E book

on Archa
by Anbil Ramaswamy

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 How did they “see” God’s Archa body?

PREFACE

We gratefully acknowledge the authors who have helped in shaping this write up like those mentioned
below and hereby express our heartfelt thanks to them for the invaluable help.

AAP: “Amalan Adi Piraan” of TiruppaaN Azhwar

DRA: D. Ramaswamy Ayyangar – Pub: Visishtadvaita Pracharini Sabha, Chennai 17 (1970)

NRA: N. Ramaswamy Ayyangar – Pub: Azhwargal Amuda Nilayam, Chennai -2 (1987)

SPH: Steven Paul Hopkins-“Singing the body of God” Pub: Oxford University Press (2002)

Swami Vedanta Desika’s works:

- BDS: Bhagavad Dhyaana SOpaanam

- DNP: Devanaayaka Panchaasat
- ACS: Achyuta Satakam

VNRD: Vangeepuram Navaneetam Rama Desikachariar Swami Pub: The Little Flower co, Chennai 17
(Reprint: 1993)

VNVD: Vangeepuram Navaneetam Vedanta Desikan Swami, Pub: Srimath Andavan, Sri
Poundareekapuram Swami Asramam, Srirangam.

Some “Quotable Quotes” to ponder:

1. PaaN’s poem is in Tamil “mother tongue” while Desika’s is in “Father Language”- Sanskrit. (A.K.
Ramanujan)
2. Andal and PaaN Azhwar are the only 2 Saints who are said to have one day merged into the sanctum
icon at Srirangam
3. “We see in Desika’s poem a union of intellect and emotion, philosophy and poetry; the sensual and
intellectual dimensions of wisdom” (SPH Page 8)
4. “In Desika’s poem, we see a relationship between poetry and philosophy, Tamil and Sanskrit, Local
and Pan-regional, Cosmopolitan and Vernacular, Sacred and Secular Divine presence in absence; this
worldly and heavenly that are not in “pure” opposition but are complementary” (SPH Page 11)
5. “The realms of experience and intellection, and cognitive are held together in one synoptic gaze; they
are both equally fundamental and primordial” (SPH Page 145)
6. The accent in Amalanadipran seems to be on passivity, the poet having been entered, filled, ravished,
and taken captive. God both possesses and is possessed by the devotee. As A.K. Ramanujan puts it
“The reciprocity is carried all the way, the eater is eaten, the container is contained” (SPH Page151)
7. “They are ‘bodies’ of God, perceptible forms, vividly sensual and immediate for the worshipper,
objects of often highly eroticized devotion. In their vividness they serve to underscore the concrete
and willing presence of God in the sacred place. They are that sublime, transcendental and pan-
cosmic reality – in all its forms – embodied in a beautiful particular icon-body (archamurthi”) (SPH
Page 238)

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8. The author of the VaDakalai manipravala narrative translates Ghantaavataara as TirumaNi Azhwar,
“Holy bell Azhwar” (master) So, Desika shares in Azhwar status with the earlier generation of Tamil
Saint-poets. But he is far from an Azhwar, strictly speaking (SPH Page 237)

Hope you will enjoy these postings.

Please favor me with your valuable feedback at your earliest convenience.

Dasoham

Anbil Ramaswamy

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 How did they “See” God’s Archa Tirumeni? - Part 1

The Lotus feet

AAP (1)

THE LOTUS FEET OF LORD RANGANATHA

Amalan aadipiraan aDiyaarkku ennai aaTpaDutha

Vimalan ViNNavar-kOne viraayaar pozhil VEnkatavan
Nimalan ninmalan neethivaan avan neeL Madil arangath-ammaan* – Tiruk
Kamala Paadam vandu enn kaNNIluLLana okkinravE
Simple meaning:

The Azhwar employs ten epithets describing the Lord. Even a reading of the epithets with their meanings
would invest a palladium to our parched world-ling life.

1. Amalan: He is pure;
2. Aadipiraan: He is the primordial cause of the worlds;
3. aDiyaarkku ennai aaTpaDutha: He made me a slave to his slaves;
4. Vimalan: He is blemish less
5. ViNNavar-kOne: He is the Lord of Nityasooris
6. viraayaar pozhil VEnkatavan: He stays in the fragrant grove of Tiruvenkata mountains;
7. Nimalan: He is easily accessible with his grace
8. ninmalan: He is blemish-less with unparalleled brilliance and turns a blind eye to our faults;
9. neethivaan avan : He presides over Paramapadam in which righteousness reigns supreme
10. neeL Madil arangath-ammaan: It is this Lord who reclines as the “sleeping beauty” in the long and
lofty ramparts of Srirangam where his consorts comfort his lotus feet that have “come” and
“entered” into my eyes.” says the Azhwar.

PiLLai Naraiyur Araiyar explains why the Azhwar who wanted to enjoy the beauty of Ranganatha sang
first about Tiruvenkatam-uDaiyaan. “It is because the Lord came down from SrivaikuNTam first landed at
Tirumalai and finally arrived at Tiruvarangam” (NRA)

It may be noted that this first verse starts with a reference to Azhwar’s eyes and ends in the
last verse with another kind of reference to the same eyes. (DRA)

Swami Vedanta Desika has elaborated this “Tirukkamala Paadam” in his Bhagavad Dhyaana Sopaanam
in Sloka 2:

“vELaateeta Sruti parimaLam vEdasaam mouLi sEvyam

Praadurbhootam kanaka sarita: saikatE hams jushTE/
Lakshmee bhoomyO; karasarasijai: laalita Rangabartu:
Paada ambhOjam pratipalati mE Bhaavanaa deerghika ayaam//”
V.N. Rama Desikachar Swami observes that unlike other Lotuses that emerge from mire, Lord’s feet
that spread the fragrance of Vedas, Brahma and other celestials adorn on their heads and are softer than
the gentle palms of PiraaTTis . They are lodged in the holy Tiruvarangam between the two holy rivers of
Kaveri and KoLLiDam where Acharyas known as “hamsas” (swans) love to live.

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The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

1. “Tiruk Kamala paadam”

There are two ways of enjoying the body of God - One from TirumuDi to TiruvaDi. The other one is from
TiruvaDi to TirumuDi. For example,

Brahma started his praise of Lord Varadarajan with words “KireeTa kEyooraka Ratna kuNdalam” and
ended with “NikunchitOttaanita paada yugmam”

Swami Vedanta Desika starts his “Mei Virata Maanmiyam” with the words “iru paridi iyainda
maguDamum” and ends with “ulagaDaiya ninra KazhalgaLum”

Azhwar has compared Lord’s feet to “lotus”. Is this appropriate?

H.H. Jeeyar answers: Lotus may have beauty, coolness, blossoming etc like Lord’s feet but it can
blossom only during daytime and in sunshine; after some days, it will also fade away. But, Lord’s feet
blossom always and will never fade.

By saying “ammaan – Tiruk Kamala Paadam”, Azhwar says that we need no other feet meaning feet of
Kshudra Devatas and their votaries – (Not the votaries of our Lord!).

Lord’s feet are not only “paavanam”- (removing our defects) but also “bhOghyam” (enjoyable). In the
world we see that “Pancha-gavyam” removes “doshams” but is not pleasant to taste. Liquor may be
tasteful at first but cannot remove defects but on the other hand, will instill defects!

Swami Vedanta Desika in his Parama Pada SOpaanam Praapti Parva refers to Lord’s feet having the
marks of conch and disc and are like the upper cloth adorning the Vedas meaning that the fragrance of
Vedas permeates his feet.

Pey Azhwar in his 3rd Tiruvantaadi 88 asks people not to waste their time debating whether it is good
or bad but to take refuge in Lord’s feet that would instantly obliterate all sins of all those who seek
refuge. Thus, “Paavanatvam” of Lord’s feet is explained.

Periyaazhwar in 1.7.6 while admiring the perfect alignment of Lord’s toes reminds us as to how Lord as
Krishna stamped the entire Aayarpaadii with the marks of conch and disc engraved at the bottom of his
feet and purified the whole place.

The Lord’s feet are pleasurable not only for us but for himself also. Vedas say that honey is dripping from
Lord’s feet. As if to enjoy this honey, he puts his toes into his mouth donning the role of a baby reclining
on a banyan leaf, at the time of the great deluge.

Acharyas used to joke that he wanted to test what ambrosia is there in his feet that people fall at them
and this is the reason for this test.

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Nammaazhwar in Tiruvoimozhi 6.2.9 refers to how when Krishna destroyed the sand- castles built by
the Gopis their anger was transformed into love on seeing the marks of conch and disc etched at the
bottom of his feet. With his feet, the Lord prevents us from distraction like destroying the sand castles
and grants us immeasurable and permanent happiness.

