Siva Temple Murdeswar Karnataka

Puranic Story of the Murudeshwar Temple

The history of the Murudeshwara temple dates back to the period of Ramayana. Legend says that Ravana (the Lanka King), prayed Lord Shiva in a strong devotion to attain immortality by getting the AtmaLinga. Atma Linga is the divine Lingam of Shiva that gains immortality to the Hindu Gods. As a result of the worship by Ravana, Lord Shiva appeared before him and asked him for a boon. Ravana requested the AtmaLinga as his boon. Lord Shiva agreed to give him the boon but on a condition that the AtmaLinga should never be kept on the ground. It is believed that if the AtmaLinga was placed on the ground, all the powers would return to Lord Shiva. Ravana started back on his journey to Lanka with the AtmaLinga.

However, Sage Narada realized that Ravana may obtain immortality and create ruin on earth with the AtmaLinga. He approached Lord Ganesh to help him. When Ravana neared Gokarna, Lord Vishnu blocked the sun and made it as dusk. Ravana wanted to perform his evening rituals. He was worried because the AtmaLinga was in his hands and he would not be able to do his rituals. At that moment, Lord Ganesh came near him in the mask of a Brahmin boy. Ravana requested him to keep the AtmaLinga until he performed the rituals. He told the boy not to place it on the ground. But Lord Ganesh fixed a deal with him. He said he would call Ravana thrice, and if Ravana did not return, he would place the AtmaLinga on the ground. As decided, Ravana could not return all of a sudden and Ganesh placed the Atma-Linga on the ground. The angered Ravana tried to pull up the AtmaLinga and destroy it but failed. He threw the holder of the linga to a place called Sajjeshwara which is 23 miles away and the lid of the case to a place called Gunavanthe (earlier known as Guneshwara) and Dhareshwara, 10-12 miles away. At last, he threw the cloth covering the AtmaLinga to a place called Mrideshwara in Kanduka Hill (Kanduka-Giri). Mrideshwara is later renamed as Murudeshwara.

Knowledge Is Power

Valmiki Rishi
By M.Elangovan

Behind every right there is a duty. And when a person has more rights than others, then that would mean he has more responsibilities too.

A king, whose word was law, commanded the respect of everyone, even if the king happened to be young. But his power also meant that his responsibilities were greater, and the rules laid down for him were that much more stringent. Tamil Sangam literature talks of the duties of a ruler.
It is laid down that a king should promote knowledge that is required for the welfare of his subjects. In those days, what was required for the prosperity of the land, was good yield from agriculture. So the king had to seek out experts in the field and take their advice.

If the elders in the agricultural community did not have the requisite knowledge, but someone much younger in age did, then he would have to approach this person for advice and help with regard to cultivation in the country.

There is a verse in the Thirukkural that speaks of how a person should seek knowledge. One must approach the teacher or instructor humbly. The attitude of the seeker must be one of humility. He must be as humble in his approach as a beggar would be with a rich man.

The scholar is the rich man from whom one seeks the wealth of knowledge. One must therefore be suitably modest. So even if a king were to seek the advice of a person, the king had to be humble and respectful towards the one whose advice was sought. The one who is a repository of knowledge is worthy of respect at all times.

All this is evidence of the high regard that was accorded to learned men in the past. Knowledge was sought not with a view to merely making money, but it was sought for its own sake. When we seek knowledge, it must not only to find a suitable job and to have material prosperity, but we must seek knowledge for knowledge's sake.

He who values knowledge for its own sake, stands to benefit in the long run. Instant results are not lasting. If even kings had to bow before those with knowledge, it becomes evident that nothing can equal knowledge, not even power.

Web Site On Varanasi

Please visit the site and have good brief about Kashi-Varanasi
Some devotees from Canada have developed the site www.Varanasi-Temples.com after considerable research. The site gives brief details of various temples in Varanasi (Kashi) as mentioned in Kashi Khand (Skanda Puran). The site will be uploaded regularly and in due course, it may become a good inter-active web-site.

