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Wednesday, 11 September 2013

Sree Buddha-The first Arayar in the World.

ജൈന-ബുദ്ധ മതാനുയായികളായ കലച്ചൂരി/കളഭ്ര രാജാക്കന്മാരുടെ പിന്മുറക്കാരാണ്, അരയര്‍.
അരയര്‍ ഒരു ജാതിപ്പേര്‍ ആയിരുന്നില്ല.
പുരാതത ഇന്ത്യയില്‍ നിലനിന്ന ഏറ്റവും പഴയ മതമാണ്‌ ജൈനമതം. ജൈന മതപ്രകാരം, കോപം, ആര്‍ത്തി, അത്യാസക്തി, അഹന്ത  എന്നീ നാല് ആന്തരിക ശത്രുക്കളെ പരാജയപ്പെടുത്തി മോക്ഷപ്രാപ്തനാകുന്ന സന്യാസികളെ “അരിഹന്ത്” എന്ന് വിളിക്കുന്നു. ഇപ്രകാരം അരിഹന്ത് ആയ വ്യക്തികളാണ് ജൈന മതത്തിലെ ദൈവ പുരുഷന്മാര്‍ എന്ന് അറിയപ്പെടുന്ന 24 തീര്‍ത്ഥങ്കരര്‍. ആദിനാഥന്‍ ആദ്യത്തെതീര്‍ത്ഥങ്കരരും, മഹാവീര്‍ ഒടുവിലത്തെ തീര്‍ത്ഥങ്കരരും ആണ്. ജൈന മതത്തിലെ അരിഹന്ത്, (പാലിഭാഷ)ബുദ്ധമതത്തിലെ, അരയര്‍, അരയ്യര്‍, അരിയര്‍,(തമിഴ്) ആര്യര്‍, ആര്യ (സംസ്കൃതം) എന്നീ പദങ്ങള്‍ സമാന ഗണത്തിലുള്ളവയാണ്. ബുദ്ധനെ പുരാതന തമിഴ് കൃതികളില്‍ “അരയര്‍” എന്നാണ് അഭിസംബോധന ചെയ്തിരിക്കുന്നത്.
ബുദ്ധമതം.
ബുദ്ധമതസ്ഥാപകനും , ഗുരുവും ആയ ഭഗവാന്‍  ഗൗതമ ബുദ്ധന്‍ (563-483 BC) ശാക്യ ഗോത്രത്തിലാണ് പിറന്നത്‌. ഗരുഡപുരാണം (1.86.10.11) അനുസരിച്ച് രാമനും, കൃഷ്ണനും ശേഷം ബുദ്ധന്‍, വിഷ്ണുവിന്റെ ഒന്‍പതാമത്തെ അവതാരം ആയാണ് പറയപ്പെടുന്നത്‌. ബുദ്ധന്റെ പിതാവ് സുദ്ധോദന സൂര്യവംശത്തിലെ ശാക്യ ഗോത്ര വംശജനാണ്.
ശാക്യ ഗോത്രത്തിന്റെ ഉത്ഭവം വിഷ്ണുപുരാണത്തിലും, ശ്രീമദ് ഭാഗവതത്തിലും, ബ്രഹ്മപുരാണത്തിലും പറയുന്നുണ്ട്. ശാക്യഗോത്ര വംശജര്‍ “ശാക്യഗണരാജ്യ” എന്ന പേരില്‍ ഒരു സ്വതന്ത്ര നാട്ടുരാജ്യം തന്നെ രൂപീകരിച്ചിരുന്നു. പുരാതന ഇന്ത്യയിലെ കപിലവസ്തു ആയിരുന്നു അതിന്റെ തലസ്ഥാനം.
സുര്യവംശം(Solar Dynasty) എന്ന് പൊതുവായി അറിയപ്പെടുന്ന ഇക്ഷ്വാകു സാമ്രാജ്യത്തിലെ ഒരു ഗോത്രമാണ്, ശാക്യ. ഭഗീരഥ, രഘു, ദശരഥന്‍, രാമന്‍. എന്നിവര്‍,  ഇക്ഷ്വാകു സാമ്രാജ്യത്തിലെ പ്രശസ്തരായ രാജാക്കന്മാരാണ്‌. രഘുവിന് ശേഷം, രഘുവംശം എന്ന പേരില്‍ ഈ രാജവംശം അറിയപ്പെട്ടു. മറ്റു അറിയപ്പെടുന്ന രാജാക്കന്മാര്‍, സത്യവൃത, ഹരിശ്ചന്ദ്ര, ദിലീപ, സാഗര, പ്രസേനജിത്ത് എന്നിവരാണ്. ബുദ്ധ മത ഗ്രന്ഥമായ “മഹാസമ്മത”പ്രകാരം, ഇക്ഷ്വാകു ആണ് ഇക്ഷ്വാകു സാമ്രാജ്യം സ്ഥാപിച്ചത് എന്ന് പറയുന്നു. ജൈന സാഹിത്യത്തിലും ഇക്ഷ്വാകു സാമ്രാജ്യം 24 തീര്‍ത്ഥങ്കരര്‍ ഉള്‍പ്പെടുന്നതായി പറയുന്നു.
പുരാണപ്രകാരം, വസിഷ്ഠ മഹര്‍ഷിയാണ് ഇക്ഷ്വാകു സാമ്രാജ്യത്തിന്റെ സര്‍വ്വസ്വവും. ഇക്ഷ്വാകു സാമ്രാജ്യത്തില്‍ നിന്നാണ് ശാക്യഗോത്രം രൂപം കൊള്ളുന്നത്‌. ശാക്യ ഗോത്രത്തില്‍ നിന്നും മൗര്യ സാമ്രാജ്യവും രൂപം കൊണ്ടു. ചന്ദ്രഗുപ്ത മൗര്യരാജാവും അദ്ദേഹത്തിന്റെ പിന്‍ഗാമികളും കോളിവംശത്തില്‍ ഉള്‍പ്പെടുന്നു. ഏറ്റവും പുരാതന പ്രപഞ്ചഭരണാധികാരി എന്നറിയപ്പെടുന്നതും, മോഹന്‍ ജോ ദാരോയിലെ ശിലാ ലിഖിതങ്ങളില്‍ എഴുതപ്പെട്ട ചരിത്രത്തിലെ നായകനുമായ, മന്ധതമഹാരാജനും,  രാമായണം രചിച്ച വാല്മീകി മഹര്‍ഷിയും കോളി വംശജരാണ്‌. കോളി വംശത്തിലെ സുന്ദരിയായ മഹാമായ എന്ന രാജകുമാരിയെയാണ് സുദ്ധോദന രാജാവ് വിവാഹം കഴിച്ചത്. ഇവരുടെ പുത്രനാണ് ശാക്യമുനി എന്നും, ശ്രീ ബുദ്ധന്‍ എന്നും അറിയപ്പെട്ട സിദ്ധാര്‍ത്ഥ രാജകുമാരന്‍. സിദ്ധാര്‍ത്ഥ രാജകുമാരന്റെ മുറപെണ്ണും,സഹധര്‍മ്മിണിയുമായ യശോധരയും കോളി വംശജയാണ്.

