Life of Thirugnaana Sambandhar through his Thevaaram

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Thirugnana Sambandar Thevaram In Tamil Free download Thirugnana Sambandar Thevaram In Tamil mp3 for free Thevaram Thirumurai song lyrics with Tamil Part 1. 3 or more lyrics for thirugnana sambandar thevaram documents discovered in. 080-katRAnggeriyOmbi-padhigam-Unicode.pdf 25)-- 1.80 --Lyrics and Meaning in Tamil and. Sep 13, 2013 - The temple is praised in the Thevaram hymns of Saint Tirugnana Sambandar. This is the 80th Shiva temple on the southern bank of Cauvery. He arranged the hymns of three saint poets Sambandar, Appar and Sundarar as the first seven books which he called the Tevaram.

The first three thirumurais are given by Thirugnana Sambandhar. This is also called thirukkadaikkappu.

Third thirumurai in ITRANS format Part-1; Part-2

Index

Place : Sirkazhi

Thirugnana Sambandhar started reciting hymns on the Glory of Lord Shiva from his Childhood itself. One day In his childhood when he was crying in the bank of the pond in the Sirkazhi temple, Lord Shiva appeared with Parvathi Devi on the Holy Bull. Parvathi Devi gave the gnana milk to the child Thirugnana Sambandhar. When his father came after finishing his bath in the pond, he got angry with the child and asked him 'Who gave you the milk?'. Then Sri Thirugnana Sambandhar recited this hymn showing the God to his father. This is his first hymn and this is the first thiruppathikam in Panniru Thirumurai .

Pan: Nattappaadai

Thoodudaiya cheviyan vidai eeriyoor thuuven madhi choodi
Kaadudaiya sudalaip podi poosy ennullam kavar kalvan
Eedudaiya malaran munainaat panindheetha arul seidha
Peedudaiya piramaapuram meeviya pemman evan andree

Translation:
This particular song indicates the five major actions of the God, namely, creation, protection, destruction, hiding in illusion, blessing. 'The God with a ring in His ears appear on the Holy Bull (creation), He has the moon on his head ( protection*), He wears the ash of the burnt bodies in the cremation ground (destruction), He- that thief- has stolen my heart (Hiding), He blessed the Brahma, who is on the Lotus, when he prayed the God in the past (blessing), He is that Peruman of the great Piramaapuram*.'
*protection - In order to prevent the moon from getting destroyed the God wore the moon on His head
Piramapuram- Another name of Sirkazhi.

Place : Common

The ritual of opening the eye of knowledge (upanayanam) happened. Then Thirugnana Sambandhar who got the knowledge unlearnt recited this hymn explaining that the ultimate mantra or knowledge that is propounded in veedhas is the Lords Holy Five Letters.

man^dhira n^AnmaRai yAgi vAnavar
chin^dhaiyuL n^inRavar thammai ALvana
chen^thazal ON^giya chemmai vEdhiyark
kan^dhiyuL man^dhiram anyche zuththumE

Translation:
Being the mantraful four veedhas, staying in the minds of heavenly people governing them, for the nice deedful red flame growing vEdhic chanters the ultimate mantra is the Five Letters.

Once the devotees of Lord Shiva who were accompanying Sambandhar were affected by heavy fever. At that time Sambandhar sang this song and cured their fever with the grace of God.

Place: Common

Thevaram Pdf

Pan: Viyaazhakkurinjee

Avvinaikkivvinai yaamenru sollum ahudhariveer
Uyvinai naadadhu iruppadhu unthamakku oonam anree
Kaivinai seidhempiraan kazhal potrudhu naamadiyoom
Seivyenai vandhemey theendappera thiruneelakantam

Translation:
If you say this effect (pain - fever) is due to the deeds we did in the past (Poorva Karmaa), then it is not fame for you if you do not give us relief. Since we are your slaves doing your work with our hands and body, let the karma not come and affect us. Swear on Thiruneelakantam.

