Verse 1 - Uthikindra Chengathir - Rising Sun

உதிக்கின்ற செங்கதிர், உச்சித்திலகம், உணர்வுடையோர்

மதிக்கின்ற மாணிக்கம், மாதுளம் போது, மலர்க்கமலை

துதிக்கின்ற மின்கொடி, மென்கடிக் குங்கும தோயமென்ன

விதிக்கின்ற மேனி அபிராமி என்தன் விழித்துணையே.

utikkiṉṟa cĕṅkatir, uccittilakam, uṇarvuṭaiyor

matikkiṉṟa māṇikkam, mātul̤am potu, malarkkamalai

tutikkiṉṟa miṉkŏṭi, mĕṉkaṭik kuṅkuma toyamĕṉṉa

vitikkiṉṟa meṉi apirāmi ĕṉtaṉ viḻittuṇaiye

Translation: The red rising sun is the tilaka adorned on her forehead. She is like a rare ruby stone that is appreciated by people who know Her value. She resembles the colour of a pomegranate flower. Mahālakṣmi and Sarasvatī, seated on red and white lotuses respectively, constantly worship her. She has a slender waist and a perfect body that has a complexion resembling a saffron paste. Such are the attributes of Abirāmi, who is my most coveted companion.

Abirāmi Bhattar’s composition starts from this poem, where he begins to describe the attributes of Abirāmi and Her glory. It is customary in Tamil literature that any description of the masculine form of gods should start from head to toe and descriptions of the feminine form of almighty should be from toe to head. In this verse however, it is not followed at the outset. However, if we consider the Kappu verse, the poem starts with “Thar”, a garland worn by men - denoting Lord Śiva. This is also one of the reasons for the poet describing Abirāmi who is a conjoined form of Śiva and Śakti, to start from the head.

The word “Abirāmi Andhādhi” is a combination of two words “Antham - end” and “Aathi - Beginning”, is used when the poet describes that he is going to sing Andhādhi about Abirāmi. He clearly states that he is going to sing from the beginning i.e. from her head. The head is considered as the beginning and the feet as the end, as denoted by “Aathi - beginning” in the word “Andhādhi”, and as per the meter and construct of andhādhi grammar, the poet is also grammatically correct when he starts describing the glory of para devata from the head.

     Lalita Sahasranāma, the text followed by the Śrīvidyā worshippers of Para devatā, which is rendered by “Vāg devatas” of Lalita (Another name of Abirāmi), also describes the form of Lalita in head-to-toe fashion. Hence there is no greater deviation grammatically or logically and as per the Krama(methods) followed by worshippers of Abirāmi.

utikkiṉṟa cĕṅkatir - Abirāmi has the complexion of the rising rays of a red sun. The same depiction can also be found in Lalita Sahasranāma which states “Udyadbhānu-sahasrābhā उद्यद्भानु-सहस्राभा”, denoting that the para devata is in the form of light and that is superior to the form with a body. The red complexion here denotes her compassion for the entire Creation. Sun is the source of food for all beings on Earth and similarly, Abirāmi’s prowess is described as mightier than the sun, as she is holding that sun as her tilaka.

Red and Yellow colours are auspicious in the Hindu culture and starting the poem with such auspiciousness is not to be ignored either. Abirāmi is the source of the sun’s energy and due to her compassion, the sun’s rays are red during the dawn to transmit the necessary energy to sustain the life force.

uccittilakam - Tilaka on the fore head. In the Hindu culture, married women adorn themselves with a red tilaka on their forehead, which is meant to increase the longevity of their husbands. Married women are also called “Suvasini’s”. The presence of such pious women is considered auspicious during rituals to the goddess and She is pleased by the pūja performed by them - Suvāsinyarcana-prītā सुवासिन्यर्चन-प्रीता (971). Thus, Abirāmi Bhattar begins the praise of Śakti with an auspicious note as “utikkiṉṟa cĕṅkatir, uccittilakam,”.

