chapter – ii kandapuranam, a bird’s eye...
Post on 05-Apr-2018
277 Views
Preview:
TRANSCRIPT
CHAPTER – II
KANDAPURANAM, A BIRD’S EYE VIEW
Murugan also known as Kadamban, Kumaran, Seyon etc. was the God of
the Kurinji region of the Tamil country was worshipped even from the
Sangam age onwards as Tamil deity2. Tolkappiyam, the earliest Tamil
grammar work too describes Murugan as the God of mountainous region and
he is named as Seyon (Seyon meya maivarai ulagamum)3. As a God, who
wielded the vel - i.e. spear the name Velan was assigned to him. The priest of
Murugan was also called Velan in Tirumurgarruppadai. So the custom of
Velandal or Velan Veriyadal was executed by the priest Velan for propitiating
Murugan, the deity for knowing the causes of the distress of women who
suffered due to love sickness.
The early Tamil Sangam classics call him as Velan4. This deity,
originally called Murugan, had his own individualistic qualities and they
stand to prove the indigenous origin of the deity. For instance Velanadal or
Velan veriyadal, a frenzied dance associated with Murugan, the treatment of
Murugan as God of youth and beauty and the relation between Murugan and
flowers like Kadambu, Kandal and Vengai etc., stand to prove Murugan as a
2 Thiru. V.Kalyanasundaranar, Murugan Alladu Alagu (T). Madras, 1971, pp. 27-28. 3 Tolkappiyam, porulathikaram ; 5 4 Ahananuru, 1:3, 59:11, 96:10, 156:16 Aingurunuru , 129:2, Paripadal,5:50, 8:81,
Porunararruppadai, Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Tamil deity5. Further Murugan alone is associated with red colour as Seyon.
While Murugan is treated as a Tamil deity he had his own counterpart in the
north, who was called Skanda Karthikeya. Anyhow both the Gods are identical
due to their was like qualities and traits. In this regard it should be remembered
that Murugan of the Tamil country was having two wives called and Devasena.
But the northern Skanda Karthikeya had no such attributes.
Chandogya Upanishad had treated Sanatkumara as Skandan.6 In this
regard it is infer that Skanda was a youth God or Kumaran. As rightly observed
by John Dowson, the northern Skanda , who was a composite God.7 He was
also treated as ninth aspect of Agni or Rudra. So it is clear that northern
Skanda is a God associated mainly with Agni.8
Further, during the non availability of the name Murugan in any of the
northern Sanskritic works of any period the northerners call their deity as
Skandan, Kumaran and Karthikeyan in the Maitiyani Samhita.9 It suggests
that the Tamil Murugan and skanda Karthikeya of the north were two different
deities but amalgamated in due course, probably after the seventh century
A.D. This could be corroborated by the introduction of the Somaskanda panel
5 M.Gandhi Dasan, Tamilagathil Muruga Valipadu, (T) Ennes Publications , Madurai,
1988, p.5. 6 Bohtlingk, c, (Ed) chandogya Upanishad, Leipzig, 1889, VII 26:2
7 Washburn, E.Hopkins, Epic Mythology, Delhi, 1971, p.277.
8 John Dowson, Classical Dictionary of Hindu Mythology and Religion, Geography,
History and Literature 9 Von Schroeder (Ed), Maitriyani Samhita 2:9:1:11-12, Leipzic, 1881-86.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
into the Murugan worship of Tamil Nadu during the Pallava period i.e., after
the century A.D.10 As the Pallavas of the early period were giving importance to
and as their capita city Kanchipuram was a prominent Sanskrit centre they had
the opportunity to unite the northern Skanda Karthikeya with the identical
Tamil deity Murugan by making him as the son of Siva and Uma (Saha + Uma
+ Skanda).
Further in the Taittireya Aranyaka as important devotional work, the
name Subrahmanya is assigned to Rudra.11 As such as rightly observed by
A.K. Chatterjee,12 Skanda, who is called by the names like Shanmugha,
Jayantha , Visaka, Subrahmanya Mahasena in Baudhayana Dharmasutra13
should have emerged as God Rudra and they were in no way connected with the
Tamil deity Murugan during the early pre Pallavan period. As an evolutionary
process it is right to believe that Skanda Karthikeya was treated as an
incarnation of the deity Agni14. This fact offers an opportunity to treat Skanda
as the son of Agni through the six wives of six sages.15 Such fats indicate that
there were differences of opinion regarding the origin of the northern Skanda
Karthikeya.
10 M.Gandhi Dasan, op.cit., p.16.
11 M.N.Apte, (Ed), Taithireya Aranyaka, 11:12:58, Poona, 1898. 12 A.K.Chatterjee , The Cult of skanda –Karthikeya in Ancient India , Punti Pushtak,
Calcutta, 1970, p.6. 13 Hultzch, E. (ed.) Baudhayana Dharma Sastra, Leipzig, 1884. 14 Veronica Ions, Indian Mythology, Paul Kamlyn Publishers , New York , 1975,p.44 15 W.J Wilkins, Hindu Mythology, Delhi Book Store, Delhi 1972, p.277.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
The Tamil Murugan’s origin is totally different. The Tamil Murugan,
when associated with mountains and called as the God of mountains of ups
and downs,16 the God of sky high mountains,
17 Kunranna,
18 i.e., the God of
hillocks, the mountain where Murugan resides, 19 the God of the hills of the
Kurinji region20 etc., it is evident that he was out and out purely a Tamil deity
of beauty. The Tamils believe that all the beautiful spots of nature are the
abodes of Murugan.