Once Thirugnana Sambandhars father was planning to do a big Yagam. For that he wanted large amount of money. Then Sambandhar recited a hymn with the meaning 'Oh God, Whatever I need, I will ask you only for help, even if my suffering continues without ending.' God gave him 1000 Golden coins for his fathers Yagam. This is praised by Thirunavukkarasar as 'Kazhumala oorarkku ampon aayiram koduppar polum aavadu thuraiyanaaree.'

Place: Thiru Aavaduthurai

Pan: Gandhara Panchamam

Idarinum thalarinum enadhuru nooi
Thodarinum una kazhal thozhudhezhuveen
Kadal thanil amudhodu kalandha nanjjai
Midarinil adakkiya veydhianee

Idhuvoo emai aalumaru eevadhondremakk illayeel
Adhuvoo uma dhinnarul aavadu thurai aranee.

Translation:
Even if I suffer, get weary and even if my sickness continues I will pray your feet. Oh God, who ate the poison that came along with the nectar from the sea! (Thirupparkadal). Is this the way you govern us? If you do not give anything to us then I will consider that as your Grace, Aavadu thurai aranee.

In the Pandya kingdom due to the domination of Jains devotees of Lord Shiva were not treated properly. The king nedumaaran misled by the Jains allowed them to put fire cunningly to the place of Thirugnana Sambandhar. But the grace of God diverted the fire to the king's body. Smearing the Holy Ash praising this glory of His holy ash Thirugnana Sambandhar cured the kings heat disease.

Place: Thiru Aalavaai (Madurai)

Mandhira maavadhu neeru vaanavar meeladhu neeru
sundhara maavadhu neeru thudhikkap paduvadhu neeru
thandhira maavadhu neeru chamayaththil ullaadhu neeru
senthuvar vaayumai pangan thiruaala vaayaan thiruneeree

Translation:
mantra is the ash; Higher than heavenly people is the ash; Beauty is the ash; Praised is the ash; Technique is the ash; In the religion is the ash; The Lord of thiruaalavaay who share the body with the red lipped umA - His Holy Ash.

Winning the Jains in the challenge on fire Thirugnana Sambandhar sang this marvelous hymn thiruppaachuram explaining the king and the world the limitless grace and glory of God and winning the Jains in the water challenge.

Place: Common

Pan: Kausikam

Vaazhga andhanar vaanavar aaninam
Veezhga than punal veyndhanum oonguga
Aazhga theeyadhellaam aran naamamey
Soozhga vaiyagamum thuyar theergavee

Translation:
(Long) live the kind hearted, heavenly people and the cow herds. The chill water be fallen (on the Lord). The king be upraised. All the evils be drowned. The name of hara enfold. The world be get rid of miseries.

The parents fixed the marraige of Thirugnaana Sambandhar in Nallur perumanam. Though for the satisfaction of his parents he married, Sambandhar did not want to lead the married life. In one of the songs earlier he sang ('Mulaiththada muuzkiya') 'Oh God you saved me from getting swayed by lust'. So he sang to Lord this song and asked the Lord to accept him in Him. There appeared the Jyothi accepting his appeal.

Place: Nalloor Perumanam

Pan: Andhaalikkurinjee

Kallor perumanam veeyndaa kazhumalam
Palloor perumanam paattu meyyaai thila
Solloor perumanam soodalare thondar
Nalloor perumanam meeya nambaanee

Translation:
This marriage is not required. Otherwise whatever I sang in Kazumalam (Siir kaazi) and other places, will be not considered true by the devotees. Oh God of Nalluur Perumanam.

On the day of marriage when the Jyothi appeared he sang the greatness of the aindhezuththu (Panchaaksharam) that is NAMASHIVAYA. He, the saint of truth along with the other saints (Thiruneelakanda yaazppaanar, Thiru neela nakkar, Muruga naayanaar and others) in to the 'Jyothi' that appeared in the Nalluur Perumanam.

