Shri Kamakshi Vilaasam - ஸ்ரீ காமாக்ஷி விலாஸம் - श्री कामाक्षी विलासं

Mahaperiyava once told Brahmasri Vedapuri mama to chant and share this slokam to all. As per Him, this slokam is supposed to be chanted before taking bath to get ambal’s kadaksham. Anyone who could not get daily darshan of Kamakshi ambal, would get equal benefit by chanting this….

Slokam in Sanskrit, English and Tamil appended below along with an audio file in MP3 link where you can listen and download it too!!.

श्री कामाक्षी विलासं

स्वामि पुष्करिनितीर्थं पूर्वसिन्दु: पिनाकिनी

सिलाःहृतः चतुर्मद्यं यावत् तुण्डीरमण्डलं

मद्ये तुण्डीर भूवृत्तम् कंपावेगवती द्वयो:

तयोरमद्यं कामकोष्टं कामाक्षी तत्र वर्तते

स एव विग्रहो देव्याः मूलभूदोदृराट भुवः

नान्योस्ति विग्रहो देव्याः काञयां तन् मूल विग्रह:

जगत् कामकलाकारं नाभिस्तानं भुवः परम्

पादपद्मस्य कामाक्षायाः महापीठं उपास्महे

कामाकोठि: स्मृतस्सोयं कारणादेव चिन्नभः

यत्र कामकृतो धर्मो जन्तुना येन केनवा

सकृत्वापि सुधर्माणां फलम फलदि कोटिशः

योजपेत् कामकोष्ठेस्मिन मन्त्रं इष्टार्त दैवतं

कोटिवर्ण फलेनैव मुक्तिलोकं स गच्छति

योवसेत कामकोष्टेस्मिन क्षनार्त्तंवा ततर्तगं

मुच्यते सर्वपापेभ्यः साक्षात्देवि नराकृति

गायत्री मण्डपाधारं भुनाभिस्तानमुत्तमं

पुरुशार्तप्रतं शम्बोः भिलाप्रं तम्नमाम्यहम्

यः कुर्यात कामकोष्टस्य भिलभ्रस्य प्रदक्षिणं

पदसङ्क्याक्रमेणैव गोगर्भ जननं लभेत

विश्वकारण नेत्राट्यां श्रींमत्त्रिपुरसुन्दरीं

मन्दकासुर संहर्त्रीं कामाक्षीं तां अहं भजे

पराजन्मदिने काञयां महाभ्यन्तरमार्गत:

योर्र्च्चयेत तत्र कामाक्षीं कोटिपूजा फलं लभेत

तत्भलोत्पन्नकैवल्यं सकृत कामाक्षी सेवया

त्रिस्ताननिलयं देवं त्रिविदाकारं अच्युतं

प्रतिलिन्गाग्र संयुक्तं भूतबन्दम् तं आश्रये

य इदं प्राथरुत्ताय स्नानकाले पठेन्नरः

द्वादस स्लोकमात्रेण स्लोको्क्तफलं आप्नुयात

Shri Kamakshi Vilaasam

swami pushkarini teertham poorvasinduh pinaakini

silaahritah caturmadyam yaavat tundeeramandalam

madye tundeera bhoovruttam kampaavegavati dvayoho

tayormadyam kaamakoshtam kaamaakshi tatra vartate

sa yeva vigraho devyaaha moolapoodotritaat bhuvaha

naanyosti vigraho devyaaha kanchyaam tan moola vigrahaha

jagat kaamakalaakaaram naabhistaanam bhuvah param

paadapadmasya kamaakshyaaha mahaapeetham upaasmahe

kaamakoti smruthsoyam kaaranaadeva cinnabhaha

yatra kaamakruto dharmo jantunaa yena kenava

sakrutvaapi sudharmaanaam phalam phaladi kotishaha

yojapet kaamakoshtesmin mantram ishtaarta daivatham

kotivarna phalenaiva muktilokam sa gachchati

yovaset kaamakoshtesmin kshanarttamvaa tatartagam

mucyate sarvapaapebhyaha saakshaatdevi naraakruti

gaayatri mandapaadhaaram bhunaabhistaanamuttamam

purushaartapratam shamboh bilapram tamnamaamyaham

yah kuryaat kaamakoshtasya bhilabhrasya pradakshinam

padasangyaakramenaiva gogarbha jananam labeth

vishwakaarana netratyaam srimattripurasundareem

mandakaasura samhartreem kaamaakshim taam aham bhaje

paraajanmadine kaanchyaam mahaabhyantaramaargataha

yorcchayet tatra kaamaakshim kotipooja phalam labheth

tatbhalotpannakaivalyam sakrut kaamaakshi sevayaa

tristaananilayam devam trividaakaaram achyutam

pratilingaagra samyuktam bhootabandam tam aashrayee

ya idam praatharuttaaya snaanakaale patennaraha

dwadasa slokamaatrena slokoktaphalam aapnuyaat

ஸ்ரீ காமாக்ஷி விலாஸம்

ஸ்வாமி புஷ்கரிணிதீர்த்தம் பூர்வஸிந்து பிநாகினீ

சிலாஹ்ரத: சதுர்மத்யம் யாவத் துண்டீரமண்டலம்

மத்யே துண்டீர பூவ்ருத்தம் கம்பாவேகவதி த்வயோ:

