Thiruppugazh - Palani Temple - Song#1 - Nadha Vindhu Kaladhee/ பழனி திருப்புகழ் பாடல் #1 - நாத விந்து கலாதீ

முருகப்பெருமானை அர்ச்சித்து போற்றி தீபாரதனை செய்து மகிழ பாடவேண்டிய திருஆவினங்குடி தலத்தின் திருப்புகழ் பாடல்

நாத விந்து கலாதீ நமோநம

வேத மந்த்ர சொரூபா நமோநம

ஞான பண்டித ஸாமீ நமோநம

            வெகு கோடி 

நாம சம்பு குமாரா நமோநம

போக அந்தரி பாலா நமோநம

நாக பந்த மயூரா நமோநம

            பரசூரர் 

சேத தண்ட விநோதா நமோநம

கீத கிண்கிணி பாதா நமோநம

தீர சம்ப்ரம வீரா நமோநம

            கிரிராஜ 

தீப மங்கள ஜோதீ நமோநம

தூய அம்பல லீலா நமோநம

தேவ குஞ்சரி பாகா நமோநம

            அருள்தாராய்

ஈதலும் பல கோலால பூஜையும் 

ஓதலும் குண ஆசார நீதியும்

ஈரமும் குரு சீர்பாத சேவையும்

            மறவாத

ஏழ் தலம் புகழ் காவேரியால் விளை

சோழ மண்டல மீதே மநோகர

ராஜ கெம்பிர நாடாளும்  நாயக

            வயலூரா 

ஆதரம் பயில் ஆரூரர் தோழமை 

சேர்தல் கொண்டவரோடே முனாளினில்

ஆடல் வெம்பரி மீதேறி மா

            கயிலையிலேகி 

ஆதி அந்தவுலாவாசு பாடிய

சேரர் கொங்குவை காவூர் நனாடதில்

ஆவினன்குடி வாழ்வான தேவர்கள்     பெருமாளே.

 

English Translation

The Thiruppugazh hymn of the sacred shrine of Thiru Avinankudi (Palani), to be sung while worshipping Lord Murugan with offerings, praises, and the waving of the sacred lamp (Deeparadhana).

Verse 1 — Salutations

நாத விந்து கலாதீ நமோநம

வேத மந்த்ர சொரூபா நமோநம

ஞான பண்டித ஸாமீ நமோநம

            வெகு கோடி 

Nadha Vindhu Kaladhee Namonama

Vedha Manthra Soroopa Namonama

Gnaana Panditha Samee Namonama

Vegukodi

 

O Lord who transcends Nadha(sound), Vindhu (the sacred light) and Kaladhee (Thatthuvaas) — we bow to Thee

O Lord who is the very embodiment of the Vedas and sacred Mantras — we bow to Thee

O Master, the supreme Pandit of all Wisdom (Jnāna) — we bow to Thee

• The great saint Arunagirinathar opens the first Thiruppugazh verse of Palani with a beautiful and profound insight. When the Supreme Lord manifests in a form, it is purely out of His love and compassion to guide souls toward liberation. However, as souls advance in their spiritual journey, the same Supreme Lord eventually leads them to worship Him beyond form, in His formless, absolute state.
• According to Saiva Siddhantham, the Supreme Lord brings the entire universe and the bodies for all life forms into existence using a fundamental cosmic material known as Mayai. The soul, referred to as Aanma, dwells within these formed bodies and goes through varied experiences in the world. Over countless cycles of birth and rebirth, and through prolonged engagement with worldly life, the soul gradually matures to a point where it begins to reflect deeply on the nature of existence, the universe, and its ultimate source. Eventually, it arrives at the understanding that everything in creation shares a single, unified origin.
• The universe begins its unfolding with three primordial elements — Nadham (Sound), Vindhu (Light), and Kalathee — and nothing precedes them. There are altogether 36 Thatthuvas, a term better understood not as abstract principles, but as the dynamic forces or mechanisms that set the universe and all living bodies into motion. These 36 are organized into three categories. The first and highest group is the Suddha Mayai Thatthuvas, belonging to the purest dimension of Mayai, consisting of Nadham, Vindhu, Saadhakiyam, Easwaram, and Suddha Vitthai. The second group, the Asuddha Mayai Thatthuvas, comprises seven elements — Maayai, Kalam, Niyathi, Kalai, Vithhai, Aragam, and Purudan. The third group, the Prakrithi Mayai Thatthuvas, contains 24 elements. Together, the second and third groups form the gross and subtle bodies of all living beings. The term Kalathee collectively refers to the entirety of all these Thatthuvas.
• Nadham represents the primordial sound that gave rise to Sol Ulagam, the foundation of all spoken language across the worlds, while Vindhu represents the primordial light responsible for manifesting Porul Ulagam, the entire material universe. This verse thus highlights that Lord Murugan stands beyond all these Thatthuvas, and it is He who has graciously bestowed them upon us.
• Veda Manthra Swarupa - Though Lord Murugan transcends all these cosmic forces, He descended into the world as Gnana Pandithan, the supreme spiritual Guru, embodying the very essence of the Vedas and Mantras. The formless Absolute took on a visible form solely out of His boundless grace and compassion toward all souls.