Andal also refers to Lord’s feet as “potraamarai aDiyE pOtrum PoruL kElaai”

Sloka 2 lists 4 epithets for the Lord’s “Lotus feet”

(1) vElaateeta Sruti parimaLam: Limitless fragrance. It is a tribute to Tamil Veda that does not have
any Sastraic restrictions and exclusions which Sanskrit Veda has. Its fragrance is further enhanced
by the VakuLa flowers of Namm Azhwar. Yaadhavaabhyudaya 1.72, reveals a complementary
concept: GaruDa is said to bear the feet of the Lord, which exude the fragrance of Veda to the
very Veda-embodiment, (VEdaatamaa VihagEswara) GaruDa himself!
(2) Vedasaam mouli sevyam: Brahma was born from the lotus stemming from Lord’s navel.
And, even though he is a “padmaasana” (seated on a lotus), he bows at the lotus feet of PerumaL.
(3) Hamsa jushTE: The word “hamsa” refers to ascetics who delight in residing in the clear and
pellucid streams of waters of Kaveri in Srirangam.
(4) Lakshmee bhoomyO: karasasijai: laaLitam: The Lotus feet of Lord is already gentle and delicate
but are also gently fondled and caressed by the softer palms of Lakshmi and Bhoomi
Thaayaars.(VNRD & VNVD)

Deiva Naayaka Panchasat:

“Deivanaayaka!

• Your lotus feet touched a mere stone and brought to life Ahalya whom you restored to her
husband
• your lotus feet tuned a piece of charred wood in the womb of Uttara and breathed life and created
a prince in Pareekshit (41).

The illustrious halo of your toes looks like the petals blossoming out of your lotus feet May these enslave
me and rid me of my intellectual penury. (42)

Your toe-nails once and once upon a time touched River Ganga which became acquired fame because of
that. But GaruDa River here flows incessantly with constant connection with your toenails (43).

Your lotus feet have the marks of Vajraayudam, banner, ankusa, pot of nectar, conch, disc, royal
umbrella, kalpaka tree, lotus-flower, festoons, fish etc to prove that only you are the PurushOttaman
whom Brahma and other celestials genuflect and bow. Pray, you bless us by placing your lotus feet upon
our heads (44)

The dust at your feet removes sins and makes one eligible for Moksha eliminating the need for any
recourse to elaborate yoga exercises (45) (VNRD & VNVD)

Achyuta Satakam:

Oh! Adiyavarkku meyyanE!

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 • Once upon a time, Mahabali granted you three feet of earth. Then you grew in unimaginable size
and measured all the worlds.
• Brahma bathed your foot that transcended up to his Satya lOka.
• This water flowed from your foot as River Ganga sanctifying all living beings in all the worlds
besides decorating like flowers on the crown of the Veda Upanishads (43) (VNRD & VNVD)

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

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 How did they “See” God’s Archa Tirumeni? - Part 2

The crimson cloak

AAP (2)

Uvanda uLLathanaai ulagam aLandu anDamura

Nivanda neeN uDiyan anru nErnda nisaa-chararaik
Kavarnda venkaNaik kaaguttan kaDiyaar pozhil arangathammaan
Araich Chivanda AaDaiyin mEl senradaam enn chintanaiyE
Simple meaning:

With a joyful mood and adorning a high crown on his head, the Lord suddenly grew up to unimaginable
form to measure the three worlds. Once as Rama (Kaakutsta), he decimated the Rakshasas with his sharp
arrows. He is today reclining in Srirangam. My mind has run after and riveted itself to the crimson cloak
that he dons.

In Verse 1, he mentioned how the Lord’s feet entered (vandu) his eyes (kaNNinuLLana); here, he says
how his mind (Chintai) went over (senradaam) to Lord’s crimson garment. The Lord first showed him
the “ruchi” taste of his feet; now having tasted it, the Azhwar now raced to taste the accoutrement worn
by the Lord.

This is like a mother cow feeding the calf that did not know how to suckle at her udder and having
learned to taste the milk rushes to the mother cow for a further dose of milk even if the mother cow is not
willing to feed (AAA)

The word “senradaam” suggests that the Azhwar himself was not aware about his vagabond mind running
after the garment and that he suddenly discovered that such a thing has happened!

It also suggests how his mind was running after so many mundane dresses in the past and distracted him
but has now got attached to the glorious crocus-colored dress of the Lord. The color of the moolavar is
like “maragatam” (emerald) and the reddish Pitaambaram around his waist is like a supernal nimbus of
“maanikkam” (carbuncle).

The earlier part of the verse relates to Trivikrama and Rama Avataras, implying that they are the same as
this Ranganatha.

“Uvanda uLLam” means joyful mood.

Why this joy?

It is because the Lord was touched by Mahaabali’s munificence and liberality despite his Guru’s advice and
because he was the descendent of Prahlaada, his prime devotee.

“NeeL muDi”- because the crown worn by him as his coif pieced the upper regions. Rama is here referred
as “Kaakut-sthan” because Rama was a descendent of Soorya-Vamsa king who earned the sobriquet by
riding on the hump “kakuth” of a bull. (DR)

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The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

HH

Arai Sivanda AaDai

Did the Azhwar give up enjoying the lotus feet of the Lord? No.

Swami Desika explains that after enjoying the red lotus feet, naturally Azhwar’s mind leaped on to
another red exhibited by Lord’s waist cloth. When Krishna disappeared for a while from the midst of
Gopis, they determined not to speak to him again. But their determination turned into admiration as he
flaunted his red garment before them.

Sukhabrahmam mentions this in Srimad Bhaagavatam thus:

”Taasaam aavir abhoot SourE: smayamaana mukaambuja: /

Peetaambara sraghvee saakshaath manmata manmata: //

For the Lord’s dark colored Tirumeni a blue colored upper cloth will not be a match. Only a
red one would suit is Tirumeni.

ILangO aDigal in his Silappadikaaram also describes TiruvenkaTamuDaiyaan as a dark cloud wearing
lightning as a garment.

Namm Azhwar enjoys the red waist cloth saying in his Tiruvaasiriyam “sekkar maamugil uDuttu”.

Why red?

Swami Desika says that when the Lord crushed Madhu and KaiTaba by squeezing them with his thighs,
the blood of the demons would have splashed on Lord’s dress making it look blood-red.

Swami Desika in Parama Pada SOpaanam describes how a liberated soul would look at the red dress
of the Lord in Paramapadam.

Namm Azhwar in Tiruvoimozhi 3.1.1 also refers to this:”paDi jyOdi aadaiyODum palkalanaai ninn
paim ponkk aDi jOthi kalandaduvO”

The dress of young and beautiful ladies may be attractive but only for a short period. When they grow
old, the same dress may not look attractive. But the Lord’s attire would always be charming as he would
remain an eternal youth. Perhaps, this is the reason why when Krishna was born, he appeared wearing
his landmark red Peeta-ambaram.

BDS, DNP and ACS:

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Swami Desika in BDS Slokas 3 and 4, DNP in Slokas 37 to 40 and ACS Slokas 40 to 42 (after
describing the lotus feet), straight away goes to describe knee shanks (jaanu), knee joints (Janghaa)
golden girdle (kaanchee), and thighs (except by way of passing reference to Peeta-ambaram as a cover to
the thighs (Ooru-yugmam) and ornamental waist girdle (kaanchee kirana) without making any mention
about Peeta-ambaram.

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

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 How did they “See” God’s Archa Tirumeni? - Part 3

The shining navel

AAP (3)

Mandi paai vaDa vEnkaTa maa malai – VaanavargaL

Sandhi seyya ninraan - arangathu aravin aNaiyaan
Andi pOle nirathu aaDaiyum adhan mEl ayanaip paDaithad Ore ezhil
Undhi mEladu anrO aDiyEn uLLathin uyirE
Simple meaning:

The Lord recumbent on the serpent couch in Srirangam is the Lord who stood on the great vEnkaTa
mountain in the north where monkeys run hither and thither – and where the celestials meet him. On the
twilight colored raiment of the Lord with the shining navel above it that created the four faced Brahma,
rest my sweet soul.