Place:Common

Pan:Kausikam

Kaadhalaagi kasindhu kanneer malgi
Oodhuvaar thammai nannerikku uyppadhu
Veedham naanginum meyporulaavadhu
Naathan naamam NAMASHIVAAYAvee

Translation:
With deep love, budding tears pooling, whoever hails guiding them to the good discipline, the true substance of the four vEdhas (knowledge) the sound (for oneself) like Lord's name is namaHshivaaya.

Other Songs

Place: Thirukkollili

Pan: Pazhanthakkaraagam

Naalaaya poogaameey nanjaniyum kandanukkeey
Aalaya anbu seyvoom mada nenjeey aran naamam
Keeylaai nam kilai kilaikkum keeydupadaa thiramaruli
Koolaaya neekkumavan koollili yemperumaanee

Place: Thiruvaiyaaru

Pan: Meeyga raagak kurinjee

Pulanaindhum porikalange neri mayange arivazhindhdhittu aimmelundhdhi
Alamandha poodhaaga anjeeylenru arul seyvaan amarum koyil
Valam vandha madavaargal nadamaada muzhavadhira mazhaienranjee
Silamandhi alamandhuu marameeyree mugil paarkkum thiruvaiyaaree

Place: Sirkazhi

Pan: Kolli

Mannil nalla vannam vazhalaam vaigalum
Ennil nalla gadhikku yaadhumoor kuraivilai
Kannil nallahdhurum kazhumala valanagarp
Pennil nallaa lodum perundhagai irundhdhadhee

Place: Sirkazhi

Pan: Nattappaadai

Vandaar kuzal Arivaiyodu piriyaa vagai pagam
Pendaan miga aanaan piraich chennee perumanoor
Thandaamarai malaraal urai thavalam nedu maadam
Vintaangua poolum migu veynu puramaduvee.

Translation:
The God is inseparably united with the Goddess, whose plait is full with the flowers with bees, (Parvathi Devi), He has a crescent in his head, His town is the Veynu puram* which is wealthy with the Goddess of wealth (Lakshmi) living in it and the town has the buildings which seem to support the sky.( That much tall).
*Veynu puram - Another name of Sirkazhi.

Place: Thiru Aalavai

Pan: Pura neermai

Mangayarkkarasi valavarkoon pavai vari valaikkaimmada maani
Pangayachchellvi Pandimaadheevi paniseydhdhu naalthorum parava
Ponkazhal uruvan Boodha naayagan naal veedhamum porulgalum arulee
Ankayarkkanni thannodum amarndhdha aalavaayaavadhum idhuvee

Place: Thiru Aalavaai

Pan: Kausikam

Veedalaala vaayilaai vizhumiyaargal nin kazhal
Paadalaala vaayilaai parava nindra panbaneey
Kaadalaal avaa ilaai kabaali neeyl kadimmadhil
kuudalaala vaayilaai kulaaaya dhenna kolgaiyee

Place: Common

Pan: Piyandhaikkandhaaram

Veeyuru thooli pangan vidamunda kandan miga nalla veenai thadavi
Maasaru thingal gangai mudimeeyl anindhdhu yen vulameey pugundhdha vadhanaal
gnyaayiru thingal chevvaai budhan vyaazhan velli chani paambirandum udaneey
Aasaru nalla nalla avai nalla nalla adiyaaravarkku migaveey

The Thevaram (Tamil: தேவாரம்Thēvāram) denotes the first seven volumes of the Tirumurai, the twelve-volume collection of Śaiva devotional poetry. All seven volumes are dedicated to the works of the three most prominent Tamil poets of the 7th century, the Nayanars - Sambandar, Tirunavukkarasar and Sundarar.^[1][2][3] The singing of Thevaram is continued as a hereditary practise in many Shiva temples in Tamil Nadu.^[4]

