இலண்டன் சைவ மாநாடு (சிறப்புமலர்)
76151 சைவ மாநாடு இலண்டன் 2004
Tiruppugazh
Tirumanthiram. The set-up of the mantras could be
broadly classified as 'Suddhangam' and
'Geethangam.' Sri Somasundaram also referred to
the category of hymns "Vaarams" embedding the
secrets interspersed in songs in dances and
dramas and to the development of Thevarams.
There were special stanzas containing mantras to
cure maladies of persons (as in the case of Appar).
Their efficacy had been demonstrated while invoking
rain by singing them in special Pann instruments
a few years ago. Sri Somasundaram also mentioned
about the recitation of Kolaru-pathigam recently to
offset the ill-effects due to inter-planetary conjunc-
tions. He suggested the study of the book by
Manicka Naicker (Tamil marai Vilakkam) and of
"Kovil Vazhipadu" by Chidambaram Pillai to learn
about the manner in which the mantras have been
ingeniously enshrined by the saints in their
outpourings.
Sri K.N. Dandayudapani presented a paper on
"Tamil traditions in Dance". Quoting classics
particularly the work of Bharatamuni, in support of
the claim that Tamil was the birth-place of this great
art, he said other languages should have copied the
contents of these Tamil literatures. The Chera king
called "Attan Athi" was a past-master in dance.
Elango had given elaborate details of this art form
and even laid down the Tamil names of talas,
described several Mudras and of the instruments
played during dancing. Sri Dandayudapani said
traditional dance promoted devotion. Dancing not
only improved the physical fitness of a woman but
also extended their longevity. Bharatanatyam, the
priceless treasure of Tamilians, involved a perfect
synchronization of movements of the entire body,
facial expressions, vigil over beats and demonstration
of elements all at the same time. The names given
to Dance in literature were Koothu, Aadal, Bharatam,
Sadir, Kelikkai, Natanam and Natyam. He also
detailed the technical requirements of a dance tutor.
At the Experts' Committee of the Music
Academy with Sri Papanasam Sivan in the chair, Sri
K.G. Thyagarajan gave a demonstration lecture on
Arunagirinathar's Tirupugazh. He gave examples of
Tirupugazh set in the five main Nadais and also
some others in mixed settings of more than one
Nadai in the different feet. The Guidance was
provided by the Vannam and Chandam of the
Tirupugazh itself. Sri Thyagarajan then sang nine
Tirupugazhs: Tisra-Palani-Hamsadhvani; Caturasra-
Tiruvarur-Mohanam; Khanda-Palani Vasanta; Misra-
Swamimalai-Hindolam; Sankarabharanam-Kanchi-
Athana; and then Khandha plus Caturasra-
Tiruchendur-Useni; tow Tisras and one Caturasra-
Tiruchi-Suddha-saveri and the last one in all five
Nadais-Vayaloor.
(courtesy) Vol.6 No.4 Oct -Dec 1971
Saiva Siddhanta
"It is indubitable that Manikavasager's
Tiruvachakam is one of the supreme classics of the
world's devotional poetry, the outpourings taking
every form from despair at the non-attainment of
God's presence to ecstasy over the ultimate
revelation. There is a well-known saying in Tamil that
the heart which will not melt on reading the
Thiruvachakam will be unaffected by any other
utterance. The Thiruvachakam is the saint's spiritual
biography and a personal record of the various
phases of his spiritual experiences."
Dr. C. P. Ramaswamy Aiyar.
163
சொற்றுணை வேதியன் சோதி வானவன்
பொற்றுணைத் திருந்தடி பொருந்தக் கைதொழக்
கற்றுணைப் பூட்டியோர் கடலிற் பாய்ச்சினும்
நற்றுணை யாவது நமச்சி வாயவே.
அப்பர்
76151
சைவ
மாநாடு
இலண்டன்
2004
Tiruppugazh
Tirumanthiram
.
The
set
-
up
of
the
mantras
could
be
broadly
classified
as
'
Suddhangam
'
and
'
Geethangam
.
'
Sri
Somasundaram
also
referred
to
the
category
of
hymns
Vaarams
embedding
the
secrets
interspersed
in
songs
in
dances
and
dramas
and
to
the
development
of
Thevarams
.
There
were
special
stanzas
containing
mantras
to
cure
maladies
of
persons
(
as
in
the
case
of
Appar
)
.