In the northern mountain of TiruvEnkaTam, male monkeys excitedly hop from one branch to the other.
This is in Tirumalai where the Lord stands and receives the worship by Nitya Sooris with handful of
flowers. The Peetaambaram that the Lord wears is of the red color of Sun at Sunrise and at Sunset Above
that is the shining navel of the Lord which created the four faced Brahma. My mind and soul have rested
on this wonderful navel. (NRA)

One can “see” clearly the navel and the lotus blossoming from it and showing how Brahma emerged from
there, when the Lord is in a reclining pose (Sayana TirukkOlam). This is not that clear when he stands
(ninra TirukkOlam) or sits (Veetrirunda TirukkOlam). So, pointed attention is drawn and focused to the
“arvain aNai” on which the Lord lies stretched.

The reference to monkeys jumping may be taken to mean fickle-minded persons jumping from one
material pleasure to another restlessly and ceaselessly. My mind was engaged in monkeying with worldly
pleasures all these days but it has now got fixed up in one place – the shining navel of the Lord.

The reference to the red garment in this verse is significant because it is like twilight with its ruddy glow.
The morning glow destroys darkness and bestows Jnaana. The evening glow puts an end to the three
miseries called Taapa traya and brings in its wake coolness, quiet and peace. (DR)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

H.H

Ayanai PaDaitha undhi: “Naabee” means “navel”. What is so great about it?

It created the creator, the four-faced Brahma. All Pramaanams attest to this fact. For ordinary folk it may
be difficult to understand but when they “see” the vigraham of the Lord showing his navel from which

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the so called creator sprang up, people will understand without any doubt that the Lord is indeed the
“creator of the creator” and he cannot be equated with the “created” deities.

Namm Azhwar in “Periya Tiruvantaadi” 72 confirms this: “Some say that there are three entities -
Brahma- VishNu- Sivan who are the progenitors of the worlds; others say that there is one above all these
three who can be considered so. In reality, it is your navel that created Brahma and Siva.

“mudalaam tiru uruvam moonru enbar – onrE

Mudal aagum moonrukkum enbar – Mudalvaa!
Nigarilagukaar uruvaa ninnagathu anrE? /
pugarilagu taamaraiyin Poo”
Ala Vandaar also asks: “ajanishTcha kasya naabhE:” meaning “Think for a moment from whose navel
this world was born. You will get the answer”

H.H. also refers to the Peetaambaram that the Lord wears is of the red color of Sun at Sunrise and at
Sunset and above which the “shining navel” of the Lord created the four faced Brahma.

Usually, a mother’s beauty is said to fade after her giving birth to her baby. That way, the beauty of the
Lord must also fade after giving birth to Brahma. On the other hand, the dazzling charm of the Lord is
seen enhanced after this “Birth of Brahma”

Koorathaazhwan in Vardaraja Sthavam describes the navel of the Lord as a river of beauty flowing
from his chest all the way down and when it reaches the navel seems to be curling, swirling and whirling
deep.

Andal describes the Naabee kamalam as “koppozhil ezhu kamalap poo Azhagar”

Why Azhwar uses for the first time the word “aDiyEn”?

It is not because he had realized through Saastras about his “Daasatvam”. The charm of the navel makes
him describe him as “aDiyEn”

It may be of interest to note that while in Srirangam we can “see” the reclining PeriyaperumaaL and
standing NamperumaaL while we can see only in the standing pose in both Moolavar and Utsavar in
Tirumalai.

BDS Sloka 5:

“SampreeNaati pratikalam asou maanasam mE sujaataa

Gambheeratvaat kvachana samayE gooDa nikshipta viswaa /

NaaLeekEna spurita rajasaa vEdhasO nirmimaaNaa

Ramyaa Avartata dhyuti saha charee Ranganaathasya naabhi: //

Swami Desika while comparing the navel to swirling waters in the river adds that the flower-pollen of
the lotus sprouting from the navel creates not one but innumerable Brahmas and imparts a salvific feeling
to his mind every moment.

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The swirl in the navel is lovely. The lotus springing from it is rich in pollen. Is not the Lord called
“Bhuvanasya naabhi:”? Naabhi is the generator. What does it declare?

It declares in unambiguous manner that “Ranga” is really the “natha”. It generates Brahma popularly
known as the generator (VNVD)

DNP:

Deiva naayaka! Why are you called “Deva-naayakan”? It is because the pollen in the lotus arising from
your navel creates several celestials starting with Brahma. They enjoy governing powers of varying
degrees. All of them come here to Tiruaheendrapuram and stand bowing before you. That is why you are
called Devanaayakan. (VNRD & VNVD)

Naakousasaam prathamataam adhi kurvatE tE

Naabhee sarOja rajasaam pariNaama bhEdaa: /
Aaraadhayatbhi: iha tair bhavata: sameechee
virOchitaa vibudha naayaka iti abhikhyaa: // (Sloka 36)
ACS:

The lotus stemming from your navel shows the four-faced Brahma as a beetle (bramara) resting on it.
This lotus also duplicates as the footpad for Lakshmi to step on whenever she chooses. (VNRD & VNVD)

Nabheeruham tava naLinam, bhujagEswaranagara naatha sObhatE subgam /

Madhya stitha brahma Bhramaram , vatsaasana lakshmee paada peeTa sadrusam // (Sloka 39)

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

13
 How they did the “See” God’s Archa Tirumeni? -Part 4

The Midriff and the Waist Band

AAP (4)

Sadura madil soozh ilangaikku iraivan talai pathu

Udira vOTTi Ore VenkaNai uythavan Odavannan
Madura maa vaNDu paaDa maamayil aaDa arangathammaan tiru vayirru
Udara bandham enn uLLathuL ninru ulaaginradE
Simple meaning:

He drove away the King of Lanka fortified on all the four sides with strong and immense ramparts and
who finally felled all the 10 heads of Ravana with special powered sharp weapons. He has a cool and calm
countenance like the great ocean.

Who is this?

He is Lord Ranganatha who rests in Srirangam where peacocks dance in tune with the sweet humming of
bees. The waist band around his midriff has arrested my mind and immobilized it. (NRA & DRA)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam)

HH:
The midriff asks: “What is so great about the navel? It bears only one Brahma. See!
I am bearing the entire world including all the Brahmas, the sentient and insentient and the navel itself.
Now tell me who is greater?”
ALa Vandaar also asks “kasya udarE hara- virinchi mukha: prapancha?”
At the time of deluge who holds the entire Prapancham?
I hold them all in safe custody during the great deluge and I release them for another lease of life at the
start of the next kalpa.
Paraasara BhaTTar praises the tummy saying that there are 3 folds in the tummy.
What do they represent?
They represent 3 kinds of sentient beings, 3 kinds of insentient things.
Also, when mom YasOda wanted to bind the Lord, where did she tie him?
It is only on his tummy.
It is to hide the consequent scar that he wore a waist band. Almost all Azhwars have sung paens of praise
mesmerized by his act of stealing butter and getting punished.

{My comments: The only defense attorney for Krishna was TiruppaaN Azhwar. Though he said “VeNNai
uNDa vaayan” (One who ate butter), he did not say “veNNai TiruDi uNda vaayan” (one who stole butter
and ate it)!}

Namm Azhwar as Parankusa Nayaki is enamored by this tummy of the Lord and says “sitriDaiyum,
vaDivum paaviyEn munn nirkumE”

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Swami Desika in Parama Pada SOpaanam echoes Namm Azhwar’s surprise in Tiruvoimozhi
10.8.2 and is also aghast at how the Lord is still not sated even after gulping all the seven seas, seven
worlds, seven mountains etc quoting “kaar Ezh, kaDal Ezh, Malai Ezh ulaguNDum aaraa vayirraan”

Swami Desika in Muni Vaahana BhOgam says “DaamOdaram bandha-gatam” meaning that if one
remembers this tied tummy, one will not be tied down to “Samsaara”

BDS:

In Sloka 4, SVD makes only a passing mention about “Peeta-ambaram” (Kshouma akLishTam) and the
waistband (kaanchee kiraNa) inter-alia with Lord’s thighs that serve as pillows for PiraaTTis. The Sloka
reads:

Kaamaa raama sthira kadalikaa sthambha sambhaavitam

Kshouma akLishTam kimapi kamalaa Bhoomi NeeLOpadaanaam/
Tyanchat kaanchee kiraNa ruchiram nirvisati Ooru yugmam,
LaavaNyougha dvayam iva matir maamikaa Ranga yoona://
DNP:

Viswam nigeerya vibudEswara jaata kaarsyam

madhyam vali traya vibhaavya jagad vibhaagam
AamOdi naabhi naLina stha virincha bhrungam,
Aakalpayat udara bandha ivaasayO mE // (Sloka 35)
Oh! Devanatha! At the time of deluge you gulped down the entire universe and kept it in your tummy.
Still, your stomach seems to be starving!