In the tenth century, during the reign of Raja Raja Chola I, a collection of these songs was found abandoned in the Chidambaram temple, along with other religious literary works, and collated by Nambiyandar Nambi. It is during the Chola dynasty that Saivism came of age and Thevaram, with its body of texts on rituals, philosophy and theology, was canonized.^[5] The 276 temples revered by these verses are called paadal petra thalam and another 276 places having Shiva temples that are casually mentioned in the verses are classified as vaipu sthalam. It was Thevaram for Saivism and Nalayira Divya Prabandam for Vaishanvism. There are 796 of these songs with a total of more than 8200 stanzas.^[6] The three poets were not only involved in portraying their personal devotion to Shiva, but also involved a community of believers through their songs.^[7] It is one of the important sources of Tamil Bhakti, a movement that inspired the agricultural community.^[8]

Name[edit]

The word Dēvāram means garland of poems to the lord

Evolution[edit]

Three stages have been identified in the evolution of Thevaram - first is the mark of Shiva as the supreme deity during the 7th - 9th century, the second involved Chola kings initiating the compilation of all the hymns and installing the images of the 3 saint poets during the 10th to 11th century and the last being the restructuring done by the pontiffs of the mathas who incorporated the hymns into Saiva Siddantha canon in the 13th century.^[9] Both the Saiva and Vaishnava textual tradition negated the Vedic orthodoxy and Smartha tradition practised during the era.^[10] The authority of the hymns were established with the Saivities calling the Tevaram as Tamil Marai (meaning Tamil Veda), while Vaishnavities called the Nalayira Divya Prabandham as Dravida Veda.^[10] The usage of Sanskrit liturgies for religion was overcome with the usage of Tamil in both Tevaram and Prabandham.^[11] Sangam literature established the convention of akam (internally orineted) and puram (externally orientated) poetry.^[11] Though influence of Sangam literature is often seen in Thevaram, the strict conventions were not followed.^[11] The verses were more oriented towards folk tradition, which was easily accessible to people.^[11]

Thevaram In Tamil Pdf

Poets[edit]

The first three Tirumurais (meaning parts) of Tevaram are composed by Thiru GnaanaSambanthar, the next three by Appar and the seventh one is composed by Sundarar. Appar and Thiru GnaanaSambanthar lived around the 7th century, while Sundarar lived in the 8th century. During the Pallava period these three travelled extensively around Tamil Nadu offering discourses and songs characterised by an emotional devotion to Shiva and objections to Vaishnavism, Jainism and Buddhism.^[12]

Thiru GnaanaSambanthar is a 7th-century Holy Guru Paramaachariyaar (The great Teacher) born in SeeKaazhi, now wrongly called Sirkali, and was believed to be breastfed by the goddess umadevi also called as Parvati, whereupon he sang the first hymn. On the request of queen of Pandya Nadu, Thiru GnaanaSambanthar went on pilgrimage to south, defeated Jains in debate, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Thiru GnaanaSambanthar's eventual victory over them^[13][14] He was a contemporary of Appar, another Saiva saint.^[15] Information about Sambandhar comes mainly from the Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of the Tirumurai, along with the earlier Tiruttondartokai, poetry by Cuntarar and Nambiyandar Nambi's Tiru Tondar Tiruvandadi. A Sanskrithagiography called Brahmapureesa Charitam is now lost. The first volumes of the Tirumurai contain three hundred and eighty-four poems of Sambanthar (in 4181 stanzas), all that survive out of a reputed more than 10,000 hymns.^[16] ThiruGnaanaSambanthar merged with Lord around the age of 16 in 655 CE on the day of his marriage. His verses were set to tune by ThiruNeelaKanda Yaazhpaanar, who is set to have accompanied the musician on his yal or lute.^[17]

