Thiruvaiyaru’s Tapestry: Melodious Carnatic Chronicles and Legends of the Sacred Town
Situated on the outskirts of Thanjavur, the capital of the vast Chola dynasty is this beautiful town of Thiruvaiyaru. As the name suggests, it is the holy land of 5 water bodies — Cauvery and her 4 tributaries Kudamurutti, Vennaar, Vettaar and Vadaaru (‘Thiru’ — Holy, ‘i’ — five, ‘aaru’ — river). Surrounded by lush paddy fields and groves, the town has a very serene atmosphere.
One of the main attractions here is the Panchanatheeswar Temple which is dedicated to Lord Shiva. Here Lord Shiva is identified as Iyareeshvara or Iyarappar. The temple has a special feature that, in the South Western corner of the third Prakaara facing the Northern direction, if one calls out ‘Iyaaraa’, the echo repeats itself seven times. The temple has a back entrance where a shrine of Aatkondaar or Kaala Samhara Murti, another form of Lord Siva, is located. The Aatkondar deity is the most fearsome god of the locals, wearing a garland of scorpions and other poisonous creatures. It is said that Shiva took this form to punish Yama. In front of the Aatkondar shrine, there is a huge pit where Kungiliyam (Benzoin) is burnt as an offering. It is believed the smoke from the Benzoin removes the fear of death due to the bite of poisonous creatures.
This temple is situated in a 14-acre plot with 5 Prakaaras and a seven-tiered Gopuram. Since this place is named after the five rivers, there are also five theerthams associated with this temple — Chandra Pushkarini, Surya Pushkarni, Paalaaru, Ganga Theertham and Nandi Theertham. The Lord is Swayambumurthy here and he was worshiped by all the three leading Nayanmars — Appar, Sundarar and Sambandar. This is one of the Kshetras where they sang the maximum number of Thevarams — 100.
As per the Sthalapurana, when they tried to extricate the chariot wheel of the local king (believed to be Karikaalan 1) they found the Shiva Lingam. The baffled king ordered the servants to carefully dig further and then they got the Vigrahams of Dharmasavardhini, Ganesar, Murugan, Sapthamathas and Nandikeswarar. Further digging revealed the presence of the deeply meditating Niyamesar (who was believed to be the lord himself, with all his long hair ‘Jada Mudi ’ spread across the temple area). King prostrated before the Sage who advised him to construct the temple around this place using the funds which were hidden in the hoof of Nandhikesvara. It is believed that the Jada mudi (Holy Hair) of the Lord is spread so much behind the main shrine. Hence circumambulating the temple is prohibited.
To add on another interesting fact, the names Nandisvarar and Nandikesvarar are often mistaken as the same. Indeed, they are different from each other. While the former is the bull which is the vehicle of Shiva, the latter is a devotee. This Kshethra was also the birthplace of Nandi. Legends say that a childless Silatha Rishi invoked the blessing of Iyarappar who directed him to perform the ‘Putra Kameshti Yaga’ here at this temple. On completion, he found a child in a box below the earth but unfortunately, he was destined to live only till the age of 16. Nearing the age of 16, the boy who was named Seppesar found his parents in tears. Unable to bear this, he entered the Iyarappar temple and for days together undertook a severe penance. Snakes and fishes bit him but unmindful of this, he continued his penance day and night. Pleased with his devotion and sincerity, Iyarappar appeared before him and offered him many wishes including a longer life. In the course of time, he married Suyampirakasai, the daughter of Vyakrapatha Rishi. Later, he was initiated into special mantras by Lord Iyarappar himself and taken to Kailasa where he was accorded the special status of being the security leader of Lord Siva. He was also the first to be initiated into Agama Sastra by Dakshinamurthy. He is also known as Nandikesvara.
Ambal Dharmasamvardhini has a separate temple with two prakaaras. She is called Aram Valartha Nayaki in Tamil as she upholds Dharma. She is believed to be the incarnation of Mahavishnu. Hence there are no separate Vishnu temples nearby.
Thiruvaiyyaaru is incomplete without mentioning Saint Thyagaraja. The great composer was considered one among the Trinities of Carnatic music, which included Shyaama Shaasthri and Muthuswami Deekshithar. This bank of Cauvery is believed to have heard about 1000s of Thyagaraja’s compositions when he lived here in a one-room house adjoining the temple.
