SrI:
Dear BhakthAs :
The first kshEthram that adiyEn visited during
this special trip was Thirumala . Thiruvaheendhrapuram
DevanAthan is recognized as Nadu Nattu SrinivAsan .
Number of dhivya dEsams have links to Thirumala .
One is Oppiliappan Sannidhi , where ThiruviNNagarappan
is recognized as the elder to Thirumalai SrinivAsan . There is
also another dhivya dEsam ( Annan Koil) , where the Moortham
of the Lord is that of SrinivAsan with Kati and Varadha
Hastha mudhrais . All these EmperumAns hold their left hand
upto their mid thigh indicating that for those who performed
SaraNAgathy to them , SamsAric ocean is only that high and
there is nothing to fear . With their lower left hands , they
point to their sacred feet as the sole object of refuge .
Earlier adiyEn has described the Sahasra dhIpAlankAra
Sevai of Malayappa Swamy with His Ubhaya NaacchiyArs .
Today , adiyEn will focus on the Sevai of Lord SrinivAsa
( Moolavar ) inside the Garbha Graham . This may be
an appropriate place to reflect on the short Kattiyam
that visualizes the Lord of Saptha Giri as Kutti KaNNan
(Govindhan ) and Thrivikraman . The beautiful lines
are in the PaadhAdhi KesAntha VarNanam style adopted by
ThiruppANAzhwAr (AmalanAdhipirAn) , Swamy Desikan
(Bhagavath DhyAna SopAnam ) and Thirukkudanthai
Andavan ( AparyApthaamrutha SopAnam on Lord
AarAvamudhan of Thirukkudanthai).
Kattiyam ( First two lines
***************************
ThiruppAdham: "TaNDayum Salankayum sAtthina sila Silambum
aNDamaLantha azhahaana ThiruvadihaLum "
The sacred feet of the Vamana Govindhan are seen with
the aabharaNams of TaNdai , Salangai and Silambu . These
aabharaNams have been placed by Mother YasOdhA for Her
Kutti Govindhan so that she can foilow His movement around
the house as He takes His lilting steps . TaNDai and Silambu
refer to His aparAjitha Tatthvam ( One who can not be defeated
by anyone in battle).To that extent , they are Veerak-kazhalkaL .
Salangai connects with His nava youvana aakAram . The one who
beautified Him is YasOdhA and that is hinted by the usage of
the word "saatthina Silambu" . This Kutti KaNNan arrived earlier at
Bali's Yaaga Saala as Vaamanan and asked for three measures of
land marked by His tiny feet and then grew into gigantic Thrivikrama
roopam to measure the universe (aNDamaLantha Azhahaana
ThiruvadikaL) . Swamy NammAzhwAr salutes this Thrivikrama
roopam of ThiruviNNagarappan this way : " KaaNminkaL ulaheer!
KaNN muhappe Nimirntha--" ) . He grew into a gigantic form
right in front of the eyes of the astounded watching world .
Swamy Desikan describes the sacred feet of the Lord
as having the fragrance of the vEDaS ( Velatheetha sruthi
parimaLam ); Swamy visualizes them as being worshipped by
Brahma dEvan ( VedasAm mouLi sEvyam) and as the ones
recieving the upachArAm of pressings from the lotus soft
hands of BhUmi Devi and MahA Lakshmi ( LakshmI BhUmyO:
kara sarasijai: laalitham) . Swamy Desikan uses the insightful
word " PraathurbhUtham " in connection with those sacred
feet jingling away with the ankle bells and ornaments . Those
Thiruvadis appeared on top of Venkatam hills as they descended
from Sri Vaikuntam . This appearance ( PrAdhurbhAvam ) is
due to His own icchA and sanklapam ( SvEcchayA , svAthmathvEna
prAthurbhAva :) .
Lines 3 - 5 of Kattiyam( ankle & Knee anubhavam)
*****************************************************
The radiance form the jewels on the TaNDai and Silampu
fall on the ankle and the knee ( JangA) . Their beauty is now
enjoyed as they spread to the knees and past the knees to
the silk vasthrams adorning the waist region of the Lord :
" KaNDa Jathayum karuttha muzham-kaalum ,
Senai mudaliyArum , siRu sattayum , pattu-aadayum ,
pala pala aadayum , arayil sinnathum , ohrAr peethambaramum "
JangA Soundharyam arises from Jaanu Kaanthi . That lustre
of the Jaanu ( Muzham-kaal) is enhanced by the paadha kaDakam
( gems on the TaNDai and silambu) . " KaDaka ruchibhi: chithra
aakaaram " is Swamy Desikan's dhyAna Janitha anubhavam of
the Lord at Srirangam in Bhagavath DhyAna SopAnam .
The union of the kaanthi from the Knee and the radiance of
the region from knee to ankles (Kalaachee) double the beauty
of the Lord ( Jaanu chaayaa dhviguNa: ) . Senai MudaliyAr protecting
all the Iswaryams of the Lord is seen here enjoying the special
beauty that the AaabharaNams achieved thru their
association with the Lord's ThirumEni.