தயோர்மத்யம் காமகோஷ்டம் காமாக்ஷி தத்ர வர்த்ததே

ஸ ஏவ விக்ரஹோ தேவ்யா: மூலபூதோத்ரிதாட் புவ:

நாந்யோஸ்தி விக்ரஹோ தேவ்யா: காஞ்ச்யாம் தன் மூல விக்ரஹ:

ஜகத் காமகலாகாரம் நாபிஸ்தானம் புவ:பரம்

பாதபத்மஸ்ய காமாக்ஷ்யா: மகாபீடம் உபாச்மஹே

காமகோடி ஸ்ம்ருதஸ்ஸோயம் காரணாதேவ சின்னப:

யத்ர காமக்ருதோ தர்மோ ஜந்துனா யேந கேநவா

ஸக்ருத்வாபி ஸுதர்மாணாம் பலம் பலதி கோடிச:

யோஜபேத் காமகோஷ்டேஸ்மின் மந்த்ரம் இஷ்டார்த்த தைவதம்

கோடிவர்ண பலேனைவ முக்திலோகம் ஸ கச்சதி

யோவசேத் காமகோஷ்டேஸ்மின் க்ஷணார்த்தம்வா ததர்தகம்

முச்யதே ஸர்வபாபேப்ய: ஸாக்ஷாத்தேவி நராக்ருதி

காயத்ரி மண்டபாதாரம் புநாபிஸ்தானமுத்தமம்

புருஷார்த்தப்ரதம் சம்போ: பிலாப்ரம் தம் நமாம்யஹம்

ய: குர்யாத் காமகோஷ்டஸ்ய பிலாப்ரஸ்ய ப்ரதக்ஷிணம்

பதஸங்க்யாக்ரமேணைவ கோகர்ப ஜனனம் லபேத்

விஸ்வகாரண நேத்ராட்யாம் ஸ்ரீமத்த்ரிபுரஸுந்தரீம்

மந்தகாஸுர ஸம்ஹர்த்ரீம் காமாக்ஷீம் தாம் அஹம் பஜே

பராஜன்மதினே காஞ்ச்யாம் மஹாப்யந்தரமார்கத:

யோர்ச்சயேத் தத்ர காமாக்ஷீம் கோடிபூஜா பலம் லபேத்

தத்பலோத்பன்னகைவல்யம் ஸக்ருத் காமாக்ஷி சேவயா

த்ரிஸ்தானநிலயம் தேவம் த்ரிவிதாகாரம் அச்யுதம்

ப்ரதிலிங்காக்ர ஸம்யுக்தம் பூதபந்தம் தம் ஆச்ரயே

ய இதம் ப்ராதருத்தாய ஸ்னானகாலே படேன் நரஹ

த்வாதச ச்லோகமாத்ரேண ஸ்லோகோத்பலம் ஆப்னுயாத்

Link to listen and download

http://www.mediafire.com/listen/qpkr0n696eq9z13/SHWETHAMBARI

Dharbham - the Holy Grass

The Holy Grass known as Dharbham or Dharbai - Kush Grass, Kusa - Eragrostis cynosuroides

by TRS Iyengar

This article is on one of the practices widely used by Indian Brahmins all over using a Holy Grass named Dharbham or Dharbai. The botonical name is Eragrostis cynosuroides and Hindi they call as Kus or Kusha. Brahmins in general and Srivaishnavites in particular use this Darbai grass in all functions, auspicious or inauspicious, a performing person needs to wear a ring made of this Dharbham. But many have lost the reason of why it is to be used in the first place.

What I learnt from my father is proved to be accurately correct by a Medicine Practitioner. A medical practitioner named Dr. Sadhashiv Rao, once visited my home. When the topic turned to many subjects, I needed to tell him about the Holy Grass named Dharbham. When I told him about the usage and the values, he could not just believe my words. So, he took out a bunch of the Dharbham from me, went straight to the clinic to take an x-ray of his palm, by covering his hand with the Dharbham. To his utter surprise, he found that the grass absorbed about 60% of the (x-ray) radiation!

When the so powerful X-ray radiation can be absorbed by the Holy Grass, why can it not absorb the ill-radiations spread over the atmosphere?  

While chanting and reciting some Vedic phrases and versus, one needs to wear a ring made of Dharbham on his right hand ring finger. This is most essential, while performing all the rituals, such as Agni Santhanam, Thiru-Aaradhanam, all sorts of Havans known as Homam etc.

 The count of leaves depends upon the function that is held viz.: for some functions related to death only Single leaf Dharbham is used; for Auspicious and daily routine a ring made of two leaves is used; for inauspicious but not death related functions, (i.e. Amavasya Tharppanam,Pithru Pooja etc) a three leaf Dharbham ring is used. And for the Temple Prayer and Pooja, a Four-leaf Dharbham

ring is used. Also, when a fire ritual known as Agni Santhana is performed, these Dharbham are spread all the four sides of the Agni Kundam. Also, during the Eclipse time, these Dharbham are used to cover all food items to protect them from the harmful ultra violet radiation.

