SrI: SrImathE SatakOpAya nama: SrImathE rAmAnujAya nama: SrImath varavaramunayE nama:
thiruppANAzhwAr’s avathAram took place at uRaiyUr as an incarnation of SrIvathsam- the divine mole on the chest of SrIman nArAyana, in the star of rOhiNi in the month of kArthikai. The ARAyirappadi guruparamparA prabhAvam records this as below:
SrI lOkasAranga mahAmunIndhra skandhAdhirUdam kalayAmi nithyam |
kalanga hInam gamanIya bhaktham kavISvaram gAyaka sArvabhaumam ||
( I worship thiruppANAzhwAr who entered the periya perumAL sannidhi on the shoulders of Sri lOkasAranga mahAmuni, who is faultless, totally devoted to periya perumAL, chief among poets and the best among singers).
Another SlOkam observes:
SrI vElAbdha vinirgamE kaliyugE samvathsarE dhurmathau
pANou vriSchikabhAji panchamadhinE vArE budhasyOththamE |
rOhiNyA sahithE lasathyudupathau krushNE dvithIyE thithau
sajjagyE munivAhanaScharaNayOr yO rangiNO’nthardhadhE ||
(thiruppANAzhwAr who disappeared in the very lotus feet of SrI ranganAtha, appeared in dhurmathi year, fifth day of kArthikai month, on an auspicious Wednesday when it was rOhiNi star in conjunction with krishNa paksha dhvithIyai).
From childhood, he was devoted to periya perumAL and singing his praise like the nithyasUris in SrIvaikuntam. He wasn’t cognizant of the arrival of Sri lOkasAranga muni to collect water for periya perumAL, who committed an offense on AzhwAr. However, perumAL ordered Sri lOkasAranga to bring him to His presence on his shoulders. AzhwAr reluctantly mounted on the muni and when he reached perumAL abode, straight away saw his lotus feet like a suckling child is attracted by the bosom of the feeding mother. He sang perumAL’s beauty beginning from his divine lotus feet to divine head, and was absorbed by him in his divine lotus feet.
Greatness of amalanAdhipirAn
amalanAdhipirAn occupies a special place in dhivya prabandham. It is a text of just ten pAsurams. But all our pUrvAchAryas attached great importance to it. AzhwAr comes chronologically at the end of the galaxy of AzhwArs just before thirumangai AzhwAr but amudhanAr places him just after the first three AzhwArs and before thirumazhisai AzhwAr, because nammAzhwAr has stated “pAl ei thamizhar” (thamizh poets who are sweet like milk) about the first three AzhwArs and “isaikArar” (musician) about thiruppANAzhwAr. paramAchArya ALavandhAr commanded his disciples to always remember thiruppANAzhwAr’s svarUpam with veeNA in his hand, the full form, head to feet. nAyanAr praised him as parama uthkrushtar (most exalted person despite his birth). vEdhAntha dhESikar said, “நம் பாணநாதன்” (nam pANanAthan) – our lord pANa, in his “guru paramparA sAram”.
vEdhAntha dhESikar also pointed out that the first three words of this prabandham, starting with words amalan, uvandha, and mandhi hint at AUM that is praNava. And the mid three pAsurams starting with words bAramAya, thuNda veN and kaiyinAr (பாரமாக, துண்ட வெண், கையினார்) hint at pAdhukai that is the padhukA (divine footwear) of periya perumAL.
We shall now look at the thaniyans offered by periya nambi and periya thirumalai nambi to this prabandham, with commentary by piLLai lOkam jIyar.
- thaniyans (Invocation)
- avathArikai (Introduction)
- pAsuram 1
- pAsuram 2
- pAsuram 3
- pAsuram 4
- pAsuram 5
- pAsuram 6
- pAsuram 7
- pAsuram 8
- pAsuram 9
- pAsuram 10
adiyen sadagopa ramanuja dasan
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