The three folds in your tummy seem to show distinctly the three worlds that you have gulped. Brahma
who sprang from the lotus stem arising from your tummy looks like a bee sticking to the lotus petal. My
mind is bound inextricably around this tummy. (VNRD and VNVD)

ACS:
Sankalpa Chandra kshubda, triguNO udadhi vipula Buddha prakarai: /
Brahma-aNDair api bharitam tava kinkara-sathya kasmaan nu krisaam udaram // (Sloka 38)
When the ocean sees the rising moon, it tries to rise as if to touch the moon. In the process it throws up
any number of bubbles. You are a veritable moon and the ocean of Prakriti consisting of Sattva, RajO and
TamO guNas rises and throws up many universes. I do not know why even after gulping all these
universes, your tummy seems to be famished with hunger. (VNRD and VNVD)

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

15
 How did they “See” God’s Archa Tirumeni? -Part 5

The Charming Chest

AAP (5)

Bhaaramaaya Pazha Vinai Patraruthu ennai thun,

vaaram aakki vaithaan, vaithadanri ennuL pugunthaan
GOra maa tavam seidanan kol ariyEn arangathammaan Tiru
Aara maarbadu anrO aDiyEnai aat koNDadE (Sloka 5)
Simple Meaning:

By cutting asunder my heavy load of sins accumulated over several births, the Lord has made me his
loving entity. Not only that. He has actually entered my heart. I do not think that I have done any
strenuous penance to deserve this. But, I know this much. It is the charming chest of the Lord of
Srirangam adorned by Mahaalakshmi and Vaijayanthi garland that has captivated me. (NRA & DRA)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

HH

Why is Lord’s chest so charming?

It houses two important principles.
✓ Koustuba gem that represents Atma tattvam (sentients) and
✓ Srivatsam mole that always represents Prakriti or AchEtana tattvam (Insentients) unlike the
tummy that holds them occasionally.
The tummy appears as if supporting the four-faced Brahma seated on a lotus, but this Brahma has long
ago vacated this seat and gone to Satya lOka for carrying on his family obligations with Goddess
Saraswati, leaving the lotus alone.

But the chest holds Thaayaar Mahaalaksmi always as vouched by her “akalagillEn iraiyum enru alarmEl
mangai urai maarbaa”. It is not as if she left the lotus, her permanent seat with unmatched softness,
coolness, and fragrance.

If she were to prefer the Lord’s chest it shows how charming it is even to Thaayaar. If PiraaTTi were not
there, even Paramaikaanthis would not bow before the Lord. See what the Azhwar says: “tiruvillada
dEvarai tErEn min dEvu”

It is the broad and strong chest of the Lord that can hold all the heavy load of ornaments. Nowhere else
so many ornaments would be made to adorn the Lord. Even if all the ornaments were removed even
temporarily, Thaayaar will never be removed because she has made Lord’s chest as her permanent
abode.

Paraasara BhaTTar in Sri Rangaraja Sthavam - Poorva Satakam -111 attests to this fact.

16
No doubt, YasOda tied Krishna with a knotted string and the scar is still seen on the tummy of the Lord
even today. But what happened?

The Lord wore a mEkalai (waist band) to conceal this scar. What he proudly exhibits are the Aaamai
thaali, (Tortoise nail), Tiger nail etc that were also bestowed on him by his mother as part of garland that
he wears on his chest to be seen by one and all unlike the concealed scar!

Paraasara BhaTTar in Sri Rangaraja Sthavam - Poorva Satakam -111 attests to this fact.

Azhwar is surprised on how the Lord made him a slave by exhibiting his charming chest. Whereas one
must do intense penance to get to view this charm, it appears as if lying between the two rivers in
Srirangam, the Lord appears to be doing this humicubation and intense penance to get at the Azhwar!

Sri Sooktam while describing Thaayaar says “hiraNya praakaaraam” meaning that she is safely protected
by a rampart made of pure gold. Normally ramparts are made of stones and never made of gold. The
golden jewels adorning the chest verily become such a golden rampart.

ThonDar adIppoDi Azhwar in Tirumaalai 20 says that the Lord has used so many tricks to trap
Bhaktas like the flowing torrents of Kaveri River, his emerald figure, broad shoulders, lotus like eyes, coral
lips, beautiful hair-do and his own brilliance etc. But PaaN Azhwar says that all these were not necessary
in his case. His very chest was enough to entice and enslave him.

Swami Vedanta Desika in Paramapada SOPanam also mentions about all these and especially the
charming chest as attracting the attention of the Bhaktas.

BDS:

srivatsEna prathita vibhavam sree pada nyaasa dhanyam,

madhye baahvOr maNi vara ruchaa ranjitam ranga dhaamna: /
saandra chaayam taruNa TuLasee chitrayaa vaijayantyaa,
santaapam mE samayati dhiya: chandrik udaara haaram // ( 6)
The mole “Srivatsam” showcases the glory of Lord’s chest.

• It is the recipient of grace because it is the abode of Periya piraaTTi , the stain of red mark of
whose feet sanctify it further.
• The chest that bore the hit of Brigu can as well withstand the rough mind of ours!
• The “Koustuba” gem’s red glow imparts a rubric hue to the chest. Has he not assigned a room for
the Jiva side by side with his consort?
• Garlands of assorted flowers called “Vaijayanthi” and the green “TuLasi” lend a verdant glow and
the pearl necklace endows a bright halo to the chest.
• It is this chest that holds me and obliterates all my miseries. (VNRD & VNVD)

DNP:

durdaanta daitya vichikha kshata patra bhangam

veerasya tE vibudha naayaka baahu madhyam /
Sree Vatsa Koustubha ramaa vana maalika angam,
chinta anubhooya labatE charita arthataam na: // (32)
Oh! Deivanaayaka!
17
 • The insignia of fights on your chest received from the arrows aimed at you by the demons appear
as ornamental color decoration.
• The blue Srivatsam (a hair cluster) ,
• the blazoning Koustubam,
• the golden colored PiraaTTi and
• the green colored Vaijayanti garland- all add to your chest a multi-colored luster.
• You are indeed a great warrior. Repeatedly looking at your charming chest, I feel that I have
achieved my long-cherished goal.

VarNa kramEna vibhudhEsa vichitrata angee,

smEra prasoona subhagaa vana maalika iyam /
hridhyaa sugandhi rajahat kamalaa maNeendraa,
nityaa tava spurati moorthi iva dveeteeyaa // (33)
The Vanamaala with blue, white, red and yellow that you wear on your chest looks like another TirumEni
by itself. Your own TirumEni is wonderful in that from it emerged Brahmins (from Face), Kshatriyas (from
arms), Vaisyas (from thighs) and Sudras (from feet). Your chest adorned by Koustubam, Srivatsam and
Periya PiraaTTi add beauty and sweetness for your TirumEni. Like your TirumEni, Vanamalau is also there
forever. Like you, Vanamaalai is also sweet and spreading aroma all round (sarva gandha: sarva rasa:)
That is why Vanamalai on your chest looks like another TirumEni. (VNRD & VNVD)

ACS:

Maahaatmyam tava maheetam maangaLikam TuLasee Koustubha pramukhaaNaam /

Achyuta sthira darsayatee lakshmee lakshaNa subhagam // (36)

• The combination of Koustubham and Periya PiraaTTi lend an extraordinary spectacle of beauty to
your chest.
• Added to that, the garlands of TuaLasi, Vaijayanthi Vanamalai and pearl necklace firmly adorn your
chest and thereby earn their own brilliance.
• Anyone “seeing” this will have no doubt that you are indeed SarvEsawaran.
• Your chest thus is enchanting, imposing and over-possessing, signaling to all the worlds your
greatness as the Supreme Lord. (VNRD & VNVD)

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

18
 How did they “See” God’s Archa Tirumeni? - Part 6

The Gorgeous Gullet

AAP (6)

TuNDa veN piraiyan tuyar theerthavan anchiraiya,

vaNDu vaazh pozhil soozh aranganagar mEyavappan
aNDaraNDa bagiraNDath oru maanilam ezhumaal varai
mutrum uNDa GaNDam kaNdeer aDiyEnai uyyakkoNdadE
Simple meaning:

The gorgeous gullet of Lord Ranganatha that ingested the entire universe has redeemed me.

The grandeur of the neck and chest had now moved up to his gullet! Lord Siva has a crescent moon on
his head.

It is Emperumaan who relieved him of the curse of carrying the skull of his father, Brahma. This
Emperumaan is now taking well-earned rest after gulping down the entire universe including all the
regions of celestials, the outer universes, the huge Prakriti, the seven Kula Parvatas and the seven seas
etc. It is this gorgeous, gargantuan gullet that has taken hold and saved me. (NRA & DRA)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

HH

The neck is now declaring its greatness.