Whenever any function is held, firstly they perform a site-cleansing act known as "Sudhhi Punyaahavachanam". While reciting the selective versus, they hold the Dharbham bunch in their hand and

placing the tip point of it over the vessel containing water. Thus the recited vibration values are absorbed by water in the vessel through the Dharbham.

They found that the Holy Grass known as Dharbham has the highest value in conducting the phonetic vibrations through its tip. Later, they sprinkle the Holy water at every nook and corner of the place,where the function is held. A Dharbham without the tip is considered of no value, as the conductor-type value is lost in it.

If dharbam is cut & collected on the Avani Amavasya day (falls during 15th August & 15th Sept) it can be retained for usage for one full year. Also, if cut on the Masi Amavasya day then also one can use it for full year. There is a specific slokha for cutting dharbam (the holy grass) that is to be recited while cutting it; I give below the same for readers to know. If Dharbam is obtained from a Brahmin who doesn't know this slokam or versus, the Dharbam is useless,  states the Vedic scripts!

My father, Late Shri Ramabathrachariar of Mukkur, fondly called by everyone as Sriraman, has taught me the immense values of Dharbham and its usage. With Sanskrit phonetic sound and vibration, using the Dharbham increases its value. The usage varies according to the functions. It is really a marvel, that in those days of Vedic Era, the Sages & Saints of Hindu land used to control the Magnetic path disturbances, just by simply using this Dharbham! One more important thing about the Dharbam is, which is not commonly known to many, that one case use the same Dharbam again and again for  seven times, provided, it is washed and dried properly before reuse. This is permitted only when/where no fresh Kusa Grass the Dharbai is available for regular usage. However, the Dharbam used for any inauspicious ceremonies viz. Death and karma rituals, should never be used again!

While I was just preparing this article, I received an interesting E-mail from Sri. Vijay Narasimhan, which I give below without editing:

Quote:

Basically all our Vedas and Upanishads are written in Sanskrit, Which basically is a phonetic based language. So I have a feeling that it is not just the mantras being powerful but mainly due to the effects "Sound" has over a humans body. I feel that our ancestors had mastered the art of sound;  phonetics and acoustics as such. So when the Vedas was written and the tone set for its deliverance that had no effect whatsoever on a "Man's" body but it should have definitely had a profound effect on a "Woman's" body that would have been the reason why ladies are not allowed to chant mantra or the Vedas or Upanishads or for that matter any of the slokas that a man recites. When we do Paaraayanam, I feel that the reason why girls are not allowed to do that is basically their physique cannot take the tremendous changes effected due to sustained practice of known as Recital.

This is something that my grandpa's younger brother told me about, when we perform the Kumbabhishekam in a temple, At least 20 learned Vedic scholars would stand near the "kumba jalam" ( holy water kept in the copper or brass vessel) and holding a "Dharbam",one end in their hand and other end in the water would recite all the slokas need or rather do the "Japam"  - I think this is because "Dharbam" is a very good conductor of acoustic vibrations - When this happens you can surely find the difference in the water's state before and after such a japam. The reason why i am saying this has reference to my stating that Sanskrit is a phonetic based language and "Sound and Acoustics" does really change things.

 

   

Ratha Saptami

Ratha Saptami or Rathasapthami (Sanskrit: रथसप्तमी or Magha Saptami) is a Hindu festival that falls on the seventh day (Saptami) in the bright half (Shukla Paksha) of the Hindu month Maagha. It marks the seventh day following the Sun’s northerly movement (Uttarayana) of vernal equinox starting from Capricorn (Makara). It is symbolically represented in the form of the Sun God Surya turning his Ratha (Chariot) drawn by seven horses (representing seven colours) towards the northern hemisphere, in a north-easterly direction. It also marks the birth of Surya and hence celebrated as Surya Jayanti (the Sun-god’s birthday).

Ratha Saptami is symbolic of the change of season to spring and the start of the harvesting season. For most Indian farmers, it is an auspicious beginning of the New Year. The festival is observed by all Hindus in their houses and in innumerable temples dedicated to Surya, across India.

Sun worship is deep rooted in the Vedas of the Hindu religion and its antiquity also relates to several mythologies of the world such as that of China, Egypt and Mesopotamia. The Gayatri Mantra jap – the sacred Vedic chants to Savitr (Sun god) – is recited by the Hindus every day with great reverence. As the puranic Hinduism evolved around the early Christian era, the worship of Sun, linked to the equinoxes, was established.

In the Rig Veda Mandala 10/Hymn 85, the sun god's bride seated on a chariot pulled by two steeds is mentioned. This symbolism is therefore common to both Norse mythology and Vedic history.

The relevant verses (translated from Sanskrit by Ralph Griffith) are as follows:

10. Her spirit was the bridal car; the covering thereof was heaven: Bright were both Steeds that drew it when Surya approached her husband's, home.
11. Thy Steeds were steady, kept in place by holy verse and Sama-hymn: All cars were thy two chariot wheels: thy path was tremulous in the sky,
12. Clean, as thou wentest, were thy wheels wind, was the axle fastened there. Surya, proceeding to his Lord, mounted a spirit-fashionied car.