If a person worships one deity in Kashi (Varanasi) he will derive some amount of Punya. If he worships several deities, the punya earned grows manifold. According to Pundits, he will derive the same amount of Punya if he publicises about the temples. I request you to kindly read about each and every temple (159 photos uploaded till now). More and more people shouljavascript:void(0)d come to know about this. Circulate about this site to your near and dear ones. Be a part of this holy task.

Velukkudi Krishnan

Velukkudi Krishnan shares his experience, Bliss, to be specific, through upanyasam.

People's taste may vary when it comes to small screen entertainment in the evening, with soaps and cinema topping the list. But mornings, 6-7, are generally dominated by one voice. Gruff and soothing at once, the Tamil is both chaste and familiar.

The style is lucid, diction clear and the content rich. All of these makes the audience, drawing room or public halls, listen to Velukkudi Krishnan in rapt attention.

His lineage

“My grandfather wanted at least one of his five sons to be brought up the traditional way, acquiring knowledge in Vedanta and Sastra and spreading Dharma,” Krishnan traces his lineage when this writer meets him at his residence on Bheema Sena Garden Road, Royapettah, Chennai.

After completing Class V, Vidwan Velukkudi Varadachariar Swamigal was trained at the patasala on Narayana Mudali Street, in George Town. He then shifted to Sri Venkateswara University, Tirupati, for higher education. Karapangadu Venkatacharya Swami, Tirupati Jeeyar Swami Sadhu Ramachar and Sri Rangam Desika Varadachariar Swami were his gurus. “He was into Upanyasam when he was 32, thus fulfilling my grandfather's most cherished dream,” says Krishnan.

Bhagavad Gita and Nammazhwar's Tiruvoimozhi were close to the Senior's heart. He presented over 80 month-long lectures on Andal's Tiruppavai, with different interpretations each time.

Born to his parents after sixteen years of their marital life, Krishnan got the best of both forms of education. He was trained at home in the Vedas, Divya Prabhandam, Sanskrit and other related scriptures apart from regular school. Initiation into lectures began when he was eight. He was asked to speak on the last day of a series of his father's lectures for about 10 minutes. The text prepared by his father had to be memorised. This happened throughout his school days and college days too (Vivekananda College, Mylapore, Chennai). Krishnan went on to complete C.A. and ICWA courses before joining the top rung of an MNC. Never did he venture to make solo presentations during his father's life time. A great devotee of Sri Ranganatha, Sri Varadachariar Swamigal breathed his last inside the Srirangam temple after having darshan of the deity one January morning in 1991. That marked the launch of Velukkudi Krishnan on the upanyasam scene. But he found it difficult to strike a balance between his job and lifestyle. Long hauls on business meetings outside Chennai were coming in the way of his nitya karma. Rushing to the Upanyasam stage from corporate meetings well after dusk added to the stress and the decision had to be taken. “I quit lucrative job to dedicate myself to Upanyasam and related activities.”

Sharing thoughts

Krishnan gently shakes his head when reference is made to a “change in profession.” “Please don't call Upanyasam my profession. It is just sharing my own experience. It is neither a trade nor a job. Experiencing the Brahman is bliss and I only want to share it with everyone. Spiritualism does not need special skill or intelligence. Nor can you achieve salvation by memorising the 4,000 verses. The Lord only expects unconditional love. Throughout his life, my father was only trying to make people understand this. If you read the works of the Acharyas, Azhwars and Nayanmars you will see that love was the underlying factor of all their immortal works.

How is he able to quote from scriptures in Tamil and Sanskrit with such precision? “There is no special effort besides deep involvement.” Irrespective of the subject to be dealt with, he recommends at least four hours of reading authentic texts every day. “I am lucky, for all I have to do is read my father's extensive notes on all the subjects. These are my invaluable assets.”

Response to his upanyasams? “Overwhelming. Being the son of an illustrious father, the platform was ready for me but then I had the responsibility of maintaining the standards set by him.” He is deeply worried about orators changing concepts to suit the trend while dealing with scriptures. For instance, using the Gita to explain management principles. “The scriptures should be followed to realise the Brahman,” he asserts.

