Sri Parthasarathi Kodai uthsava Sarrumurai 2026 - collage

 

Sri Parthasarathi Perumal Kodai Uthsava Sarrumurai 21072026

Sigathadai kondai during purappadu &

Poocharru kireedam for thirumbukal from Vasantha uthsava bungalow

 

Here is a collage – first of Sri Parthasarathi on His purappadu to Vasantha bungalow (Periya mada veethi – gate aam – kulakkarai – Vasantha bungalow) – at VB – He has Oonjal -  thiruvaradhanam – poocharru – the Second is the photo of His thirumbukal purappadu ?

 

Did you notice distinct changes in sarruppadi (alankaram) ! [during Kodai Uthsavam Sri Parthasarathi Emperuman and Ubayanachimar have purappadu in separate kedayams] 

Though most ardent devotees of Thiruvallikkeni know and notice this distinctly – it is easier to identify and worship through this collage.  The two photographs capture these two sacred moments of the same utsavam.

 

•       Kireedam (floral crown): This is the most obvious change. The first has the traditional gem-studded royal crown with a jasmine floral wrapping known as Sigathadai,  with Thura pathakkangal - the second is  an entirely floral kireedam with a central red rose motif.

•       Thirumugam (divine face) may look slightly different as karna pathakkangal have changed

•       Abhaya Hastam: In the first alankaram the hand is fully gem-studded, while in the second it is golden appearance of hastham with decorative stones in the middle only.  

•          Kaumodaki Gadai (mace): The mace in the first is richly jewelled from top to bottom, with hastham too having diamonds – the second is the pure koal (parralar veeya koil kaiyil konda Piran) – the hastham with simple golden kavacham.    

•          Thiruvabaranams on Thirumarbu (ornaments on the chest): The first has a far more elaborate arrangement of necklaces, pendants and gem-studded kavacham. The second is intentionally less ornate with a single Navrathna malai.

•          in the second the vaitheeka veshti in the manner of panchakavacham is evident

·        The anklets in the leg are different

•          Garlands: Although both use jasmine with red and purple bands, the way way they are draped is different.

·        Thiruvadi – thiruthuzhai in the second 

•          Overall mood: The first is unmistakably a Raja Alankaram—majestic and jewel-dominant. The second draws the eye first to the pushpa alankaram (flower adornment), making it feel gentler despite being the same deity. 

Those who are closely associated with temple traditions—archakas, kainkaryaparars, regular utsava followers, photographers, or devotees who attend every day's alankaram—tend to notice these nuances immediately. For them, each alankaram tells a story.

The photos evidently portray the subtle differences as both are taken from almost a similar frontal angle, show Emperuman ‘Pathathi Kesam’ [feet to Crown]; in good resolution and details are preserved.  

 
adiyen Srinivasa dhasan
Mamandur Veeravalli Srinivasan Sampathkumar
21.07.2026

'Mahalakshmi Jaganmata' - Sankarabaranam rendition !

 

It was just another day at Thirumylai (not exactly) – evening time – Sannathi thiruvarathanam – not many people around – and there was this beautiful rendition in Nadaswaram by Thiru Mohanraj ensemble.  Purely divine, not performed for any audience, solely for  Thirumylai Sri Madhava Perumal.  :  https://youtu.be/8UjrBwbavNc

 

Think this  kriti to be : “Mahalakshmi Jaganmāta” -  popular composition  by Papanasam Sivan, in rāga Śankarabharanam and miśra cāpu tāḷa. One well-known rendition is by N. C. Vasanthakokilam, often listed simply as “Mahalakshmi – Sankarabharanam” in recordings. 

mahAlakṣmi jaganmātā

manamirangi varamaruL

anupallavi

mahā viṣṇuvin mārbenum

maṇi pīṭhamadanil amarndaruL... 

“mahālakṣmī jaganmātā manamirangi varamaruḷ” – addressing Mahalakshmi as the mother of the universe, bestower of grace. Śankarabharanam (Dhīraśankarabharanam) is the 29th melakarta rāga in Carnatic music.       Its scale corresponds to the Western major (Ionian) scale, which is why it feels very “śuddha” and expansive, suiting a māṅgalya/maṅgala goddess like Mahalakshmi.

 

•       Arohana: SR2G3M1PD2N3SSR2G3M1PD2N3S

•       Avarohana: SN3D2PM1G3R2SSN3D2PM1G3R2S

 

          Śankarabharanam is a very śānta, full-bodied rāga, foundational in Carnatic, often chosen for major deities and weighty compositions, yet capable of bhakti-laden sweetness, aptly for Mahalakshmi, whose bhāva combines śrī (prosperity), karuṇā (compassion) and jaganmāta–swaroopa   

A video taken by me on 23.7.2026  … since am sub-zero in Carnatic music, inputs searched in web with the help of ChatGPT.

 
Regards – S Sampathkumar
25.7.2026
 

Naimisaranyam divyadesam ~ *நைமிசாரணியத்துள்* எந்தாய் !!

Naimiṣāraṇya (Sanskrit: नैमिषारण्य),   lit. 'Naimisha forest', also referred as Naimisha (Sanskrit: नैमिष) or Nimkhårvan  is a sacred forest  mentioned in Puranic literature, as well as both the Ramayana and the Mahabharata. It is regarded to be the place where the Puranas had been narrated for the first time, before a large gathering of sages.  The ancient forest corresponds to modern day Nimsar, situated along the Gomati river in the Sitapur district of Uttar Pradesh, India. 

நெஞ்சினால், நினைந்தும், வாயினால் மொழிந்தும் - நீதியல்லாதன செய்தும் .. ..

வந்துன் திருவடியடைந்தேன் *நைமிசாரணியத்துள்* எந்தாய்  !!

 

Throughout my life - thinking wickedly, speaking in harsh tones, doing many acts against Dharma, have committed many sins – now am falling at your feet

O the Lord at Naimisaraniyam 

Revered as a sacred Tapovanam, it is believed Sriman Narayana  manifests here as the entire forest. It is the legendary site where 88,000 sages gathered and Sage Sutha narrated the Puranas. There are 9 tapovams. They are Dandakaranyam, Saindhavaranyam, Jambhukaranyam, Pushkararanyam, Utpalaranyam, Badrikaranyam, Gurujangalaranyam, Aruputharanyam and Naimisaranayam.  Naimisaranyam is regarded as a holy forest – Emperuman himself  is in the form of forest. 

Naimisaranya is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.  The famous poet, Surdas resided here. Maharishi Suta, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. 

Pic taken couple of years ago !

 

Aadiyen Srinivasa dasan

Mamandur Veeravalli Srinivasan Sampathkumar

24.7.2026

Thiruvallikkeni battargal - 2017 purappadu

 

Thiruvadipuram Amavasai purappadu Thiruvallikkeni  2017.