, perserverance, kindness, love to the children and bondness etc.,

  I have heard the definition of “phenomenon” through

 ;     Flute mAli playing the instrument at the age of 4. Semmangudi mamA’s worry about his future music career.

       Mandolin Srinivas

       Shashank- Another prodigy in flute.

        T,R,Rajarathinam's Todi

        Ramanujam- Mathematical genius

        MahAtma gAndhi

We can say, genius, God’s gift, icon. – But all these adjectives are possible only if you are blessed by God. I always believe in Creator and some of his wonderful creations.

Recent experience, I had when I was fortunate to listen to a beautiful jati of nArAyana TeerTha’s Tarangam by one Mr.Ramakrishna, a professor of Financial Management in reputed college in Mumbai and visiting professor in various colleges. It is very difficult to sing jati, while playing harmonium and moreover, if Mridangam is not following up, there will be chaos everywhere.

I had written about this visually challenged person in another review of Tarangini festival at Varagoor on the last 26^th January. Acharya Rajneesh always contends that 80% of our energy goes thorugh our eyes. When this energy is converged in to your Atma and channelized through Bhakthi, you have people like Ramakrishna.

Abhishek Raguram is, for me, a God send person. I have been listening Carnatic music for the past 20 years. From Ariyakkudi to Semmangudi, Maharajapuram -3 generations, GNB, Mani Iyer. I have the good habit of accepting all these Greats music. My music is not artist-centred, but rAgA-centered. So I always enjoy the beauty of “nAdham” through the Godsend artists like the above.

I had an opportunity to listen to Abhishek raguram live in ratnagiriswar Temple at Besantnagar. Shri G.S.Mani at the concuding speech said “"Edo oru Eashwara Sakthi Npadindrukku, adukku nanga enna solithardu"

Narayanan writes:

jet speed swaras and not a single off key note anywhere. and when he dwelled on the upper registers, oh what a purity of notes. smooth and silken.........he has the most beautiful and dulcet voice on the circuit as on today. and the way he enjoyed the violin and asked the soundman to raise its volume not only here but also when akkarai was playing wonderfully at the jaya tv thamizhisai concert.... the way he obliged with all the song and raga requests with a serene smile...... this man has arrived.

THE HINDU REPORTS- IN THE EVE OF Rasikapriya's 34th anniversary celebrations in Kochi

“Abhishek Raghuram's concert stood out for its trenchancy and verve. The Navaraga varnam of Patanam Subramania Iyer made way to more dulcet compositions such as ‘Muddumomu' in Suryakantham and ‘Saraseeruha ramaiyya' in Mukhari.

The vocalist sang sustained notes of Charukeshi and thus brought out the true raga bhava. The kriti chosen was ‘Adamodigalade,' a composition of Tyagaraja. The vocalist took off to the upper octave with Anandabhairavi and gave the choicest phrases a true Carnatic flavour with long and deep gamakas.

Abhishek sang an unexpected niraval for the phrase ‘Ramanamane' in the Hamsanadam composition ‘Bantureethi koluvu' and proceeded to brisk swaras, which turned out to be one of the highlights of the concert.

The main raga for the evening was the rarely sung Abheri and the kriti was Dikshitar's ‘Bhajare re Manasa,' which is also not too often heard. The brigas were unerring and crisp.”

THE HINDU REPORTS IN ANOTHER CONCERT:

Abhishek Raghuram's heavy repertoire enthralled his audience in Chalakudy. The audience that sat through a protracted meeting, preceding the recital, heaved a sigh of relief as Abhishek broke into the Begada Adi tala varnam of Vina Kooppayyar, ‘Inthachalamu.'

This was followed by a Navagraha composition of Dikshitar, which gave a new dimension to the recital. ‘Sooryamoorthe' in Sourashtram is the first among this series that invokes the blessings of the Sun.

By selecting ‘Sooryamoorthe' Abhishek gave the audience a rare opportunity to listen to the dhruva (chaturasra) tala. The rendition was alluring.

Swati Tirunal's ‘Samodam chintayaami' in Udayaravichandrika followed with an eloquent alapana. Edappalli Ajith's avartanam of the same was well done. The misra chapu composition was ornamented with innumerable sangatis of the opening line, ‘Samodam chintayami sarasiruhanabham.' The composition also served to highlight the clarity of diction of the vocalist. Niraval of ‘Syanandura nagaree sobhayamana geham' was noteworthy.

Then, the audience had the privilege of listening to a popular Tyagaraja composition in Darbar that was popular in concerts in the past. It was ‘Mundhuvenuka niruprakkala thodai' in Adi

Tarangini Mahotsav at Varagoor

Tarangini Mahotsav at Varagur on 26^th January 2012

Every year, in January 26^th, varagur bhaktAs were organising Tarangini Mahotsav, inviting eminent vocalists, singers and accompanying artists to come and perform the kritis of NarAyana TeertA sitting in front of the abode of Venkatesa PerumAl, the presiding deity of varagur.