So that the hills such as Thirupparankundram, Thirumalirum Solai,
Swamy Malai, Thiruthani, Kumaragiri, Kurnrakkudi, Mayilam, Valli Malai,
etc., are associated with Murugan the Tamil deity. But his counterpart Skanda
Karthikeya is not at all nominated with any mountain in any one of the
northern literary pieces. There is no equation between Murugan and
Skandan while the worship of the former was centering around the blood
sacrifices, while executing the frenzied dance called Velanadal or Velan
Veriyadal the Northern Skanda is not having any such traits. Most of the
Sangam classics contain vivid accounts about the archaic indigenous tradition
called Velanadal21.
16 Kurinjippattu : 208:9 17 Ahananuru, 348:7-8 18 Aingurunuru, 3:25 :246:6 19 Ibid., 4:31:307:4 20 Tirumurugarruppadai, 267. 21 Ahananuru, 22:9, 242;12, 292:4; Aingurunuru, 3:26:259:4; Aintinai Aimbadu,
20:3-4; Naladiyar, Turavaraviyal : 6:2-4; Narrinai, 47:9-10; Muttollayiram ; 1:1-2,
Tinaimalai Nurraimbadu, 12:1-2: Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Like this there are number of variations in the birthmyths of the Tamil
Murugan and his northern counterpart Skanda Karthikeya. Nakkirar in his
Tirumurugarruppadai has mentioned Murugan as the son of six celestial
women (Aruvar payanda aranar celvan), the son of the God of the banyan tree
( Alanar Kadavul Pudalvan), the son of the lady of the mountains (Malai Magal
mahane), the son of the war goddess Korravai (Korravai Ciriva) and son of
prestigious Palayol (Polayol Kulavi).22
Under Such circumstances the war like qualities of God Murugan are
traced from various works of the Sangam age of the Tamils.23 Such facts
helped the amalgamation and integration of two different Gods of two different
regions at a later date i.e., the commencing years of the Bhakthi movement i.e.,
the seventh century A.D.
From the above facts it is evident that these two identical deities of two
different regions i.e., North and South India were amalgamated at a particular
point of time and the war like qualities should have been the basis for such an
unification.24
22 Tirumurugarrauppadai ,255-259. 23 Malaipadukadam,493,Ahananuru,1:3,Purananuru, 120:21 Perumbanarruppadai,
457-58. 24 Hastings, James (ed)., Encyclopedia of Religion and Ethics , Vol. II, New York
1955, p.807. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Under such circumstances no Tamil works on Murugan emerged after
Tirumurugarruppadai of Nakkirar except the eleven Paripadal songs belonging
to the third century A.D, i.e., the period of the termination of the Third Tamil
academy and the arrival of the kalabhras into the Tamil country. While the
Guptas were contributing to the worship of Skanda Karthikeya and Kalidasa
wrote his Kumarasamhava due to the encouragement given by Chandragupta
II, in the Tamil country there was a stagnation eclipse in the worship of
Murugan.25
It was mainly due to the Kalabhra interregnum. But for the introduction
of the Somaskanda panel, as an architectural and iconographic development,
during the Pallava period, no significant progress took place in the continuation
of the Murugan cult. The Somaskanda panel too stresses the northern
influence. Here it worth to note that Murugan, the Tamil deity was utilised by
Saiva Nayanmars as a means to promote Saivism, when the Tamil deity
Murugan is treated as the son of the Siva and the original Tamil God’s position
is reduced to that of a son of a renowned All India deity Siva.
Steps were taken by Saiva Nayanmars and Vaishnava Alwars to promote
Saivism and Vaishnavism respectively between the sixth and tenth centuries
during the period of the Bhakthi movement. The Pallavas, Pandyas and Cholas
were concentrating more on either Saivism or Vaisnavism. But they never did
25 M.Gandhi Dasan, op.cit, p.82.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
any harm in general to any other religious sects to due to their venerable policy
of religious toleration. They even encouraged Jainism without causing any
damages.
During the early part of the ninth century A.D. no many temples of any
major Gods. Such as Siva or Vishnu were available in Tamil Nadu. The
Kannanur Balasubramanya temple, was one of the earliest structural temples
constructed by Aditya I (871-901 A.D),26 exclusively for Subramanya, who
was none other than Murugan. The Imperial Cholas, who devoted attention to
the Temple architecture based on Agama principles, considered Subramanya,
(the one who was known for his wisdom, Subrahmanyam) the name assigned to
Murugan, as a Parivara Devata or a secondary deity and placed that God in their
temples at the north eastern corner or just behind the primary deity in the next
prakara. At the same time the Tamil works such as Tiruvirattai Manimalai 27 of
Nambiyandar Nambi and Adhiravadigal’s Tirumummanikkovai 28 which are
included in the 11th Tirumurai of Saiva canonical works, prove that
Vinayaka, the Mutta Pillayar occupied the first place before Murugan as his
elder brother. Such facts reveal that the popular Tamil deity of the Sangam age
had lost his significance after the termination of the Sangam. Not only that, he
was relegated back to the secondary position as the son of Siva. These facts too
26 Personal visit to Kannanur on 10.12.1999. 27 Eleventh Tirumurai, Vinayager Tiruvirattai Manimalai , 14:3-4. 28 Ibid., Tirumummanikkovai, 13.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
reveal that the Murugan cult lost its value due to the outcome of the Kalabhra
interregnum and the Bhakthi movement introduced by the Saiva Nayanmars
and Vaisnava Alvars. The development of Saivism too was another cause for
his backwardness. Any how the availability of the facts relating to Murugan in
smaller forms in the ninth and eleventh Tirumurais suggest that, though
Murugan worship met with an eclipsed state that God never disappeared but
attained a secondary position next to Siva. There arose a necessity to take up
new ventures for Kachchiyappar to revive the qualities and worship of
Murugan29.
During a long gap of nearly ten centuries i.e., from the third to the twelfth
century there emerged no specific or particular literary work especially on
Tamil God Murugan.30 There arose a need and necessity for reviving that cult.