Krishnan's two sons are budding technocrats and he has not tried to influence them. However, he has been teaching them Sanskrit and other subjects. Velukkudi Krishnan's discourses have been digitally documented. These CDs and DVDs are also tools that help in http://www.blogger.com/img/blank.gifthe development of his two sons. “My duty is to make them enlightened bhaktas and not trained orators.”

“Many feel that Bhakti is for the old. On the contrary, one should attain Atma Gnanam at a very young age like Prahalada. The Bhagavad Gita is one text that should be read by everyone. Assimilating the content may be a difficult task initially, but constant reading will lead to eternal bliss. Tiruppavai too helps in fostering Gnanam.”

How does Krishnan preserve his energy and voice? “I enjoy what I speak. It is Ananda for me. While in Ananda, the inflow of positive energy is infinite. This is true in respect of the devotees who also sit through such lectures,” Krishnan concludes in typical simple style.

Cahturmasya Vrata

The Poornima (full moon day) in the month of Ashadha is called ‘Guru Poornima’. On this sacred day, worship is offered to Brahma Vidyacharyas - the great luminaries of hoary antiquity, who through their Supreme grace, have handed over the knowledge of Brahman - Brahma Vidya - through a long, continuous and uninterrupted line of Acharyas, to the world of seekers of Self. Special pujas are performed to the hierarchy of Gurus, Parama Gurus, Parameshti Gurus, Parapara Gurus and all Brahma Vidya Acharyas, seeking their inestimable blessings to realise the Supreme Truth. This is also
called ‘Vyasa Puja’, for, Sri Vedavyasa stands foremost in the line of these preceptors. It was Vyasa who codified the Vedas into four divisions and integrated the messages of the Upanishads relating to Brahman, Jiva and the Universe in his great book, the Brahmasutras. He is rightly addressed as one of ‘vast intellect’ (???????????) ‘the ancient sage’ (??????????) by whom was lit the lamp of knowledge, feeding it with the oil of Mahabharata.
Suka, Gaudapada and Govindabhagavatpada kept this light burning; then came the Great Master Sri Sankaracharya, who carried it far and wide throughout Bharata Varsha.

A popular verse compendiously expresses the many dimensioned greatness of Veda Vyasa and Sri Sankaracharya and offers obeisance to them:
The term Chaturmasya means four months. The term Chaturmasya Vrata is a Vrata to be observed for a period of four months. But according to the Vedic dictum one ‘paksha’ or a fortnight is taken as one month, and traditionally the Vrata is observed only for two months. During the rainy season, Sannyasins observe Chaturmasya and stay at one place to meditate on the Absolute Reality and instruct their disciples in the spiritual lore.
so expresses the Srimukha issued by the Acharyas of Sringeri Math.

Before observing the Chaturmasya Sankalpa, they perform Vyasa Puja and pay homage to Dakshinamurti, Sadasiva and to the Acharyas who came after him, to the framers of the canons of Brahma Vidya - the knowledge of Brahman - to the great seers of the parampara and to the preceptors. The Narada Parivrajakopanishad which codifies the conduct of the Sannyasins in detail, lays down that Sannyasins must be moving from place to place, to avoid getting entangled with the dealings and habits of the people of the village or town. But during the rainy season, they must halt at one place for a period of four months and observe the Chaturmasya Vrata.
The mendicant monk, except in the rainy season, may stay one night in a village and five nights in a city; during the rains, he may stay four months in a village or town. He shall not stay for two nights in a villages; if he stays, affection, lust, etc., may find scope to deflect him and thereby he may go to hell. In the outskirts of a village, in a secluded spot, he may pitch his camp and go about for alms like a worm on the ground; during the rains, he shall stay at one place.
If, during the rainy season, the Sannyasins move from one place to another, they may cause injury to many insects and worms that breed and move about on the ground during the season. But as the Sannyasins have taken the vow of non-injury to all creatures (Ahimsa and Abhaya), they should refrain from causing harm to any living being. Moreover, constant travel will also come in the way of Sannyasins having any time for ‘Brahma-vichara’ or for continued profound meditation; So, they halt at one place once in a year for four months and engage themselves in the meditation of the Supreme Brahman, in the company of their Gurus and other Sannyasins, clearing their doubts on complex metaphysical problems.
During the Chaturmasya Vrata,