For me, varagur perumAl is our “kula deivam” (family deity) and He is always close to my heart. Not single day will pass without singing ‘ kshemam kuru gopAla”, a famous kriti in Mohanam, in my house.

Tarangam means “waves”. Tarangini singing is like singing the “Krishna leela” again and again as the waves are coming again and again. No raga delineation or neraval or swarams are important.

Any village, who is organising this one day festival will face the constraints of “infrastructure” like conveyance to bring the people, staying, food and see them off etc. Kudos to varagur bhaktAs, they organised without any hiccups.

The performers who came to sing in praise of Lord Krishna are as follows:

Kalaimamani Dr. Sundar and his disciples

Sattur Sisters

Kunnakkudy Balamuralikrishna

Maharajapuram Ganesh Vishwanathan

K.Ramakrishna – a visually challenged devotee came all the way from Mumbai. A small profile about him is given at the end of this review:

Sampathkumar another bhaktAs who came all the way from NTs janmastAn. (he was born)

When he was performing a kriti with “ Jati”, he was telling that while NT singing this kriti, Krishna appeared before him. He started singing this kriti and the Bhattacharya mAmA opened the main door and indirectly acknowledging the fact. Such a power of this Gentleman

The programme started in the morning 7 Am bringing the “chitrapad” (framed photo) of NT from kadungAl, a small river 3 minutes walk from the temple, singing the NT kritis and placed in the temple before starting the programme.

K Ramakrishna

Born with congenital cataract in both eyes, Ramakrishna lost his vision in the left eye due to Glaucoma at the age of 9. Life became tougher as his right eye deteriorated and by the age of ten, Ramakrishna had completely lost his vision. But his self-will disallowed a physical handicap to translate his inner vision of becoming economically independent through a thorough education.

Thus, with the propitious education aid offered to him by Mrs.Rehmad Fazalboy, Development Officer Of The National Association Of The Blind (India), Mumbai and went on to complete his schooling and finished his graduation with top grade in Economics and Statistics. Ambitious, to achieve more, he acquired the Masters Degree in Economics from the Mumbai University, again with a top grade.

That was not all. Just like any other individual he gathered work experience at an Electronic company for 5 years and also became computer savvy after working in a Computer Maintenance company for a year to marched ahead unafraid, to become the first visually handicapped person in the world to compete without special concessions, with other students for acquiring admission for the Masters Program. In 1984, he acquired the Master in Management Degree with a specialization in Finance and distinguished himself as an economically independent employee at the Industrial Development Bank Of India (IDBI), Mumbai.

However, his story is a fine example of the purposeful coercion of financial help for education and technological facilities that were made available to him at every stage of his career. With electronic accessories like the speech synthesizer, text reading machine that converts all printed matter into electronically synthesized human voice, a talking calculator and multimedia computer incorporated with a screen reading program helps him execute his job with ease and efficiency.

A self-willed personality, Ramakrishna today continues to excel in his career with great aplomb and devotes his time in social activities at NGOs like the NAB.

Other Commitments:

Today, Ramakrishna is:
1. One of the Hon' Secretaries of the National Association For The Blind (India), Mumbai and supervises its fund raising activities
2. Member of managing committee of the Victoria Memorial School For The Blind, Mumbai
3. Secretary of the Indian Association For Visually Handicapped, Mumbai
4. Chairman of electronic reading and computer training centers of IAVH
5. Associated with many social welfare organizations engaged in the blind welfare activities as also many religious and cultural organizations

Professional Commitments:
He is also a visiting faculty member with number of management institutes in Mumbai gives lectures on project finance, financial management, equity research, operations research etc. Apart from that he travels as a visiting lecturer to the Jawaharlal Nehru Institute For Development Banking, Hyderabad and shares his expertise in technical, financial and commercial appraisal of industrial project with IDBI and other bank officers.

When he was performing a kriti with “ Jati”, he was telling that while NT singing this kriti, Krishna appeared before him. He started singing this kriti and the Bhattacharya mAmA opened the main door and indirectly acknowledging the fact. Such a power of this Gentleman.

Malladi Brothers at vAni MahAl

Malladi Brothers

Patri Satiskhumar-Mridangam

Varadharajan-Violin

Palakkad Ramani- Ghatam

Programe at vAni mahAl –conferring award “Thyagabrahma nAda vibhUshan” on Srimad PinAkapAni . It was received by his son Mr.M.V.Gopal.

He rendered all Saint T kritis exept 7

1.slokam followed vidulaku mrokkEda – MayamAlavagowla-

2. ika kAvalasina demi manasA- Balahamsa. (R, S)

3.PantuvarAli Alapana followed by “nArdadamuni”

(N,S) in nArAyana nAamamulanu pArAyana onarinchcu”

4.nAdaditha- Janaranjani-

5. anyAyavu-kApi

6. Main-Begada- “lokAvana chaturA pAhimAm” (S)

7. Antaru neene adi pundarikAksha- Anandha Bairavi-AnnamAcharya

8. pAhi rAma-YadukulakAmbodhi- Utsava sampradhyam kritis.