At this critical juncture in the 12th century Kachchiyappa Sivachariyar, born at
Kanchipuram in a Saiva family, produced his Kandapuranam based on the facts
about Skandam referred to by Kambar the author of Ramayana and
Virasoliyam, a Buddhist work of Buddhamitra in the 12th century A.D
31. Tamil
Kalaikkalanjiyam too acknowledges this fact and approves this period. The
complete work of Kandapuranam comprises of six cantos (Kandams). Each
canto has it own sub divisions as given below.
29 N.Ramalingam, Kandapurana Araichchi (T) Madurai, 1988, p.33 30 Idem 31 Kachchiyappar, Kandapuranam, Kasi Mult (Edn) Introduction, Tiruppanandal, 1953,
p.13 and K. Subramanian, Ilakkiya Varalaru, Part II, Madras, 1970, p.335. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Canto No Title of the Canto Total No. of Subdivisions
1 Urpathi Kandam (origin) 26
2 Asura Kandam (demons) 33
3 Mahendra Kandam 21
4 Porpuri Kandam 16
5 Deva Kandam 5
6 Dakka Kandam 24
Altogether there are 10,345 songs in Vriddham form of Tamil poetry.
Being a Tamil poet, Kachchiyappar had given importance to the Sangam
traditions associated with Murugan. The Kuravai Dance32, Velan Veriyadal
33,
etc., are all mentioned by him. By that it could be inferred that he had
endevoured to rejuvenate and revive the Murugan Cult in Tamil Nadu after a
lapse of ten centuries. Being a deity of indigenous origin, even from the days of
the Sangam age, Kachchiyappar, a Murugan devotee had adopted a fresh
technique of writing a complete work exclusively on Murugan under the title
Kandapurnam on par with the northern traditions employed on Skandam.
Under such circumstances Kachchiyappar had imposed the distinctive
qualities of northern Skanda Karthikeya on Murugan. He, without any
hesitation had hailed from him as a God identical to that of the Tamil deity
32 Kandapuranam, Vallimmai Padalm, 39:4 33 Ibid., 40:4
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Murugan. For instance Murugan is treated as the chief among the Tamil poets34
and that proves the fact that he tried to enhance the prestige of Murugan as a
Tamil deity well read Tamil scholar and God of knowledge and wisdom. So
that Murugan gained the name Subrahmanyan. Further as K.R. Venkatraman
has informed that Somaskanda Panel, introduced by the Pallavas was a unique
and unknown one to the Tamil country.35
As a scholar known for his knowledge of architecture and sculpture
Kachchiyappar haf made mentions about the Murugan who, as a baby seated in
between the God Siva associated with bull and Vimalai i.e., Uma.36 From such
observations it is evident that Kachchiyappar was capable of fulfilling his end
in promoting the worship of Murugan by narrating the different significant
aspects of Murugan which were familiar through the ages. There are sample
references to prove that fact. Kachchiyappar by calling of Murugan as the son
six wives of the rishis, Korravai, Palayol, Tunagayan Selvi in his
Kandapuranam as written in Tirumurugarruppadai had adopted a traditional
approach. Kachchiyappar, at different contexts in his Kandapuranam had
assigned importance to the different legends associated with the birth of
Murugan.37 Falling in line with the description of Murugan as a six headed and
34 Ibid., Singamuhasuran Vadai Padalam, 456:3 35 K.R. Venkatraman, “Skanda cult in South India”, The Cultural Heritage of India, Vol. I,
Calcutta, 1956, p.304. 36 Kandapuranam, Saravana Padalam, 27:1. 37 Ibid., Meru Padalam, 35:3-4, Tiru Avatara Padalam, 44:3-4 etc.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
twelve armed deity in Paripadal, a post Sangam work38 and
Tirumurgarruppadai, a Sangam work39, Kachchiyappar had recognised such
aspects and had venerated and employed such local traditional aspects40. They
highlight not only Kachchiyappar’s attraction towards the northern traditions
but also the infiltration of the Sanskritic traditions into the Tamil country even
during the days of Nakkirar the Sangam poet and the author of
Tirumurgarruppadai.
Even in Tirumurugarruppadai there are number of references about the
Sanskritic influences such as the chanting of the Mantra in Tamil in a Sanskritic
form, while worshipping Murugan. It is unique to note that Kandapurnama is
not merely an epic dealing with the facts about Skandan but also a work which
deals with a religious concepts with a harmonious blending of both Sanskritic
and Tamil traditions. Most of the earlier facts available in Sangam classics,
relating to the worship of Murugan, too find their place in Kandapuranam and
that spells out the continuation of a cultural trait. The method Velandal or
Velan Veriyadal, mentioned as the one carried out in a specific form41 during
nights. It was executed by Velan, the priest of Murugan with the offering of the
blood of goat, rice and rice flake blended with the blood. During that frenzied
38 Paripadal, 5:11, 14:21, 19:97-100, 21:67 etc. 39 Tirumurugarruppadai, 103, 118 etc. 40 Kandapuranam, 1: Payiram, 3, 6:24:261 41 Paripadal, 9:44, Ahananuru, 22:8-11, Narrinai, 268:9, Aingurunuru, 248:1, etc.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
dance blood sacrifices were offered.42 A noisy drum was beaten along with the
an extatic dance and loud music43 etc., such facts about Veriyadal find place in
Kandapuranam too many in places44. Since the Tamils were always faith and
belief oriented people the Kandavirathappadalam of Kandapuranam pinpoints
that the deity Murugan was worshipped for obtaining the grace of that deity.45
Kachchiyappar had attached importance to a traditional approach, which
was a feature of the Tamils throughout the ages46. As pointed out in
Tirumurugarruppadai,47 Kachchiyappar too had mentioned Murugan as a deity
who could convert the Asuras of vices and evil practices into honest people48. In
addition to that Kachchiyappar had revealed the grace shown by Murugan to
Veerabahu who won the battle against Banugopan49. Murugan is also hailed as
a God, known for his dreadful appearance50 but it is pointed out that he was the
reliever of fears and horrors of others.51. Thus Kachchiyappar, by showing
veneration and highlighting the superior and distinctive the qualities of
Murugan in Tamilnadu.