ജൈനമതക്കാരായ ഉത്തരേന്ത്യന്‍ കലച്ചൂരികള്‍ സന്യാസികളും, പോരാളികളുമായ ജനസമൂഹമായിരുന്നു. കലച്ചൂരികള്‍, ദക്ഷിണേന്ത്യയില്‍ കളഭ്ര രാജാക്കന്മാര്‍ അഥവാ കാളീ അരശര്‍ എന്നാണ് അറിയപ്പെടുന്നത്. കലച്ചൂരി/കളഭ്ര രാജാക്കന്മാരുടെ മറ്റൊരു ഉപജാതിയാണ് കോളിവംശം. കലച്ചുരി/കളഭ്ര രാജാക്കന്മാര്‍ ആന്ധ്രാപ്രദേശില്‍ മുദ്ധിരാജ എന്നും, തമിഴ്നാട്ടില്‍ മുത്തുരാജ/മുത്തരയര്‍ എന്നും അറിയപ്പെടുന്നു. തമിഴ്നാട്ടിലെ രാമേശ്വരത്ത് സ്ഥിരതാമസമാക്കിയ ഈ രാജാക്കന്മാര്‍ അവിടങ്ങളില്‍  മുന്‍പ് ഉണ്ടായിരുന്ന രാജാക്കന്മാരെ യുദ്ധത്തില്‍ പരാജയപ്പെടുത്തി, ജൈന/ബുദ്ധ മതത്തില്‍ അധിഷ്ട്ടിതമായ സ്വന്തം സാമ്രാജ്യങ്ങള്‍ സ്ഥാപിക്കുകയും, അവിടുങ്ങളിലെ ബ്രാഹ്മണ ജനതയുമായി ഇടകലര്‍ന്നു വിവാഹബന്ധങ്ങളില്‍ ഏര്‍പ്പെടുകയും ചെയ്തു. കളഭ്ര രാജാക്കന്മാരുടെ പിന്‍ഗാമികള്‍ ആയ ചോള സാമ്രാജ്യത്തിലെ പ്രശസ്തനായ കരികാല ചോള മഹാരാജാവിന്റെ ചെറുമകന്‍ ഇളന്തരയന്‍ ആണ് പല്ലവ സാമ്രാജ്യം സ്ഥാപിച്ചത്. പല്ലവന്മാരുടെ പിന്‍ഗാമികളാണ്, മുത്തുരാജ/മുത്തരയ രാജാക്കന്മാര്‍., ചോള രാജാക്കന്മാരുടെ ചേര രാജ്യത്തെ ഒരു ശാഖ 'പഴുവെട്ടരയര്‍"' എന്നും, പല്ലവന്മാരുടെ പിന്‍ഗാമികള്‍ 'പല്ലവരയര്‍"' എന്നും അറിയപ്പെട്ടു.  മൂവേന്തന്മാര്‍ എന്നറിയപ്പെട്ട ചോള/ചേര/പാണ്ട്യ രാജാക്കന്മാര്‍ എല്ലാവരും കലച്ചൂരി/കളഭ്ര രാജാക്കന്മാരുടെ പിന്മുറക്കാരാണ്. ഈ രാജകുടുംബങ്ങള്‍ പരസ്പരം വിവാഹ ബന്ധങ്ങളില്‍ ഏര്‍പ്പെട്ടിരുന്നു.  തമിഴ്നാട്ടില്‍ ഏറ്റവും ആദ്യം മഹാക്ഷേത്രങ്ങളും,കോട്ടകളും പണികഴിപ്പിച്ചത്  മുത്തരയ രാജാക്കന്മാരാണ്. 