Saint Thyagaraja

Saint Thyagaraja was an extraordinary Carnatic Music composer and a devotee of Sri Rama of highest order. His contruibutions to Carnatic Music, the classical music of South India are immense, so much so, that he was considered as one of the three personalities (known as thr trinity of Carnatic Music) responsible for the growth and spread of Carnatic Music. He made unique contributions to the cultural growth of South India and even today his compositions (kritis) are very popular among the students and lovers of South Indian classical music. He had composed several Kritis in various raghas.

Saint Thyagaraja was born in Tiruvarur in the Thanjavur District on 27th Chaitra, Srvajit, a Sukla Saptami corresponding to 4th May, 1767 according to one tradition and 1759 according to another tradition and named after the presiding deity (Lord Thyagaraja) of that temple town. The name THYAGA-RAJA means the 'Prince of Renunciation'. Thyagarajar was born as the third son of Ramabrahmam whose family profession was story telling (Katha Kalashepem) and a distinguished exponent of Ramayana who was patronised by the King of Thanjavur. His mother was Seethamma, the daughter of the asthana vidwan Veena Kalahastayya.

The bulwark of a great culture, the Vijayanagara Empire fell at the end of the 16th Century. The invasion from the North brought in its wake. Quite a few Hindu families had to flee to southern areas which were still peaceful. Many found shelter under the benign rule of the Nayakas and the Maratha Kings of Tamilnadu. Particularly, a number of Telugu families went to South and formed nuclei of art and culture and Thyagaraja’s ancestors belonged to one such stock, as he describes himself as descending from a family of immigrant Vaidiga Brahmins of the Muriginadu sect belonging to Kakarla family (Kakarla is a village in the Kurnool District of Andhra). They moved to Tamil Nadu Country during the Vijayanagar period in early 1600’s.

Very soon after the birth of the saint, the family shifted to Thiruvaiyaru. The king of Tanjavur had gifted a house to him in this village and here Thyagaraja not only spent the major part of his life but also attained samadhi. Saint Thyagarajar completed the study of Sanskrit and Telugu and mastered Valmiki Ramayanam and other religious literatures. His mother had a collection of the Purandaradasa and taught them to her son. He was thus introduced to the Sangita Pitamaha at a very early age and worishipped him as his adiguru. His precocity in music could not escape the notice of his father who put him under the tutelage of the court musician Sonti Venkataramanayya at the age of 16. Thyagaraja absorbed all that the guru could teach him within a year. After that he was on his own, perfecting his technique by immersing himself in the study of musicology from various treatises. Since from the age of 17, he started singing small kritis. He also showed a flair for composing music and while in his teens composed his first song Namo Namo Raghavaya in Desikatodi and inscribed it on the walls of the house. He studied NARADIAM a treatise on music which he got from his grand father, Giri Raja Kavi.

In 1784, when he was 18 years, he married Parvathi. In 1785 at the royal court of Pudukottai Ramachandira Thontaiman, Thyagaraja had sung in Jothiswararupeni raga. In 1787, when Thyagaraja was 21 his father Ramabrahmam passed away. In 1787 at his age of 21, he got spiritual initiation into "Rama Shadakshari" mantra from a saint called Ramakrishnananda. In 1789, when he was 23 years old, his wife, Parvathi passed away. He married her sister Kamala in 1790. He had a daughter called Seethalakshmi.

In 1802, his guru, Sonti Venkataramanayya arranged for his arangetram where the vidwands of the palace were assembled. Thyagaraja sang his own composition, Dorakuna ituvanti in Bilahari. The song starts by asking, 'It is possible to get darshan of Hari?'. At the end of the recital his guru, overwhelmed with emotion at his shishya’s performance. Thayagara’s fame as a composer of music was spreading fast. On hearing about him, King Sarabhoji II invited Thyagaraja to the palace to sing before him and also offered him the position of samasthana vidwan at the durbar. But Thyagaraja, who was very clear about his mission in life, refused and declined the offer. Thyagaraja's reputation as an outstanding musician and composer was due to his desire to compose only to serve Rama and not any human being. In the presence of leading musicians he was asked to sing at Thiruvaiyaru and Thanjavur on two occasions. His mudra is 'Thyagaraja'.