Ratha Saptami marks the seventh day following the Sun’s northerly movement (Uttarayana) of vernal equinox starting from Capricorn (Makara). It is symbolically represented in the form of the Sun God Surya turning his Ratha (Chariot) drawn by seven horses, with Aruna as the charioteer, towards the northern hemisphere, in a north-easterly direction. The symbolic significance of the ratha and the seven horses reigned to it is that it represents the seven colours of the rainbow. The seven horses are also said to represent the seven days of a week starting with Sunday, the day of Sun god Surya. The chariot has 12 wheels, which represents the 12 signs (each of 30 degrees) of the Zodiac (360 degrees) and constituting a full year, named Samvatsara. The Sun’s own house is Leo (Simha) and he moves from one house to the next every month and the total cycle takes 365 days to complete. The Ratha Saptami festival seeks the benevolent cosmic spread of energy and light from the Sun God.

Ratha Saptami also marks the gradual increase in temperature across South India and awaits the arrival of spring, which is later heralded by the festival of Ugadi or the Hindu lunar New Year day in the month of Chaitra.

Ratha Saptami also marks the birth of Surya to sage Kashyapa and his wife Aditi and hence celebrated as Surya Jayanti (the Sun-god’s birthday). A legend is narrated by the Kamboj empire’s King Yashovarma, a noble king who had no heir to rule his kingdom. On his special prayers to God, he was blessed with a son. The king’s vows did not end with this, as his son was terminally ill. A saint who visited the king advised that his son should perform the Ratha Saptami pooja (worship) with reverence to rid of his past sins. Once the King’s son performed this, his health was restored and he ruled his kingdom well.It is also said that sage Bhisma breathed his last breath fourth day after the Rathasaptahmi day on ekaadashi.

God Vishnu in his form as Surya (the Sun-God) is usually worshipped on this day. Usually, Rathasapthami begins in households with a purification bath (bathing is also done in a river or sea) by holding several Ekka (Calotropis Gigantea) leaves on their head while bathing and chanting a verse which is supposed to invoke the benevolence of the Lord in all that one indulges in during the rest of the year. Argyam or (Tharpanam) (water held in the palms) is offered to the Sun God on this day while chanting hymns are performed to the Sun God. It also involves doing a puja with the ritual Naivedhya (food offering to God), and offering of flowers and fruits. Important prayers offered to the Sun god on this occasion are the Adityahridayam, Gayathri, Suryashtakam, Surya Sahasram namam. The preferred time for the pooja is within one hour after sunrise. In places like Mysore andMelkote, ceremonial processions carry the Surya Mandala - the icon of Surya.

Ekka leaves (in Kannada), are also known as Arka (in Sanskrit, meaning a ray or flash of lightning) leaves, Jilledu in Telugu, Erukku in Tamil and Calotropis Gigantea (bowstring hemp) in English. Arka is also a synonym for Surya or Sun. Its significance to Sun God could be compared to the significance of Tulsi (Ocimum tenuiflorum) leaves to Vishnu. Arka leaves are also used for worship of god Ganesha known by the name Arka Ganesha and also for Hanuman worship. Its stems, called samidha (sacrificial offerings of wood) are used for the Yagna ritual as a sacrificial offering to a ritual fire. Its shape is said to represent the shoulders and chariot of Sun God. Its use during the ritualistic ceremonious bath involves placement of seven leaves - one on the head, two on the shoulders, two on the knees and two on the feet.On this day, in South India, Rangoli is drawn with coloured rice powder depicting a chariot and seven horses as symbolic of the Ratha Saptami. Cowdung cake is also burnt at the centre of this depiction and milk boiled on the fire is offered to the Sun God. In some of the important Vaishnavite temples such as the Tirumala, Srirangam, Srirangapattana and Melukote, Ratha Saptami is one of the important festivals of the year.

Ratha Saptami Kolam Designs – Pictures of Ratha Kolam or Chariot Rangoli

A single-wheeled chariot in red and white which represents Lord Surya’s chariot is drawn on the Ratha Saptami day. The Rath or Ratha Saptami Kolam is drawn in front of the Puja happening space. Usually, the puja is conducted near the chariot Kolam. Some people prefer to draw a small Rath Kolam on a wooden piece and place it outdoors and perform the pooja. Here are examples of a few Ratha Saptami Kolams. These are only examples to give an idea.

Ratha Saptami Pooja, or Rath Saptami, is observed on the seventh day during Shukla Paksha (waxing phase of moon) in Magha Month in Andhra Pradesh, Karnataka and Maharashtra. In Tamil Nadu, it falls on the Thai or Masi month. Rath Saptami, also known as Surya Jayanti and Surya Saptami, is dedicated to Lord Surya. Here is a brief description on how to perform or observed Ratha Saptami.

