Sri Sundarabahusthavam – 2


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  • SlOkam 4:
  • udadhiga mandarAdri mathimanthana labdhapayOmadhura
    rasa indirAhvasudha sundaradO: parigham |
    aSaraNamAdruSaatma SaraNam SaraNaarthijanapravaNadhiyam
    bhajema tarushaNDamayAdri pAtim ||


    Let us enjoy the darsanam of the Lord of ThirumAlirum chOlai, who is the refuge for those like adiyEn, who have no other recourse; He is deeply attached to the all, who have performed SaraNAgathy at His sacred feet. Let us enjoy the Sevai of this Lord with beautiful arms and shoulders, who churned the Milky Ocean with Mandhara Mountain as the churning rod and using His own powerful hands to acquire the essence of that milky ocean (i.e.), the nectar known as MahA Lakshmi.


    Our Lord churned the Milky Ocean. Every one present there thought our Lord was churning to release the simple nectar for the DevAs. He had some thing else in mind: “ViNNavar amudhuNa, amudhil varum PeNNamudhu uNDAn”.

    While the DevAs ate the nectar, our Lord enjoyed the acquisition of the Feminine nectar of Sri Devi. ANDAL celebrated this leelai of the Lord this way: “mandharam nAtti anRu Madhurak-kozhumchARu koNDa SundaratthOLudayAn”. The celebration of the Lord of ThirumAlirum ChOlai as “SaraNaarthi jana pravaNa dhiyam” is a moving tribute to the attachment of the Lord to SaraNAgatha Janams The salutation to MahA Lakshmi as “payO madhurasa indirAhva sudhi” (the feminine nectar, which is the essence of the milk named indhiraa) is another beautiful poetic description.

  • SlOkam 5:
  • SaSadhara-rinkhaNa-AaDhyaSikham ucchikharaprakaram
    timira nibha prabhUta tarushaNDamayam bhramadam |
    bhidurita sapta lOka suviSrunkhala Sankharavam
    vanagirim aavasantam upayAmi harim SaraNam ||


    adiyEn clings to the mOksha upAyam of Hari naarAyaNan, who has ThirumAlirum-cholai as the place for His permanent residence (vanagirim aavasantam harim). This Supreme Being is known for the unobstructed sound of His Paanchajanyam, which has the power to shatter all the seven worlds (bhidurita saptalOka suviSrunkhala Sankharavam). This Vana Giri (ThirumAlirum ChOlai) has lofty peaks among which the Moon roams. These lofty peaks are mistaken as the intense, dark groves that this Vana Giri is famous for.


    “Mathi tavazh kudumi Maalirum ChOlai” is how AzhwAr describes ThirumAlinrumchOlai. AzhwAr describes the Moon here as crawling like an infant between the lofty peaks here. Thirumangai sees the play between the Moon, the tall Mountain and the dense green (dark) groves this way:

    “ThingaL nann maa muhil sEr ThirumAlirum ChOlai”. KurEsar echoes Thirumangai’s thoughts as “SaSadhara-rinkhaNa-AaDhyaSikham ucchikhara-prakaram” as the first paadham of this slOkam In the second paadham, the echo of Swamy NammAzhwAr’s Paasura passage is heard: “mayal mihu pozhil soozh MaalirumchOlai” (timira nibha prabhUta tarushaNDa- mayam bhramadam vana giri).

    The Pozhils (groves and forests) cause the illusion because of the darkness created by their density that they are the dark green, tall mountains. It is hinted that the tall trees nestling with each other to form a canopy and have shot up to the sky and prevent the rays of Sun or Moon to penetrate down below. KurEsar was deeply immersed in the enjoyment of AzhwAr’s aruLiccheyalkaL and echoed them quite often in his own impeccable way in his Sthavams. The Third Paadham, “bhidurita saptalOka suviSrunkhala Sankharavam” is an echo of poem passage, “athir kural Sankatthazhahar”, which relates to the incident, when ThirumAlirum ChOlai Azhagar sat in the Paandya King’s Tamizh Sangam as a Scholar-poet (Pulavar) and examined the offerings at that exalted assembly and blew His conch, when He approved the work presented before the Tamizh Sangam.

  • SlOkam 6:

yattunga-Srunga vinishangi surAnganAnAm
nyastOrdhvapuNDra mukha maNDana maNDitAnAm |
darpaNyabhUt dhrutham apanga SaSAnka prushTham
tad dhAma sundarabhujasya mahAn vanAdri: ||


The divya dEsam of ThirumAlirumchOlai, the consorts of the DevAs flock to have SundararAjan’s darsanam. They bathe in Noopura Gangai; adorn Urdhva puNDrams with the help of the mirror of Chandran (nyasta Urdhva puNDra mukha maNDana maNDitAnAm surAnganAnAm). The dEva mAthAs appear to touch the Moon, hold it and fix their Urdhva PuNDrams with the help of the Moon serving as the Mirror in the poet’s imagination (surAnganAnAm dhrutam apanka SaSAnka prushTham darpaNee abhUt). Such is the greatness of divya dEsam of ThirumAlirumchOlai (tad dhAma sundarabhujasya vanAdri: mahan).


The thoughts expressed in this slOkam are echoes of number of AzhwArs. For instance, PeriyAzhwAr salutes this divya dEsam and refers to the Deva MaathAs taking bath in the Noopura Gangai and worshipping the Lord (“SilampArkka vanthu DhaivamahaLirkaL aadum seercchilambhARu paayum tenn ThirumAlirumchOlayE”). The union of the Moon with the Divya dEsam is celebrated also by the AzhwAr as: “malamaRu mathi sEr MaalirumchOlai”. Swamy KurEsar is a Master poet and has demonstrated his poetic skills by setting the various slOkams of His Sthavam in many lilting metres. This slOkam is set in Vasantha Tilakam metre.


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