Saturday, 6 July 2013

ARAYAR SEVAI

What is the Arayar sevai?

The Arayar sevai is the unique upachara or offering to Vishnu made in three Vaishanava temples in Tamilnadu. Srirangam, Azhvar thirunagar and Sri villiputhur and in the Melkote Thiru Narayana temple in Karnataka, performed by a specific family who hold the hereditary rights to this offering. The Arayar through music and hand gestures expounds the meaning of the Tamil verses composed on Vishnu by the 12 Alwars-saints (who lived in various periods between the 7-8 centuries.) that are found in the Divya prabandham. In addition to this the Arayars also perform two other worship services that have a combination of music and drama called the” Muthukuri sevai” and the “Pallupattu.”
The performance is today done only by one family in Srirangam and two families each in Azhvar thirunagari and Sri villiputhur. In Melkote the Arayar only sings the verses in the ancient panns (equivalents of the Ragams). In this paper, we will examine briefly the history of the Arayar sevai its different forms with specific reference to the Azhvar thiru nagar temple.
The performance is called Arayar Sevai and the performer who is called an Arayar. There are several explanations for the word; two of the more popular ones are-
Arayar means king and since the Arayar is a master of the verses of the Alwars in the Divya Prabandham and is able to demonstrate their meanings through music and dance to the general public. He is called an Arayar of the Dya Prabandham.
‘To tell’, is also a meaning for Aria and the Arayar who tells of the songs in the Divya Prabandham becomes an Arayar.
The worship (Sevai) offered by the Arayar is there for known as Arayar Sevai and this also referred to as “Kondattam” or celebration of the greatness of Vishnu by the Arayar.
In texts, common parlance and inscriptions Arayars are known by other names as well,
Vinnappam Cheyvar – they speak directly and only to the lord and make their requests only to him.
Nampaduvan- the sing the praises of our lord Nam (Perumal)
Isai ariyum Peruman – Referring to their ability to sing the Prabandham.
Thambiranmar – Roots word are probably than-piran-mar meaning those who belong to the lord and indicative of the Arayar becoming an Azhvar himself when performing the Arayar sevai.
The Arayar is always a male and has to follow a specific dress code and perform a vow before each performance.
The origin of the Arayar Sevai.