Requirements for Rath Saptami Puja

• Image or Painting or Idol of Lord Surya
• Easily available fragrant flowers and leaves that are usually used for Puja
• Uncooked Rice
• Green Bananas
• Bananas and other local fruits
• Sesame seeds
• Coconut
• Betel leaves
• Betel nuts
• Jaggery (Sugar)
• Turmeric powder

The house is cleaned and festoons of mango leaves are installed in all the important places on the evening of the previous day of the Puja or early morning ofthe Puja day.

Ritual Bathing of Ratha Saptami with Erukku leaves

Washing hair on the day with leaves of Giant milkweed (Erukku Plant) on head is done by many people. There is a belief that Erukku plant has therapeutic and curative properties.

In some regions, people place some uncooked rice on stacked Erukku leaves and take bath. Women add a little turmeric powder to the uncooked rice.

Seven Erukku leaves are stacked together and placed on the head.

Earlier, this ritual bath used to be taken in a holy river. Nowadays, it is done at home.

Oil is not applied on the hair on the day.

Ratha Sapthami Kolam

After body purification, the Ratha Saptami kolam is drawn. Lord Surya in a chariot or simple picture of Surya is the preferred kolam.

Prayers and Mantras that are chanted on Ratha Saptami

• Surya Sahasranama
• Aditya Hridayam
• Gayatri Mantra
• And other prayers dedicated to Surya like the Surya Ashtakam.

The Rath Saptami Puja

• The puja starts with a simple prayer to Lord Ganesha by lighting the lamp.
• Some people first take the blessings of the family deity; followed by a prayer to Ganesha.
• Some flowers and turmeric mixed with uncooked rice is placed near the deity and Ganesha.
• The Surya Puja commences by first anointing the chariot (Ratha) of Surya with turmeric and kumkuma. (This can be done on the idol or image of Surya or on a Ratha kolam drawn on a wood piece.)
• Uncooked rice, jaggery (sugar), lentils, flowers, turmeric mixed with uncooked rice is kept on the Ratha (chariot).
• The puja to Surya is performed by offering betel leaves, betel nuts, coconut and yellow bananas, fruits and milk. (For a simple puja you can offer flowers and chant Gayatri mantra.)
• Perform Arati in the normal way you do.
• You can now meditate or chant Aditya Hridayam or any shloka dedicated to Surya that you know.

Some people opt for an elaborate Suryanarayana Pooja and this requires the help of elders or a priest.

Fasting On Ratha Saptami

• Some people opt for a complete fast and others opt for a fast from sunrise to sunset on the day.

Food Prepared on Rath Saptami

• Sweet pongal and Vadai are offered to Surya by some people during puja. It is then distributed as Prasadam.

Various types of alms giving and daanam are performed by some communities on the day. There is a popular belief that donating things during this period will help in attaining moksha.

வடைமாலை வழிபாடு

தானியங்களில் உளுந்து உடலுக்கு வேண்டிய ஊட்ட சக்தியை அளிப்பதாகும். அவருடைய தாயார் அஞ்சனாதேவி அனுமனுக்கு வடை செய்து கொடுப்பாராம். அதனால் அவர் ஆரோக்யமாய் இருந்தார். அதனால் நம்முடைய பல இன்னல்கள் நோய்கள் நீங்கி வாழ அனுமனுக்கு வடைமாலை சமர்ப்பித்து வணங்கலாம்.
ஆன்மீகத்தில் நாட்டம் உடையோர், தெய்வீக நம்பிக்கை உடையோர் அனைவரும் தமது காரியம் வெற்றிபெற கடவுளுக்கு தம்மால் முடிந்த காணிக்கை செய்தும் வேண்டிக்கொள்கிறார்கள். அது போலத்தான் மேற்படி ஆஞ்சநேயருக்கு வடைமாலை சாற்றுவது என்பதும்.

ஜோதிடத்தில் சுபவேளையில் செய்வதற்கு சுபஹோரை, சுபநட்சத்திரம், சுபதாரை என்று உள்ளது.சுபதாரை என்பது 9 வகையாக பிரிக்கப்படுகிறது.

1.ஜன்மம். 2.ஸம்பத்து. 3.விபத்து. 4.ஷேமம். 5.பிரித்தியரம். 6.ஸாதகம். 7.வதம். 8.மைத்ரம். 9.பரமைத்ரம். இவற்றை ஜோதிடர்கள் பெரும்பாலும் திருமணவிஷயத்தில் மட்டுமே பயன்படுத்துகிறார்கள்.இவற்றை எல்லாசமயங்களிலும் பயன்படுத்தி வெற்றிபெறலாம். 

எப்படி? இதோ அதற்கு உதாரணமாக ஆஞ்சநேயருக்கு வடைமாலை வழிபாடு.

ஆஞ்சனேயர்--மூலம் நட்சத்திரம். இதற்கு ஸாதகமான 6வது நட்சத்திரம் சதயம்.

சதயம் :
மிருகம் - பெண்குதிரை
பட்ஷி - காகம்
விருட்ஷம் - கடம்பு
அதிதேவதை - யமன்.

மேலும் சதயம் கொத்துக்கொத்தாக காய்க்கும் அனத்துக்கும் பொருந்தும்.