Appar (aka Tirunavukkarasar) was born during the 7th century in Tiruvamur, Tamil Nadu, his childhood name for Marulneekiar. His sister, Thilagavathiar was betrothed to a military commander who died in action. When his sister was about to end her life, he pleaded with her not to leave him alone in the world.^[17] She decided to lead an ascetic life and bring up her only brother. During boyhood, Appar was very much interested in Jainism and started studying its scriptures. He went away from home and stayed in their monastery and was renamed Darmasena.^[18] Details of Appar's life are found in his own hymns and in Sekkizhar's Periya Puranam (the last book of the Tirumurai). Appar had travelled to nearby Patalipura to join a Jain monastery where he was given the name Dharmasena. 'Seeing the transient, ephemeral world he decided to probe into truth through renunciation.'^[19] After a while, afflicted by a painful illness, Dharmasena returned home.^[20] He prayed for relief at the Siva temple where his sister served and was cured by Lord. Lord gave the name 'ThiruNaavukkuArasar'. He was also involved in converting the Pallava king, Mahendravarman to Saivism.^[21] This was also the period of resurrection of the smaller Shiva temples. Appar sanctified all these temples by his verses^[21] and was also involved in cleaning of the dilapidated temples called uzhavaarappani. He was called Tirunavukkarasu, meaning the 'King of divine speech'.^[22] He extolled Siva in 49,000 stanzas out of which 3130 are now available and compiled in Tirumurais [4,5,6]. When he met Campantar, he called him Appar (meaning father). He merged with lord around the age of 81 in Tirupugalur.^[22] He famously known for his ThiruThandagam[6th Thirumurai]. ThiruThandagam is difficult to compose, He is called as 'Thandagach Chadhurar' [Expert in ThiruThaandagam]

Sundarar (aka Sundaramurthi) was born in Tirunavalur in a Brahmin family during the end of the 7th century.^[22] Sadayanar and IsaiGnanyiaar are his parents. His own name was Nambi Arurar and was prevented from marrying by the divine grace of Siva.^[22] He later married a temple girl namely Paravi Naachiyaar and a vellala community girl by name Changili naachiyaar.^[22] He is the author of 1026 poems compiled as 7th Tirumurai.^[22] He is close friend of KazharitruArivaar Nayanar aka Cheramaan perumaal Nayanar (one among the holy 63 nayanar) and EyarKon KalikKaama Nayanar (also one among the holy 63 nayanar). From ThiruAnjaiKalam (now ThiruVanjikulam), He went to Kaiylaayam in Holy Elephant which have 1000 horns.

The hymns[edit]

All the songs in the Thevaram (called pathikam, Tamil:பதிகம்) are believed to be in sets of ten. The hymns were set to music denoted by Panns and are part of the canon of the Tamil music.^[11] They continue to be part of temple liturgy today.^[23][24] Several of these poems refer to historic references pointing to the saint-poets' own life, voice of devotee persona, using interior language of the mystic.^[25] Multi-vocal rhetoric is commonly used taking on personal emotions and genres and some voices of classical Sangam literature. Of the three, Campantar's life is better interpreted by his verses.^[25] According to Zvelebil, Campantar's lyrics are characterized by egocentricism, by militancy and great ardour, by a warm feeling for the greatness and beauty of Tamil language with scholarly experimentation in meters showing familiarity with Sanskrit forms.^[17] Campantar's poetry shows structural and thematic distinctiveness of the bhakti speech of poetry....is ....sorry poetry.^[26]

'In the temple where he is throned, who bids us not lose heart

In the hour when our senses grow confused, the way grows dim,

Our wisdom fails, and mucus chokes our struggling breath,

In Tiruvaiyar, where the girls dance around, and the drumbeats sound,

The monkeys fear the rain, run up the trees, and scan the clouds'^[26]

Appar's poems dealt with inner, emotional and psychological state of the poet saint.^[17] The metaphors used in the poems have deep agrarian influence that is considered one of the striking chords for common people to get accustomed to the verse.^[27] The quote below is a popular song of Appar glorifying Shiva in simple diction.^[26]