In the 10 the century, in a village called Kattumannar Koil (Viranarayanapuram) there lived a person called Nathamuni who was the son of Sri eswara Bhattar. The period he lived in is still not fully agreed up on but, scholars put it at around ACE 825-918.
One day Nathamuni heard a group of pilgrims sing a song of 11 verses on the Sarangapani deity in Kumbakonam. The last word said,
“Sweeter than the melody of the finest flute”.
 This decade from a thousand are by Kurugur’s sadagopan.
His refugees are in the feet of Krishna, 
The lord who sucked the breasts of the ogress.
Recite them to be loved by all those around you.
Thiruvaimozhi 5.8.11.
Entranced by the verse, Nathamuni asks for the rests of the thousand. The pilgrims direct him to Kurugur since the poet is Sadagopan from Kurugur.  When he goes to Thirukurugur, no one seems to know any other verses. He meets a disciple of Madhurakavi who teaches him “Kanninum Sirittaambu”, a song on Sadagopan by Madhurakavi. “Recite this under the same tamerind tree 12000 times, he is told, he does so and receives not only the song he wanted but many others, he compiled them in the 4000 Divya Prabandham and set them to tune and instituted the Arayar sevai.
The 4000 thousand verses are composed by twelve saints who lived between 5 th and 8 th centuries and sung in praise of Vishnu are known as the Azhvars. The verses are revered by Vaishnavites and continue to be recited in temples. They are known as the Tamil Vedas.
The collection consists of four parts of thousand songs each they are,
1.       Mudal Aayiram or first thousand contains 947 songs. It includes
A)Periyaazhvar thirumozhi (473 songs)of periyaazhvar, including Thiru Pallaand.   

B) Thiruppaavai by Andal (30 songs).
c) Naachiyaar Thirumozhi by Andaal (143 songs)
D) Perumaai Thirumozhi by Kulasekhara Azhvar (105 songs)
E) Thiruchanda Virutham by Tirumazhisai Azhvar (120 songa)
F) Tirumaalai by thondaarady Podiazhvar (45 songs).
G) Tiruppalli Ezhuchi by Thondarady Podiazhvar (10 songs)
H) Amalaanathi Piran by Thirupaanazhvar (10 songs)
I) Kanninun siru thaambu by Madhurakavi Azhvar (11 songs)
         2.  Periya Tirumozhi or greater hymns contains 1134 songs. All sung by Tirumangai Azhvar.
                A) Periya Tirumozhi (1084 songs)
B) Thiru kuraan Thaandagam. (20 songs)
 C) Thiru Nedun Thaandagam (30 songs)
3. Thiruvaimozhi by Nammazhwar  (it contains 1102 songs)
4. Iyarpa is the last division in the Divya Prabandham and contains the following
a. Mudal Thiruvandaadhi by Pongai Azhwar (100 songs)
b. Irandaam Thiruvandhaadhi by Bhootath Azhwar (100 songs)
c. Moondraam Thiruvandaadhi by Pey Azhwar (100 songs)
d. Naanmugan Thiruvandaadhi by Thirumazhisai Azhwar (96 songs)
e. Thiru virutham By Nammazhwar (100 songs)
f. Thiru vaasinyam by Nammazhwar (7 songs)
g. Peria Thiru Andaathi  by Nammazhwar (87 songs)
h. Thiruvezukootriru kkai by Thirumangai Azhwar (1 song)
i. Siriya Thirumadal by Thirumangai Azhwar (40 songs)
j. Peria Thirumadal by Thirumangai Azhwar (78 songs)
5. Ramanuja Nootranthaati ( 108 songs) of Amudhanar and it was added to the text compiled by Nathamuni neither is it own Vishnu nor is it by an Azhwar.
Many of these song sing the praises of Lord Vishnu enshrined in various places all over india and Nepal and even the two states of being in heaven. The places referred to are revered as the holy as the “108 Divya Desham.”
Madhurakavi Azhvar is an exception because though he sang only of Nammazhwar but, he too is counted as an Azhwar. Given his devotion for Nammazhwar, no verse by Nammazhwar may be recited without reciting 11 composed by Madhurakavi.
Today they are recited by devotees sitting facing each other in all Vishnu temples. It is only in the three temples in Tamilnadu that they are also sung and danced by the Arayars.
Nathamuni classified the Divyaprabandham in to Iyarpa which was meant to be chanted and Isaippa which was suitable for singing with his nephews Keelai Ahatthu Aazhwan and Melai Ahatthu Aazhwan. Swami Nathamunigal set the Paasurams of Isaippa to tune (pan) and trained his nephews to sing and worship the Prabandhams in front of the Lord at Srirangam. In doing so his intension was to captivate the general public to understand the verses of the Azhwar through music and dance. Nathamuni composed himself two slokas on Nammazhvar and these are recited as a part of the Thaniyan for Nammazhwar’s thiruvaimozhi. Inscriptions in temples and commentaries on the Divya Prabandhams tell us of the Arayar sevai being performed in Kanchi, Thirumaliruncholai also called Azhagar Koil. Triplicane, Thirupathi, Thirukurungudi, Thirukkannapuram and Thiruvananthapuram. None of these temples have Arayars today. In most of these places even old timers cannot recall Arayars in the temple.
An interesting mention on the origin of the Arayar sevai is mentioned in the temples records of Srirangam called the “Kovil Ozhugu”. Here it is mentioned that Thirumangai Azhwar sung and danced his Thirunedunthandakam in front of the Utsav deity of Srirangam and also caused for according the Thiruvaimozhi status on par with the Vedas. The record go on to say that in the Margazhi month, the deity of Nammazhwar was taken from Azhwar Thirunagari was taken to Srirangam. The Thiruvaimozhi verses performed and the deity brought back. We are not sure as to when this practice was stopped.
Two branches of Vaishnavites.