No doubt, the chest displays heavy ornaments.

But what really bears them is the neck. If the neck were not there, how could the chest ever think of
displaying the ornaments?

The chest will not even be aware of the weight and will not know what strain is involved in bearing them.

While the neck that really carries the weight, the chest does nothing more than merely exhibiting without
feeling the strain and gets credit!

The strength of swing rests on its weakest link. Only if it is strong enough people can sit and be sure and
confident of their safety. Likewise, it is the neck that ensures safety of Thaayaar who sits on the lotus
shaped golden pendant that the Lord wears.

When the PiraaTTi embraces the Lord, her hands are around his neck - not his chest.

In those days, when a message must be sent to someone, they used to hang a written palm leaf around
the neck of the messenger. This is how Krishna carried the message as a messenger of the PaNDavas.

19
If the tummy holds the entire world, it is because the throat allowed the world to move
peristaltically down to the tummy.

If the gullet does not allow this, it would not be possible to reach the tummy. So, like PerumaaL, the neck
plays a significant role in preserving the worlds.

Tirumangai Azhwar attests to this.

Azhagiya MaNavaaLa PerumaaL Naayanaar agrees and says:

“Ramayatu maam sa KaNTa:”

Swami Vedanta Desika in Varada Raja Panchasat Slokam 47 gives a beautiful description saying
that when the Varada wakes up from his slumber on AdisEsha, the first thing that catches the eyes of
Swami is this neck and requests him to give him Darsanam in that form.”Indraayaa: kanaka valaya
mudraam kaNTa dEsE dadaana:”

Swami Vedanta Desika in Muni Vaahana BhOgam also refers to the same sentiment.

No other deity could gulp down the entire universe at the time of the great deluge for safekeeping and
release it at the time of the next creation time.

In fact, there is no deity that has not been through the saliva of the Lord.

(uNDu umizhnda echil dEvar allaadaar taam uLarE)

Those who wish to serve Emperumaan in Paramapadam wish to hear from his majestic and sweet voice
his commands to assign any task that he desires.

Bhagavad Ramanuja in his VaikuNTa Gadhyam expresses similar desire:

“kadaa maam Bhagavaan sva keeyayaa ati seetaLatayaa drusaa avalOkhya

Snigda Gambeera Madhurayaa Giraa paricharyaayaam aagjnaapayishyati”

DNP (Sloka 28)

padmaalayaaa valaya datta sujaata rEkhE,

tvat kaanti mEchakita sankha nibhE matir mE/
vismEra bhaava ruchiraa vanamaali kEva
kaNTE guNi bhavati Deva patE tvadeeyE //
Oh! DEiva naayaka! This mind of mine, looks at and heartily enjoys your neck which bears the insignia,
auspicious with three streaks marked by the impress of the bangles on the arms of Mahaalakshmi when
she fondly embraced you fast (very tightly). It is also like and equal to the conch that has, however, been
darkened by the black complexion of your body. This neck makes me wonder struck. I am smiling with
great relish, on looking at it with a love to adorn even like the Vanamaala garland on your shoulders. Also,
the spotless white conch seems to impart you a kind of bluish livid tint to your body. Please bless me with
your unfading form as above like your Vanamaalai garland that never fades. (VNRD & VNVD)

ACS: (Slokam 37)

20
 Nirvisati gachchat taapO,
DEva janO DEva naayaka vidhi pramukha: /
SeetaLa saandra prabhootaam chaayaam
tava vipula baahoo kalpa drumaaNaam //
Oh! DEiva Naayaka! Brahman, Sivan, Indran and other deities offer their orison and seek your protection
whenever they are tormented by Asuras. You protect them with your strong shoulders and make them
happy. Those who are tormented by heat seek the shades of huge banyan trees and get relief from the
oppressive heat. Your four long and hefty arms can be pictured as the renowned Kalpaka tree in full
foliage giving out cool and refreshing shade to those unable to bear the heat of Samsaara. We, humans
have an additional benefit, namely “Moksha”

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

21
How did they “see” God’s Archa Tirumeni -Part 7

The Lovely Coral Lips

AAP (7)

Kaiyinaar suri sankhanal aazhiyar neeL varai pOl

Meyyanaar TuLaba viraiyaar kamazh neeN muDi yemm
Aiyanaar aNi Aranganaar aravin aNai misai mEya Maayanaar
Seyya vaai Aiyo! Ennai chintai kavarndaduvE
Simple Meaning:

Tiru Arangan holds in his hands the conch with swirls and the blazing disc. His body is like a long range of
mountains. He wears the fragrant TuLasi garland. He is my Lord. His lying on his serpent bed is like bright
gems studded on glowing golden base. His bewitching smile on his lovely lips is so ravishing and
irresistible that I am really at a loss (AiyO) as it has taken complete possession of my senses.

In this verse, the Azhwar implies that Ranga-natha is indeed Sri VaikuNTa-natha. It is said that
when Ananthaazhwaan asked BhaTTar whether VaikuNTanathan has 2 arms or 4 arms, BhaTTar
replied: You can enjoy both in Srirangam. With 2 arms, it is Periya Perumaal; with 4 arms, it is Namm
PerumaaL”

This verse contains a more meticulous description of the Lord’s Tirumeni than was contained in the earlier
verses. The reference to the Lord holding conch and disc in his hands will befit only the Utsava murthi
(Festival image) standing in front. The Moolavar has only two arms, the right hand pillowing his head and
the left stretched up to the knee. May be the Azhwar had noticed the two marks of Conch and disc in
those two hands.

Next, the long and majestic Tirumeni presents itself to the eyes of the Azhwar like an elongated mountain
range that terminate in a dazzling crown. Lovingly, the Azhwar refers to the Lord as “Emm Ayyanaar” –
our savior and Protector. But, this feeling of ebullience does not last long because the mind is now
captured and carried away by the dulcifying lovely coral lips. Half in ecstasy and half in anguish, the
Azhwar cries out “AiyO”. The coral lips and reddish mouth have caught hold of his mind and left him no
means of continuing to enjoy what he has been enjoying so far. How cruel of those lips! (NRA & DRA)

“Such stories speak the emotional language of human love – of playful union and misery of separation; of
blissful innocence and passionate fidelity – brought to bear upon the divine and human partners” (SPH
Page 150)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

HH:

TiruppavaLa SEvvaai: It is true that at the time of the great deluge the world will be saved when it
courses through throat on to the tummy of the Lord. But, if the mouth is shut and the lips are tightly
22
closed how the world can take this route? The lips act as the first gateway for the world to reach the
throat and then to the tummy.

Namm. Azhwar in Tiruvoimozhi 6.1.1 very clearly expresses this saying “ulagamuNDa Peru Vaayaa”
He did not say big throat but only big mouth.

It is the mouth that reassures those who surrender to the Lord saying “Do not fear”. The “Abhaya Mudra”
on his palm may also do the same but only after the sinner comes near. But the lips that give out the
messages of fearlessness like “abhayam Sarva bhootEbhya: dadaami yetat vratam mama” and “Sarva
paapEbhyO mOkshayishyaami” etc come first from the mouth - soon on seeing the devotee even at a
distance.

ANDAL asks in her Tirumozhi 7.1 regarding the enjoyable nature of the lips,

“karpporam naarumO kamalappoo naarumO?

TiruppavaLa sevvaai taan TithithirukkumO?
Sometimes, even the disc has to leave the Lord’s hand when asked to combat enemies but the Conch is
never separated from him and is ever ready to taste the sweetness of Lord’s lips.

Swami Vedanta Desika in Muni Vaahana BhOgam also refers as to how the lips enchanted Azhwar’s
mind.

Namm Azhwar says that fruits generally appear raw at first and become reddish when they are ripe
enough to be eaten. But, later they will fade away. But, the lips of Emperumaan are always enjoyable and
never fade out.

Namm Azhwar in Tiruvoimozhi 7.7.3 refers again to the coral lips and says whether his own ripe
fruits of long standing heinous sins have taken this shape (if such a shape sins can take!) because
wherever he turns they seem to chase and torment him. “How can I escape this torture?” he asks:

Valiyadu Ore kani kol? viLaiyaaTTiyEn val vinai kol?

kOlam TiraL pavaLak kOzhundu undan kolO? ariyEn/
Neela neDu mugil pOle Tiru mEni ammaan toNDai vaai
Elum disaiyuL ellaaam vandu Tonrum enn inn uyirkkE//
Namm Azhwar in Tiruvoimozhi 3.5.4 says that Lord with his the coral colored lips, took the 7 fierce
“bulls by the horn” and killed them to claim the hands of Nappinnai wearing a garland of flowers. The Life
of one who cannot appreciate this scene is sheer waste.