42 Ahananuru, 22:8-11, 242:8-12, 292:2-4, Kurunthogai, 53:4, Tirmurrugarrupadai,
218:232-235 43 Ahananuru, 22:8-11, 242:8-12, 292:2-4, Kurunthogai, 53:4, Tirmurrugarrupadai,
218:232-235 44 Kandapuranam, Valliyammai Tirumana Padalam, 40:1-4 and 156:1-4 45 Ibid., Kandaviratha Padlam, 19:1-4 46 Paripadal, 8:103-108; 4:78; 82-85; 18:54-56 47 Tirumurugarruppadai, 99 48 Kandapurnam, Subramman Vadai Padalam, 496:1-4 49 Ibid., Banugopan Vadai Padalam, 151:1-4 50 Ibid., Devargal Porru Padalam 51 Ibid., Jayanthan Kanavu Kan Padalam: 6:1-4
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
In it he had employed a traditional approach. By the employment of
many techniques Kachchiyappar had endeavoured to revive the past glories of
the ancient, indigenous and renowned Tamil deity Murugan. One should also
note that Kachchiyappar did not lag behind in attaching any significance to the
descriptions of Murugan on par with the true and real qualities of epic
grandeur52. While Sundarar had called Murugan as the one who appreciates
Siva53. Manickavasagar has introduced Siva as Kumaran tan tadai
54 and
Nalvelan Tadai55 etc. (The father of Kumaran and father of noble Velan).
Such facts indisputably reveal that the earlier Saiva Nayanmars utilised
the name of the popular Tamil deity Murugan to enhance and popularise Siva
on the basis of their relationship as father and son. But it is obvious that
Kachchiyappar never employed the name of Siva for promoting Murugan by
associating him with Siva, who has already attained a venerable position as a
primary deity. This approach of offering recognition only to Murugan, instead
of linking him with others, is another significant approach and style adopted by
Kachchiyappar in his Kandapuranam alone. It was mainly because of the fact
that Murugan was a renowned indigenous deity. In this regard he had devited
52 N. Ramalingam, Op.cit., p.33. 53 Sundarar Devaram, 73:9 54 Tiruvasagam, 14:17 55 Ibid., 9:3
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
from Sundarar and Manickavasagar, the earlier Nayanmars. Gnanasambandar
and Thirunavukkarasar too had introduced Siva as the father of Murugan.
The references such as Koli Kodiyon tadai, nal velan tadai etc. will attest
it. The father of the one who slained the demon earlier (Anru maya sur
arutha maintan tadai)56, the father of the deity who rides on a peacock
(mayileravan tadai)57, the father of Kumaran
58 and Kumaravel (Kumaran tadai
and Kumaravel tadai)59 are the references by Gnanasambandar regarding his
calling of Siva. In the same way Navukkarasar alias Appar too had described
Siva only by linking him with Murugan. Kadamban tadai60, the father of
Kadamban and the possessor of the cock banner (Koli Kodiyon tadai)61 are the
descriptions available in his Devaram hymns. These facts indicate that even
during the Devaram periods Murugan was a popular deity. Such facts
compelled the four Saiva Nayanmars to utilise the name of Murugan for
enhancing the status of Siva. But Kachchiyappar had not adopted such
techniques and only by highlighting the virtuous qualities of Murugan he tried
to express the superior status and worship of Murugan.
56 Gnanasambandar Devaram, 2:46:1 57 Ibid., 1:61:3, 2:52:2 58 Ibid., 2:53:6 59 Ibid., 3:10:6 60 Tirunavukkarasar Devaram, 5:196:6 61 Ibid., 6:30:2
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
As in Paripadal62 and Tirumurugarruppadai
63 which had stressed the
importance to the six faces and twelve hands of Murugan, Kandapuranam had
assigned importance to many aspects relating to the six faces and twelve hands
of Murugan in many places64. By such descriptions Kachchiyappar had
successfully ventured in imposing the northern epic qualities over the native
deity Murugan without much difficulty in harmonious way. Further it is evident
that Kandapuranam in a different perspective and in a new dimension had
explicated the development of Murugan cult in Tamil Nadu in Puranic or Epic
style. Further Kachchiyappar being a staunch devotee of Murugan had justified
the amalgamation of Tamil Murugan with Skanda Karthikeya by exhibiting the
qualities of both the devotees in a compromising way in his own native
language Tamil by adopting a Sanskritic method of writing65.
Since the Puranas are also treated as epics in Tamil66, Kachchiyappar had
treated a puranic theme for producing an epic form. In this regard one had to
note that Gnanasambandar alone has called Murugan as Kandan for the first
time67. As such Kachchiyappar had offered the name Kandan to Murugan
through the mouth of Siva. Siva had given the reason for calling Murugan as
62 Paripadal, 5:11, 14:21, 21:67 63 Tirumurugarruppadai, 91-118 64 Kandapuranam 1:14:105, 1:20:18, 1:70:30, 22, 4:13:240, 288, 435:4:12:483, 4:5:210:
4:4:236 4:15:17; 24:5:2:257s, 6:24:234; 5:2:58; 6:28:10; 6:23:25; 6:24:111 4:13:22 etc. refer
to Murugan as six faced God !:16:2; 1:20:7:1:25:24, 1:24:83; 3:12:97: 4:4:231, 4:11:3;
4:12:358, 4:13:50, 245, 282, 341 461, 5:2:3:241; 6:24:212, 213, 230, 262 etc. point out the
various aspects of the12 arms of Murugan. 65 S. Vidhiyanandhan, Tamilar Salbu (T), Madras, 1917 pp.137-138. 66 K.V. Jegannathan, Tamil Kappiyangal, (T), Madras, 1971, p.135. 67 Gnanasambandar, Devaram, 223:2
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Kandan because his consort Parvathi had brought the six children into one68. It
is also indicated that the concept of Arumugam (Shanmugham) emerged only
because of this story. It is necessary to acknowledge and accept that the term
Kandan suggests the unification of six faces into one like bringing together of
the cattles to a stump or poll. Thus the bringing of the six children into a single
Kandan is associated with the birth myth of Murugan in a puranic form in the
Kadapuranam of Kachchiyappar, who endeavoured his best to elevate the status
and position of Murugan cult in Tamil Nadu.