Temples where Arayars perform today in Tamilnadu are administrated by those who belong to the Thenkalai sunsects of Vaishnavites.
The origin of the two sub sects – Vadakalai and Thenkalai is a post 10 th century phenomenon since, these differences are not heard of in saint’s Ramanuja’s times. They are called Vadakalai (Northern) and Thenkalai (Southern) though in reality there is no geographical polarization to justify their nomenclature. They probably emerged in the time sree Vedanta desika whose contemporary was Pillai Lokacharya.
The two key differences between sub sects are that the Vadakalai’s (Who wear the Thiruman as “U”) give equal importance to Perumal and Lakshmi while the Thenkalai’s (who wear the Thiruman somewhat similar to a “Y”) regard Lakshmi as the prime devotee.
The more basic difference is in terms of the attainment of God. Vadakalai tenets say that our relationship to God must be like that of a baby monkey to its mother. The little monkey constantly clings to the mothe, similarly we need to constantly –through a teacher - work towards realization of the supreme and do this through the rituals of “Saranagathi/ Prapathi. Thenkalai tenets compare our relationship with God to that of a kitten and a cat. The kitten is – without much effort on its part, taken by its neck and deposited in a safe place by the cat, similarly they believe by leading a pious life and hope that by attending to the temple rituals and paying allegiance to the pontiff salvation will occur.
In practice, both sub sects have fairly similar rituals in the temples and elsewhere but in the temples. Vadakalai’s tend to give prime importance to Sanskrit texts and Thenkalai’s to Tamil texts. As an extension, generally Vadakalai’s tend to have a greater focus on greater focus on vedic rituals than the Thenkalai’s. Both venerate Ramanuja. The preceptor of Vadakalai’s is Vedanta Desika and for Thenkalai’s it is Manavala Mamunikal and Pillai Lokacharya.
In the 17th and 18th century, the sub sects were often in violent disagreement with each other. Fortunately today this is less and both sects have at least learnt to be more appreciative of each other in the future and work towards the common cause of Vaishanavism and Hinduism.
The Arayar sevai.

Being a unique performance for the Lord through music, gestures (Abhinaya) and explanations, the Arayar sevai is more than just a music dance performance. The Arayar both through gestures, and afterwards through words, explains the verses in Manipravalam, a combination of Tamil and Sanskrit words. Arayars therefore need not only knowledge of music and dance but a deep understanding of Vaishnavite philosophy they also need to know the verses of Divya Prabandham and their meaning (both literal and metaphonical) by heart since no recourse may be made to actual texts while the Arayar sevai happens.
The Arayar sevai is an intense form of worship. The Arayar before the performance fasts maintains a vow of silence and deep contemplation of the Lord. Before the performance his ritual attire is unique. He wears a conical crown that has the marks of the Thenkalai’s sub sect of Vaishnavites. Since all Arayars belong to this sect.  The cap signifies eternal bliss for when the Arayar performs he ceases to exist as an individual and instead becomes the Azhwar whose Paasurams he performs. The Karnapatras on either side of kireedam cover his ears and therefore muffle other distracting noises. It is significant to note that only the Arayar during the Arayar sevai is allowed to wear head gear within the temple precincts.
The Arayar also wear a long garland that was worn by the deity and has a Parivattam, an upper garment worn by the deity tied around his head. All these acknowledge the blessing and honor given to him by the deity in his hands he has the cymbals or Kulitalai or Thalam. They are used to keep the beat and their sharp tone assist in focusing attention.
The Arayar sevai is always done inside the temple precincts and in front of the Utsava deity and never in the main deity in the Garbhagriha. However before or after every Arayar sevai , the Arayar reports the same to the main deity in the sanctum.
The Arayar sevai commences with the Arulappattu (Issuance of the gracious commandment by the Lord to the Arayar) through the priest. The Arayar comes forward saying “Aaindhen, Aaindhen”
He then dons his headgear and accepts the Parivattam and Garland from the priest and begins using the Thalam. The Thalam of Nathamuni who created this practice is said to be in Azhwar Thirunagari. He then takes a suitable position a few feet in front of the main deity and begins. Significantly, the Arayar is not required to commence his rendition of the Paasurams after the customary recitation of the Thanians. The tapping of the floor with his right foot and the use of the Thalam consecutively three times signifies the closure of one line/unit respectively. Thanians are short verses preceding the Divya Prabandham verses that pay homage to the Azhwar and other Vaishnavite Acharyas.
Occasion of performance.