 

Verse 2 — Divine Attributes

நாம சம்பு குமாரா நமோநம

போக அந்தரி பாலா நமோநம

நாக பந்த மயூரா நமோநம

            பரசூரர் 

 Naama Sambu Kumara Namonama

Boga Andhari Bala Namonama

Naga Bandha Mayura Namonama    

Parasoorar      

 

O renowned Son of Shambhu (Shiva), the glorious Kumāra — we bow to Thee

O beloved Child of Bhogā Andhari (Pārvati), the Goddess of abundance — we bow to Thee

O Lord who rides the peacock adorned with serpents bound around it — we bow to Thee

• (Vegukodi) Naama Sambu Kumara — Lord Murugan is the celebrated and glorious Son of Sambu, Lord Siva, who has multiple crores of Names. Kumara means the ever-youthful divine son. The reason for this descent is that somehow the soul takes cognizance of His presence and moves on the path to attain His glorious feet.
• Bhoga Andhari Bala — He is the beloved child of Bhoga Andhari, an epithet of Parvathi, who is Lord Siva’s consort. Bhoga means divine enjoyment and abundance; Andhari suggests the Goddess who pervades and grants all. As her son, Murugan carries both the fierce Shaiva energy and the nurturing Shakti grace.
• Naga Bandha Mayura — His peacock mount is described as bound with serpent at the legs of the peacock. The peacock is traditionally known to be the natural enemy and conqueror of snakes. This imagery conveys that the very vehicle of the Lord has subdued and bound the serpents — symbolizing the conquest of ego and primal fear. The peacock itself is a symbol of beauty, grace, and the destruction of poisonous tendencies.

 

 

Verse 3 — The Heroic Lord

சேத தண்ட விநோதா நமோநம

கீத கிண்கிணி பாதா நமோநம

தீர சம்ப்ரம வீரா நமோநம

            கிரிராஜ 

 Setha Danda Vinodha Namonama

Geetha Kinkini Padha Namonama

Dheera Sambrama Veera Namonama

 Giriraja

 

O Lord who delights in punishing and destroying evil — we bow to Thee

O Lord whose feet wear melodious jingling anklets — we bow to Thee

O valiant and celebrated Hero of great courage — we bow to Thee - O King of Mountains

• (Parasoorar) Setha Danda Vinodha — Lord Murugan punished Asuras who did not follow the righteous path (Parasoorar). He takes delight in wielding punishment (danda) upon evil (Setha = that which is corrupt or sinful). This frames his role as divine enforcer of cosmic justice — not with anger, but with a sense of divine justice and playfulness (here it refers to the ease with which He accomplishes it).
• Geetha Kinkini Padha — His feet wear kinkini, the small jingling bells or anklets that produce sound as He moves. The word geetha means song or music. His very footsteps are musical — suggesting that His presence itself is a celebration and that even His movement is an act of cosmic song.
• Dheera Sambrama Veera Namonama— He is the dheera(the truly courageous, composed hero) and a veera (warrior) of Sambrama(great, celebrated renown). This salutation honours His warrior aspect — the destroyer of Soorapadman and the commander of the divine army (Deva Senapathi).

