• Aug 20, 2020  The Expert Series on COVID-19 - Download PDF. The Moovar Thevaram. Gnana Sambandar’s poem is incomparable, containing an amazing record of.
  • Feb 17, 2020  திருஞானசம்பந்தமூர்த்தி நாயனார் அவர்கள் சைவ சமயத்தவர்களால் நாயன்மார்கள் என்று அழைக்கப்பட்டவர்.

Feb 01, 2020  Thevarams are devotional hymns sung in praise of Shiva by the 3 Nayanmars: Sambandar, Thirunavukkarasar and Sundarar. Rendered in an ancient musical style that precedes most Indian classical music systems, these songs give us an insight into the wave of bhakti that swept across southern India during the 7th Century. In this album, children of Isha Samskriti have rendered a select few Thevaram.

Sambandar (Wooden Image), ASI Museum, Vellore
Personal
Born
6th-7th century
Sirkazhiswaram,
Pandya Empire (present
Sirkazhi, Tamil Nadu, India)
ReligionHinduism
Philosophy
Religious career
Literary worksTevaram
HonorsNayanar saint, Moovar

Sambandar or Thirugnana Sambandar (Tamil: சம்பந்தர்) was a young Saiva poet-saint of Tamil Nadu who lived around the 7th century CE.[1]

He is one of the most prominent of the sixty-three Nayanars, TamilSaivabhakti saints who lived between the sixth and the tenth centuries CE. Sambandar's hymns to Shiva were later collected to form the first three volumes of the Tirumurai, the religious canon of Tamil Saiva Siddhanta. He was a contemporary of Appar, another Saiva saint.[2]

Life

Pdf
Amirthakadaieeshwarar temple relief depicting Appar bearing Sambandar's palanquin

Information about Sambandar 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 Sundarar 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 Sambandar, all that survive out of a reputed more than 10,000 hymns.[3]

According to the ancient texts, Sambandar was born to Sivapada Hrudiyar and his wife Bhagavathiar who lived in Sirkazhi in what is now Tamil Nadu. They were Saivitebrahmins. When Sambandar was three years old his parents took him to the Shiva temple where Shiva and his consort Parvati appeared before the child. His father saw drops of milk on the child's mouth and asked who had fed him, whereupon the boy pointed to the sky and responded with the song Todudaya Seviyan, the first verse of the Tevaram. At his investiture with the sacred thread, at the age of seven, he is said to have expounded the Vedas with great clarity. Sambandar attained liberation (mukti) in 'Mulam Nakshtara' in the Tamil month of 'Vaigasi' at the age of sixteen soon after his marriage.[4]

In the first half of the seventh century, apart from Saivism, Jainism and Buddhism were among the popular faiths in south India. The Pandyan KingKoon Pandiyan had converted to Jainism, which Sambandar had long expressed opposition to. His queen Mangayarkkarasiyar invited Sambandhar after the king fell ill.[5] According to a Saivite legend, Sambandar performed music for the king, which cured the king's disease. Later, Sambandar reconverted the king back to Shaivism.[1] The legend goes on to state that with Sambandar's consent, the king impaled around 8000 Jains.[6]

The ancient texts say that Sambandar brought two people back to life by singing hymns to them. One of those resurrected was the daughter of a business man, who offered her to Sambandar in marriage. He declined due to knowledge that he would soon die. At the age of 16, he is said to have attained salvation along with his bride during the marriage ceremony.[7][8]

Shrines

An inscription of Rajaraja Chola I at Tiruvarur mentions Sambandar along with Appar, Sundarar and the latter's wife Nangai Paravaiyar.

Temples revered

Paadal Petra Sthalams are 275[9] temples that are revered in the verses of Tevaram and are amongst the greatest Shiva temples of the continent. Vaippu Sthalangal are places that were mentioned casually in the songs in Tevaram.[10] The focus of the moovars (first three poets) hymns suggests darshan (seeing and being seen by God) within the puja (worship) offering.[11] 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 Tevaram.[11]

Tirumurai in worship services

The Child Saint Sambandar, chola bronze, 12th century India, Freer Gallery of Art, Washington DC

Tirumurai was one of the sole reasons for converting Vedic ritual to followed in Shiva temples.[12] 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.[12]Odhuvars, Sthanikars, or Kattalaiyars offer musical programmes in Shiva temples of Tamil Nadu by singing Tevaram after the daily rituals.[13] 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.[14] 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.[15] A few earlier records give details about the gifts rendered to the singers of Tevaram from Parantaka I of the 8th century.[16] A record belonging to Rajendra I mentions Tevaranayakan, the supervisor of Tevaram and shows the institutionalisation of Tevaram with the establishment of a department.[16] 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.[16] From the 13th century, the texts were passed on to the Odhuvars by the Adheenams or charitable establishments. The charitable establishments that ran on philanthropy of individuals and merchant caravans had come to be because after the 13th century, the time of ancient nation states viz. cholas etc. was finished, and the temples became only denominated, voluntary, charitable places. This is briefed by a 15th-century, chidambaram temple inscription. During the time of cholas etc. the temple hymn service workers were known as uvacchar and marars. These terms are of very ancient origin and traceable to even early sangam times.