'மாசில் வீணையும் மாலை மதியமும்

வீசு தென்றலும் வீங்கிள வேனிலும்

மூசு வண்டறை பொய்கையும் போன்றதே

ஈசன் எந்தை இணையடி நீழலே'

translating to

'The shade of my Lord's twin feet are like the flawless Veena,

like the full-moon of the evening

like the gently breeze blowing from the South

like the young thriving spring

like lake where the swarming bess hum'^[26]

Cuntarar's hymns had a touch of humour, a rare thing in religious literature. In one of the verses, he playfully draws an analogy with Siva with himself, both having two wives and the needs of nagging wives.^[28]

'Thou art half woman. Thyself

Ganga is in thy long hair

Full well canst thou comprehend

Burden of woman so fair'^[28]

The tendency to incorporate place names known to the folks in the idiom of the poems is another characteristic feature of Tevaram.^[29] The poems also involved glorifying the feat of Shiva in the particular location – the usage of locale continuously occurring in the verses is a testament.^[29] According to Prentiss, the poems do not represent social space as a contested space, the hymns represent the hymnists were free to wander and to offer their praise of Shiva.^[30] The emotional intensity of the hymns represent spontaneous expression of thought as an emotional responses to God.^[30]

Paadal Petra Sthalams are 275^[31] temples that are revered in the verses of Thevaram and are amongst the greatest Shiva temples of the continent. The Divya Desams by comparison are the 108 Vishnu temples glorified in the poems of the contemporary VaishnavaAlvars of Tamil Nadu, India. Vaippu Sthalangal are places that were mentioned casually in the songs in Thevaram.^[32] The focus of the moovars hymns suggests darshan (seeing and being seen by God) within the puja (worship) offering.^[30] The hymnists made classificatory lists of places like katu (for forest), turai (port or refuge), kulam (water tank) and kalam (field) being used - thus both structured and unstructured places in the religious context find a mention in Thevaram.^[30]

Compilation[edit]

Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns after hearing short excerpts of Tevaram in his court.^[33] He sought the help of Nambi Andar Nambi,^[34] who was a priest in a temple.^[5] It is believed that by divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram.^[5][33] The brahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja intervened by consecrating the images of the saint-poets through the streets of Chidambaram.^[33][35] Rajaraja thus became to be known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai.^[35] Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the temple.^[35] Nambi arranged the hymns of three saint poets Campantar, Appar and Sundarar as the first seven books, Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28 hymns of nine other saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40 hymns by 12 other poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the labours of the 63 nayanar saints and added his own hymns as the 11th book.^[36] The first seven books were later called as Tevaram, and the whole Saiva canon, to which was added, as the 12th book, Sekkizhar's Periya Puranam (1135 CE) is wholly known as Tirumurai, the holy book. Thus Saiva literature which covers about 600 years of religious, philosophical and literary development.^[36]

Nambi was also involved in setting musical modes for Tevaram.^[37] He accomplished this by visiting his native village of Tirunilakanta Yalpanar, where he met a woman of the Tamil Panar caste who learned the mode of divine revelation. She returned to Chidambaram with Nambi, where she sang and danced for Shiva.^[37]

In 1918, 11 more songs were found engraved in stone temple in Tiruvidavayil in a village close to Nannillam and it was the first instance found where Tevaram verses were found in inscriptions.^[38]

In culture[edit]