The Arayar Sevai is performing during the Pagal pathu Rapathu festival in the three temples. This festival falls in Margazhi. This period falls within the Anadhyayana kaalam or a time when except for the Thiruppavai of Andal no other Divya Prabandham can be recited called the Thiru Adhyayana utsavam. On certain other festival occasions, there is in Srivilliputhur alone, an Arayar sevai Kaiseka Ekadasi is another occasion for the Arayar sevai to be performed.
The Arayar sevai consists of the following:
Kondattam.
Kondattam are short phrases extolling the greatness of Azhwars’s experience of Perumal and Thayar. They are usually followed by a simple song.
Vyakhyanam.
During the Pagal pathu period, the utsava deity is beautifully decorated and the Arayar sevai happens in front of the deity. Depending on the particular day the Arayar will take up a select set of Pasuraams sing them along with the rhythm using the Thalam and perform Abhinayam to convey the import of the Pasuraams with hand gestures, steps using their legs and body/facial gestures. These gestures are not elaborate as seen in the natyam, traditions but, subdued and used sparingly. Also the Arayar may walk a few steps in front or back or sideways.
The explanations of the Paasurams is done with a commentary called the Vyakhyanam. A certain pattern is followed in the choice of Paasurams at Srirangam, Srivilliputhur and Azhwar thirunagari corresponding to the local history and tradition of the temple.
Typically only the first and last verses of the Paasurams are performed but, in that the Arayar brings out the entire import of the song. Some of Nammazhwar’s verses are written as if Nammazhwar is the Nayika pining for her Lord. These are couched in metaphor that the Arayar explains in graceful gestures.
The Rapathu Utsavam happens for 12 days immediately after the Pagalpathu Utsavam and this happens after dusk. Here verses by other Azhwars are chosen.
The dramatization of certain episodes with appropriate Abhinayam is done on selected days at Srirangam, Srivilliputhur and Azhwar thirunagari during the Adyayana utsava. The slaying of Kamsa, the Vamana Avatharam, the churning of the milky ocean and the birth of Sri Andal are enacted on special days.
The Muthukuri sevai.