 

Verse 4 — The Luminous Lord

 

தீப மங்கள ஜோதீ நமோநம

தூய அம்பல லீலா நமோநம

தேவ குஞ்சரி பாகா நமோநம

            அருள்தாராய்

Dheepa Mangala Jyothi Namonama

Thooya Ambala Leela Namonama

Dheva Kunjari Bhaaga Namonama   

 Arultharaai

 

O auspicious, lamp-like radiant Light — we bow to Thee

O Lord whose divine play unfolds in the pure cosmic hall (ambalam) — we bow to Thee

O Lord who shares His being with the divine elephant goddess (Devasenā) — we bow to Thee - — Please bestow Thy grace

• Dheepa Mangala Jyothi — He is described as an auspicious, lamp-like divine light. This is not merely poetic; in the Shaiva tradition, the Lord as pure light in formless state (aruvam) is a core theological concept. He illuminates and removes darkness — both physical and spiritual.
• Thooya Ambala Leela — Thooya means pure or spotless; Ambala refers to the cosmic hall or space (as in Chidambaram's cosmic stage); Leela means divine play. His divine sport unfolds in the pure, unsullied cosmic space. He is the divine dancer (Koothan), referred to as Natesan, who dances in the external pure space (Ambalam). The same Lord when he dances inside our own space he is called as Guhesan.
• Dheva Kunjari Bhaaga — Dheava Kunjari refers to Devasena or Deivanai, the daughter of Indra, whom Murugan married. The Lord shares His very being (Bhaaga means portion) with her. This salutation honours His stature along with His consort Devasena to bestow grace on souls.

 

 

Verse 5 — Prayer for Devotion

ஈதலும் பல கோலால பூஜையும் 

ஓதலும் குண ஆசார நீதியும்

ஈரமும் குரு சீர்பாத சேவையும்

            மறவாத

Eedhalum Pala Kolala Poojaiyum

Odhalum Guna Aachara Needhiyum

Eeramum Guru Seerpadha Sevaiyum

Maravadha

 

The joy of giving (charity) and joyful, festive worship, the chanting of scriptures, virtuous conduct, and righteous living, Compassion of heart, and devoted service at the glorious feet of the Guru. – All these virtues were practiced sincerely by the people of Chola Mandalam without forgetting

This verse shifts from salutation to personal prayer. The devotee (Arunagirinathar himself) prays to never forget four essential pillars of devotional life:

• Eedhalum — The act of giving or charity. Generosity is placed first, indicating its foundational role in spiritual life.
• Pala Kolala Poojaiyum — Joyful, festive, and celebratory worship (Kolala conveys a sense of joyous commotion and festivity). This is not dry ritual but vibrant, heart-filled adoration.
• Odhalum Guna Aachara Needhiyum— The chanting and study of scriptures (Odhal), combined with virtuous conduct (guna), righteous behaviour (Aachara), and ethical living (Needhi). All four are mentioned together as an inseparable whole.
• Eeramum — Īram means tenderness, compassion, or emotional empathy. The devotee prays to maintain a soft, compassionate heart.
• Guru Seerpadha Sevaiyum — Service at the glorious feet (Paadha) of the Guru. In the Saiva and Murugan devotional tradition, the Guru is central — and Murugan himself is considered the primordial teacher.

The term மறவாத (Maravadha) actually establishes a reference to the next verse by annotating these virtues to the people of Chola Mandalam who never forget these qualities. (Mandalam refers to the largest territorial division during the Chola state, equivalent to a state of the present day).

