Professional Documents
Culture Documents
Vedics)
• The DivyaDesam sung by both Nammazhwar as well as Kaliyan at the end of their
hymns ThiruvoyMozhi and Periya Tirumozhi - Thirukudanthai (KumbaKonam)
• The Unique Divyadesam sung in all the Six Hymns of Thirumangai Azhwar –
Thirukudanthai (KumbaKonam)
DIVYADESAM UniqueName
- Thiruvarangam Thiruvaalan Thirupathi
- Thirukurugoor Urai Koil
- Thiruvallavaazh Thennagar
- Thiruvinnagar Nannagar
- Thirukkollor Pugumoor
- Thenthirupperai Maanagar
- Thiruvaaranvilai Neenagar
- Thiruvannparisaaram Aay Cheri
- Thirupper Nagar Peru Nagar
• The ONLY DIVYADESA sung by ALL the Azhwars and Andal – SRIRANGAM
• Divyadesams sung by all except Thondardipodi Azhwar – TIRUVENKADAM and
TIRUPPAARKADAL
• Divyadesa sung by Eight Azhwars - PARAMAPADAM
• Divyadesa sung by Seven Azhwars – Thirukkudanthai
• Divyadesa sung by Six Azhwars – Thirumaliruncholai
• Divyadesa sung by Five Azhwars – 6 Divyadesams
• Divyadesa sung by Four Azhwars – 3 Divyadesams
• Divyadesa sung by Three Azhwars – 5 Divyadesams
• Divyadesa sung by Two Azhwars – 20 Divyadesams
• Divyadesa sung by One Azhwar – 68 DivyaDesams
• Azhwar’s who sang after having a love-quarrel with the Lord, the songs they sang and
their significance
o Nammazhwar : “minnidai TVM 6-2 / Signficance – Serious nature of love-
quarrel
o Kaliyan : “kaadirkadippittu (PeriyaTirumozhi 10-8 ) / Significance – Mild
nature of love-quarrel
o Kulasekara Azhwar : “ermalarppoonkuzhal’ (Perumal Thirumozhi 6) /
Significance – Royal Glory reflected in the love-quarrel
• Divya Prabhandas bearing the name of the Azhwar who sang them:
o Periyazhwar Thirumozhi (Greatness acquired due to the effervescent
emotional attachment)
o Nacchiyaar Thirumozhi (Nacchiyar is another name of Andal)
o Perumal Thirumozhi (Kulasekara perumal is another name of Kulasekara
Azhwar)
• Divya Prabhandas which got their name after the opening word/words of the song
o Thiruppallaandu - Divyaprabhanda opening with the word ‘pallaandu’
o Amalanaadipiraan – Divyaprabhanda opening with the word
‘amalanadipiraan’
o Kaninunciruthaambu – Divyaprabhanda opening with the word
‘kaninunciruthaambu’
• Work of an azhwar which is names after the opening word/words and also after the
Antadi format
o Naanmugan Thiruvanthaadhi sung by Thirumazhisaippiraan
• Divyaprabhandas that are named after the meter (i.e. after the name of the particular
pattern in which the songs are composed)
o In aasiriyappaa (Thiruvaasiriyam)
o In viruththappan (Thiruviruththam, Tiruchandaviruttham)
o In thaandakam ( Thirukkurnthaandakam, Thirunedunthaandakam)
• Divyaprabhanda which got their name from the service of function they highlight
o Thirupaavai – Due to the act of observing the vow of Maidens
o Thiruppalliyezhuchchi – Due to the act of singing the song to awaken (the
sleeping deity)
o Siriya Thirumadal, Periya Thirumadal – Due to the act of the aggressive
