குதம்பை சித்தரும் வாசி யோகமும்

 

குதம்பை சித்தரும் வாசி யோகமும் 

ஒருவருக்கு யோக நிஷ்டையில் இப்பிறவியில் நாட்டமுண்டு எனில், அவர் முப்பிறவியிலும் இந்த யோக நிஷ்ட்டையில் ஒரு நிலையை அடைந்திருப்பார். எதுவரை அந்த யோக நிஷ்ட்டையில் அவர் பயிற்சி பெற்று இந்த உலகத்தில் இருந்து முற்பிறவியில் விடை பெற்றிருந்தாரோ அந்த நிலையிலிருந்து அவர் அடுத்த பிறவியில் அவர் தொடர்வார்.

இது குதம்பை சித்தர் வாழ்விலும் நடந்தது. குதம்பை சித்தர் தமிழ்நாட்டில் மயிலாடுதுறையில் இடையர் குளத்தில் பிறந்தார். இவர் பெற்றோருக்கு இவர் ஒரே பிள்ளை. பெண் பிள்ளை இல்லாத காரணத்தினால் இவர் தாய் இவருக்கு குதம்பை என்னும் ஒரு வகை காதணியை இவருக்கு அணிந்து இன்புற்றார். இந்த குதம்பை என்னும் காதணி பெரும்பாலும் பெண் பிள்ளைகள் தான் அணிவார்கள். அதனால் தான் இவருடைய பெயர் குதம்பை என்றானது. 

ஒருநாள் குதம்பையார் தன வீட்டில் இருக்கும் போது ஒரு சித்தர் இவர் வீட்டு வாசலில் நின்று கொண்டிருந்தார். அப்போது யாரோ ஒருவர் தம் வீட்டில் வெளியில் நிற்பதை கண்டு குதம்பையார் வீட்டிற்கு வெளியே சென்றார். அப்போது இவருக்கு பதினாறு வயது. அந்த சித்தர் குதம்பையாரை பார்த்து குழந்தாய்! நீ சாதாரண மனிதன் அல்ல. முற்பிறவியில் நீ கானகத்திற்கு சென்று கடும் தவம் இயற்றினாய். பல வருடங்கள் நீ தியான நிலையில் ஒரு மரத்தடியில் அமர்ந்து இருந்தாய். அந்த காட்டில் ஒரு பெரிய புயல் அடித்தது. நீ ஆழ்ந்த தியானத்தில் இருந்ததால் அந்த புயல் பற்றிய சலனமே உன்னிடம் இல்லை. நீ அமர்ந்து இருந்த இடத்தில இருந்த மரக்கிளை புயலினால் உடைந்து உன் மேல் விழுந்தது. நீ முற்பிறவியில்  இவ்வாறு உயிர் நீத்தாய் என்று கூறினார். மேலும் உன் தாய் உனக்கு திருமணத்திற்காக பெண் பார்த்து கொண்டிருக்கிறார். ஆனால் அது நடக்காது.  வந்தவரை வணங்கி நின்ற குதம்பையாருக்கு குரு அருளுபதேசம் செய்தார். 

ஒரு நாள் இரவு குதம்பையார் யாருக்கும் தெரியாமல் எழுந்து ஒரு காட்டிற்குள் புகுந்தார். நேரே சென்ற அவர் கால்கள்  ஒரு மரத்தின் முன் நின்றது. அது அவர் முற்பிறவியில் தவம் செய்து, உயிர் நீத்த அதே இடம். அந்த மரத்தில் ஒரு பொந்து இருந்தது. அதனுள் நுழைந்து தவநிலையில் ஆழ்ந்தார். அவர் தவத்தில் இருக்கும் போது ஒரு அசரீரி கேட்டது. குதம்பாய்! நான் உனக்கு வருண மந்திரம் சொல்லி தர போகிறேன். அந்த மந்திரத்தை நீ இந்த காட்டில் உச்சாடனம் செய். நீ அந்த மந்திரத்தை யானைகள் கேட்கும் வண்ணம் உச்சாடனம் செய், ஏனென்றால் யானைகளுக்கு மந்திரங்களை ஈர்க்கும் ஆற்றல் உண்டு. அவற்றின் பிளிறல் ஓசையில் அந்த மந்திரங்கள் ஒலிக்கும். அப்பொழுது பூமியில் வருண பகவான் மழையாக பொழிவார். உலகம் செழிக்கும். குதம்பையாரும் வருண மந்திரத்தை உச்சாடனம் செய்தார். மழை பொழிந்து காடு செழித்தது. 