On the body of this GopAla Dimpan ( Kutti KaNNan) ,
a small shirt (Sattai) , silken vasthram ( Pattu Udai )
and many other utthareeyams ( Pala pala aadayum)
are seen . A small mutihued peethAmbharam is also
seen adorning the waist region of the Lord ( arayil sinnathum
oru aar Pethambharamum) .
Kattiyam lines 6-11( Chest region , shoulders and hands ):
************************************************************
" semponnaal saattiya Kousthubhamum
mangalmaaha vala maarbhil Lakshmiyum
Naanku Thirukkaiyum , naRRc-chudar Aazhiyum ,
hasthatthil nAgAbharaNamum , mey vaLayum
thOL valayum , iru kaiyum yEnthina sanku chakkaramum "
Now , the author of the Kattiyam has reached the chest region.
adorned by the gem Kousthubham set in gold ( SemponnAl
Saathtiya Kousthubhamum / " MaNivara ruchA ranjitham)
and MahA Lakshmi seated on the right side of the chest ( SrI Padha
nyAsa dhanyam/ mangaLamaaha vala maarbhil Lakshmiyum) .
Next , the four hands of the Lord come into view : "Naanku
Thirukkaramum , naRRc-chudar aazhiyum , hasthatthil
nAgAbharaNamum , mey vaLayum , thOL valayum , iru kaium
yEnthina sanku chakkaramum " . There the inspired poet
sees the four auspicious hands holding the radiant Sudarsanam
and Paanchajanyam along with arm aabharaNam ( NaagaabharaNam ) ,
and golden bangles on the wrists .
>From the upper ThirumEni , the gaze shifts to the Thirumukha
MaNDalam , the forehead , the sparkling friendly eyes welcoming
the Bhakthan generously to His aasthAnam on top of the seven
hills : " oru karayil mudiyai vaittha senthAmarai kaNNum ,
antha thirukkaNN malarum , neRRip-pattayum , nEranintha
suttiyum . tittip-padhamaum , taaLAtha ThirumEniyum kaNDEn ".
When the Lord sees the dear bhakthan ( PraNayini janam) ,
His smile becomes meaningful (SaabhiprAyam ) and blossoms
into its full measure .He looks across the banks of SamsAric
ocean to give a hand to the devotee on the other bank ,
where He presides .
The eyes are beautiful and soft as the lotus petals . Over those
eyes is the broad forehead (neRRip-pattai) with sparkling
KasthUri tilakam ( Kanaka tilakAlankrutham atha yEva
kaantham svAgadha udhAra nEthram) . " nEraNintha suttiyum ,
titthip-padhamum ' refer to the alankArams found on the forehead
to remove dhrushti dhOsham .
The composer's gaze shifts now downward in the "KesAdhi
PaadhAntham " style and he is overcome by the dhivya soundharyam
and sighs that he can not fully consume it ( TaaLAtha ThirumEniyum).
He fixes his gaze on the auspicious lotus feet and sees there red lotus
garlands ( suRRat-thriuvadi mEl senkazhuneer maalai saaRRi ) .
Now the eyes of the poet move upward to the crown and the dark
tresses (kesabhAram ) of the GopAlan ( ThiruvenkadamudayAn).
There the poet enjoys the sight of garlands made of MandhAra ,
Kurukkatthi and green Marukkozhunthu adorning the Lord 's
Thirumudi ( Mikkat-thirumudi mEl , manthArai , Kurukkatthi
pacchaik-kathirudanE saaRRi ). The anubhavam is similar to
PeriyAzhwAr's PoocchUttal paasurams .
Govindhan of Thirumalai transfroms right before the eyes of
the kattiyakkArar into the world-measuring , gigantic Thrivikraman
with the fooot shooting upward into gaganAkAram ( Ulaham
aLanthAn ThiruvadigaLaik-kaNDEn ! KaNDEn ! ) . The anubhavam
is similar to the Mudal AzhwArs at ThirukkovalUr .
The darsana soubhAgyam of Thrivikrama VenkatEsan
assures the poet that no asubham will come his way
anymore and concludes the dhivya darsanam with
the Phala sruthi " Thee vinaikaL vaarAthE ! thee
vinaikaL vaarAthE ! " The inauspiciousness of any kind
will not touch the bhakthan , who has enjoyed Govindhan
of Thirumalai in this fashion as a Rasikan :
" aklEsEna praNihitha dhiyAm--aarurukshO: avasTAm
Bhakthim gADAm disathi Bhagavath-dhyAna sOpAnamEtath "
is the experience of Swamy Desikan regarding His Bhagavath
dhyAnam of Lord RanganAthA , which is echoed the aanandha
anubhavam of this KattiyakkArar .
Next adiyEn will move to the sevai of Sri RanganAthar
on the next day at Srirangam , where Cauveri was
rushing with joy touching both the banks .
Thanks to Sriman Vaasu for sharing this Kattiyam
for Lord VenkatEsa .
Daasan , V.Sadagopan
http://www.ibiblio.org/sripedia/oppiliappan/sva
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