Kachchiyappar was so much particular and fascinated and had evincing
interest in revitalising the Murugan cult by making Murugan as a God equal to
Siva. Siva at that time had already attained a primary place among the Hindu
Pantheon as well as in the Tamil country. By adhering to such a new technique
Kachchiyappar had included the statement that Siva himself found no disparity
between himself and his son Murugan69. It also suggests that Kachchiyappar
earnestly attempted to maintain the superior status of Siva, the father without
tampering the prestige of the son Murugan.
Further Kandapuranam, by adopting a positive approach, treated
Murugan as a God equal to Siva though not a superior God than Siva.
Kachchiyappar was also aware of the fact that he could not reduce the status
68 Kandapuranam, Tiruvilayattu Padalam, 17:3-4. 69 Ibid., 18:1-4 and 16:1-4.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
and superiority of Siva. So, to maintain the reputation of both Siva and Skanda
i.e., the father and son on the same footing Kachchiyappar followed his own
technique. It is a doubtful and controversial fact to accept Kandapuranam as a
successful venture in making Murugan as a primary deity of Tamil Nadu,
because after a gap of nearly four centuries, only in the 16th century Saint
Arunagiri broughtout his works such as Tiruppugal, Kandarlangaram,
Kandaranubhudhi, Sevalvirutham and Mayilvirutham etc on Murugan. It was
another identical and successful effort to revive the glories of Murugan by
Arunagiriyar in the 16th century. He had also venerated Tamil by employing the
different forms of poetic dictions in bringing out his works on Murugan.
By his scholarship in Tamil poetry he was capable of hailing the various
aspects pertaining to Murugan which were prevalent from the Sangam age
through different periods till his arrival70. So only by estimating the ups and
downs in Murugan cult, Kachchiyappar was able to bring out his epic on
Skandan.
While Murugan informed Indra, the king of the celestials, that the
celestials would be his army and himself would be their commander, one could
easily infer that Kachchiyappar, without making a black spot to the prestige of
Murugan, had brought out the superior virtue of Murugan71. This fact assist one
70 M. Gandhi Dasan, Op.cti., pp.97-105. 71 Kandapuranm, Tiruvilayattu Padalam, 106:1-4
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
to estimate that the author had employed the epic qualities by highlighting the
heroic qualities of Murugan. This treatment of Kandan is another unique feature
employed by Kachchiyappar to widen the popularity of that deity as the
Devasenapathy and protector of the celestials. There are scholars who call
Murugan as Devasena’s Paty or the husband of Devasena, the daughter of
Indra. Thus by linking Murugan with other deities by blood relationship,
Kachchiyappar tried to uplift Murugan cult.
Again, as Siva had attained prominence during that period,
Kachchiyappar had even made that Siva to attest that Murugan would also be
equal to him in maintaining a primary position72. This suggests a compromising
venture or Kachchiyappar. The celestials, by accepting the highness of Kandan
equal to Siva, gave equal veneration and treatment to Kandan and his consort
Deivayanai73. In the same way Vinayaga, the elder brother of Kandan, had
influenced Narada to undertake fasting on the day of Karthigai (The asterism
Pleades), the day prominent and significant in the worship of Murugan74. The
treatment of Murugan as a God equal to Siva and the consideration of Murugan
as a pioneering God will attest the fact that Kachchiyappar through his magnum
opus has left no stone unturned for promoting the status of Murugan and also
the superior nature of his worship. In the same way from Kandapuranam, the
72 Ibid., Deivayanai Ammai Tirumana Padalam, 255:1-4. 73 Ibid., Dakkan Thavam Sei Padalam 74 Ibid., 10:1-2
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
14th subdivision of the first canto, while narrating the sportive activities of
Murugan, one can estimate the tactics adopted by Kachchiyappar in bringing
the past glory of that Tamil deity. The appreciation of Murugan by the celestials
after his slaying the demon Surabanman will corroborate the above fact75. The
distinctive qualities of Murugan as narrated by Kachchiyappar76 disclose the
prime objective of the author in bringing out the work Kandapuranam. The
same ideas are reflected in 22 songs in the evolution of Murugan in the Urpathi
Kandam (canto) on the origin of Murugan. As the title of the work, which
prompts that it is a work on Kandan, the author, unhesitatingly and repeatedly,
had reiterated and highlighted the individual calibre and powers of the hero of
his work. Here it must also be remembered that the celestials, worshipped
Murgan on par with the form of worship as depicted in Kumara Tantra77. This
too testifies to the Sanskritic knowledge of Kachchiyappar. It also is yet another
technique adopted by Kachchiyappar for amalgamating two different deities
into a compromisingly single God.