 

Verse 6 — Praise of Vayalur

ஏழ் தலம் புகழ் காவேரியால் விளை

சோழ மண்டல மீதே மநோகர

ராஜ கெம்பிர நாடாளும்  நாயக

            வயலூரா 

Ezh Thalam Pugazh Kaveriyaal Vilai

Chozha Mandala Meedhe Manohara

Raja Gembhira Naadaalum Naayaga

 Vayaloora

 

O enchanting Lord, adored across all seven realms, in the fertile Chola kingdom nourished by the glorious Kāveri River,

O Royal, majestic Master who rules over this great land — O Lord of Vayalūr

 

• Ezh Thalam Pugazh —Chola kingdom, which is praised across all seven worlds or realms.
• Kaveriyaal Vilai Chozha Mandala — The Chola kingdom (Chōzha Mandala), which is nourished and made fertile by the great river Kaveri, is identified as the sacred land where this Lord presides. The Kaveri is not merely a geographical reference — it is a river of great sanctity in Tamil devotional tradition.
• Raja Gembhira Naadaalum Naayaga— He is the Naayaga, the Lord,  who rules over this land with royal (Raja) and majestic (Gembhira) authority. This is a regal salutation connecting divine sovereignty with the earthly sacred landscape.
• வயலூரா — The presiding deity of Vayalur, a celebrated Murugan temple in the Chola region near Thiruchirappali in Tamil Nadu. This is the primary shrine being addressed in this song.

Note about Vayalur

The Vayalur Murugan Temple, also known as Sri Subramanya Swami Temple, is a historic temple located just 7 km from Tiruchirappalli, Tamil Nadu. The temple is around 1,200 years old, built during the Chola dynasty, and its name comes from the Tamil word 'vayal,' meaning paddy fields that once surrounded it. Inscriptions on its walls confirm royal patronage from several Chola kings, including Raja Raja Chozhan I and Rajendra Chozhan I. The temple follows traditional Dravidian architectural style with a towering gopuram adorned with colorful stucco figures and intricately carved pillars. It holds special religious importance as the place where the saint-poet Arunagirinathar composed the Thiruppugazh, the celebrated hymns dedicated to Lord Murugan, at the divine command of Murugan himself. The presiding deity is Lord Shiva, though Lord Murugan is the most popular and widely worshipped deity here. The holy tank, Sakthi Theertham, is believed to have been created by Murugan's divine spear, and a dip in it is said to cure Naga Dosham. Six pujas are performed daily, and major festivals like Vaikasi Visakam, Thai Poosam, and Kanda Shasti draw large crowds. The temple is also renowned for child adoption rituals and prayers for fertility.

 

Verse 7 — The Friendship of Sundaramurthy Nayanar and Cheraman Perumal

ஆதரம் பயில் ஆரூரர் தோழமை 

சேர்தல் கொண்டவரோடே முனாளினில்

ஆடல் வெம்பரி மீதேறி மா

                கயிலையிலேகி 

Aadharam Payil Aaroorar Thozhamai

Serdhal Kondavarode Munaalinil

Aadal Vempari Meedheri Ma Kayi    

Kailayiyilegi

 

In days of old, befriending the devoted Aaroorar (Sundaramurthy Nayanar) with great affection, riding together with him on the swift and fierce horse, journeying in divine dance and glory — Having gone to Kailash

This verse references an episode from Periya Puranam about the lives of two great Nayanamars – Sundaramurthy Nayanar, also called Aaroor, and Cheraman Perumal, called as Kazhatrarivar Nayanar.

A Chera king named Cheraman Perumal, who lived in 9^th Century was a very dear friend of Sundaramurthi Nayanar. Since he had acquired the special power of knowing others' troubles without even them uttering them, he earned the name "Kazhatrarivar Nayanar" (the one who understands and removes burdens/sorrows).

When Sundar rode the white elephant sent by God to go to Kailash, he remembered his dear friend Cheran. Upon hearing this, Cheraman immediately mounted a horse, circumambulated the elephant carrying Sundar, and reached Kailash ahead of Sundar. As per God's command, Cheraman had to stand stopped/waiting at the gateway of Kailash. Rather than wasting that waiting time in vain, he composed a beautiful literary work called "Thirukkailaya Gnana Ula", and upon Sundar's arrival, with his help, he reached the divine presence of God and performed that ula (procession poem) there in Kailash.