The Muthukuri sevai is the prediction of future/ good fortune is made by Kattuvaci (soothsayer) to the lovelorn lady (Nayaki) with the help of pearls(Muthu).
Here Arayar sings certain Paasurams and performs Abhinayam simultaneously taking the roll of Nayaki, her mother and the soothsayer. This is performed on the 9th day of Pagalpathu at Srirangam, 10th day at Azhwar thirunagari and on 3 occasions at Srivilliputtur.
Before the actual performance of the Muthukuri, the Arayar enacts the Paasurams that talk of the story of how the ocean was churned by the Devas and Asuras for Amrita. This lasts for about an hour and then begins Mutukuri sevai.
Thirumangai Azhwar’s Thirunetunthantakam in this, most verses talk of the Nayakas mother lamenting on the condition of her daughter, who is consumed with a passion for her Lord. The mother calls the Kurathi to predict when her daughter will get over this. The Arayar plays the role of the mother, the daughter and the Kurathi. When the Arayar plays the role of the mother, the garment held in his hand with a knot at the top symbolizes the daughter.
The mother asks the Kurathi, who has caused her daughter this pain and what medicine must be used. She complains that her daughter talks to her pet birds, dreams for someone and cries for no reason. She then calls the Kurathi who first introduces herself and talks of the different lands she has been to.
The Kurathi quickly diagnosis that the Nayika is suffering from the pangs of being separated from her Nayaka, the Lord of Srirangam. She then performs the actual soothsaying called “ kudal ezhaithal”, here rice is spread out on a large platter and the Kurathi draws concentric circles, all the while saying, the names of the Lord in different temples and referring to the Nayika as Ranganayika Nachiar. Each sentence ends with Kuden (will join) and Kudilen (will not join). The Arayar then, to indicate the mother taking her daughter to Srirangam, paces the long Mandapam (in Srirangam, the Arayar does it standing in the same place) and goes closer to the Utsava deity.
Here the Arayar takes on the role of the girl’s mother and complains to the Lord of what he has done to her daughter and asks the Lord for a solution. The Arayar then recites a Paasurams from Periazhwar’s Thirumozhi were the Azhwar takes the role of the mother who comments on her daughter having been taken by the Lord. We thus understand that the Muthukuri sevai ends with the Lord having taken the Nayika. The entire performance with the initial praise of the Lord during the churning of the ocean takes around 3 hours.
Pallu pattu.
The Pallu pattu is sung on the Gajendramoksham festival (Thiruvural Thirunal) and when the Utsava deity is taken back- to the sanctum at the end of each day in Pagal and Rapathu. The symbolism here is the Lord going to the core of the temple and therefore attaining his complete greatness. The Pallu pattu also sung when the feet of the Utsavar is placed on the head of the processional image of Nammazhwar as a representation of Nammazhwar receiving the devine blessings.
When these songs are sung the Arayar uses an Mridangam accompaniment (replaced the Parai an ancient percussion instrument) and only signs them. Significantly these are the only sons sung by the Arayar which are not composed by the Azhwars. There are 13 songs and all of them are in simple Tamil. Some are of the heroine pining away for the Lord and others describe the beauty and greatness of Vishnu. They are only sung and no commentaries are given nor are they danced to when some of these songs are used in the Vyakhyanam. Then they may be accompanied by Abhinayam.
There are legends of how an Arayar who stayed with a lower caste community learned/ sang these songs. Desiring his return to the temple, Lord Vishnu himself is said to have appreciated this song and got them included. We how ever have no clear evidence of how this non-Brahmanical form of singing became included in to the temple ritual.
The Pallu pattu in this context is not related to the Pallu genre of Tamil Poetry.
Pranaya kalakham.
This happens on – it is the staging of a mock quarrel between the Vishnu and Lakshmi where the latter accuses the former of infidelity. How the Arayar intercedes, enlists the support of Nammazhwar and re unites the devine couple is the story.
In doing this, the Arayar intercedes on behalf of the Perumal and singing and performing the different verses of the 4000 Divya Prabandham. The Arayar creates a conversation between Vishnu and Lakshmi, where the latter is suspicious of where the former has been all day and how the former protests his innocence.
It is only in Azhwar thirunagari that this happens in complete form. In Srirangam this happens without the conversations, the Abhinaya and the pacing of the feet by the Arayar.
Padi yetham.
When the processional deity returns to the sanctum, as the deity ascends the steps, the Arayar walks backwards while facing the deity and sings verses. This is done for all processions for Azhwar and for those of Polindu Ninra Piran where he is in procession without the Thayar deities. The custom here is of welcoming back the Lord.
Pradeep Chakravarthy.
References:
Books:
Venkat raman’s Arayarsevai, Tamizh puthagalayam, Madras, 1985.
Bharati, Srirama, “Arayarsevai” – theatre expressions in Sri vaishnavism” , Bhavans foundations, Mumbai.1995.
Ayyangar, Ramaswamy, “Vakula Bharana Satagopar”, Sundram Charities, Madras, 1976.
Resource persons:
Sri Appu Sadagopan, Azhwar thirunagari.
Sri Sreenivasa Arayar, Azhwar thirunagari, Madurai.

Dr, V.V.Srivatsa.

Friday, 21 June 2013

Arayar the descendants of Nathamuni.


Monuments crumble, manuscripts get moth eaten and traditional fine arts practised for centuries in temples are being forgotten because of long years of neglect. No wonder that the Arayer Sevai, a visual enactment of the passionate expression by Vaishnavite saints which were an integral part of Vishnu worship 1000 years ago, is not confined to a handful of practitioners who themselves are on the threshold of fading away.
Who were the arayers? What makes this dramatic form so unusual in the landscape of Indian performance, ritual, religion and theology? The word arayer itself means king. In Tamil, there are two ways to pronounce the letter 'r'. Said without stress like 'arayer' it means king and with stress like 'rr' it means 'speaker' or 'narrator'. In both cases the word fits these temple servants who dedicated their lives towards the worship and glory of Lord Vishnu through song, dance and drama. Vaishnavite temples were the crucibles of the three branches of learning 'iyal' (literature), 'isai' (music) and 'natakam' (drama). Arayer Sevai which means 'the service or offering of the royal priests' falls under the category of drama.