யார் வாசியோகம் என்ற கலையை பயின்று, ஆழ்ந்த நிலையில் இறைவனை வணங்குகிறாரோ அவர்களெல்லாம் குதம்பை சித்தரை மானசீக குருவாய் ஏற்று வணங்கினால், இன்றும் மழை  பெய்யும் என்ற நம்பிக்கை இருக்கிறது. 

கீழே மயிலாடுதுறையில் அமைந்து இருக்கும்  மயூரநாத சுவாமி கோயிலில் உள்ள குதம்பை  சித்தர் சந்நிதியான  ஜீவ சமாதி படம் உள்ளது.

The Sacred Ilai Vibhuti (Sacred Ash) of Tiruchendur Murugan Temple

 

The Sacred Ilai Vibhuti (Sacred Ash) of Tiruchendur Murugan Temple

As Tirupati is known for its laddu, and Palani for its Panchamirtham, the unique prasad at the Tiruchendur Murugan Temple is the “Ilai Vibhuti” (sacred ash on a leaf). It is offered by placing sacred ash on a paneer leaf, a tradition seen only here.

It is believed that Adi Shankaracharya cured himself of leprosy by consuming this Ilai Vibhuti and was inspired to compose the Sri Subramanya Bhujangam in praise of Lord Murugan. Even today, this vibhuti is regarded as a powerful remedy for chronic ailments. Visitors to Tiruchendur often take this sacred ash home as a blessed souvenir.

In the Murugan shrine, vibhuti and sandal paste are given to devotees on paneer leaves. Murugan, who is depicted with twelve arms, is believed to bestow these blessings with his twelve divine hands, symbolized by the twelve veins present on the paneer leaf. This connection has led devotees to affectionately refer to this offering as “Paneer Selvam” (paneer wealth). The distribution of Ilai Vibhuti has been a revered tradition for ages at the Tiruchendur Subramanya Swami Temple.

Significance of Ilai Vibhuti:

A siddhar named Abhinavagupta reportedly cast spells on Adi Shankaracharya, causing him various illnesses, including seizures. Despite his fervent prayers, Adi Shankaracharya found no relief until he arrived at the Tiruchendur Subramanya Swami Temple, where he was given Ilai Vibhuti as prasad. After applying it to his body and consuming it, his ailments vanished. Moved by this divine grace, he composed a 32-verse hymn called Subramanya Bhujangam in praise of Lord Murugan and the temple, extolling the Ilai Vibhuti’s miraculous power in the 25th verse.

Adi Shankaracharya wrote in the hymn, "Oh Subramanya! Seeing your Ilai Vibhuti dispels ailments like convulsions, tuberculosis, leprosy, and all other curses and diseases." The twelve veins on the paneer leaf are symbolic of Murugan’s twelve hands, and devotees believe the leaf’s sacred significance comes from Murugan’s own blessing.

Unique Beliefs about Paneer Leaf and Ilai Vibhuti:

The flower from the paneer leaf is believed to have calming properties that benefit the body, according to Siddha medicine.

Like tulsi and bilva, the paneer leaf is regarded as a sacred offering in Murugan worship.

The twelve veins on the paneer leaf symbolize Murugan’s twelve hands, and thus it is used to serve prasad.

The Thiruvavaduthurai monastery also offers vibhuti on paneer leaves, following this tradition.

Devotees regard preserving the vibhuti on paneer leaves as akin to preserving wealth.

Consuming the leaf along with the vibhuti is believed to cure certain illnesses, a practice exemplified by Adi Shankaracharya in his hymns.

Devotees often take Ilai Vibhuti to their homes, placing it in their prayer rooms as a protective charm against ailments. It is also used to cure livestock illnesses, with offerings made to Murugan in gratitude for restored health.