display of one’s love with someone
• Azhwar’s who sang in the Antadi format, the name of the Divyaprabhanda and the
number of songs (Nine Prabhandas and two thirumozhis)
o Poigaiyaaazhwar Mudal Thiruvantaadi - 100
o Bhootataazhwar Irandaam Thiruvantaadi - 100
o PeyAzhwar Moondram Thiruvantaadi -100
o Thirumazhisai Naanmugan Tiruvantaadi -96
o Nammazhwar Thiruviruththam -100
o Thiruvaasiriyam -7
o Periya Thiruvantaadi -87
o Thiruvaaymozhi -1102
o MadhurakaviAzhwar Kannin Siruththaambu - 11
o Periyazhwar Periyazhwar Thirumozhi
o “poippaadu’ Thirumozhi - 13
o ThirumangaiAzhwar Periya Thirumozhi (11-3) – 10
• Songs Sung by Thirumangai Azhwar by assuming the role of mother (of the bride)
o ‘thivalum’ (Periya Thirumozhi 2-7)
o ‘kalvankol’ (Periya Thirumozhi 3-7)
o ‘kavalayaanaikkombu’ (Periya Thirumozhi 4-8)
o ‘veruvaadaal’ (Periya Thirumozhi 5-5)
o ‘Silaiyilangu ponnaazhi’ (Periya Thirumozhi 8-1)
o ‘thelliyiir’ (Periya Thirumozhi 8-2)
o ‘moovaril mun mudhalvan’ (Periya Thirumozhi 9-9)
o ‘pulluruvaagi nallirulvandha’ (Periya Thirumozhi 10-9)
o Thirundunthaandakam songs 11 to 20
• Songs sung by Thirumangai Azhwar by assuming the role of the daughter (bride)
o ‘thiripuram moondru’ (Periya Thirumozhi 2-8)
o ‘thooviriya malaruzhakki’ (PT 3-6)
o ‘thanthai kaalil peruvilangu’ (PT 7-5)
o ‘karaiyeduththa surisangum’ (PT 8-3)
o ‘vinnavar thangal perumaan’ (PT 8-4)
o ‘thanthai kaalil vilangara’ (PT 8-5)
o ‘ponnivar meni’ (PT 9-2)
o ‘thannai naivikkil en’ (PT 9-3)
o ‘kaavaar madarpennai’ (PT 9-4)
o ‘thavalavilampirai thullum’ (PT 9-5)
o ‘kaadir kadippittu’ (PT 10-8)
o ‘thiruththaai sembotthe’ (PT 10-10)
o ‘kundramondru edutthu’ (PT 11-1)
o ‘mannilangu baaradhaththu’ (PT 11-3)
o ‘maanamarum mennokki’ (PT 11-5)
o Thirunedunthaandakam songs 21 to 30
o Siriya Thirumadal and Periya Thirumadal
o The mantras which we have to chant after applying the twelve Oordhva
Pundras (Tiruman and Sri Choornam)
Tiruman Sri Choornam
Om Kesavaaya Namah Om Sriyai Namah
Om Naarayanaaya Namah Om Amritodbhavaayai
Namah
Om Maadhavaaya Namah Om Kamalaayai Namah
Om Govindaaya Namah Om Chandra Shobhinyai
Namah
Om Vishnave Namah Om VishuPatnyai Namah
Om Madhusoodhanaaye Namah Om Vaishnvyai Namah
Om Trivikramaaya Namah Om Varaarohaayai Namah
Om Vaamanaaya Namah Om Harivallabhaayai Namah
Om Sreedharaaya Namah Om Shaarnginyai Namah
Om Hrisheekeshaaya Namah Om DevadeviKaayai Namah
Om Padmanaabhaaya Namah Om Mahaalkshmiyai Namah
Om Daamodaraaya Namah Om Lokasundaryai Namah
o
o VIBHAVA (Avataara)
o Innumerable are the avataaras (manifestations) of the Lord. Given below
is a list of seventeen Avataaras mentioned in Sri Pancharatra Agamas,
which are in addition to those mentioned in the Bhaagavata Purana.
Padmanaabha
Ananta
Shaktyaatmaa
Madhusoodana
Vishvaroopa
Vihangama
Krodaatmaa
Badabaa Vaktra
Dharma
Amritaaharana
Raahujit
Kaalanemighna
Paarijaatahara
Vatapatrashaayee
Naarada
Vrishabha
Paataala Shayana