“vambula vizh kOdai poruTTu maal viDai Ezhum aDartha,

sem pavaLa tiraL vaayan sireedaran tol pugazh paaDik/
kumbiDu naTTam ittu aaDi kOgu kaTTuNDu uzhalaadaar
tam pirappaal payan ennE Saadu JanangaLiDaiyE//
Swami Vedanta Desika in Para PadaSopaanam Praapti Parva describes how the mukta enjoys the
lovely coral lips of the Lord on reaching Paramapadam.

Swami Vedanta Desika in Devanayaka Panchasat (25) catalogues those that tasted his lips saying
they look like the sprouts of youthful Paarijaata tree. The cowherd girls who were without any knowledge
of Tattvas, the insentient flute, the conch and now his own Buddhi, the girl friend have enjoyed them.

BDS (Sloka 8)
23
 Saabipraaya smita vikasitam chaaru bimba adharOshTam,
duhkkha abaaya praNayini janE doora datta Abhimukhyam /
kaantam vaktram kanaka tilaka alankritam rangabartu:
svaantE gaaDam mama vilagati svaagata udaara nEtram //
This one stanza covers both Lord’s mouth and his eyes in one go. The smile on Lord’s face reveals God’s
favorable disposition towards his devotees. The Upper and lower lips are of lascivious reddish color like
the “kOvai” fruit which looks as if the Lord is showing his kind glance even from a distance.(VNRD &
VNVD)

Paraasar BhaTTar in Sri Rangaraja Sthavam – Poorva 69 experiences that the Lord can speak
without words from the mouth – that is by gentle smile and sweet glance.

The golden sacred mark that he sports on his forehead bestows an aura to his entire face. The majesty of
his eyes extends a cordial welcome and seems to beckon us to his side. This holy face has left an indelible
impression in my mind.

DNP (Sloka 27)

aaruNya pallavita youvana paarijaatam,

aabheera yOshi tad anubhooya mamathya naatha/
vamsEna sankhapatinaa vha nishEvitam tE,
bimbaa adharam sprusati raagavatee matir mE //
Oh! Deiva Naayaka! Your lips shine with a red glow. Your eternal youthfulness is like the eternal divine
Paarijaatam sprouting its color on your lips. Those who enjoyed such lips are guileless bucolic Gopis, your
flute, and the never separated conch and last but not least my mind, a damsel in love, with great delight
and expectation (VNRD & VNVD)

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

24
 How did they “see” God’s Archa Tirumeni?- Part 8

The Gracious glance

AAP (8)

Pariyan aagi vanda avuNan uDal keeNDa amararku

ariya Aadipiraan Arangathathu amalan mugathu/
kariyavaagi puDai parandu miLirndu sevvari ODi neeNDa app
periyavaaya kaNGaL ennai pEdamai seidanavE//
The eyes of Tiruvarangan have made me a fool. When the gigantic HiraNyakasipu tormented his own son,
Prahlaada, the Lord took a fierce form as Nrisimha and tore him to pieces. Even the celestials were scared
to look at that fierce form (amararku ariya) but he was so accessible to Prahlada, his devotee. It is this
Nrisimha who is lying here in Srirangam with his long, black and beautiful eyes brimming with Vaatsalyam
(motherly fondness). His graceful glance has pushed me into a deep stupor.

In contrast to the lips, the eyes are dark (kariyavaagi). They are so broad like a lotus in full bloom. They
are so long as to spread up to the very ears like the blossoming lotus. (puDai Parandu). They are
twinkling and lustrous having a rare ethereal glow of charm and grace. They have red streaks that
pronounce at once his supremacy and maternal affection. Unlike Nrisimha whose grace was showered on
Prahlada only, the grace of Ranganatha’s eyes is a permanent feature readily available even to us to this
day. It has robbed me of my individuality. (NRA & DRA)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

HH: Sage Vyasa says

“Jaayamaanam hi pourusham yam pasyEn Madhusoodana: /

Saatvikasya tu vigjnEya: sa vai MOkshaartha chintaka://)
meaning:
One who is blessed with the ever vigilant argus-eyed glance of Madhusudana at birth will be a Satvik
desirous of Moksham. So, the prime cause of our salvation is this graceful glance of the Lord.

What happens when one gets a glance from Brahma or Siva?

One will be steeped in RajO and TamO guNas and will never get out of the ocean of Samsaara as attested
by the same sage Vyasa:

“pasyat Enam jaayamaanam Brahmaa RudrO athava puna: /

rajasaa tamasaa cha asya maanasam sama abhiplutam//”
Even the spoken word might turn out to be untrue. In Krishnavataara, the Lord who vowed through his
plighted words not to take up weapons actually did take up weapons against Bheeshma. Of course, these
cunning words were spoken in the context of decimating enemies.

25
The same cannot be applied when Lord extends protection to devotees. There is always a difference
between glances in different contexts. Once he pledges to save a devotee, he will never renege on that
promise like “Dadaami Etad vratam mama”, “mOkashyishyaami” etc.

How to differentiate this? Look at my eyes. They will show the difference, says the Lord.

Namm Azhwar in TVM 6.7.10 attests to the fact that it is Lord’s eyes that show him to be the master
of the entire universe “AnaithuLagum udaiya aravinda lOchanan”

There are numerous references to Lord’s eyes:

In Matsya Avatara, his eyes are described as “matsya: kamala lOchana:”

In Varaaha Avataara he is described as “Mahaa Varaaha: spuTapadma lOchana:”

In Ramavatara, “RamO rajeeva lOchana:”

Soorppanakha while identifying Rama says “PuNDareekaaka Visaalaa aksha”.

AnjanEya describes Rama as “raama: kamala patra aksha:”

In Krishnavatara “Krishna: kamala Patra aksha:”

Droupati while crying for help refers to his eyes (not any other limb)

“GOvinda! PuNDareeka aksha! Raksha! Maam”

Having seen these wonderful eyes holding such enrapturing hold on him, Azhwar does not wish to go
beyond.

Namm Azhwar in Tiruvoimozhi 7.3.3 also was in a similar predicament. He says that he is “Taamarai
kaNgaLukku atrru teerndum”

ALaVandaar in Stotra Ratnam asks “ka: PuNDareeka nayana? ”

While establishing the Supreme deity he asks who is the Lotus eyed? pointing only to his eyes.

Have you ever heard of a flower blossoming from another flower?

When this question was put in half a Sloka by King BhOja, KaaLidaasa who was incognito sent a reply
looking at the face of his lady-love “Yes. It can be seen in your face which itself is a flower and your eyes
have blossomed from your face”. It is in this vein that the Azhwar says that “Lotus eyes” of the Lord
blossomed form his “Lotus face”

Paraasara BhaTTar in Ranga Raja Sthavam Poorva Stakam 98 answers the question why
Ranganatha’s eyes grow long enough to reach his ears?

If Ranganatha also has the same number of 2 eyes like Paramapadanathan (where Nityasooris constantly
look at him) or like Vyuha murthi in milky ocean (where Sanaka and such Jnaanis alone can see) or as
Rama and Krishna in Vibhava (where only some contemporaries could see) or Antaryaami (where only
those doing yoga could see) - the eyes wanted to occupy his entire body so that all jivas could see. For

26
this purpose, he eyes tried to occupy first the nearest organ, ears (like Kings wishing to expand their
empire first occupy their nearest kingdoms). This would only be helpful to the Lord who has vowed not to
get up from his bed until and unless the numberless Jivas attain his TiruvaDi.