சதயம் நட்சத்திரம் ராகுவின் அம்சம் ராகு உளுந்துக்கு அதிபதி. சதயம் செக்குவையும் குறிக்கும். எண்ணை செக்கில் இருந்து எடுக்கப்படுகிறது.

மேற்காணும் விஷயங்களை சேர்த்துப்பார்த்தால் உண்மை புரியும்.

உளுந்தில் இருந்து மாவு எடுத்து எண்ணையில் போட்டால் வடை. 

வடையைமாலையாக தனக்கு பிடித்த எண்ணிக்கையில் ஆஞ்சனேயருக்கு சார்த்தி வழிபட்டால் தனது பக்தர்களுக்கு சேவை சாதிப்பார்.

சதயம் நட்சத்திர அதிதேவதை யமன் மரணபயம் நீங்கவும், தீர்க்காயுள் பெறவும், தங்கள் வேண்டுதல் நிறைவேறவும்,சாதகமாக அமைய 6 வது
தாரையை பயன்படுத்தினால் வெற்றிநிச்சயம்.

வாலில் சந்தனப் பொட்டும் குங்குமப் பொட்டும் வைத்து வழிபடுவது, குரங்குகளின் இனத்திற்கே தங்கள் வால் பகுதியின் மீது மிகுந்த பற்று உண்டு. அனுமனுக்கும் வாலில் வலிமை அதிகம் உண்டு. இதற்கான ஒரு வரலாற்றைக் காணலாம்.

பீமசேனன் திரௌபதியின் விருப்பத்தைப் பூர்த்தி செய்ய நினைத்து சௌகந்திகா மலரைத் தேடிக் காட்டில் அலைந்தபோது வழியில் ஒரு கிழக்குரங்கு பாதையை மறைத்தவாறு வாலை நீட்டிக் கொண்டு அதைத் தாண்டிச்செல்ல விரும்பாமல் குரங்கிடம் வாலை சற்று நகர்த்திக் கொள்ளச் சொன்னபோது குரங்கு “நான் மிகவும் தள்ளாடிய நிலையில் படுத்திருக்கின்றேன் நீயே வாலை நகர்த்திவிட்டுச் செல்லலாம்” என்று கூறியது. (படுத்திருந்த குரங்கு ஆஞ்சனேய மூர்த்தி தான். அவருக்கு வந்துள்ளது தனது சகோதரன் பீமன் என்பதும் தெரியும். இருந்தபோதிலும் ஒரு சோதனை செய்ய நினைத்து இவ்வாறு கிடந்தார்.) பீமனால் வாலைத் துளிகூட நகர்த்த முடியவில்லை. இருந்தாலும் வீராப்பாகப் பேசி தான் இராமபக்தனான அனுமனின் சகோதரன் என்றும் தன்னால் முடியும் என்றும் பேசி வாதிட அனுமனும் மகிழ்ந்து தன்னுடைய சுயரூபத்தை அவனுக்குக் காட்டி அருள் புரிந்தார். அப்போது அனுமன், தங்கள் வாலின் மகிமையே பெரிதாயிருக்க மற்ற பெருமைகளை எப்படி புகழ்வது என்று அவரை வணங்கி அருள் பெற்றான். இந்த வரலாற்றைப் பின்பற்றியே வாலில் பொட்டு வைத்து பூஜிக்கும் வழிபாடு ஆரம்பித்ததாகக் கூறுவர்.
ஸ்ரீராம சேவைக்காக லங்கைக்குச் சென்ற அனுமான், தியாக மனப்பான்மையுடன், குரங்குகளுக்கே பிரியமான, தனது வாலுக்கு தீவைத்ததையும் மகிழ்ச்சியுடன் ஏற்று தனது வாலின் மகிமையை நிரூபணம் செய்தார். இதுவும் அவரது வாலில் காரியசித்திக்காக பொட்டு வைத்து பூஜிப்பதை அர்த்தமுள்ளதாக்குகிறது.

செந்தூரக் காப்பு வழிபாடு துளசிமாலை வழிபாடு:-

துளசி இலை மருத்துவ சக்தி வாய்ந்தது. நோய்களைத் தீர்க்கும் குணமுடையது. எனவே துளசிமாலைகளை அனுமனுக்கு அணிவித்தால் நாமும் சகல நோய்களிலிருந்து விடுபடலாம்.

அனுமனின் வால் வழிபாட்டின் விசேஷங்கள்:-

இராமனுக்கு கைங்கர்யம் செய்ய வேண்டுமென சிவபெருமான் ஆசைப்பட்டு ஆஞ்சனேயர் உருவம் எடுத்தார். திருமாலின் சிறந்த பக்தர்களில் ஒருவர் சிவபிரான். அது போன்று சிவபிரானின் பக்தர்களில் திருமால் முக்கியமானவர். சிவபெருமான் ஆஞ்சனேயர் வடிவெடுத்தவுடன் பார்வதி தேவியும் தானும் இக்கைங்கர்யத்தில் ஈடுபட விரும்பிய போது வாலினுள் ஐக்கியமானாள். அதனால் தான் அனுமன் வாலில் சக்தி அம்சம் இருப்பதாகக் கருதப்படுகிறது. எனவே அனுமனின் வால் வழிபாடு பார்வதியை வணங்குவதற்கு ஒப்பானது. அனுமனின் வாலில் மணிகட்டி வேண்டிக் கொள்ளும் வழக்கமும் உண்டு.