Tevaram was one of the sole reasons for converting Vedic ritual to Agamic puja followed in Shiva temples.^[39] Though these two systems are overlapping, Agamic tradition ensures the perpetuation of the Vedic religion's emphasis on the efficacy of ritual as per Davis.^[39]Odhuvars, Sthanikars, or Kattalaiyars offer musical programmes in Shiva temples of Tamil Nadu by singing Tevaram after the daily rituals.^[40] These are usually carried out as chorus programme soon after the divine offering. The singing of Tevaram was followed by musicals from the music pillars in such temples like Madurai Meenakshi Amman Temple, Nellaiappar Temple and Suchindram.^[41] The singers of these hymns were referred as Tirupadiyam Vinnapam seyvar or Pidarar from the inscriptions of Nandivarman III in the Tiruvallam Bilavaneswara temple records. Rajaraja deputed 48 pidarars and made liberal provisions for their maintenance and successors.^[35] A few earlier records give details about the gifts rendered to the singers of Tevaram from Parantaka I of the 8th century.^[35] A record belonging to Rajendra I mentions Tevaranayakan, the supervisor of Tevaram and shows the institutionalisation of Tevaram with the establishment of a department.^[35] There are records from Kulothunga Chola III from Nallanyanar temple in South Arcot indicating singing of Tiruvempavai and Tiruvalam of Manickavasagar during special occasion in the temple.^[35] From the 13th century, the texts were passed on to the Odhuvars by the Adheenams or mathas and there was no more control by the kings or the brahmanas.^[9] The Odhuvars were from vellala community and were trained in ritual singing in Tevaram schools.^[9]

Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of the Tirumurai primarily had references only to Tevaram and subsequently expanded to 12 parts.^[42] One of the first anthologies of moovars hymns called the Tevara Arulmuraitirattu is linked to Tamil Saiva siddhantha philosophy by grouping ninety-nine verses into 10 categories.^[42] The category headings are God, soul, bond, grace, guru, methodology, enlightenment, bliss, mantra and liberation - correspond to Umapthi's work, Tiruvarutpayan.^[43]Tirumurai kanda puranam is another anthology for Tirumurai as a whole, but primarily focuses on Tevaram. It is the first of the works to refer the collection of volumes as Tirumurai.^[43]

Notes[edit]

1. ^Ignatius Hirudayam, 'Canonical Books of Saivism and Vaishnavism in Tamil and Sanskrit' in the St. Thomas Christian Encyclopaedia of India, Ed. George Menachery, Vol.III, 2010, pp.16 ff.
2. ^Cutler 1987, p. 4
3. ^Zvelebil 1974, p. 92
4. ^Knight 2010, p. 294
5. ^ ^abcCort 1998, p. 178
6. ^Sabaratnam 2001, p. 24
7. ^Sabaratnam 2001, p. 25
8. ^Schüler 2009, p. 32
9. ^ ^abcKhanna 2007, p. xxii
10. ^ ^abKhanna 2007, p. 53
11. ^ ^abcdeSabaratnam 2001, p. 26
12. ^N.Subramaniam (1975). Social and Cultural History of Tamilnad (to AD 1336). Ennes Publication Udumalpet 642 128. p. 277.
13. ^Harman 1992, p. 24
14. ^Prentiss 1999, p. 43
15. ^Encyclopaedia of Jainism, Volume 1, page 5468
16. ^The History and Culture of the Indian People: The classical age, page 330
17. ^ ^abcdZvelebil 1974, p. 95
18. ^Sages Through Ages - Volume V: India's Heritage.P.74.K. K. Nair
19. ^Dr R. Nagasamy, Siva Bhakthi Chapter 3Archived 6 October 2007 at the Wayback Machine
20. ^Dr R. Nagasamy, Siva Bhakthi Chapter 2Archived 22 October 2007 at the Wayback Machine
21. ^ ^abVasudevan 2003, p. 13
22. ^ ^abcdefZvelebil 1974, p. 96
23. ^'Glossary'. TempleNet. Retrieved 10 January 2007.
24. ^'Abodes of Shiva'. Indiantemples.com. Retrieved 10 January 2007.
25. ^ ^abCallewaert 1994, p. 199
26. ^ ^abcdAiyangar 2004, p. 35
27. ^Sabaratnam 2001, p. 27
28. ^ ^abAiyangar 2004, p. 34
29. ^ ^abSabaratnam 2001, pp. 27–28
30. ^ ^abcdPrentiss 1992, pp. 51–52
31. ^'A comprehensive description of the 275 Shivastalams glorified by the Thevaram hymns'. templenet.com. Retrieved 11 January 2011.
32. ^International review for the history of religions, Volumes 15–17. International Association for the History of Religions, CatchWord (Online service)
33. ^ ^abcCulter 1987, p. 50
34. ^Xavier Irudayaraj,'Self Understanding of 'Saiva Siddanta' Scriptures,' in The St. Thomas Christian Encyclopaedia of India, Ollur [Trichur] 2010 Ed. George Menachery, Vol. III, p.14 ff.
35. ^ ^abcdefgVasudevan 2003, pp. 109-110
36. ^ ^abZvelebil 1974, p. 191
37. ^ ^abCulter 1987, p. 192
38. ^Ayyar, p. 23
39. ^ ^abCort 1998, p. 176
40. ^Ghose 1996, p. 239
41. ^Bhargava 2006, p. 467
42. ^ ^abPrentiss 1992, p. 140
43. ^ ^abPrentiss 1992, p. 144