The reference about the clouds which offer rain, the king who wields his
sceptre, the life led by people with all satisfaction, the recital of the four Vedas,
the growth in number of sacrifices and rituals along with the development of
75 Ibid., Devargal Porru Padalam 76 Ibid., 1:26:15-17, 3:11:23, 3:21:126-131 etc. 77 J.M. Somasundaram, Cripamum Kalai Valvum, Chidambaram, 1962, p.118 and
Ibid., 4:!6:23-24. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Saivism78 indicate that at the time of the period of evolution of Kandapuranam,
Saivism was at its peak. So that Kachchiyappar had attempted to revive the
Murugan cult by highlighting his personal qualities as the son of Siva. The
canto on the origin also attests all these facts in a convincing way without any
deviation. They are the facts which reveal the meritorious poetic qualities of
Kachchiyappar in employing the epic qualities in a specific form of language.
Kandapuranam, being a work on Tamil Murugan, emerged in epic form
of Sanskrit language assists the integration of north and south. So devotional or
Bhakthi movement reached its culminating point by the writing of
Kandapuranam by Kachchiyappar on Tamil Murugan with a Sanskritic style. In
this respect Kandapuranam is a matchless one when compared with any other
work because no Tamil work is available ini such a form on a religious theme.
Kandapuranam was released at the place called Kumarakkottam in
Kanchipuram79. This place is still now treated as a Murugan temple.
Kandapuranamt is a conspicuous Tamil work, woth to be considered as an epic,
to which the Tamils offer a great veneration80. From Kandapurnam one is able
to obtain the various divine activities of Murugan harmoniously blended with
the exhibition of the cultural traits of the families81. Further the author had
78 Kandapurnam, 1: Payiram, 5 79 Ibid., Cirappu Payiram 80 M. Arunachalam, Tamil Ilakkiya Varalaru, Tiruchitramablam, 1969, p.14. 81 Ratna Navaratnam, Karthikeya the Divine Child, Bombay, 1973, p.165.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
produced his work in a continuous narrative form by mentioning the different
stories related with the life the deity Murugan82. It is believed that
Kachchiyappar commenced writing this work after getting the first line from the
mouth of the deity Murugan himself83.
With the invocation song this work ends with the appreciation passage
and even in the middle of the narration of the story, Kachchiyappar had
expressed his faith over devotionalism through the versions on hailing the
qualities of the deities. Further the author had explained the entire story in 24
songs in the introductory passage itself. Such facts enable the student of history
to have an idea of the entire story in a nutshell along with method of narration
employed by Kachchiyappar. Further it is obvious that the story of Murugan
includes a lot of preachings which are the essentials for a successful life in this
world84. From the analysis of the Kasipan Upadesa Padalam (2:4) Mayay
Upadesapadalam (2:6) etc. one can specifically notice the adoption of the above
fact.
All these preachings suggest that Dharma i.e., aram should be the basic
principles of the life of every individual. Again they expose the social life of the
Tamils of the contemporary period. In the same way Kandapuranam too insists 82 K.T.Tirunavukkarasu, Illakkiya Kolgai; Kandapurnam, Tamil Illakkiya Kolgai -3 ,
Madras, 1978. 83 Vamadeva Muruga Pattaragar, Sri Kachchiyappa Sivachariyar Puranam,
Chidambaram, 1917, Song No.38. 84 Kandapurnam Kasipan Upadesa Padalam, 23:1-4, Markkandeya Padalam, 49:1-
4, 54:1-4 etc. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
on the essetal need of the wealth for in this world a happy and prosperous life85.
Wealth is treated as a superior virtue which combines the different appreciable
qualities such as fame, kingship etc86. So it will not be wrong to treat
Kandapuranam as a social epic.
Thus Kandapuranam through a work written for exhibiting be different
qualities and aspects of Murugan, the renowned Tamil deity, deals with the
different aspects of the people of the contemporary society. Above all the
author Kachchiyappar had stressed the fact that Salvation or Mukthi or Moksha
should be the aim of life. The facts pertaining to socio-political and religious
condition as depicted in this work will be analysed in separate chapters for
having an estimate of the work.
Generally all the poets will be known for their descriptions and
imagination. Kachchiyappar, who was not an exception to this common
tradition had employed lot of similes and imaginary expressions. Though the
story centres on northern Skandam, only the Tamil tradition is employed in
depicting the story in an epic form. As pointed out by the author, he had written
the story of Kandan mainly due to the investigation of the learned scholars of
Kanchipuram, who were known for their religious wisdom and scholarship87.
85 Ibid., Mayay Upadesa Padalam, 8:1-4. 86 Ibid., 9:1-4, 10:1-4, 11:4 87 Ibid., Opening passages, Avaiyadakkam, song 19
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
When the Murugan cult met with many ups and down from the Sangam
age onwards, Kachchiyappar by giving equal status to Siva and Muruga and
making Murugan as the primary deity88, laid the foundation for promoting
Murugan cult and to bring it out from the shell which had covered it. To add
strength to his efforts Kandan, the youth is hailed as the archaic deity89. Further
Kandan is treated as the basis for the activities of other deities90.He too had
assigned importance to the policy of surrender with deep devotion91. In this
regard Kachchiyappar in his Kandapuranam had adopted the unique techniques
employed by the Saiva Nayanmaras and Vaishnava Alwars in highlighting their
own respective sects92.
Further he had narrated the consequences of the worship of Kandan and
also reiterated the impacts of offering thanks to the graces offered by the God to
all this devotees. This work too stresses the importance assigned to curses,
rebirth and irony of fate93. Kachchiyappar had the faith over fate and believed
that no one could go against the effects of fate94. In the same way much
significance is assigned to penance which will set aside the irony of fate i.e.,
Karma95. These facts indicate that like the earlier Devaram and
88 Ibid., Devayanai Ammai Tirumana Padalam, 255:1-4 89 Ibid., Suran Amaichchiyar Padalam, 144:1-4. 90 Ibid., Surabanman Vadai Padalam, 433:3-4 91 Ibid., 444:1-4 92 Kirubananda Variyar, Kandan Karunai, Madras, 1966, p.12. 93 Kandapuranam, 1:3:35 2:8:29; 2:21:31, 3:11:25; 4:!3:443; 5:3:9; 6:10:27 etc. 94 Ibid., Surabanman Vadai Padalam, 295:1-4 95 Ibid., Nagar Puhu Padalam, 84:1-4, Avai Puhu Padalam, 41:1-4
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Divyaprabandam devotionalist, Kachchiyappar had harmoniously blended
devotion with the various other facts of life such as devotion; fate, rebirth,
penance etc. So one has to accept the fact that he had fallen in line with
traditional ideas associated with life by employing chaste Tamil with all epic
grandeur.