Namm Azhwar in Tiruvoimozhi 1.9.9 said that if the gracious glance of the Lord were to fall on him
all his defects would be obliterated and he will acquire Jnaanam. TiruPPaaN Azhwar, however, says that
because of the glance that blessed him, whatever knowledge he had has also vanished! (periyavaaya
kaNGaL ennai pEdamai seidanavE)

Swami Vedanta Desika in Paramapada SOpaanam, describes how the eyes transformed those who
claimed to be “EeswarO-aham” into saying “DaasO-aham”

BDS (Sloka 8)

Saabipraaya smita vikasitam chaaru bimba adharOshTam,

duhkkha abaaya praNayini janE doora datta Abhimukhyam /
kaantam vaktram kanaka tilaka alankritam rangabartu:
svaantE gaaDam mama vilagati svaagata udaara nEtram //
DNP (Slokas 24 and 25)

Aalakshya satvamati vEladayOt tarangam,

abhyarthinaam abhimata prati paadanaarham/
snigdhaayatam prathima saali suparva naaatha,
dugda ambu dhEra anukarOti vilochanantE// (24)
Viswa abhirakshana vihaara krita kshaNai: tE, /
Vaimaanika adhipa viDambita mugdha padmai://
AamOda vaahibhi: anaamaya vaakhya garbhai: /
Aardree Bhavaami amruta varsha nibhai: apaangai:// (25)
Oh! Deiva Naayaka! Your eyes are like the milky ocean. The ocean is full of species that live in water.
Your eyes are overflowing with mercy provide a sweet home for all beings. The milky ocean has waves
that seem to breach the shores. Your eyes exude mercy that seems to breach all norms and eager to
grant the wishes of all seekers. (24)

Your concern for all the beings in all the worlds is evident from your eyes that reveal your eagerness to
readily descend down in incarnation forms and undergo all travails for the sake of good souls. Your
gracious glances shower copious rains of mercy on your devotees. (25)

(VNRD & VNVD)

ACS (SlOka 35)

Parihaasa poorNa chandram padma sadrusa prasanna lOchana yugmam /

sankalpita duritaani api sam smrutam harati daasasya tava mukham //
Your beautiful countenance with gracious eyes that attract attention of all and seems to mock at the full
moon even in spite of all its brilliance. Your face shines as the just blossomed lotus flower and dispels
even the sins deliberately and conscientiously committed if those sinners just think about you in
meditation.

Not that he will ignore them. By giving light punishment, he will nullify the effects of such sins. (VNRD &
VNVD)
27
 How did they “see” God’s Archa Tirumeni?- Part 9

The Quintessence of pulchritude

AAP (9)

Aalamaa maratthin ilai mEl oru baalaganaai,

jnaalam ezhum uNDaan arangathu aravin aNaiyaan
kOla maa maNi aaramum muthu taamamum muDivilladu Ore ezhil
Neela mEni Aiyo! Nirai koNDadu enn nenjinaiyE
Simple Meaning

The color of Tiruvarangan’s Tirumeni wholly plundered my whole being. During the great deluge, after
devouring all the 7 worlds and kept them in his tummy, the Lord rested on a small banyan leaf as if he
was an orphan without father or mother to take care of him! (vaTasya Patrasya puTE sayaanam).

It is this Lord who now is reclining on his serpent bed in Srirangam. His garland made of precious stones
and pearl necklace shine with an unparalleled brilliance. His blue tinted Tirumeni is like blue water lily
(karu neithal flower) and it has plundered my whole mind, my thought and my entire being. What can I
do? I am so perplexed and cry (AiyO)

(NRA & DRA)

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)

HH

In verse 7 Lord’s Tirumeni was long range of mountains (naaL varai pOle). In this it is endless range
(muDivillata Oru Ezhil). For Azhwar, there appears that there is nothing else except that TirumEni. Do the
ornaments that bestow beauty to TirumEni or are it is the other way round?

Swami Vedanta Desika seems to have named two of his works as “AdikaraNa SaaraavaLi” and
“Taatparya RatnaavaLi” in the light of the description of these ornaments.

Sage MarkaNDeya was the only one who had special permission to “see” and worship the Lord on the
banyan leaf with all the worlds in his tummy like what YasOda “saw” in Krishna, the child. He seems to
have exchanged the banyan leaf bed for the more cozy and comfortable AdisEsha couch in Srirangam.

AiyO: Azhwar is pained at the Lord taking away the only means of enjoyment, his mind and thereby
depriving him the possibility of further enjoyment. Hence,”AyyO!”

“Such stories speak the emotional language of human love – of playful union and misery of separation; of
blissful innocence and passionate fidelity – brought to bear upon the divine and human partners” (SPH
Page 150)
28
Namm Azhwar’s “AyyO” is of a different kind.

In TiruVoiMozhi 5.1.1: “AyyO! kaNnapiraan araiyO ini pOnaalE” .

Imagining that the Lord might leave him alone, he cries out “AyyO!”

Namm Azhwar in Tiruvoimozhi 8.9.1 says: The Lord is like a dark lustrous massive sized mountain
like person. When looking at his chest with Lakshmi, the mouth, the eyes, the hands, the navel, the feet,
the garments – all conflate to appear reddish. It looks as if a spate of red lotuses is occupying the
whole surface of the pond.

“My Lord and master residing in Tiruppuliyur of KuTTanad amidst fertile field has caught the imagination
of this damsel. She does not ask anything but the Lord’s name and his exploits. Oh! Elders! What am I to
do for this?”

Karu MaaNikka malai mEl maNi tadan Taamaraik KaaDugal pOle

Tiru maarvu vaai kann kai Undhi kaal Udai aadaigal seyya piraan/
Tirumaal emmaan sezhu neer vayal kuTTa naaTTu Tiruppuliyoor
Aru maayan pEr anri pEchilaL, Annaimeer! Idarkku enn seigEnO?
BDS:

Swami Vedanta Desika devotes 2 Slokas to describe the inter-animation of all the limbs decorating the
Lord with PoorNa LaavaNyam:

(Sloka 10)

Paadaa ambOjam sprusati bhajatE ranganathasya janghaam,

Ooru dvandvE vilagati sanai: Oordvam abhyEiti naabhim /
vakshasi aastE valati bhujayO: maamikaa iyam maneeshaa,
vaktra abhikhyaam pibati vahatE vaasanaam mouLibandE //
My Buddhi is a girl who has fallen in love with Tiruvarangan.

• She touches his lotus feet gently; then, she moves up to his shin with devotion
• submerges herself in the charm of his thighs
• Rising from there, she approaches his navel
• then reclines on his broad chest
• then she swirls around his sturdy shoulders.
• then she drinks in the loveliness of his graceful face.
• Finally, she reaches his tiara and loses herself.

(Sloka 11)

Kaanta udaarai: ayam iha bujai: kankaNa jyaa kiNa ankai:

Lakshmee dhaamna: prutuLa parighai lakshita Abheeti hEti:/
agrE kinchit bujaga Sayana: sva atmana Eva aatmana: san,
madhyE rangam mama cha hridayE vartatE saavarOdha://
In this verse, the whole Tirumenis of both Moolavar and Utsavar of Ranganatha are enjoyed together in
his numinous personality.

29
His hands embossed with the scars of PiraTTi’s bangles as she embraced him and which act as a
protective shield for her, with disc and other weapons that reassure protection to devotees from all fear
simply submerge me in admiration. The Moola TirumEni and the Utsava Tirumeni along with Ubhaya
naichimaar rest not only in Tiruvarangam but also in my mind.

The ultimate result is that Periya PerumaaL with his Adisesha bed and his weapons and Namm PerumaaL
with his consorts have entered my heart to stay permanently. What a blessing for me!

Why does he carry weapons?

It is to dispel any fears on the part of the devotee and to assure that the Lord is ever ready with his
weapons to protect him (VNRD & VNVD)

DNP: (Sloka 14)

Bhoosha Aayudai: adhigatam nija kaanti hEtO:,

bhuktam priyaabhi: animEsha vilOchanaabhi:/
pratyanga poorNa sushamaa subhagam vapu: tE
drishTvaa drisou vibhudha naatha na tripyatO mE //
Oh! Deiva naayaka! As your every limb is brimful of beauty, there is no need for you to adorn any
ornaments. It is because the ornaments acquire charm and effulgence by associating with your Tirumeni,
they come to you to be accommodated. Jewels merely hide the beauty of the body.

Similarly, as the entire universe remains conquered by you, you have no need for weapons to fight
anyone. Yet, because they also want to acquire charm and effulgence by associating with your Tirumeni
they come to you to be accommodated. It is such a Tirumeni that your PiraaTTis look at constantly
without winking. Having seen your Tirumeni, my eyes also are not satisfied and wish to “see” it
constantly. (VNRD & VNVD)

ACS: (Sloka 29)

Akumaara youvana stithim aheendrapura naatha abhimatam anuroopam /

nityam svabhaava siddham srooyatE soori sahitm sukham (subham) tava roopam //
Oh! Lord of Aheendrapura! In the world, it is seen that a person graduates gradually from childhood to
youth due to their karma. But, your Tirumeni remains forever young and never becomes old. This is
because of your Sankalpam. It is in tune with your Svaroopam and your Tiru uLLam. Your palatable
Tirumeni is equally palatable to the eternal “Nitys sooris” in “Nitya Vibhooti” who constantly “see” and
worship. Such a Tirumeni is constantly praised by the . Vedas (VNRD & VNVD) This very Tirumeni is now
reclining here in Srirangam.