Adi Shankaracharya further mentions in his verse:

"Apasmaara kushta kshyaarsha prameha jvaronmaada kulmaadiroga mahaan daaha pisaachascha sarve bhavad bhadra bhooteem vilokya kshanaat taarakaare dravante"

Meaning: "Oh Lord, who vanquished Tarakasura! Upon seeing the sacred ash offered on the paneer leaf, all afflictions such as convulsions, leprosy, and fever vanish instantly."

The term ‘Bhadra Bhooti’ here refers to the vibhuti offered on a leaf. The unique fragrance of this vibhuti, when offered on the paneer leaf, carries the blessings of Lord Senthilandavan.

Historical Accounts of the Ilai Vibhuti:

The Tiruchendur Murugan Temple has a rich history of miracles associated with Ilai Vibhuti. Over 350 years ago, a saint named Desikamurthy Thambiran from the Thiruvavaduthurai monastery undertook the construction of the temple’s upper tower. When funds fell short, he paid the workers with Ilai Vibhuti as wages, telling them to open it only after passing a certain point. Upon opening the bundle, the workers found their wages inside, a wonder recorded in temple history.

In the life of poet Bhakazhi Koothar, who composed the Tiruchendur Pillai Tamil hymns, Ilai Vibhuti performed a great miracle. Suffering from an incurable stomach pain, he was visited in a dream by a figure resembling a temple priest, who handed him Ilai Vibhuti and urged him to sing praises of Murugan. Bhakazhi Koothar awoke cured, a testament to the revered power of Ilai Vibhuti.

Purandara Dasar, From Wealth to Wisdom

Purandara Dasar, From Wealth to Wisdom

 

In 1480 AD, he was the ruler of nine crores (wealth).

About five hundred years ago, he was the son of an immensely wealthy man with a fortune worth nine crores.

After eighty years, that is, in 1560 AD, he became a wanderer.

Can you believe it? If we calculated his wealth today, his family would have been the rulers of several millions of crores.

But today, he has no money. Only his undying fame remains. This is all the divine play of God.

Lakshmi, the goddess of wealth, left him, saying, "Let's go, let’s go..." and abandoned him, who once lived with pride, basking in his wealth.

Only after all his wealth was gone did he attain true knowledge.

It was in a state of having not even a single coin in hand that he called upon Mahalakshmi.

And how did he call her? He called her with a wonderful song in Sree Ragam. Some sing that song in Madhyamavati Ragam as well.

When you sing that song, your eyes well up with tears; the mind fills with joy; the heart dances in bliss; and the body shivers.

"Bhagyada Lakshmi Baramma, Nammamma Nee Sau

Bhagyada Lakshmi Baramma..."

The beauty with which he calls upon Mahalakshmi is enchanting.

"With anklets on your feet, step gently, bringing with you a fragrance like that of fresh butter churned from curd, for the devotees who seek refuge in you and worship you." So he pleads to the goddess.

His real name was Srinivasa Nayaka.

He was an influential leader in the town where he lived. People called him Navakoti Narayana Setti due to his immense wealth.

He was such a wealthy man, yet miserly. It was said that he wouldn’t even shoo away a crow with a spit-covered hand.

Srinivasa Nayaka was married at the age of eighteen. His wife's name was Saraswati.

She was his complete opposite. She loved charity and dharma, and was deeply devoted to God.

In the town where he lived, Lord Sri Krishna was worshiped in the form of Panduranga.

There was a grand temple, and people chanted, "Panduranga... Panduranga," singing devotional hymns every day on every street.

But Srinivasa Nayaka paid no heed.

Lord Panduranga watched him. He appeared as an elderly, poor Brahmin with a seven-year-old boy and stood in front of Srinivasa Nayaka’s shop.

"Sir... Lord of Dharma..."

Srinivasa Nayaka didn’t even turn to look at the Brahmin. Would the Lord give up so easily?

"Sir... Lord of Dharma... Swami..."

"Hey! Who are you?" snapped Srinivasa.

"Sir... I am a poor Brahmin. This is my only son, seven years old. I need to perform his sacred thread ceremony. If you help, we can adorn him with the sacred thread... Lord... please give us some money... Swami..."