Carnatic music, originating from the southern regions of India, is a classical music tradition known for its intricate compositions and deep spiritual essence. Rooted in the Vedic chants and rich in cultural heritage, this genre emphasizes vocal music, though it also includes instrumental compositions. The fundamental structure of Carnatic music revolves around ‘ragas’ (melodic frameworks) and ‘talas’ (rhythmic cycles), which together create a complex and expressive musical experience. Renowned for its improvisational brilliance, Carnatic music allows performers to explore and exhibit their creativity within the bounds of the established raga and tala. The tradition also places significant importance on lyrical content, often drawing from themes of devotion, philosophy, and mythology.
A few days before he attained mahasamaadhi in 1847, Saint Thyagaraja had formally renounced everything to become a sanyasi. When he passed away, his mortal remains were buried on the banks of the river Cauvery and a small memorial was built at the site. In 1905, a lavish ceremony, with the feeding of the poor and worshiping of the memorial as per Vedic tenets, was celebrated by his disciples — Umayalpuram Krishna Bhagavatar and Sundara Bhagavatar, who were initially dismayed by the neglect and dilapidation. But this later divided into 2 groups called the ‘Periya Katchi’ (Big Party) and the ‘Chinna Katchi’ (Small Party) under the brothers Thillaisthanam Narasimha Bhaagavatar and Thillaisthanam Panju Bhaagavatar respectively.
Matters continued this way till 1940 when SY Krishnaswami, ICS, convinced the groups to unite and it was in 1941 that the Aaradhana as we know it was first conducted. Harikesanallur Muthiah Bhaagavatar selected the five Pancharatnas as being best suited for group rendering so that a common homage by all musicians became possible.
The Aaradhana (Ceremony of Adoration) in its present form is held every year on the anniversary of the demise of the saint. It is conducted by the Sri Thyaagabrahma Mahotsava Sabha and is held in the precincts of the samadhi (memorial) of the saint. This event is usually conducted for 5 days and the first 4 days are dedicated for the artists and students to render a Thyagaraja krithi of their choice on the stage. Various vocalists and instrumentalists from all over, apply to perform here, from which a few are selected. The final day, 5th day, is the grand ceremony. This is on the Pushya Bahula Panchami day (the fifth day of the waning moon in the Hindu lunar month of Pushya). On this day, musicians from all over the world, sit in rows on the floor near the samadhi, facing each other, to dedicate the PanchaRatna Krithis.
Starting off the chorus in their voices like a garland of devotion, they begin with Sri Ganapathini an invocation that reverberates with spiritual energy, and Gurulekha etuvanti describing the importance of the preceptor. A gentle, inviting melody unfolds as the chorus sings Jagadhaanandha kaaraka in Nattai, praising the Lord who causes joy to the world followed by a deep sense of devotion and emotional resonance as the chorus sings the next soulful rendition of Dudukugala in Gowlai, stating all the sins, asking for forgiveness. The musicians then burst forth with exuberant energy, their voices dancing through the intricate rhythms and fast-paced swaras of this composition in Arabhi. This krithi, Sadhinchane appeared to be telling the greatness of the lord in a lucid manner most enthusiastically which is immediately followed by Kanakanaruchira, in one of the most complex and enigmatic ragas in Carnatic music Varali, a masterpiece of emotional depth and intricate beauty, weaving a tapestry of intense and evocative music. Finally, the Aaradhana is concluded with Endaro Mahanubhavulu in Sriragam, which is known for its calm, majestic, and devotional character.
On this note, I am deeply honored and grateful to share that I had the opportunity to perform in the 169th Aaradhana festival (24 to 28 January 2016) on the 27th of January 2016 in front of the one and only great samadhi. I am thankful from the bottom of my heart, for this incredibly meaningful chance to contribute to such a revered setting.
AUTHOR : Dharani Sivakumar, EC23B1013 : I have been a devoted student of Carnatic Music for the past 14 years. Singing brings me a deep sense of connection and emotional release, dissolving my worries in the melody. It envelops a sense of tranquility and joy, nurturing my soul with immense satisfaction and peace. I have a profound interest in delving into the fascinating legends and stories that surround ancient temples and historical monuments.