The religious ideas sprinkled in Kandapuarnam are facts which expose
the Saiva Siddhantha Philosophy of Saivism96. Since the work commences with
the appreciation of the Saivism the above facts could be attested97. Most of
those who attached importance to devotionalism emerged from the south98. It
must be remembered here that Tamil language occupied the prime place in
producing bhakthi literature99. Tirumurugarruppadai and Paripadal of the
Sangam age. The Devaram hymns and Tiruvasagam of Saiva Nayanmars and
Nalayira Divya Prabandam of the Vaishnava Alwars etc., of the period of
Bhakthi or devotionalism too will attest the above fact. The devotion is brought
to light in Kandapuranam through the months of the different characters
employed in it. Indra and other celestials had hailed Murugan by offering
importance to his distinctive, remarkable and noble qualities100.
96 M. Arunachalam, op.cit., p.82. 97 Kandapuranam, Payiram, 5 98 Mariasusai Dhavamony, Love of God according to Saiva Siddhantha, London,
1971, p.101. 99 A.S. Gnanasambandan, ‘Tamilum Samayamum’, Proceedings of the world, Tamil
conference, 1968, p.4. 100 Kandapuranam 1:4:82; 3:1:49:3:12:46; 4:13:460; 461; 4:!6:27; 6:23:61
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
The adjectives used in eulogy of Murugan101 too strengthen the above
view. So it is evident that Kachchiyappar, by concentrating on devotion, had
described Kandan as his father102, hero
103, King
104 etc. Such facts indicate that
Kachchiyappar, without deviating from the traditionalistic approach of
devotion, had contributed various techniques in promoting the cult of Murugan
with devotion. In this regard Kachchiyappar had unhesitatingly called Murugan
as father, leader and protector as mentioned earlier. By such narrations
Kachchiyappar had endeavoured to enhance the status of Murugan and his
worship.
Since worship is a measure for the liberation of the soul105, the
Nayanmars of Saivism attached greater importance to the temples which were
the major traditional abodes of worship even from the sixth century onwards106.
Further by the concept of surrender they had explained the ways and means for
nearing and reaching the feet of God. The Alvars too had adhered to the same
principle. In addition to that the Vaishnavites attached importance to the
Dasavatara concept or incarnation of Vishnu.
Such measures of populairsing their own deities served as examples for
Kachchiayppar to elevate the Murugan cult. In addition to that the Tamil rulers 101 S. Sivapatha Sundaram Kandapurana Vilakkam, Madras, Year not known, p.7. 102 Kandapuranam, Taragan Vadai Padalam, 169:1-4 103 Ibid., Singamugasuran Vadai Padalam, 458:1-4 104 Ibid., 457:1-4 105 S. Sivapatha Sundaram, Saiva Samaya Saram, Trichirappalai, 1957, p.9 106 G. Sundaramoorthy, Saiva Samayam, Madurai, 1977, pp.40-41.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
of different periods, belonging to Pandya, Pallava and Chola dynasties devoted
much attention to the religious precepts and constructed temples for different
deities. They in turn encouraged arrival of the the concept of devotion and act
of pilgrimage. The rituals and festivals also gradually increased in number.
They served as catalytic agents of Kachchiayappar. So, as a vehicle for the
concentration of mind Kachchiayappar too widened the possibility of worship
with devotion in Kandapuranam, the epic centering on a religious theme.
The Alvars too had accepted this view. In addition to that the Tamil
rulers of different periods, belonging to Pandya, Pallava and Chola dynasties
devoted much attention to the construction of temples of different deities. So as
a vehicle for the concentration of mind Kachchiyappar too has widened
possibility of worship with devotion in Kandapuranam.
Kanadapuranam is historically a significant work because it traces the
customary practices of life of the Tamils which were prevalent in the Tamil
country of the contemporary period of Kachchiayppar. Madalerudal or
Madalurdal was a custom among the lover to express his love107. In
Kandapuranam, Murugan informs that he would adhere to that practice of
Madaluradal if he was not able to get the hands of his lady love Valli108.
107 Tolkappiyam , Porul, 60:1-2; 100 108 Kandapuranam, Valliyammai Tirumana Padalam , 136:3
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
In the same way, while adopting the literary feature employed by
Nakkirar, Kachchiyappar had followed the former in adopting a similar theme
though not the form of writing109. Veriyadal was another custom, popular
during the Sangam Age and that was executed mainly to notice the love
sickness and the distresses of the ladies110 and to appease the wrath of
Murugan111. This custom of Veriyadal was a belief oriented one. The Tamils,
while giving importance to chastity had assigned greater stress to arranged
marriages and acknowledged love marriages.112 It means that Kalavau and
Karupu marriages which were popular during the Sangam age continued to
survive. Kamil, V Zvelebil had rightly observed this and had pointed it out by
showing the difference between Deivayanai, the arranged wife and Valli, the
wife taken due to love on the basis of a sculpture at Tanjore113.