"Go... go... take your begging elsewhere. I don’t have money," Srinivasa Nayaka said, dismissing him. No matter how much the Brahmin pleaded, Nayaka’s heart did not soften. But the Lord wouldn’t leave him alone.

Every day, he came and begged for alms, but Nayaka continued to dismiss him.

One day, the Lord said, "Lord, I will not leave without receiving something from you..." and sat down at the entrance of Nayaka’s shop.

“What trouble is this now?” Srinivasa Nayaka, irritated, took a small coin from his cash box and threw it at the Brahmin. "Here, take this and leave. Don’t come near the shop again..."

Looking at the coin, the Brahmin said, "Lord, this is worn out... it’s of no use. Please give me a good coin..."

Srinivasa Nayaka thought for a moment.

"A good coin? Bring something as collateral to my shop... I will give you a proper coin."

The Brahmin took the young boy with him and went straight to Srinivasa Nayaka’s house.

There, since it was a Friday, Srinivasa Nayaka’s wife Saraswati had just finished her Tulsi pooja and was sitting on a swing.

"Bhavati Bhiksham Dehi..."

Saraswati quickly ran to the door and saw him. As soon as she saw him, she bowed down to him.

"What do you need, Swami?"

"Mother... I am a poor man. I am old now. This is my son. I need to perform his sacred thread ceremony. I have no money.

I asked a rich man. Though he’s very wealthy, he threw a small, useless coin at me and drove me away. Mother...

You look like Mahalakshmi herself. Please show some mercy."

“We have no money. If my husband finds out I did charity, he would beat me to death. How can I help you?” Saraswati pondered.

"Oh, dear... If you give something that belongs to you, what can your husband do? The jewelry your parents gave you at marriage belongs to you, doesn’t it? What harm is there in giving from that?" The Brahmin prodded her.

"That’s true, isn’t it? They gave me so many jewels when I got married. All of them belong to me... What harm is there in doing charity with one of them?"

Without hesitation, she took off her diamond nose-ring and gave it to the Brahmin.

Blessing her, he left with the boy and went directly to Srinivasa Nayaka’s pawn shop.

Srinivasa Nayaka felt annoyed again, thinking he was being troubled once more.

"Here, take this nose-ring and give us some money," demanded the Brahmin.

Taking the nose-ring in his hand and examining it, Nayaka thought, "This looks familiar..."

After a while, he said, "Brahmin, leave this nose-ring here. I don’t have money right now. Come back tomorrow to collect the cash."

The Brahmin agreed and left.

Immediately, Srinivasa Nayaka closed his shop and went home.

When he saw his wife, he noticed she wasn’t wearing her nose-ring.

"Saraswati... Where is your nose-ring? Today is Friday. Can your face be bare? Go and wear your nose-ring..."

Saraswati turned pale. “Oh no... what do I do now? If I tell him I gave it to the Brahmin, he’ll kill me!”

Finally, Saraswati made a decision. "Rather than facing his wrath, it’s better to die..." With that, she mixed poison in a pot and, holding it in her hand, went around the Tulsi plant.

"Mother Tulsi... I am coming to you," she said as she was about to drink the poison. Suddenly, she heard something fall into the pot. Looking inside, she found her nose-ring. She was overwhelmed with happiness and surprise, and fell down in gratitude, saying, "Mother, you saved me!" She then hurriedly went to her husband and gave him the nose-ring.

Srinivasa Nayaka was confused. Taking the nose-ring in hand, he rushed back to his pawn shop like a madman. He opened the cash box to search for the nose-ring he had kept securely.

It wasn’t there. He searched the entire shop, but the nose-ring was nowhere to be found. What if that Brahmin comes tomorrow and asks, "I don’t need money... Just give me back my jewelry?"

Was he supposed to give his wife’s nose-ring to him? He was bewildered and fearful.

The next morning arrived.

Within moments of opening the shop, the old man returned with the young boy.

"Lord... You promised to pay me money for the jewelry I gave you. It’s alright if you don’t have money today. Just give me back my jewelry; I’ll take it to another shop for a loan," said the old man.

