Scrutinia

Madhusudhanan Kalchhelvan wears several hats – epigraphist, historian, researcher and emotional lawyer of heritage and literature. In the lake of a scholars on Kanchipuram, he originally put music, literature, religion, tradition, architecture and dynasties together. His delivery marked by Classic, Free-Flowing Tamil kept the audience in mind. The vocal support was provided by Bhava Hari, whose ragas and the thoughtful option of singing complemented the story.

LEC-DeM, organized by Sruti Sampada and titled ‘Kanchipuram in Raga and Rhythm’, recently discovered 2,000 years of the stored history of the temple city at the Arkay Convention Center at the Arkay Convention Center. In its heart, lectures were also a clear call for Karnataka musicians – urged them to expand the list of their performances by embracing and popularing Tamil devotional compositions, many of which remain on stage.

The first literary reference of Kanchi city appears in the Sangam-era lesson ‘Parampan Atru Padai’, which was written by Kadialur Uruthirananar, visited Madhusudhanan. He said that the name ‘Kanchipuram’ was used a few centuries ago. During the Vijayanagar period, the city was administratively and culturally in Shiva and Vishnu Kanchi, which reflects the twin religious traditions that flourish in it. Two rivers – Palar and Vegavati – flow through the city, nurture their landscape and heritage.

The music evening began with the initiation work ‘Chintaya Maa’, a composition on Ekmranath in Bhairavi, which took place before the Virutam ‘Kalla Pizahium’ by Patinathhar. Madhusudhanan mentioned that the concert will also end in Bhairavi, portraying the Puranic reference of Kanchipuram as ‘Bhairavi Vanam’.

Madhusudhanan Kachaelvan and Bhave Hari Lecture performance ‘Kanchipuram in raga and rhythm’. He mentioned that Temple Town is home to 14 Divyadam and five Padal Petra Stalms. , Photo Credit: Raghunathan SR

Ilanthiraian was the first known ruler of Kanchi. Then, the Pallava dynasty ruled for more than six centuries, marked a golden age for Kanchipuram, which began around the third or 4th century, as clarified by copper-plate inscriptions, Madhusudanan said. Subsequently, the city came under the rule of Cholas and later dominated with Telugu Cholas, with pandits. After this, the Vijayanagara was a pioneer for British rule during the reign of the kings.

Bhajan by saints and poets

In Tamil, Sanskrit, Telugu, Kannada and Pali, devotional texts and compositions enrich the literary and spiritual heritage of Kanchi. Saints and poets like Nayanmar, including Thevaram Mawar and Manikwachkar along with Bhoothazwar, Payazwar and Thirumangai Azwar, and Karnataka Sangeet Trinity have sung the glory of their temples and gods.

Kanchi is famous for its three famous women or Koti-S: Rudrakoti (Ekmeresa), Kamakoti (Kamakshi), and Punyakoti (Varadaraja). The city is home in the form of 14 Divadams and five Padal Petra Stalms. A particularly striking literary aspect, Madhusudhanan, said, “is the excellent use of the Prosodi (YAPU) of Thirugananasambandar, where he employs lines coupled with similar phrases but different meanings. As a portrayal, Bhavya rendered the verses ‘Payu Maulvidai’ and ‘Sadai Anindham’ in Shankara Bharanam, which brought out his fine meaning.

Madhusudanan next time in the context of Hyiman ‘Alam Than Ugandhu’, in which Sundar completely lost his vision, recorded the miraculous restoration of vision in one eye, as he worshiped ‘Ekamba’. Bhavya chose Kamboji for poetry, which is probably inspired by Papanasam Shivan’s ‘Kana Kankodi Vandam’. For centuries, many poets have praised Ekmeresa, including Kachiappa Shivacharia, Irtai Pulavargal, Kalamega Kavi, Madhav Shivganana Swamgal and Kachiappa Muniwar.