Their
efficacy
had
been
demonstrated
while
invoking
rain
by
singing
them
in
special
Pann
instruments
a
few
years
ago
.
Sri
Somasundaram
also
mentioned
about
the
recitation
of
Kolaru
-
pathigam
recently
to
offset
the
ill
-
effects
due
to
inter
-
planetary
conjunc
tions
.
He
suggested
the
study
of
the
book
by
Manicka
Naicker
(
Tamil
marai
Vilakkam
)
and
of
Kovil
Vazhipadu
by
Chidambaram
Pillai
to
learn
about
the
manner
in
which
the
mantras
have
been
ingeniously
enshrined
by
the
saints
in
their
outpourings
.
Sri
K.N.
Dandayudapani
presented
a
paper
on
Tamil
traditions
in
Dance
.
Quoting
classics
particularly
the
work
of
Bharatamuni
in
support
of
the
claim
that
Tamil
was
the
birth
-
place
of
this
great
art
he
said
other
languages
should
have
copied
the
contents
of
these
Tamil
literatures
.
The
Chera
king
called
Attan
Athi
was
a
past
-
master
in
dance
.
Elango
had
given
elaborate
details
of
this
art
form
and
even
laid
down
the
Tamil
names
of
talas
described
several
Mudras
and
of
the
instruments
played
during
dancing
.
Sri
Dandayudapani
said
traditional
dance
promoted
devotion
.
Dancing
not
only
improved
the
physical
fitness
of
a
woman
but
also
extended
their
longevity
.
Bharatanatyam
the
priceless
treasure
of
Tamilians
involved
a
perfect
synchronization
of
movements
of
the
entire
body
facial
expressions
vigil
over
beats
and
demonstration
of
elements
all
at
the
same
time
.
The
names
given
to
Dance
in
literature
were
Koothu
Aadal
Bharatam
Sadir
Kelikkai
Natanam
and
Natyam
.
He
also
detailed
the
technical
requirements
of
a
dance
tutor
.
At
the
Experts
'
Committee
of
the
Music
Academy
with
Sri
Papanasam
Sivan
in
the
chair
Sri
K.G.
Thyagarajan
gave
a
demonstration
lecture
on
Arunagirinathar's
Tirupugazh
.
He
gave
examples
of
Tirupugazh
set
in
the
five
main
Nadais
and
also
some
others
in
mixed
settings
of
more
than
one
Nadai
in
the
different
feet
.
The
Guidance
was
provided
by
the
Vannam
and
Chandam
of
the
Tirupugazh
itself
.
Sri
Thyagarajan
then
sang
nine
Tirupugazhs
:
Tisra
-
Palani
-
Hamsadhvani
;
Caturasra
Tiruvarur
-
Mohanam
;
Khanda
-
Palani
Vasanta
;
Misra
Swamimalai
-
Hindolam
;
Sankarabharanam
-
Kanchi
Athana
;
and
then
Khandha
plus
Caturasra
Tiruchendur
-
Useni
;
tow
Tisras
and
one
Caturasra
Tiruchi
-
Suddha
-
saveri
and
the
last
one
in
all
five
Nadais
-
Vayaloor
.
(
courtesy
)
Vol.6
No.4
Oct
-Dec
1971
Saiva
Siddhanta
It
is
indubitable
that
Manikavasager's
Tiruvachakam
is
one
of
the
supreme
classics
of
the
world's
devotional
poetry
the
outpourings
taking
every
form
from
despair
at
the
non
-
attainment
of
God's
presence
to
ecstasy
over
the
ultimate
revelation
.
There
is
a
well
-
known
saying
in
Tamil
that
the
heart
which
will
not
melt
on
reading
the
Thiruvachakam
will
be
unaffected
by
any
other
utterance
.
The
Thiruvachakam
is
the
saint's
spiritual
biography
and
a
personal
record
of
the
various
phases
of
his
spiritual
experiences
.
Dr.
C.
P.
Ramaswamy
Aiyar
.
163
சொற்றுணை
வேதியன்
சோதி
வானவன்
பொற்றுணைத்
திருந்தடி
பொருந்தக்
கைதொழக்
கற்றுணைப்
பூட்டியோர்
கடலிற்
பாய்ச்சினும்
நற்றுணை
யாவது
நமச்சி
வாயவே
.
அப்பர்