References[edit]

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• 'Carnatic music'. Encyclopædia Britannica (15 ed.). 2005.
• 'Classical Notes: Musical people'. The Hindu. Retrieved 10 January 2007.
• Cort, John E. (1998). Open boundaries: Jain communities and culture in Indian history. Albany: State University of New York Press. ISBN0-7914-3786-8.
• Cutler, Norman (1987). Songs of experience: the poetics of Tamil devotion. USA: Library of Congress Cataloging-in-Publication-Data. ISBN0-253-35334-3.
• Das, Sisir Kumar; Sāhitya Akādemī (2005). A history of Indian literature, 500-1399: from courtly to the popular. chennai: Sāhitya Akādemī. ISBN81-260-2171-3.
• Eliot, Charles. Hinduism and Buddhism, Vol II. (of 3). Middlesex: Eco Library. ISBN978-1-4068-6296-6.
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Further reading[edit]

• Swamigal, Thirugnana Sambandar. 'campantar tEvAram -1 part 1, patikams 1-66'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Thirugnana Sambandar. 'campantar tEvAram -1 part 2, patikams 67-136'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Thirugnana Sambandar. 'campantar tEvAram -2 part 1, patikams 1-60'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Thirugnana Sambandar. 'campantar tEvAram -2 part 2, patikams 61-122'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Thirugnana Sambandar. 'campantar tEvAram -3 part 1, patikams 1-66'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Thirugnana Sambandar. 'campantar tEvAram -3 part 2, patikams 67-125 & later additions'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Tirunavukkarasu. 'tEvAram of tirunAvukkaracu cuvAmikaL tirumuRai 4 part - 1 Poems(1-487)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Tirunavukkarasu. 'tEvAram of tirunAvukkaracu cuvAmikaL tirumuRai 4 part - 2 Poems(488-1070)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Tirunavukkarasu. 'tEvAram of tirunAvukkaracu cuvAmikaL tirumuRai 5 part - 1 Poems(1-509)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Tirunavukkarasu. 'tEvAram of tirunAvukkaracu cuvAmikaL tirumuRai 5 part - 2 Poems(510-1016)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Tirunavukkarasu. 'tEvAram of tirunAvukkaracu cuvAmikaL tirumuRai 6 part - 1 Poems(1-508)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Tirunavukkarasu. 'tEvAram of tirunAvukkaracu cuvAmikaL tirumuRai 6 part - 2 Poems(509-981)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Sundaramurthi. 'tEvAram of cuntaramUrti cuvAmikaL tirumuRai 7, part 1 Poems (1-517)'(PDF). projectmadurai.org. Retrieved 13 December 2011.
• Swamigal, Sundaramurthi. 'tEvAram of cuntaramUrti cuvAmikaL tirumuRai 7, part 2 Poems (518-1026)'(PDF). projectmadurai.org. Retrieved 13 December 2011.

External links[edit]