Kachchiyappar had also narrated the various customary practices such as
tieing the tali 114 seeing the northern star i.e. Aruntadi
115 etc., during the
ceremony of arranged marriages. Kachchiyappar being a poet, had faith over
monogamy and arranged marriages. He condemned the love marriages carried
109 Ibid., 264: 1-4. 110 Ahananuru, 242:7-12. 111 K.A. Nilakanta Sastri, Development of Religion in South India, p.33 112 V.Sp . Manickam Tamil Kadal, Madras 1962 p.127. 113 Zvelebil, V. Kamil, ‘A guide to Murukan ‘, Journal of Tamil Studies, Madras,
1978, p.7 114 Kandapuranam , Deivayani Ammai Tirumana Padalam :247:3 115 Ibid., 253:3
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
out after the first arranged marriage.116 The above facts not only expose
certain Tamil customs but also throws greater light on the fact that
Kachchiyappar had estimated the values of customary practices and rituals.
Being a proficient Tamil scholar, known for his versatility he had detailed
many things about fine arts. 16 kinds of musical notes or pan are described by
him.117
Kuthu, which included both music and acting is described as Nataka
nul by him118 and that suggest his knowledge of fine arts. His reference about
Kodiyar, Kalayinar and Kuttar 119 and his mentioning about Desiga Kuthu,
Vaduga Kuthu and Singala Kuthu120 points out the fact that Kachchiayppar
was a sociologist and artist and was able to depict that the Tamils were fond of
dance and music. It cannot be skipped that a devotional work pertaining to a
specific deity will be dealing with fine arts. He was an expert astrologer.
The fixation of the aseterism of Panguni uddhiram was an auspicious
one121 and the reference about the time of the birth of Markkandeya indicate
not only the wisdom of Kachchiyappar but also the social history of the
contemporary period. Metallurgy was a popular science during his period
116 Ibid., Valliyammai Tirumana Padalam, 191 : 3-4 117 Ibid., Suran Arasirukkari Padalam : 23:1-4. 118 Ibid., Asamuhi Nagar Kan Padalam : 14:1-4 119 Idem 120 Ibid., Pattabhisheka padalam 13:3-4 121 Ibid., Varai Punai Padalam, 35:3
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Kachchiyappar had described the qualities of gold,122 silver,
123 and the
conversion of iron into gold were in vogue.124 These facts indicate that
Kandapuranam is historically a valuable work and is known for its socio –
cultural values and it was a period of multidimensional development. Under the
Chola rulers of Vijayalaya line religion, art, architecture and iconography
developed and their temples are the standing monuments for revealing such
aspects.
Though Kachchiyappar had adopted the northern Skandam as his
pioneering work , he had not drifted away from the Tamil tradition of writing.
As a Tamil poet he was fascinated by the worship of the Tamil deity Murugan
and had venerated and assigned importance to Tamil language. While
describing Kanchi he had hailed that it as the city of cool Tamil.125 (Tantamil
Valanagar). By falling in line with the Tamil tradition he had considered
Murugan as a Kurinji God i.e., the God of hillocks 126 also, Nakkirar, and the
primary chief poet of the Tamil Sangam.127 Such descriptions prove beyond
doubt that Tamil language was maintaining its fame and glory even during the
period of Kachchiyappar as it was in the preceding ages.
122 Ibid ., Surabanman Vadai Padalam, 495 : 3-4 123 Ibid., Asurar Yaga Padalam, 24:4 124 Ibid.,. Markkandeya Padalam, 131-137 125 Ibid., Avai, 19 126 Ibid., Asurar Yaga Padala, 32 : 4 127 Ibid ., Singa muhasuran Vadai Padalam, 456 : 3- 4
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Thus the above mentioned facts reveal that the work produced by
Kachchiyappar is known for its historical perspective. A detailed analysis
prompts that the author, though a Murugan devotee, had endeavoured to
enhance the eclipsed glory of the Tamil deity (by adopting his own
individualistic ways and means, without deviating from the original and
indigenous qualities of the local deity ) even by adopting the hitherto existed
literary traditions. The native and the northern traditions are harmoniously
blended and the Tamil culture had been handled effectively in narrating the
story with due respect and importance. He had even carefully avoided the
words of Sanskrit and has utilised mostly the equivalent Tamil words and they
are used without affecting style and flow of the epics.
Though no specific work emerged on Murugan after
Tirumurugarruppadai of Nakkirar and till the 13th century Murugan’s name did
not disappear totally from the Tamil works which came up in between
Tirumurugarruppadai and Kandapuranam. The attention shown to the social
and religious life of the Tamils of the contemporary period enables one to
specify the historicity of the work Kandapuranam. He has not left out any
Tamil tradition associated with Murugan as adopted from the Sangam age to
his period. The custom of Velan veriyadal, the treatment Murugan as a
Kurinji God, his marriages with Valli and Devasena, his red colour, his
association with the Kadamba tree and flower, his warlike qualities etc., are
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
narrated. They will establish not only Kachchiayppar’s contribution to the
worship of Murugan but also will explicate the socio – cultural, historical
aspects pertaining to the different qualities of that deity.
Under such circumstances the social, political and religious activities as
available in Kandapuranam will be analysed separately in the subsequent
chapters. It is worth to note that, from the different aspects of the Tamils
exposed in Kandapuranam assist the possibility to treat that work as an epic
having historical details. The critical analysis of that work further will highlight
the work in a historical perspective. As no other work of Tamil literature
contains such an aspect it is must to estimate Kachchiayppar’s Kandapuranam
in historical perspective.
Further the distinctive descriptions available in Kandapuranam, though a
religious based one, expose the cultural, social and religious traits of the Tamils
of the contemporary period. The voluminous size of the work, which is in an
epic from also widens the scope for detecting the historical facts available in it.
The critical study of Kandapuranam will enable one to have a comparative
study of the details about Tamil about Tamils available in other sources. Since
historical sources include indigenous and native literary works it is clear that
Kandapuranam of Kachchiyappar could also be considered as a native literary
source for having facts about the socio-cultural history of Tamil Nadu.
Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
top related