Tiruvarur
The next day (29th
April 2012) we reached the temple at around 8.00 am. We were given food at Sri
Shyama Sastri’s house and instead of my teacher’s solo performance, we were
asked to remain for the rendering of the ‘Pancha
Ratnams’. Prof Seethalakshmi could not reach due to some urgent
requirements at her college (Queen Mary’s) where she was the principal. My Teacher,
Saumya and myself were seated in the front row and I was naturally getting
nervous about this. She told us not to move from the place until she said so.
We remained there and sang the ‘Pancha
Ratnams’ as best as we could. Some times I resorted to lip movement alone,
since I was doubtful of my own rendering. My usual lack of confidence presented
itself comfortably. But it was an altogether different experience where in we
sang and took part in this ‘Aaradhana’
along with so many Vidwans and Vidushis, at the Kamalalayam, in front of the Kamalambika
Sannidhi – Lord’s ways to provide when least expected to.
‘Kamalalaye Jananaath Mukthi’ – goes the age old saying by wise men.
In my previous two visits to Kumbakonam, I couldn’t plan to visit the temple
here. And what a temple it presented itself to be …
There were many Sannidhis in the outer Prakaaram, some of which had their own Tevarams sung by the Tamil Saints. The
main deity is the ‘Valmikeswarar’
with ‘Neelotpalamba’ as his consort.
The place is primarily the ‘Ajapa Natana
Kshetram’. My Uncle, Sri Ramachandran Nair, who is an authority of Vedanta,
Jyothisha, Temple histories and a host of other ‘Gudha Sastras’, had instructed me to visualize the temple where the
base is of Lord Vishnu in ‘Yoga Nidra’.
The ‘Ajapa Natanam’ happens in the ‘Aakasha’ of the temple which is on the ‘Hrudaya Guhya Sthanam’ of Vishnu. Those
who are well versed in yoga, laya marga may very well relate to the same and
understand the importance. The story also says that when Lord Vishnu went into
Yoga Nidra using his bow as a stand, Sri Brahma Deva ordered the termites to
cut the ‘Njaan’ – the string of the bow,
so that he wakes out of his yogic sleep. It is this group of termites which
formed a ‘Puttru’ – an ant hill,
which assumed a ‘Swayambhu Linga
Swaroopam’. Since the ‘Valmeekams’
(termites) were present there, the Lord has assumed the name ‘Valmeekeswarar’. We had the good fortune
to witness the ‘Marataka Lingam’ kept
in the Temple
and the Abhishekams done on the same.
There is a picture kept in the pradakshina
veedhi which shows the Ajapa Natanam
on Vishnu.
The temple is more famous in the
form of the first of the ‘Saptha Vitanka
Kshetrams’. The deity of Somaskandar
also known as Tyagarajeswarar is also
one representation of ‘Ardha-Nareeswara
Swaroopa Sankalpam’ and the same is ‘drishyam’
or seen at the ‘yoga hrudayam’ of
devotees. The story says that the great Chola King – Muchukunda who had helped
the Devas in their fight with the Asuras, was given a wish to be granted by
Lord Indra – the king of Devas. Muchukunda being a great Siva Bhakta himself, asked
for the Somaskanda Vigraham which was
supposedly kept and had puja done by
Indra himself. In a fix, Indra made 6 more similar vigrahams and tested Muchukunda. He had to identify the original
one based on which he would receive what he deserved. By the act of providence
/ Will of God, the great King selected the right one. Indra was pleased with
this incident and allowed all the seven to be kept at the Bhu Lokam and to consecrate them at various sacred places. The main
one in the story is placed at Tiruvarur. The other places are Tirukkuvalai,
Tirukkaaraivaasal, Tirumaraikkaadu, Tiru Naagai, Tirunallaaru and Tiruvaimur.
Tiruvarur temple also has a
separate Sannidhi for Kamalamba. She sits with one leg upon the other in a side
on fashion which is a beauty which cannot be merely described. We had a chance
to sing the Madhyamavati raga Dikshitar
Kriti with the Sri Vidya Navavarana
Mantra Sahita Kriti – Sri Raja Rajeswarim. We were sitting in the middle where
normally Archakas walk to show the Arati lamp to devotees. Suddenly some kumkumam fell into the book which I was
holding in my hand and singing the song. Obviously the Archaka was giving some kumkuma vibhuthi to a devotee from which
this would have fell in. I consider this as a blessing from Devi herself.
Tiruvarur Ratham is said to be the best and the biggest in Tamil
Nadu. The temple also has about 16 Ganapathis in and around the compound on
whom Dikshitar had dedicated the Sodasa Ganapati Kritis on them. Samadhi of
Kamalamuni – One of the 18 Maha Siddhars is said to be here.
The place is also famous that the
trio of Tyagaraja, Muthuswamy Dikshitar and Shyama Sastri lived here at the
same time and almost on the adjacent roads. So many kritis by the trinity and
many other composers are also present along with specific Tevarams sung on the
temple.
Some examples of famous kritis
surrounding the temple (apart from the Ganapathi
Kritis mentioned above) are –
Kamalamba Navavarams, Neelotpalamba
Vibhakthi also known as ‘Gaulanta Kritis’
– all the 8 raagams ending with Gaula, Tiruvarur Panchalinga Kritis, the famous
Navagraha Kritis of Dikshitar are said to be set on the nine planets placed
inside the Tiruvarur temple complex, Tyagaraja Vibhakti Krithis, Vatapi
Ganaptim (on the Ganapathy inside), Dakshinamurthe (On the Dakshinamurthi - at
the outer courtyard of Tyagaraja Shrine), Shri Dum Durge (On the Goddess Durga -
outside Southern Gopuram), Purna Chandra Bimba Vadane (On Kamalamba).
We also went to Tyagaraja’s
house. Akhanda Kirtana Alapana was
being done. There is a very nice feeling about the place and to think that
probably here Sri Rama – Parivara Sametha had given darsanam to Sri Tyagaraja.
Visited Dikshitar’s memorial
immediately after Tyagaraja’s. Thought that this may have been closed since it
was getting late (about 1.00 in the afternoon). Surprise - this was open enough
for us. The story of his guru, receipt of his veena and Muruka making him sing
his first song at Tiruttani are depicted in a lively painting there. We asked
whether his Veena was there. The Archaka said yes and went inside to take the
same. All of us became very anxious to see this. He comes out carrying – a
Violin!!!!!. “Where is the Veena?” we asked. He said he didn’t know. However
the violin was used by Dikshitar’s family he said. We touched it and had a
prayer in our minds and then proceeded back.
No comments:
Post a Comment