The tank of the temple inside the Shri Varadaraja Perumal temple in Kanchipuram along with the temple tower seen in the background. , Photo Credit: Special Arrangement

The legend then made transition to Srivasnava traditions and Divyadam of Kanchi – the beginning Thiru Athiur, the holy temple of Varadaraja, and Vishnu began with four other temples located in Kanchi: Thiru carriers, thiru velukkai, thiru velukkaram and thirukaram (Thirukaram and Thirukaram and Tharakam ‘. Bali Vedi (Yajna Kunda) manifested in Punyakoti Vimanam – a divine event that creates axis connecting five Vishnu Kanchi Divyadam.

Thirumangai Azwar’s Pasuram ‘Soluvan Sorporul’ is the first out of 10 out of 10 to dedicate Paramacura Vinnamaram (Vacantanath Perumal Covil), which is famous for its architectural splendor, which Madhusudanan said. The verses not only celebrate the deity, but also the military victory of the Pallava king, traditionally credits the construction of the temple. Bhavya presented it in Lilating Mand. Another temple, Ulgalandha Perumal Kovil, includes four divine divas within its predecessor – Thiru Neergam, Thiru Karkam, Thiru Karavanam and Thiru Urogam. Same azwar, in ThirundunthndakamThe master weaves many Divyangs together – a single poem mentioning nine, starting with ‘Neeranathe’. The layered composition was sung in Hamsanandi and the country.

Entering Sri Varadaraja Perumal Temple in Kanchipuram. , Photo Credit: Hindu Archives

While many Acharya has praised Varadaraja Perumal, Desika is different for its vigorous production and philosophical depth. Honored with honors such as ‘Sarwa-Tantra Swatantra’ and ‘Kavitharkika Simham’, he displayed remarkable command on both Tamil and Sanskrit, as reflected in his works of over 100. Of these, six Tamil Priests and three Sanskrit Hymens have been dedicated to Varadaraja. In addition, he has written to Stotus on other Divyadams in Kanchi. In a poem by ‘Meiwirada Manmiyam’, Desika saw the glory of Varadaraja by her concerts, Sridevi and Bhudevi. Bhavya sang the poem ‘Pedai Indu Oranam Adidhu’ in a panoramic mixture of Saranga and Bindavan Saranga.

Varadaraja is one of the only four gods, praised in compositions by all three members of the Thiruvarur Trinity – others are Kamakshi (Kanchi), Nilatakshi (Nagpattinam), and Dharmasamvardi (Thiruvayyaru). In the offerings of Trinity of Varadaraja, ‘Varadaraja Nine Kori’ of Tyagaraja in Swarabushani, Dikshti’s ‘Varadaraja Avwa’ in Gangtrangini and ‘Samini Rammanav’ in Anandbhairi. Others sung on Varadaraja include Purandardasar, Guardarsi Shaashaya and Valjapat Venkataraman Bhagavatar. The rendering of Swarabhushani work captured the grandeur of Garuda service.

LEC-Dem has also mentioned Kumarakotam Murugan Temple in Kanchipuram photo credit: Special arrangement

The next center was Kumara Kottam and Muruga. This section started with ‘Mooviru Mugangal Potri’ from Kachiyappa Sivachariar Kandh Puranam Presented in Shanmukhpriya. This was followed by ‘Muttatupattattu’ from Thirupugaz, and ‘Kshithirkovai Pilitithij’ of Chhadambara Munivar from Thiruppugaz in Kathanakuthuhalam, which was set in Valaji. Arunagirinathhar’s contribution to the list of Talam and Sandham performance is very high – his compositions stand out for his amazing rhythm and esoteric poses.

In the evening, bringing for a poignant close friend was focused on Kamakshi through two stimulating rendering. The first verse was ‘Raka Chandra’ Silent PanchsatiTuned in Hamirkalini and Sindhubhairavi composed by mute kavi. Birth is believed to have miraculously gained the power of speech by Kamakshi’s divine grace, and composed 500 Sanskrit verses. While Deekshati has many crites for her credit on Kamakshi, it was Cyma Shastri who kept her as her Ishta deity. His part of Bhairavi Swarajati gave an ideal closing.