In 1804 at his age of 37, his mother, Seethamma passed way.

Thyagaraja was constantly repeating the Rama Shadakshari mantra over 21 years and he completed in 1808 chanting 96 crores of Rama Nama.

In 1810, Thyagaraja’s daughter seethalakshmi was given in marriage to Kuppuswami. Thyagaraja's disciple Walajapettai Vekataramana Bhaagavatar brought a painting of Kothandarama, walking all the way from Walajapettai to Thiruvaiyaru and offered it to his guru.

Seethalakshmi and Kuppuswami begot a boy who was named Thyagaraja who died issueless; thus came to an end the direct lineage of the composer.

In 1827, at the age 60, he celebrated Sastiaptha Purthi. In 1839 during the month of April, he visited Tirupati, but when he went to the temple, it was closed. In sadness, he sang "Teratiyagaraadaa" and the temple officials gathered round in admiration when they saw the door opening by itself and the screen falling aside. He sang "VenkaTEsha ninu sEvimpa" in his happiness at seeing the Lord.

While returning to Thiruvaiyaru, he visited Chennai-Kovur, where he composed Kovur Pancharatna during his stay with Kovur Sundara Mudaliar. Later he composed Thiruvetriyur Pancharatna while he was staying with Veena Kuppier. At the invitation of his disciple LaalguDi Raamayya, he composed the Laalgudi Pancharatna. He also composed the Shreeranga Pancharatna in praise of Ranganaata of Shreerangam and 5 kritis in praise of Sage Naarada.

On completion of this spiritual tour he reached Thiruvaiyaru at the end of October, 1839. In 1841, Gopalakrishna Bharathi visited Thyagaraja at his residence in Thiruvaiyaru. The Ghana Pancharatina Kriti, 'Endaro mahanubhavulu..' was composed when Chatkalam Govindamaarar visited him in 1843.

It was said that Lord Rama appeared before him on 27-12-1846 in his dream and offered him Motsa after 10 days. Next day he revealed this to his disciples and relatives during 'Egadesi Bhajanai'. Accordingly everyone believed that 6-1-1847 would be the day when he was excepted to become Mukdhi. The Saint took to Sanyasa on 5-1-1847 when he felt the premonition of his approaching end to his mortal life and called himself Nadha Premmananther. He attained Siddhi on the Pushya Bahula Panchami day in the year Parabhava 1847 A.D. (6-1-1847). His mortal remains were interred at a spot on the left bank of the river Cauvery at Thiruvaiyaru with the honor and religious rites due to a Sanyasi. A brindavan consisting of a conventional brick structure and Thulasi plant was put up.

Saint Thyagaraja is stated to have composed several Kritis. Two plays of him of Yakshagana type are available now. He had employed over 200 raghas. The Pancharatna Kritis are the most representative of Saint Thyagaraja's art as a composer. The Divyanama and Utsava Samprathaya Kritis composed by him are melodies. Though an ardent Ramabakthi he was, Saint Thyagaraja had also sung in praise of other deities as well. To him music was Nadopasana. The vanity of wealth or the pomp of power never tempted him.

Smt.Gaythri Venkataraghavan @ Australia

 

Smt. Gayathri Venkataraghavan,began her training in carnatic music at a young age under the tutelage of Smt.Rajalakshmi and then under Smt. Padma Veeraraghavan, a disciple of Palaghat Sri.K.V.Narayanaswamy. She was also trained in various Kritis by Smt.Rukmini Ramani, Sri.V.Subramaniam and Smt.Lakshmi Natarajan.

Her advanced training was under Acharya Choodamani Late Sri.A.Sundaresan . He was an outstanding musician and a dedicated Guru, and a disciple of Sri.C.V.Krishnamurthy Iyer, Sri.Ramnad Krishnan and Alathur Sri.Sivasubramanya Iyer.

