thiruvAimozhi – 2.7.13 – vaNNamAmaNi

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Full series >> Second Centum >> Seventh decad

Previous pAsuram


Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the end – AzhwAr says “This decad (thiruvAimozhi) itself will facilitate those who learnt it to reach the divine feet of emperumAn“.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

Subsequently, AzhwAr explains attainment of bhagavAn as the result of this decad.

Highlights from periyavAchchAn piLLai‘s introduction

See nanjIyar‘s introduction.

Highlights from nampiLLai‘s introduction as documented by vadakkuth thiruvIdhip piLLai

See nanjIyar‘s introduction.


வண்ண மா மணிச் சோதியை அமரர் தலை மகனை
கண்ணனை நெடுமாலைத் தென் குருகூர்ச் சடகோபன்
பண்ணிய தமிழ் மாலை ஆயிரத்துள் இவை பன்னிரண்டும்
பண்ணில் பன்னிரு நாமப் பாட்டு அண்ணல் தாள் அணைவிக்குமே

vaNNa mA maNich chOdhiyai amarar thalai maganai
kaNNanai nedumAlaith then kurugUrch chatakOpan
paNNiya thamizh mAlai AyiraththuL ivai panniraNdum
paNNil panniru nAmap pAttu aNNal thAL aNaivikkumE


Word-by-Word meanings (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)

vaNNam – having beautiful complexion
mA – most expensive
maNi – blue gem’s
chOdhiyai – having radiance like a bright light

this beauty,
amarar – for nithyasUris (eternally free souls who are residents of paramapadham)
thalai maganai – being the great leader who is incomprehensible (even for such nithyasUris)
kaNNanai – being the one (as krishNa) who enjoys his own devotees
nedumAlai – to reach emperumAn who is having great love (which is the cause for enjoying his devotees)
then – beautiful
kurugUr – leader of AzhwArthirunagari
satakOpan – nammAzhwAr
paNNiya – sung  by
thamizh mAlai – woven together in thamizh (dhrAvida) language which can be pursued by all without any restriction
AyiraththuL – in the thousand pAsurams
paNNil – fitting in the tune
panniru nAmap pAttu – which are focussed on the twelve divine names of emperumAn
ivai panniraNdum – these twelve pAsurams
aNNal – sarvESvaran (supreme lord)
thAL – divine feet
aNaivikkum – will facilitate attainment

Simple translation (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)

nammAzhwAr, leader of the beautiful AzhwArthirunagari has sung, among the thousand pAsurams which are woven together in thamizh (dhrAvida) language which can be pursued by all without any restriction – these twelve pAsurams which are nicely fitting in tune and are focussed on the twelve divine names of emperumAn who resembles an expensive radiant blue gem that is having beautiful complexion and brightness for the joy of nithyasUris; these pAsurams themselves will facilitate one to attain the divine feet of emperumAn.

vyAkyAnams (commentaries)

Highlights from thirukkurukaippirAn piLLAn‘s vyAkyAnam

See vAdhi kEsari azhagiya maNavALa jIyar‘s translation.

Highlights from nanjIyar‘s vyAkyAnam

See nampiLLai‘s vyAkyAnam.

Highlights from periyavAchchAn piLLai‘s vyAkyAnam

See nampiLLai‘s vyAkyAnam.

Highlights from nampiLLai‘s vyAkyAnam as documented by vadakkuth thiruvIdhip piLLai

  • vaNNam … – One who is having a form which resembles an expensive precious gem which has beautiful complexion.
  • vaNNa mA maNich chOdhiyai – vaNNam – colour; mA – blackish blue; it can also indicate emperumAn having the radiance of a blackish-blue gem.

Further, those who enjoy this beauty is explained.

  • amarar thalaimaganai – Even if the whole of paramapadham try to enjoy his beauty, his beauty cannot be comprehended – such great bhagavAn.
  • kaNNanai – He appeared as krishNa so that the residents of this material realm too can enjoy.
  • nedumAlai – He has such great love that when he pursues someone, he does not stop at that individual, but extends his love to all those who are related to that individual.
  • then kurugUrch chatakOpan paNNiya – This is unlike vEdham which has no creator; this has greater glories even compared to vEdham which is considered as apaurushEyam (not created by an individual) due to the greatness of the author, that is AzhwAr [In arumpadham, some pramANams are cited which highlight the importance of a literature based on the author. “brahmavAdhinO vadhanthi” (spoken by the knowers of brahmam), “sa hOvAcha vyAsa: pArASarya:” (thus spoke vyAsa, the famous son of parASara), “yadhvai kincha manuravadhath thadhbhEshajam” (whatever spoken by manu is medicine) – if that is the case for rishis et al, what to speak of the words of AzhwAr?]. These pAsurams thrive in divine music.
  • panniru nAmap pAttu – These pAsurams are sung based on the divine names of vishNu which are an important symbol for vaishNavas [Divine names are recited/remembered while applying the thirumaN/thilak on twelve parts of our body].

What do these twelve pAsurams lead to?

  • aNNal thAL aNaivikkum – will help one be united with the divine feet of sarvESvaran; one’s relationship with this decad, will make one “kESavan thamar” (devotee of kESava).

Finally, nampiLLai summarizes the contents of this decad briefly.

  • In the first pAsuram, AzhwAr explained that all those who are related to him and those who are related to them are pursued by bhagavAn like he himself was pursued by bhagavAn.
  • In the second pAsuram, he mercifully explained that bhagvAn’s action was due to his being nArAyaNa (being connected to everyone as the lord) and explained the meaning of that “nArAyaNa” word.
  • In the third pAsuram, he explained the reason for emperumAn pursuing them.
  • In the fourth pAsuram, he explained that emperumAn transformed AzhwAr to constantly enjoy him.
  • In the fifth pAsuram, he explained that because of emperumAn making AzhwAr enjoy him, emperumAn’s splendour grew.
  • In the sixth pAsuram, he explained that emperumAn pursued AzhwAr due to his nirhEthuka krupai (unconditional grace).
  • In the seventh pAsuram, he explained that emperumAn bestowed a mind/heart that will constantly enjoy him.
  • In the eighth pAsuram, he explained that emperumAn bestowed not only a pure mind, he also removed the earlier evil mind/heart.
  • In the ninth pAsuram, he explained that emperumAn entered AzhwAr’s heart so that AzhwAr can enjoy his auspicious qualities always.
  • In the tenth pAsuram, he explained that emperumAn engaged AzhwAr’s senses too which are the hurdles in enjoying emperumAn.
  • In the eleventh pAsuram, he explained that such emperumAn became fully focussed on him.
  • In the twelfth pAsuram, he explained that only those like AzhwAr who saw emperumAn by emperumAn’s grace can see him and those who try with their own efforts cannot see him.
  • In the end, he explained the result for this decad and completes the decad.

AzhwAr thiruvadigaLE SaraNam
emperumAnAr thiruvadigaLE SaraNam
piLLAn thiruvadigaLE SaraNam
nanjIyar thiruvadigaLE SaraNam
nampiLLai thiruvadigaLE SaraNam
vadakkuth thiruvIdhip piLLai thiruvadigaLE SaraNam
periyavAchchAn piLLai thiruvadigaLE SaraNam
vAdhi kEsari azhagiya maNavALa jIyar thiruvadigaLE SaraNam
jIyar thiruvadigaLE SaraNam

In the next article we will enjoy the next decad.

adiyen sarathy ramanuja dasan

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