Srinivasa Nayaka, who once lived with pride, pleaded with the old man.

"Sir... Please forgive me. I am waiting for some money to arrive. As soon as it does, I’ll pay you. Please come in the evening; I will surely give you the money."

"Alright... alright... But don’t deceive me in the evening. I’ll come," replied the old man.

After he left, Srinivasa sent one of his employees to follow the man and find out where he was going.

Following the old man, the worker returned breathlessly a little while later.

"Why are you running like you’ve seen a ghost? Did the old man recognize you and threaten you?"

"Master... forgive me... the old man crossed two or three streets and went to the Panduranga temple...

He went straight into the sanctum sanctorum and then disappeared..."

Srinivasa Nayaka was shocked. What is this? Who was that old man? What kind of miracle is this?

He closed the shop and went home, narrating the entire incident to his wife. She, in turn, told him how she had indeed given the nose-ring as an offering to the old man, who had blessed her before leaving.

Srinivasa Nayaka understood. He realized it was the Lord Himself who had come to test him.

Then a divine voice was heard from the prayer room.

"With all this wealth, you live without doing charity or good deeds? How will you attain a good fate?

Go... donate all your wealth and earn virtue.

From now on, you shall no longer be known as Srinivasa Nayaka. Instead, by the name of this village, Purandaragad, you shall be known as Purandaradasa.

Sing to the Lord. You are an incarnation of Narada. Go seek the protection of Sri Vyasaraya, the spiritual teacher of Sri Krishnadevaraya. He will initiate you as your guru…"

Purandaradasa, once Srinivasa Nayaka, donated all his wealth to the poor and needy.

In an instant, his nine crore rupees were gone. He became a wandering ascetic.

With his wife and children, he journeyed to Hampi, singing the Lord’s names, and sought refuge with Sri Vyasaraya.

Vyasaraya revealed to him the secrets of his birth and gave him spiritual initiation as his guru.

Purandaradasa traveled the length and breadth of Bharata Desha (India) three times on foot.

He composed around four lakh songs in devotion to the Lord.

For our saint of Thiruvaiyaru, Sri Tyagaraja Swami, his mother recited the verses of Purandaradasa when he was a young child.

Known as the Father of Carnatic Music, Purandaradasa introduced the basic "Svara Varisai" (scale of notes) — "Sa, Ri, Ga, Ma, Pa, Da, Ni…" — to the music world.

His compositions continue to be sung in concerts across our country to this day.

This great soul, Purandaradasa, merged with the divine in 1584 CE.

 PIXXEL: CAPTURING EARTH'S ESSENCE FROM THE SKY

In today's world most of the mobile buyers used to buy mobile phones with best pixel quality. Why do they do so?. Because they want to take a best selfies for them and to take a pictures which remains as a memory in their future. 

For taking our own pictures itself we are taking this much care. Anyone thought of taking the pictures of our planet earth in a best pixxel quality. 

The idea of the above strike in the minds of two  Awas Ahmed and kshitij khandelwal, Which made then to form a company called " Pixel"

The promoters of the company are graduated from BIRLA INSTITUTE OF TECHNOLOGY AND SCIENCE, PILANI.

How their journey started

In 2017, A team of young BITS pilani engineering student were competing at the Space x Hyperloop pod competition in Los Angeles. They were the only team from Asia at that edition. Though they missed the winners trophy, the seed of innovation had already been sown in the mind of Awas Ahmed.

The seed has germinated to become "Pixel Space India Private Limited" a space tech start up company founded in the year 2019 by Awas Ahmed and his batchmate and friend kshitij khandelwal. 

Ahmed recalls " When pixel was found in 2019, his primary thesis was that the extant satellite data was not enough for advanced applications. Pixxel's focus was therefore on solving for such application with hyperspectral imaging satellite.

The company has bagged a five-year contract from the US National Reconnaissance Office to provide hyperspectral imagery.

Recently, PIXXEL has won a multi crore grant from IDEX (Innovation for Defence Excellence) for the mission def space challenge under IDEX PRIME (space) to manufacture miniaturised multi payload satellites for the Indian Air force

Generally people will think what is the use of this hyperspectral imagery of earth?