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 and is one of the first anthologies of Tirumurai.[17] 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.[17] The category headings are God, soul, bond, grace,divine initiation, methodology, enlightenment, bliss, mantra and liberation - correspond to Umapthi's work, Tiruvarutpayan.[18]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.[18]

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Review and analysis

Sambandar Thevaram In Tamil Pdf Free

There is strong dose of anti-Jain, anti-Buddhist and in general an anti-communal polemic in Tevaram poetry of Sambandar. This is only expected as we know from accounts as to how the saint was got incarnate out to destroy the excessive wickedness and duplicity perpetrated by rogue creeds. Sambandar is clear about his hatred for the evil and duplicity of the obscure communal creeds and the same opinion is expressed in the works of other divine incarnates of that period of both saiva and vaishnava pathways.[19][20] According to Aiyangar[who?], Manickavasagar's Tiruvackam partakes the characters of Tevaram hymners before him and express more intense form of devotion. Manikkavasagar, like Sundarar and Sambandar before him does not mince words while criticising the misinformation campaign of Sramana (Buddhist and Jain) communal creeds and in many places of Tiruvasagam calls them senseless, duplicitous, deceitful and falseful (poy samayattar).[21] The fervor of utterances, the appeals to God by the Tamils do not find clear expression in other part of India.[22]

Sambandar's stone image is worshiped in almost all Shiva temples of Tamil Nadu. A Chola bronze of Sambandar with a height of 52 cm (20 in) in standing posture dated to about 12th century was found in Velankanni in Nagapattinam district. He is sported with catura posture with his feat on Padmasana and he is sported with jewels around his neck. Another image found in Tiruindalur in dancing posture with a height of 52 cm (20 in) dated 1150 has Sambandar sported with his right feet over a pedestal. Both the bronze images are stored in the Bronze gallery in Government Museum, Chennai.[23]

In 1921, an English translation of Sambandhar's hymns was done by Francis Kingsbury and GE Phillips, both of United Theological College, Bangalore (Edited by Fred Goodwill) and published in a book as Hymns of the Tamil Śaivite Saints, by the Oxford University Press [24]

Notes

Sambandar Thevaram In Tamil Pdf English

  1. ^ abDr. R. Nagasamy. 'A New Pandya Record and the Dates of Nayanmars and Alvars'. Tamil Arts Academy. Retrieved 9 July 2007.
  2. ^Encyclopaedia of Jainism, Volume 1, page 5468
  3. ^The History and Culture of the Indian People: The classical age, page 330
  4. ^'Hindu Tamil Saints: Alwars and Nayanmars of South India'. tamilelibrary.org. Retrieved 21 March 2018.
  5. ^Hymns of the Tamil Śaivite saints, page 11
  6. ^Klaus K. Klostermaier (1994). A Survey of Hinduism. SUNY Press. p. 302. ISBN978-1-4384-0933-7. Retrieved 25 February 2013.
  7. ^Shiva: Stories and Teachings from the Shiva Mahapurana, Vanamali, Publisher Inner Traditions, Bear & Co, 2013
  8. ^[https://books.google.com/books?id=_XDXAAAAMAAJ&q=Sambandar++marriage&dq=Sambandar++marriage&hl=en&sa=X&ved=0ahUKEwjy9Jq5qvnOAhVC8mMKHRgTAbQ4ChDoAQgtMAQ Arunachala's Ramana: Boundless Ocean of Grace, Volume 5, Sri Ramanasramam, 2007 p. 358]
  9. ^'A comprehensive description of the 275 Shivastalams glorified by the Tevaram hymns'. templenet.com. Retrieved 11 January 2011.
  10. ^International review for the history of religions, Volumes 15-17. International Association for the History of Religions, CatchWord (Online service)
  11. ^ abPrentiss 1992, pp. 51-52
  12. ^ abCort 1998, p. 176
  13. ^Ghose 1996, p. 239
  14. ^Bhargava 2006, p. 467
  15. ^Vasudevan 2003, p. 13
  16. ^ abcVasudevan 2003, pp. 109-110
  17. ^ abPrentiss 1992, p. 140
  18. ^ abPrentiss 1992, p. 144
  19. ^Das 2005, p.32
  20. ^Cort 1998, p. 213
  21. ^Aiyangar 2004, p. 174
  22. ^Eliot, p. 172
  23. ^T.S., Dr. Sridhar, ed. (2011). An exhibition on Chola bronzes - 1000th anniversary of Thanjavur Big temple celebration(PDF) (Report). Chennai: Department of Archaeology & Government Museum. p. 45.
  24. ^Kingsbury, F (1921). Hymns of the Tamil Saivite Saints (1921)(PDF). Oxford University Press. pp. 10–33. Retrieved 8 July 2014.

References

  • Ayyar, P. V. Jagadisa (1993). South Indian shrines: illustrated. Asian Educational Services. ISBN81-206-0151-3.
  • Callewaert, Winand M.; Rupert Snell (1994). According to tradition: hagiographical writing in India. Otto Harrasowitz. ISBN3-447-03524-2.
  • Coward, Harold G (1987). Modern Indian responses to religious pluralism. New York: State University of New York. p. 151. ISBN0-88706-571-6.
  • 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.
  • Eliot, Charles. Hinduism and Buddhism, Vol II. (of 3). Middlesex: Eco Library. ISBN978-1-4068-6296-6.
  • Harman, William P. (1992), The sacred marriage of a Hindu goddess, Delhi: Indiana University Press, ISBN978-1-59884-655-3
  • Khanna, Meenakshi (2007). Cultural History of Medieval India. Delhi: Social Science Press. ISBN978-81-87358-30-5.
  • Prentiss, Karen Pechilis (1992), The embodiment of bhakti, New York: Oxford University Press, ISBN0-19-512813-3
  • Vasudevan, Geetha (2003), The royal temple of Rajaraja: an instrument of imperial Cola power, New Delhi: Abhinav Publications, ISBN81-7017-383-3
  • Zvelebil, Kamil (1974). A History of Indian literature Vol.10 (Tamil Literature). Otto Harrasowitz. ISBN3-447-01582-9.

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