9. Mangalam.

The concert started at 7.20 PM and ended at 9.30 PM. The delay was because of of speeches given by Shri.Suri Babu, Dr.Pinakpani’s son, Shri.SVK and Sri. PSN and above all , one lady from “Sruti foundation” also released a DVD on rAga vaibhav, a collection of rAgas by Sri.Nedanuri. She started “I came here to request Shri PSN to release the DVD and not to speak” and she spoke for 15 minutes !!!.

Of course, her speech was full of praising Shri.Pinakapani for his valuable speech and rAga delineation which was recorded and released in DVD 2. (current release was DVD no 3). I heard more speech than music .....

“Hamsavinodhini” Subrahmanyam was explaining, sitting next to me, the meaning of nAradamuni Kriti “Golden Veena is shining on nAradA’s white body” and he compared this with one photograph in the hall where paramAcharya is carrying Golden veena.

Two old ladies were discussing about “avul upma” for dinner making me to realise that was Ekadasi day.

Malladi is also giving speech in between giving the meaning of Janaranjani kriti and kApi kriti. Recently, I have observed one of the brothers love to talk more, prasing his gurugAru, other Saints or people sitting around. Hope he concentrates on singing and does not become “male” vishAka hari.

I would not conclude this as “unfair” for starting the concert at 7.20. ( The programme started at 5 PM). Dr.Pinakapani is a great artist and lauded by all the vidwans. But, considering the old people in the hall, the orgainsers had to plan so the rasikas have “satisfying” at least 2 and ½ hours concert.

About the concert- While MMgowla showed the class of MBs, 3 minutes rendition of balahamsa and the return by Varadarajan was truly good.

PantuvarAli’s nAradamuni, a stampld kriti Shri Nedanuri was rendered beautifully. They had to truncate the neraval because of time.

Violin by Varadarajan in begada shows how he is among the top 5 artists today.

He brought some sangathis which Shriramkumar could not render.

They took begada as main because Shri SVK narrated in his speech that he would never forget Dr.Pinakapani’s rendition of this kriti once. He used the word “byAgada”

Tani by Patri was short and well played by both the artists.

A phenomenon called Abhishek Raguram

Ratnagireeswar Temple, Besant Nagar, Chennai

Date- 15th February 2012

It is part of Sivarathri celebrations. There are always concerts by eminent vidwans before

Sivarathri which falls on coming Monday.

I could not go to Sanjay, Gurucharan but yesterday, I made to AR.

Abhishek Raguram (AR)

Anantha R Krishnan-Mridangam

Vittal Ramamurthy- Violin

Shri G S Mani, Shri.PSN and Shri O S Sundar and few known sabha secretaries gathered for this

programme and GSM echoed our views in the concluding speech.

"AR has imbibed tremendous manodharma in his pAdandhram. While his right brain excels in

manOdharma, his left controls the Thalam and by God's grace, both get synchronised at the

right time and place and the result is ecstacy to rasikas.

As God created rAmanujam for Maths, He has created AR for present Carnatic Music and if

we want to reciprocate "thanks for your wonderful music", please pray everyday monring that

God should give long life and impeccable vocal power to this youngster (AR)"

As Shri PSN felicitated AR and other artists, the programme ended happily with the blessings

of the deity of the temple. Ratnagireeswarar...

This is the FIRST time, Iam listening AR live. I have read many of his reviews in this forum,

other forum and newspapers and listened couple of cassettes. Expectedly, all kritis of Siva.

Lyrics go like this.

1)ThyagarAjAya namastE- Begada- Dikshitar- rupakam

2)Bahudari- a short sketch of rAgam- sadAnandha Tandavam-Adi- Achuda Dasar- swaram in

"muttarum siddharum" -

3) Bairavi-five minutes rAgam followed by "Chintaya mAkandhamoola kandham" - another beautiful

kriti of Dikshitar- Interestingly, he did neraval in "mangalakara mandhahAsa vadhanam, mAnikya

maya kAnchi sadhanam" and swaram in "uttungamanEya vrushaturangam".

4) idadhu padam tooKi- kamas - pApanAsam sivan

5) rAgam-Shanmugapriya followed by pArvathi nAyakane- PapanaAsam sivan-adi & swaram

in "sArvabowmane shankarane"

7) Tani

8) Idu dano tillai stalam-GKB- BehAg.

9) Kumdakriya - rAga for 4 minutes followed by "ardha nAreeshwaram" -Dikshitar.

10) nava sidhi peRRAlum- Neelkanta sivan- karaharapriya

11) chandra chooda- Darbari kAnada - Purandaradasar