Gayathri is presently under the guidance of Padma Bhushan Sri. P.S.Narayanaswamy.

At an young age as Gayathri Ramani, she has won a number of prizes in inter-school and Inter-college competitions and also in competitions held by Music Academy, Indian Fine Arts Society, Mylapore Fine Arts, Saraswathi Vageeyakara Trust Etc.

Gayathri Venkataraghavan is an ‘A’ grade accredited artiste of All India Radio. She won the All India Radio National level competition in 1993. Her regular performances for the A I R include a prestigious National Broadcast in 2006.She has sung various themes for Archival purposes for the AIR.

She has performed for Doordarshan national and regional telecasts, and for various other television channels. She has had the honour of anchoring a documentary feature “Engum Nirai Nada Bhrahmam” a tribute to the immortal icon of Carnatic music Bharath Ratna Smt.M.S.Subbulakshmi for Doordarshan. The concert prizes that she has won by the Grace of Almighty at the Music Academy conference, include The D.K.Pattammal award for Lady vocalist in 2001, T.T.Rangaswamy award in 2002, H.Natarajan Prize 2003 and 2004 , The Pappu Kamakshi Award in 2006 and the Award for Swara singing during 2007.

She has been performing regularly at various centres in India . Her performances abroad include ones at the Cleveland Thyagaraja Festival 2005 and 2008 at Ohio State, USA and Toronto in Canada. She also performed at the SIFA annual festival at Singapore in Feb 2007. She has also toured the United States and Canada extensively for a concert tour in September and October 2007.

In 2003 she was awarded the Kalki Krishnamoorthy award and in the same year she was given the Nada Oli title by Nada Inbam, Madras. She was awarded the SIMANA award instituted by The Carnatic Music Association of North America, Inc.NJ (USA) Dr.MLV Endowment by Narada Gana Sabha 2006.

She has been awarded the Shanmuka Sangita Shironmani title by Sri Shanmukhananda Fine Arts and Sangeetha Sabha, Mumbai and the Isai Peroli title by The Karthik Fine Arts Chennai.

Namah Shivaya

Namah Shivaya Lecture By Sri Rajarathinam Courtesy The Hindu
Lord Siva Himself was the guru of the Saivite saint Manickavachagar. He taught Manickavachagar the ‘Namasivaya' mantra. Manickavachagar sang in praise of Siva, and his verses are moving.
Every letter in the Panchakshara mantra has significance. The letter ‘na' indicates Lord Siva's control of happenings in all the worlds. He is in charge of everything that occurs in the three worlds. The ‘ma' is a reference to the deluge, by which everything is engulfed. The ‘si' refers to the act of protection by the Lord. The letter ‘va' refers to the fact that He created all that we see in Nature. The ‘ya' shows that he created all living things. There are five aksharas in the Panchakshara mantra, and each of these five letters indicates an act of Lord Siva. The Lord is said to have five duties — creation, protection, destruction, bringing on the deluge, and showering us with mercy. These five acts of His are shown to us through the Panchakshara. Another way to look at the Panchakshara is to see each of the letters as representing the five faces of Lord Siva. Yet another meaning is to see the ‘na' as representing the earth, the ‘ma' as representing water, the ‘si' as representing fire, the ‘va' as representing the air, and the ‘ya' as representing the sky. The five letters could also be taken to indicate Siva's five colours. He is said to be golden hued, white, red, black and grey in colour.

Just as each letter in the Panchakshara has great significance, each word in the Tiruvachagam of Manickvachagar has significance. Manickavachagar uses one particular word six times. This is to indicate the six inner conflicts we have. He uses yet another word five times, to show that our five senses must go on the right path. He uses another word eight times, to show the eight qualities of Lord Siva.

He is the embodiment of gnana, mercy, joy and love. He is Omniscient. He has infinite capacity to accomplish anything. He created Nature, and is Himself Nature. He also loves Nature. That is why every temple has a sthala vriksha — a tree auspicious to that temple. That is why we also maintain gardens in temples