மேலும் அனுமனின் வாலில் நவகிரஹங்களும் ஐக்கியமாகியுள்ளதாகவும் கூறுவர். அதனால் வால் வழிபாடு கிரஹ பீடைகளையும் அழிக்கும்.

முக்கியமாக ஸ்ரீ சனீஸ்வர பகவானின் அனுக்ரஹம்:-

அனுமானின் வாலை பூஜிப்பவர்களுக்கு எப்படியெல்லாம் அனுக்கிரகம் கிட்டுகிறது என பார்ப்போம், ஸ்ரீஇராமருக்கான சேது பந்தனம் துரிததியில் நடந்து கொண்டிருக்கையில் அனுமனை ஸ்ரீசனீஸ்வர பகவான் அணுகி தான் அவரை உடனடியாக ஏழரை வருடங்கள் பீடிக்கப்போவதாகக் கூறினார். ஸ்ரீராமரது சேவை முடிந்ததும் தானே வருவதாக அனுமன் கூறியும் அவர் தாமதிக்கத் தயாராக இல்லை. வேறு வழியின்றி "சரி, உங்களுக்கு எங்கே சௌகரியமோ அங்கு ஏறி அமருங்கள்” என அனுமான் கூற, அவரும் அவரது தலைமீது ஏறி அமர்ந்தார். அதுவரை பெரும் பாறைகளையே தூக்கிய அனுமான், பெரும் மலைகளையும் குன்றுகளையும் தூக்கித் தலைமீது அழுத்தி வைத்துச் சுமக்கத் தொடங்கினார். கல்லடி பட்டு நொந்த ஸ்ரீசனீஸ்வரர் அவரிடம் தன்னைவிட்டு விடுமாறு விடாது கெஞ்சி ‘ஹனுமான் சாலீசா’ எனும் நாற்பது ஸ்லோகங்களைப் பாடவும், கருணையுடன் தன் பக்தர்களை அவர் பீடிக்கக் கூடாது என்ற நிபந்தனையுடன், தான் போய் விழும் ஊரில் திருடுபவர்களையும், தனது பக்தர்களுக்கு இன்னல் விளைவிப்பவர்களையும் மட்டும் அவர் பீடிக்கலாம் எனும் சலுகையுடனும் அவரை ஒரு பெரிய பாறையில் வாலினால் சுழற்றி (மஹாராஷ்டிரத்தில் பூனேக்கு அருகில் உள்ள) ‘சனி சிக்னபூர்’ எனும் ஊரில் போய் விழுமாறு செய்தார். இதுவும் அவரது வாலுக்கு பூஜை செய்ய ஒரு காரணமாக அமைந்தது.

ஜெய் ஸ்ரீராம்:-

அனுமனின் திருவுருவங்கள் பலவிதம். பக்த ஹனுமான், வீர ஹனுமான், சஞ்சீவி ஹனுமான், விநய ஹனுமான், பஞ்சமுக ஹனுமான் என்று பல வடிவங்கள். அவற்றை வணங்கி ஆற்றல்மிக்கவரான அனுமனின் அருளை அனைவரும் பெற்றிடுவோமாக!

Dr. S. Sankaranarayanan an epigraphist

This is from Hindu dated 18 Oct 2013

"His knowledge of Sanskrit and history bring to light new perspectives".

By :-SUGANTHY KRISHNAMACHARI

Dr. S. Sankaranarayanan was an epigraphist with the Archaeological Survey of India for 21 years, director of the Oriental Research Institute, Tirupati, for 10 years, former Honorary Director, Adyar Library, and a recipient of the Presidential award for Sanskrit (1994).

Now 88, he greets me with “Mangalaanibhavantu.” As he talks on various subjects, one wonders why he didn’t make it to the top in government service. “I did not know how to move with officialdom,” he says. He is frank, perhaps a further disqualification.

After traditional learning in a Veda Pata Sala, Sankaranarayanan studied tarkka in the Ponnambala Pillai Sanskrit school, Chidambaram. One of the papers in Sironmani was Comparative Philology, and Sankaranarayanan’s professor advised him to study English, of which Sankaranarayanan’s knowledge was nil. So he taught himself English, and was enchanted by the language.

After his Matriculation and Inter exams, in which he scored high marks in English, he applied to Annamalai University, and was allotted History. “I wanted English major. But Vice Chancellor, Sir C.P. Ramaswamy Iyer said that with my background in Sanskrit, if I did history, I could be a good researcher.”

After completion of the course, Sankaranarayanan joined ASI. Dr. D.C. Sircar, who interviewed him, was to say in later years, “I appointed a diamond.”

When Sankaranarayanan was posted in Mysore, he did his Ph.D in Karnatak University, Dharwad.

Just as Sir C.P. had predicted, Sankaranarayanan’s background in Sanskrit and his strong footing in history, enabled him to look at history from new angles. He says that his theories in some cases are only inferential, but, as he points out, a lot of history is inferential.