Let us explore the areas in which this can be used

With the help of real time capturing of the earth's image  and with the help of data analytics, water pollution level can be identified, it can be used in agriculture for observing crop growing, it can be used in mining industry, it can be used to monitor the gas pipe lines connections across the country, deforestation can be controlled, even the nuclear bomb testing by any country  can also be identified, type of minerals can also be identified with the help of those hyperspectral images, in simple it is an health monitor of a planet earth.

As per the latest news, PIXXEL has raised $71 Million with the investors such as Google, Radical Ventures, Lightspeed, Blume Ventures, growX, Sparta and Athera.

PIXXEL a leader in cutting-edge hyperspectral earth-imaging technology, announced a partnership with Sanborn, a leading geospatial solutions company at the forefront of spatial data collection.

Using Pixxel’s hyperspectral dataset, Sanborn will equip their customers with advanced insights to solve problems as varied as agriculture crop and forestry health monitoring, exploration for minerals and mining, natural resource management, monitoring the impacts of extreme events - flood, storm, wildfire - and much more...

Generally motivators make the sky as your limit for your ambitions but the founders of The Pixxel company made the earth as the limit from the sky to observe. 

Some of the Hepersectral Images taken by PIXXEL

 

STONES THAT SPEAK STORIES

STONES THAT SPEAK STORIES

Every January, as the Pongal festival brings joy to our taste buds, I eagerly anticipate the Chennai Book Fair, an event that is a true feast for the mind. This year, my visit yielded not just a collection of books but an encounter with a captivating title that led me on a journey into the enchanting world of stone statues and their untold stories.

Among the books that beckoned me, one small book stood out—a work inspired by a speech delivered by the esteemed Tamilnadu politician, Mr. Tha. Pandian. He has delivered a speech about a title called "கல்லும் கதை சொல்லும்" (STONES THAT SPEAK STORIES) in a book fair festival held at Erode on 04.08.2011. He delivered his speech for an about 1 1/2 hour about the title at the book fair. The same was replicated in the above book published by "New century book house" written by T. Stalin Gunasekaran. The very essence of this title had me intrigued, prompting me to explore its depths.

I was engrossed with some of the details which Mr. Tha Pandian has delivered in his speech. Will provide with some details which inspired me as a Tamilian and an Indian. 

In his speech which was written as a book, he has explained about the Natarajar statue of Chidambaram temple. Once he had an opportunity to meet a foreign research scholar who used to research about the statues in temples. He asked him, whether he has seen the the natarajar statue closely at the Chidambaram temple. For this, Tha. Pandian replied casually that he has seen the statue, the deity will be in the dance form etc., The research scholar still asked him, did you find any difference in the statue. For this also, he answered that the sculptor would have depicted the deity in a dance position, since the deity is a specialist in a dance style called bharatham (which is a dance style practiced in South India). The research scholar now started to explain the details of the statue which the sculptor carved the deity with minute details. The most important body parts for the dance is, foot, eyes, and lips. All these brought the statue to life. If one dances, means the back of the foot will have some reactions. For example, the tissues, muscles, nerves at the back of the foot will be seen prominently based on the dance positions you perform. The sculpture has carved such intricacies in the back of the foot of Natarajar statue.

The scholar proclaimed, "It was not the statue made in dance form, it was the statue that was actually dancing (சிலை நடனம் ஆடுகிறது)." The stone, through masterful craftsmanship, became a vessel for the dance itself.

Mr. Tha. Pandian's speech transcended the physicality of statues, delving into the essence of Tamil culture. His storytelling and insights left a lasting impression, reminding us of the depth and richness embedded in our heritage. 

As a fitting conclusion to the exploration, I share a beautiful Tamil saying, "கல்லிலே கலைவண்ணம் செய்தான் நம் தமிழன்" (Our Tamilian has crafted art within the stone).

For those seeking a deeper understanding of the profound connection between art and culture, I recommend exploring the works of the renowned YouTuber PRAVEEN MOHAN, who dedicates time to studying the sculptures adorning our ancient temples in Tamilnadu.

 

https://youtu.be/VLQ-Q53HgsY?si=TV8ib0OMZxJ3Fprj