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SriRangaSri List Archive: Message 00125 Jan 2002

 
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--- sampath kumar <sampathkumar_2000@xxxx> wrote:
> To: Sadagopan <sgopan@xxxx>
> CC: tiruvengadam@xxxxxxxxxxxxxxx
> From: sampath kumar <sampathkumar_2000@xxxx>
> Date: Wed, 23 Jan 2002 23:07:56 -0800 (PST)
> Subject: [tiruvengadam] Re: [SriRangaSri] Re: azhwar sings for
> Moolavar or utsavar?
> Reply-to: tiruvengadam@xxxxxxxxxxxxxxx
> 
> 
> --- Sadagopan <sgopan@xxxx> wrote:
> > Background: Sri VenakatanAthan asked an interesting question
> > in the MalOlan Net . This might be of interest to 
> > members of other groups as well :
> > 
> > Question: Are the Dhivya Prabhandha Paasurams of 108 dhivysa desa
> > EmperumAns on Uthsavars or Moolavars ? 
> > 
> ******** ******** **********
> 
> Dear SrimAn Sadagopan,
> Adiyane hails from Tirupati and my answer to the above question is
> from "tiruvengadamudaiyAn's" perspective only:
> 
> NammAzhwAr sang "agalagillEn irayummenru alarmEl mangai-urai
> mArbA.."
> etc.
> 
> From the lines one can conclude that the AzhwAr is referring to the
> moolavar only since, in a physical or 'pratyaksham' sense, it is
> only
> that idol which bears "pirAtti" on the 'sri-vakshasthalam'. The
> 'utsavar' does not physically or palpably bear 'thAyyAr' on His
> chest.
> 
> By reason of the above can we say that the AzhwAr sang in praise
> only
> of the 'moolavar'?
> 
> Kulasekhara AzhwAr sang, "padiyAy kidanthu Un pavazhavAy
> kAnbEney!".
> 
> Here AzhwAr seeks endless, un-interrupted 'darshan' of the Lord to
> be
> able to witness the beauty of the 'tiruvengadamudaiyAn's' visage,
> especially His beautiful 'coral-hued' lips.
> 
> The "pavazha-vAy" is common to both the moola and utsava vigraham,
> no
> doubt, but from the context of the AzhwAr's lines we can say he was
> singing only about the 'moolavar' and not the 'vigrahar' because it
> is only in the former's presence that it's possible to experience
> endless or un-interrupted 'darshan'. The 'utsavar', on the other
> hand, has several daily public engagements to perform ... He goes
> out
> for 'utsavam-s' and 'purappAdu' and other 'sevai-s'... Kulasekharan
> could never therefore have wished to be a 'padi', a doorstep, at
> the
> Tirumalai-temple if it was the 'pavazha-vAy' of the 'utsavar' that
> had been the object of his desires.
> 
> NammAzhwAr sang "Un adeekeezh amarndhu-pUgUndhEnEy!" and performed
> his "prappathi" at the feet of our Lord SrinivAsan, the
> 'vrisha-saila
> dayA-sAgaram'. The question we may now ask ourselves is, did the
> AzhwAr perform 'prappathi' to the 'moolavar' or the 'utsavar'?
> 
> The answer is: Perhaps one or the other, or, even both! 
> 
> The paradoxical answer lies in the two words 'amarndhu' and
> "puhUndu".
> 
> The Tamil word "amarndhu" means "coming to finally rest",
> "attaining
> final resting place", "final, permanent peace" etc. This word is
> appropriate to the "moolavar" only who stands there permanently in
> the 'garba-griha', in all Glory and for all Eternity. 
> 
> The other word "pUhUndhu" means "blossomed", "bloomed",
> "prospered",
> "became glorious" etc. and one suspects that the AzhwAr here has in
> mind the flower-bedecked form of the "utsavar" only. One merely has
> to look at and contemplate upon the form of the 'divya-dampati'
> during the 'nitya-kalyANOtsava-sevai' at Tirumala to understand the
> utterly festive and auspicious import of the word "pUhUndu". 
> 
> The moral of all this is (adiyane's humble opinion), the answer to
> the main question "Did the AzhwAr sing about 'moolavar' or
> 'utsavar'
> in the Divya-desam?"... the clear answer is this: 
> 
> "Look carefully at the context of the 'pAsuram' and draw your own
> conclusions".
> 
> Regards,
> dAsan,
> Sudarshan
> 
> 
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> 
> 
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