Sankaranarayanan says that all Indian scripts are the progeny of Brahmi. Although the Vedas and Vedanga texts were learnt orally, there must have been a script in existence. How could works such as Panini’s Astahdyayi and Yaska’s Nirukta have been possible without a tradition of writing long before their time? He points to a passage in the Aitareya Aranyaka, which says that students should not learn the Vedas by writing in ink, or scratching on clay tablets or leaves, or by engraving on stones. If there had been no script, why should there be an injunction against writing?

Amarasimha in his thesaurus refers to Panini’s bhasha as Bharati Bhasha - a language having a pan-Indian presence, and labels Brahmi as a synonym for this language - Brahmi tu Bharati Bhasha. Brahmi, according to Sankaranarayanan, must once have been the name of Sanskrit and the script later took on this name.

Sankaranarayanan edited the earliest Sanskrit inscription in South India. This is from a pillar in Guntupalli, in West Godavari District, Andhra Pradesh. It is significant, because it belongs to the time of Salankayana King Nandivarman II (the last quarter of the 4th century A.D.), when Sanskrit replaced Prakrit once and for all in epigraphs in South India in general.

Sankaranarayanan says that Sankara’s biggest achievement was was that he established Vedanta as a separate Sastra, independent of Mimamsa.

Sankaranarayanan believes that a careful study of Sankara’s works indicates that he must have lived before 500 A.D. He also cites a copper plate inscription from Sanjeli, Gujarat, dating to about 506 A.D., in defence of his theory, although other epigraphists have interpreted the inscription differently. The inscription says King Bhuta granted two villages to an institution called ‘Bhagavatpaadaayana’- that is, the temple of one Bhagavatpaada. The inscription says that the villages given as an agrahara, were reclassified and redesignated as ‘parivraajakabhojya’, and the use of this expression is important, for ‘parivraajakabhojya’ means land given to a Brahmin ascetic of the Paramahamsa order. Sankaranarayanan says the Brahmin ascetic referred to here must have been Adi Sankara.

Women and sacrifices

Another inscription with regard to which Sankaranarayanan differs from the editors, relates to a widowed Queen Nagamnika, who, according to a first century B.C. inscription, performed Vedic sacrifices. The editors felt something must have been missing in the epigraph, for it was unthinkable that a woman would have been allowed to perform sacrifices. But Sankaranarayanan says there were some Mimamsa schools that allowed women to perform sacrifices. The Vedic injunction is ‘svarga kaamo yajeta’- he who desires heaven should perform sacrifices. Now svarga kaamah is masculine gender, and so it was concluded that only men could perform sacrifices. But the school of Badarayana argued that this was not the right interpretation, for there is also an injunction – saranaagato rakshitavyah- he who has taken refuge must be protected. Does this mean a woman who seeks refuge must be turned away? Nagamnika might have followed the Badarayana school, says Sankaranarayanan.

Sarabasvaamin, the author of the Mimamsa Bhasya, made caustic remarks about men, who intoxicated with love for their wives, allowed them to perform sacrifices. Why would he make such an observation, if women did not perform sacrifices? Interestingly, Sarabasvaamin and Nagamnika were not far apart in time. Nagamnika, according to the inscription, performed 15 Vedic sacrifices, including Asvamedha and Rajasuya.

Talking about the date of the Kurukshetra war, Sankaranarayanan says that if one tries to reconcile all possible evidence, one is inclined to conclude that there was not one war, but two! He rejects the suggestion that the war may have been totally fictional. He admits that what we have is a highly embroidered account, but the core of the story must be true. But if there had been two wars, why would all accounts talk of only one? “If you did not have a proper account of the two World wars, but the memory of the wars was kept alive through stories, then would you not get confused and think of the two wars as one? That’s what must have happened in the case of the Kurukshetra war.” He argues that one war took place in the 25th century B.C. and the other in 10th century B.C.

As for Sanskrit education, he says the new found dislike of Sanskrit is purely political. Is it not possible to have regard for both Sanskrit and Tamil, he asks. In this context, he says that the Vaishnava commentator, Periavachan Pillai, through his Manipravala commentary, did a great service.

Sankaranarayanan has an unusual interpretation of the Ahalya episode in the Ramayana. He says later literature did a grave injustice to the Vedic God Indra, by portraying him as a villain. Halya means cultivable land. When the rains fail, the land is Ahalya- uncultivated. Indra is the god of rain. Will not the land delight when it rains? So must we see Ahalya’s delight in Indra, for when it rains, she once again becomes cultivable, he explains. But what is Rama’s role then? “He restored agriculture to the land.”

Dr. Sankaranarayanan is currently working on a book titled ‘Sri Sankara and his bhashya in a historical perspective’. He has already typed 1,000 pages and has more to do.

Nuggets

- Paramacharya gave Sankaranarayanan the title ‘Vedasastra Ratnakara.’
- Sankaranarayanan has brought out critical editions of Bhojarajacaritra, Abhinavagupta’s Gitartha Sangraha, two commentaries on Tarkkasangraha and Deepikaaprakaasa, with his own tippanis, to name just a few of his published works.