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Srivaishnavas and their own vocabulary - Paribhashai

It is quite known that brahmins, particularly Iyengars have a separate dialect of their own. A unique characteristic of Srivaishnava Tamizh is its retention of a lexicon associated with sacredness called the Paribhashai. A very interesting thing to note is that the Srivaishnava community comprises of non brahmins too from the other varnas who equally pride themselves in using this vocabulary.  To a common man, this may sound like a completely different language. Let me give you an example: Brahmin Tamizh makes distinctions between potable water (tīrtham) and non-potable water (jalam), with the former bearing a sacred connotation. But it is to be noted that in the present day jalam is also used for potable water, but making it a word particularly used in the brahmin community.  The general Tamizh vernacular, in comparison, employs the terms tanīr or tannī to refer to potable water. Srivaishnavas use the word Thiru in a lot of varied instances as a prefix. This brings out the holiness an
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Kodhai Pirandha Oor - Andal vaazhi thirunaaman

The exceptional qualities of Sri Andal cannot be adequately described. Recognizing her as the incarnation of Bhoomi Piratti gives a glimpse of her greatness. Similar to Sita Piratti, Andal's birth defied the conventional gestation period, highlighting her divine eminence.  Notably, while deities like Rama and Krishna undergo the process of garbha vAsam, Andal, as the Universal Mother, is born without it, perhaps due to the lack of a suitable mother. Andal's achievements are unparalleled. She is the lone female among the Azhwars, privileged to unite with the Lord.  Unlike others, she authentically portrays the emotions of separation and reunion with Krishna. Her audacious act of using garlands meant for the Lord sets her apart. Additionally, she fearlessly criticizes Krishna, a feat unmatched by other Azhwars. Her Tiruppavai is esteemed as the very essence of Vedas, a distinction not shared by other works. Sri Ramanuja's admiration for Tiruppavai is evident from his title &q
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Nayika Bhavam in Periya Thirumozhi - Part 3

In the 5th padhigam, Thirumangai azhwar continues expressing the pain of his separation from his beloved Sowriraja Perumal, speaking as parakaala naayaki: She says, “My heart went to the lord of kannapuram who removed the chains from the ankles of his father Nandagopan. I am waiting to receive his divine grace. The moon, the king of the night, sends his cool rays as sweet as nectar and burns me and the soft breeze comes and blows over my beautiful breasts. They never cease giving me pain. ” She says, “ My heart, longing for the garland on his divine chest, has gone to him (who is in kannapuram) who is the younger brother of white-colored BalaRāma but has the color of a cloud and the dark ocean. There is no one here to help me now. The village sleeps and the world too. The chariot of the shining sun has disappeared from the sky and there is no light to be seen anywhere in the night. I don’t know what to do. ” She says, “The bangles on my arms have grown loose and fallen. Is this because
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Hindu units and measurement of time

According to the Hindu tradition of time measurement, the basic unit is in terms of the wink of the eye. While the human wink, Devas, on the other hand, do not wink. That is why they are known as 'Imaiyavar' in Tamil – those who don't wink. In Nala-Dhamayanthi purana, Dhamayanthi identified Nala by the wink of the eye and the garland he was wearing was withering. Time is not applicable for celestials.  That means there is no time for them. Time is applicable for us in the created world. 18 winks = 1 kashtam 30 kashtam = 1 kala 30 kala = 1 vinadi 60 vinadi = 1 naazhigai / ghati = 24 minutes 2 naazhigai / ghati  = 1 muhurtha 30 muhurtha = 1 day = 24 hours or 60 naazhigai / ghati = 1 day. Another way is to take 'truti' as the basic unit. Truti is the time taken for a needle to prick a lotus leaf. 60  truti = 1 prana (1 inhale + 1 exhale = 1 prana) 6 pranas = 1 vinadi 60 vinadi = 1 naazhigai (and the rest continues as before.) Another way of calculation is like this. 1
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Nayika Bhavam in Periya Thirumozhi - Part 2

From padhigam 3 onwards, Thirumangai azhwar speaks as parakaala naayaki herself, still immersed in the pain of separation from her Lord in Thirukannapuram. She begins to narrate how her bangles grow loose and fall from her arms, describing the heroic acts of Perumal as follows: Padhigam 3: She says, “My bangles grew loose and fell from my arms because of him who wears a fragrant thulasi garland, and carried Govardhanā mountain with his strong mountain-like arms. He stays in Thirukannapuram surrounded by the ocean where waves roll and bring curved conches, precious corals and creepers and leave them on the banks. ” She says, “ My bangles grow loose and fall from my arms because I love him who rests on the ocean on the snake bed of Adisesha, and who terrified the elephant Kuvalayābeedam that had small heroic eyes and shed rut like rain and broke its tusks. He stays in Thirukannapuram filled with beautiful palaces where the smoke of fragrant akil wood rises up and touches the top of the h
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Nayika Bhavam in Periya Thirumozhi - Part 1

 Thirumangai azhwar's Periya Thirumozhi  consists of 10 decads, with each decad containing 10 sections (padhigam). Each padhigam contains 10 paasurams. Out of all the divya desams that Thirumangai azhwar has sung about,  Periya Thirumozhi holds a special place for Thirukkannapuram. The entire 8th decad comprising 100 paasurams is dedicated to Thirukannapuram, from describing the journey towards Thirukannapuram in the first 5 padhigams, to admiring the beauty of thirukkannapuram and Sowriraja Perumal and finally surrendering himself (sharanaagati) to Perumal.  An interesting feature of the first few padhigams is that Thirumangai azhwar assumes the role of parakaala naayaki. In the role of a young girl who is anguished from the separation from her lord in Thirukannapuram. Such is her suffering that she is unable to even speak, and her mother is put in great distress as well. In the first 2 padhigams, the mother speaks on behalf of the daughter (parakaala naayaki) as follows: Padhigam
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Agni Karyam

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  Yajna Upakaranas (Samskrit: यज्ञोपकरणानि) deals with the specialized implements, containers and utensils (upakaranas) used during the conduct of yajnas. A large number of specialized storage vessels, buckets, leather bags for storing liquids, spoons and ladles, mixing vessels, strainer, sieves, grinding stones, mortar and pestle, knives, winnowing baskets, pounders are a few common names of utensils of various types used since ancient times. They are made of metals or wood mostly, as revealed by the archaeological excavations in many sites of India. The ample references of these upakaranas in Vedas are mentioned as required instruments or implements for the performance of yajnas such as Somayaga, Asvamedha yajna and Pashuyajnas which were quite elaborate. Introduction The knowledge of making utensils, instruments and implements for both common and specialized activities of bharatiya jivana vidhana dates back to hoary antiquity. The Rigveda mentions the use of a large number of utensi
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