• Aadharam Payil Aaroorar Thozhamai— This refers to the close friendship with deep love and affection between Sundaramurthy Nayanar, who is also called as Aaroorar and Cheraman Perumal, the ruler of Malainadu (Kerala)  (Aadharam = love, care; payil = to practise or be deeply engaged in).
• Serdhal Kondavarode Munaalinil — In the days of old, He joined and accompanied Aaaroor as a companion.
• Aadal Vempari Meedheri — Together they rode, with Aaroor riding the elephant and Cheraman Perumal upon a swift and fierce horse (vempari = fierce, fast horse), in a spirit of divine play and joy (Aadal= dancing, playing).
• கயிலையிலேகி  (Kailayiyilegi)— And journeyed to Kailash, the abode of Shiva. The tradition holds that Sundarar was granted the divine grace of being taken to Kailash, accompanied by Cheraman Perumal as a true friend and companion.

 

Verse 8 — Closing Invocation

ஆதி அந்தவுலாவாசு பாடிய

சேரர் கொங்குவை காவூர் நனாடதில்

ஆவினன்குடி வாழ்வான தேவர்கள் பெருமாளே.

 Aadhi Anthaulavaasu Paadiya

Serar Konguvai Kaavoor Nanaadathil

Aavinankudi Vaazhvaana Devargal    - Perumale

O Lord praised in the timeless song that wanders through beginning and end (the cosmic cycle), O Lord celebrated in the Chera land (Kongu), Vaikavur and those sacred regions, O Lord who graciously dwells in Aavininankudi (Palani), as the Lord of all Devas! (Aavinankudi is located in Vaikavur which was part of Kongu under Cheraman Perumal’s Chera dynasty rule)

In the last verse, we saw that Cheraman Perumal composed Thirukkailaya Gnana Ula and earned the glorious distinction of a Tamil work being hosted in the most holy Kailaya mountain.  This verse further elaborates the actual location of Palani, and Saint Arunagirinathar pegs it to the place as Aavinankudi in Vaikavur under the rule of the great King Cheraman Perumal.  

 

• Aadhi Anthaulavaasu Paadiya— refers to Cheraman Perumal composing hymns on theLord who pervades the entire span of cosmic time, from creation to dissolution.
• Serar Konguvai Kaavoor Nanaadathil— This verse further elaborates the actual location of Palani and Saint Arunagirinathar pegs it to the place as Aavinankudi in Vaikavur under the rulership of the great King Cheraman Perumal
• Aavinankudi Vaazhvaana Devargal  - Perumale— The Lord Murugan who graciously dwells there, adored by all the Dēvas (celestial beings), is addressed as Perumale — the Great Lord, the Supreme One.

 

Summary of the Song

• ·        Composed by Arunagirinathar; the first Thiruppugazh of Palani, addressed to Lord Murugan.
• ·        Lord Murugan transcends all 36 Thatthuvas — the primordial cosmic forces of creation described in Saiva Siddhantham — yet descended out of grace as Gnana Pandithan, the supreme Guru.
• ·        Celebrated as the Son of Shiva and Paarvati, He rides a peacock that has conquered serpents, symbolising the defeat of ego and primal fear.
• ·        He is the heroic destroyer of evil, the auspicious divine light, and bestows grace alongside His consort Devasena.
• ·        Arunagirinathar glorifies the virtues of the Chola people — charity, joyful worship, righteous conduct, compassion, and Guru service.
• ·        The song is anchored at Vayalur near Tiruchirappalli, the sacred temple where Arunagirinathar received the divine command to compose the Thiruppugazh.
• ·        Recalls the episode of Sundaramurthy Naayanaar and Cheraman Perumal journeying together to Kailash, where Cheraman composed the celebrated Thirukkailaya Gnana Ula.
• ·        Closes by identifying Palani (ancient name Aavinankudi) as part of the Kongu land under Cheraman Perumal's rule, surrendering at the feet of Lord Murugan as Perumaale — the Great Lord adored by all Devas.