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

30
 How did they “see” God’s Archa body?-Part 10

I “see” only you! Will “see” nothing else!

AAP (10)

koNDal vaNNanai kOvalanaai veNNei

uNDa vaayan enn uLLam kavarndaanai,
aNDarkOne aNI arangan enn amudinai
kaNDa kaNgaL matru onrinai kaaNaavE
Simple Meaning

Azhwar says in a peroration of his theody that having seen Ranganatha’s bewitching beauty, his own eyes
will see nothing else. Unlike other Azhwars, he did not mention about his name, place or the number of
verses in his magnum opus, master-piece work. He seems to have forgotten even about himself. The
moment he finished singing this song he physically merged in the Archa form of Lord Ranganatha. He
says that the Lord who drank the entire waters of the oceans settled down in Srirangam like the dense
blue-black cloud. He took birth as the son of a cowherd and ate to his heart’s content all the butter he
could.

Periya VaachaanPiLLai says that even to this day, as one enters the sanctum of Srirangam temple
(Garbha Gruham), one could catch the scent of butter (if one’sr olfactory faculty is good enough).

He devoured my mind as with as much avidity as devouring butter in spite of his being the Lord of all
(aNDar kOne). He is the omni-parent of the entire Universe. He is the master of . Nityasuris

Namm Azhwar says that he showed himself in the process of stealing butter without hiding anything
“Vaigalum veNNei kaikalandu uNDaan poi kalavaadu enn mei kalandaanE”

He is not nectar-like but the most delectable nectar itself for me. Unlike the nectar obtained during the
churning of the milky ocean to be tasted by the tongue, this nectar is to be enjoyed through one’s eyes.

Having seen such nectar, my eyes will not “see” anything else.

Swami Vedanta Desika also says that he who enticed the Gopis and was easily accessible in
Brindavanam is now majestically lying in Srirangam on his serpent couch.

This Prabandham started with visual enjoyment and ends with another visual enjoyment. All eyes are
capable of “seeing” all and sundry. They cannot be called “kaNDa KaNgal”

The eyes that “see” the only thing that is “see-able” can be called so.

In fact, the Azhwars’ eyes did not “see” anything else thereafter as he became merged in Lord
Ranganatha.

The following are based on excerpts from “Part 3: “Aaraada arul amudam’ of “Eraar
GuNamum Ezhil Uruvum” by H.H.45th PaTTam Azhagiya Singhar, who blessed me with a
signed copy of the book 0n 5th July 2002 for use in Websites). My anantha kOti PraNaamams
to this Mahan, at whose feet I had the bhaagyam of learning Grantha ChatushTayams in his
Poorva Asramam) (hereafter referred as HH)
31
HH:

On seeing the way people lived an immoral low life in other places the Azhwar wanted to stay away from
them.

On seeing his own lowliness in the Caste hierarchy, he wanted to stay away from Srirangam.

On seeing the pristine devotion, the Lord wanted to go meet with him but in his Archa form he had taken
a solemn vow that he will not act or say anything repugnant to his iconic position (asankEtam-
anaalaapam). So, he could not go to the Azhwar. He thought over how to get him. He decided to depute
someone who was equally a Bhakta to fetch the Azhwar. That was Lokasaaranga muni who the Lord
ordered to carry the Azhwar to the temple. Though the Azhwar was hesitant to ride on the shoulders of
the Brahmin Muni, he agreed to do so when told that it was Lord’s order. So, the Azhwar came to be
known as “Munivaahanar”

Swami Vedanta Desika in Muni Vaahana BhOgam says that the Azhwar employs several epithets to
describe Ranganatha:

(1) koNDal vaNNan: He is like the rain bearing cloud ever ready to shower his blessings on all. While
rain pours only water PerumaaL showers his anugraham on all without any distinction. He has
Oudaaryam (benefactor)
(2) kOvalanaai veNNei uNDa vaayan: As PerumaaL is fond of Aasritas, he likes only those items that
they like. That is why he ate butter which was dear to the cowherds. To dispel any doubt whether
the Lord would be accessible to us, he refers to the bucolic rustic girls with whom he rubbed
shoulders as Krishna and ate the butter made by them. Thus, he proves his Soulseelyam (being
friendly with the lowly)
(3) enn uLLam kavarndaanai:

Namm Azhwar in Tiruviruttam 21 describes how the Lord conceals himself in the smoke screen
created by Dhoopam when Nitysuris offer it and takes a quick detour to YasOda’s place to taste the
butter. Like the butter that the cowherd girls made, Azhwar’s Tiru uLLam is also equally enjoyable to
the Lord. That is why he is “uLLam kavarndaan”

(4) aNDarkOne: So far, the Lord’s Souseelyam was described. Azhwar proceeds to describe his
Paratvam saying that he is the Lord of all Devas including Brahma, Siva, Indra and others
(5) aNI arangan He will move with us in this Prakriti maNDalam itself – even in this very Srirangam
(6) enn amudinai; He is sweet to those who worship him in Paramapadam and Kseeraabdi, Aditya
MaNdalam etc. which could be tasted only by those who reside there. He is “Parama Bhoghyan”
even for us also here in Srirangam.
(7) kaNDa kaNgaL: While others who desired so many other things had to take enormous effort to get
and taste the nectar after strenuous churning of the milky ocean, Azhwar says he could get
“PoorNa anubhavam” of the nectar with absolutely no effort on his part because he desired only
Bhagavaan and nothing else. It may be noted that in all the earlier verses, he used the word “My”
but in this he has dropped it and simply says “KaNgal” and not “Enn KaNgaL”
(8) matru onrinai KaaNaavE; After seeing this “Samudaaya Sevai” he wanted to again sing from
TirumDi to TiruvaDi but felt inadequate to do so. Azhwar seems to say that he would not care to
“see” even the Brahma, Rudra and other Nityasuris who surround the Lord in Paramapadam.
32
Concluding Remarks

Almost all Azhwars in a chorus gleefully label Krishna as the “butter thief” and rejoice in the anubhavam
of his “stealing butter” These delerious anubhavams are as varied as they are colorful – all sung in their
excitement over his “soulabyam” (compassionate accessibility) of the Lord camouflaging his “Paratvam”
(Omnipotence)

Now, let us see what is “stealing” or “theft”

“Stealing” or “theft” implies taking another’s property illegally or without right.

When all the worlds, all the sentient beings (Chits) and insentient things (achits)
without any exception are the properties of Bhagavaan, it goes without saying that
“butter” is also his property.

When he takes his property, there can be no issue of theft here.

The only Azhwar who came to be the “defense attorney” for Kannan was “TiruppaaN
Azhwar” who concluded his “Amalan Adi piraan” thus:

veNNai uNDa vaayanai, enn uLLam kavarndaanai /

enn amudinai kaNDa kaNgaL matronrinaik kaaNaavE//
He did not use the word “tiruDi uNDaan” “steal” or “theft”. He merely said that the Lord ate
butter veNNai uNDa vaayanai. Immediately, the Azhwar issued a correction slip saying “enn
uLLam Kavarndaanai” meaning what the Lord devoured was not butter but his “uLLam”. “uLLam”
is an upa-lakshaNam (representative expression) for “Atma”. Bhagavaan took back only the Atma
which in any case belonged to him only.

Therefore, there is no question of any “theft” here and no need for him to take
anyone’s permission to do so.

- King Janaka laid a challenge through the Siva Dhanus in Sri Sita's marriage;
- Kumbar, the Aayar Chief laid a challenge in the form of the 7 bulls in the marriage of
Nappinnai;
- But Vishnuchitta laid no challenges in the marriage of his daughter, Andal because of his
obvious conviction that in due time, “the owner would claim what he owned”

Here Lord Krishna claimed what he owned. No question of theft!

Also, stealing implies that the act was done without others noticing it. But, Nityasuris are always
seeing him without winking “Sadaa pasyanti Sooraya:” In fact, Krishna took butter in broad
daylight and when the Gopis were witnessing the act.

Again, No question of theft!

On the other hand, it is we who are guilty of theft because we think all the time that
our soul belongs to us while in reality, it belongs to the Lord, until we do “Bhara
SamarpaNam” or “SaraNaagathi”.

33
Even a mere thought that something belongs to us when in reality it belongs to
someone else, is itself act of “theft”. Therefore, our thinking of our Atma as belonging
to us constitutes an act of “theft”

CONCLUSION: KRISHNA DID NOT STEAL BUTTER

When we stand before the icon of the Lord at the temple, let us remember these anubhavams
of Azhwars and Acharyas. We may be able to imbibe at least a fraction of their “enjoyment of
the body of God”

Concluded.

34