The main text for these priestly actors was an impressive volume of verses called the 'Divya Prabandham.' The word means 'divine compilation.' The Prabandham was the cumulative result of 12 saint-poets who lived between the 6th and 9th centuries in Tamil country. These saint-poets were called 'alwars'. The word 'alwar' means 'deepest of the deep'; one who is immersed in the devotion of Lord Vishnu/Narayana.
Between the 6th and 9th century, in the Tamil speaking region of South India, these devotees of Vishnu (also known as Tirumal, the dark one) changed and revitalized Hinduism. Along with their counterparts, the Nayanmars, who were devotees of Siva, these saint-poets wandered all over the Tamil countryside, inspiring and converting kings, brahmans, and peasants, affirming in poetry the holiness of hundreds of Tamil places dedicated to Vishnu and Siva. Their pilgrimages, their legends and their hymns, which they sang by the thousands literally mapped a sacred geography of the Tamil regions and fashioned a communal self-image that cut across class and caste. They composed the most important early Bhakti poetry in any Indian language. This is particularly significant when practitioners of dance, dance history and religious studies have a tendency to associate Bhakti/devotional poetry with the later poets like Jayadeva of the 12th century, Chaitanya in Bengal of the 15th century and Annamaya of the 14th century. Even Tulsidas, Kabir, Meera who are popular choices for dancers and singers came much later.


Through the poetry of the Prabandham, composed by these 12 Tamil alwars Hindu philosophy spoke for the first time in India, in a language other than Sanskrit. The imperial presence of Sanskrit with its brahminical texts like the Vedas and the Upanishads was the elitist presence against which Bhakti in Tamil defined itself. Also Sanskrit in India of the 6th century was not a people's language, it was not spoken as everyday tongue. Here was poetry, devotional poetry in a people's first language. The concept of bhakti or devotional poetry as we understand today arose, as suggested by scholars from the meshing of Sanskrit mythology and the Tamil conception of women and kings.
Almost one thousand years after all the 4000 verses of the Prabandham were composed, a devotee called Natamuni (10th century) gathered and ordered the compositions of the 12 alwars and arranged for their recitation. First he only knew of 10 poems and when he realised there were almost 4000, he travelled to the birthplace of Nammalwar (Alwartirunagari near Tirunelveli) and tried to retrieve them. Failing to do so, he meditated and received a vision of the poet Nammalwar himself who revealed all the 1102 verses to him.

Legend goes that he received all the 4000 verses in this way.
In order to make the poetry meaningful and alive to the general public, Natamuni arranged for them to be sung and danced on special occasions of Lord Vishnu, particularly in the month of Margazhi which is mid-December to mid-January and in Panguni Chitra which is mid-March to mid-April the end of which marks the Tamil New Year on 14th April.
Believing that the songs would live only if many could chant and watch the most special poems danced with gestures and movements, Natamuni is credited to have created a system of ritual performance called Arayer Sevai. The word Arayer literally means Lord or King. The Arayers of today are all direct descendants of Natamuni's family lineage and the practice is held with the male members of the family and not taught to the women. It is devoutly believed that the inspiration for the music and the dance came from Lord Vishnu himself and that it was He who ordained these arayers to perform this unique service for His pleasure.

The movement structure of Arayer Sevai is dependent on a regal stature, a stately walk and minute right hand and left hand gestures which weave a complex imagery. The end of every phrase or sentence is marked by a jerky flick of the hand. The feet stamp the ground and the legs are always held in a unique half seated stance.
The costume worn by the arayers consists of a cap which is a reproduction of the crown worn by Vishnu as the temple idol. The garland and the cymbals the arayers carry were all believed to have been given by Vishnu himself.
The arayers were exalted in the hierarchy of temples. They were as important and sometimes even more highly regarded than the priests themselves. Palm leaf manuscripts of temples like Srirangam and Srivilliputur, state that the arayers were given special treatment and medical care whenever they fell ill.

Today all Vishnu temples have the bronze images of the 12 alwars as important figures in their shrines but the art of 'arayer' exists only in four temples, three in Tamilnadu and one in Karnataka. Melkottai in Karnataka does not perform the movements and actions but only the recitation and chanting and commentary. The three temples in Tamilnadu are Srirangam, Alwar Tirunagari and Srivilliputtur.
The insistence on maintaining the purity of their tradition is not augmented with a desire to perfect the art of their ancestors rather than just going through the motions once or twice a year. They refuse to teach, allow audio or video recordings of their ritual and thus it will be but a matter of time when the practice which is already a mere shadow of its former self is completely lost. I was able to watch several hours of their performance since I was considered a direct Vaishnav descendent of one of the famous families of Thirukurungudi (the town of the famous arayer temple bell) and as such allowing me to watch or allowing me to learn some of their movements was not considered sacreligious to the high priest.