     Red is emphasized in this verse, which is also the colour equated to the mantra bīja “klīṁ”. This bīja is also known as the Kāmarāja bīja mantra symbolizing Creation. It’s not a surprise that the Kāmarāja bīja is being discussed first as Kāmadeva is one of the rishis of Abirāmi and the mantra formulated by him is known as Kādi Vidya, widely followed in the Śrīvidyā Sampradaya of worship of Abirāmi. The combination of “Ka e ī la hrīṁ” in the pañcadaśī vidya of Abirāmi starts with the syllable Ka, promulgated by Kāmadeva and this section of Pañcadaśī vidya is also called “Vāk Bhāva Kūṭa” symbolizing creation. Tantra śāstras advise practicing this “Klīṁ” bīja alone as Japa for 300,000 times followed by 1/10th of Japa - 30000, Tarpaṇa - 3000, Marjana - 300 and Bhojana - 30 respectively to gain siddhi of this mantra. Dhyāna verses for performing the sādhana of this mantra, specify that one must contemplate Abirāmi as a red light emanating from the root Mūladharā cakra up to the Brahmarandra of the crown Sahasrāra. This is also gleaned in this verse as specified by Bhattar. Hence, this verse also references the Samayamārgā of Abirāmi worship.

uṇarvuṭaiyor matikkiṉṟa māṇikkam - A Ruby stone that is appreciated by those who know its value The appraisers of gemstones alone know the value of an expensive ruby, as there are gradations in terms of clarity, colour, tensile strength, scratch resistance and cuts, etc on the stone. The analogy here, is based on the internal feeling that one has for appreciating the qualities of Śakti, specifically one’s earnest desire to know Her, the inclination towards spiritual life and the desire to attain liberation by Her grace, as the knowledge of Brahman alone, is capable of granting liberation and achieving the ultimate goal of life on this earth. Tirumūlar in his Tirumantiram says that the knowledge of self or brahman alone is true knowledge and all other knowledge one has accumulated does not help the living (Verse 2318) in attaining liberation. Thus, people with such an inclination towards Brahman alone can appreciate Her presence.

     When the poet refers to her as a ruby, though once again we see a reference to the red colour, the mentioning of “uṇarvuṭaiyor” gives rise to another interpretation of the colour - the gemstone appraisers alone are aware of a rare type of ruby that is yellow and more expensive than the regular red-coloured stones. The rarity of a commodity always increases its value and thus prefixing “uṇarvuṭaiyor” also talks about such a ruby and not the regular red-coloured gemstones. If this reference is considered, then Abirāmi will also be associated with the colour yellow, which is also an auspicious colour. Starting the poems with all types of auspiciousness by Bhattar is to be appreciated and acknowledged. However, like the colour red equated to Kāmarāja bīja, the colour yellow can be equated to “Sauḥ”, which is called the Śakti bīja or Devī bīja. As per the tantra śāstras, the mere repetition of the devī bīja itself is enough to obtain the grace of Abirāmi. Like the Kāmarāja bīja, the japa, etc can be done for this bījākṣara as well and the sādhakā should contemplate on Devi as a yellow light permeating between Mūladharā to brahmarandhra, and on top of the head, one should contemplate the pādukas of Abirāmi with Diamonds on the right and Ruby on the left pāduka respectively. This contemplation will result in activating the heart chakra and will calm the wavering mind of the sādhakā.

mātul̤am potu - mātul̤am refers to the pomegranate tree and potu means flowers. Abirāmi’s complexion resembles that of a red pomegranate flower is one of the interpretations. Lalita  Sahasranāma refers to her as Dāḍimī-Kusuma-prabhā, as one who shines with radiance like that of pomegranate flowers. If the word maathuLam is split as mātu + ul̤am, it would mean mātu- lady, ul̤am- heart, potu- flower, and thus it will give a new interpretation which would mean a “Lady with a heart that is soft like a flower” which is also an apt description for Abirāmi’s compassion and love of Her Creation. If one’s heart becomes as light and soft as a feather, free from stereotypical limitations and conditionings of the world, one can realize Abirāmi in the heart, which is a subtle meaning of these words.

Diamonds and rubies are very hard in texture, whereas flowers are very soft. No matter how hard and unforgiving our karmas may be, the soft-hearted Divine Mother Abirāmi’s compassionate grace can alleviate us from all troubles.

           malarkkamalai - malark - flower, kamala- Lotus, kamalai- one seated on the lotus, tutikkiṉṟa - worshipped by. Here the reference is given to the worshippers of Abirāmi, as she has been propitiated by various other gods and goddesses. The first reference here is to the Divine Mothers Lakṣmī and Sarasvatī, which can be gleaned from these words, as they are seated on pink and white lotuses respectively. Tripurā rahasyaṃ mahātmya kaṇḍaṃ describes the rituals and worship done by Lakṣmī towards Tripurasundari. Lalita Sahasranāma also refers to the worship of Tripurasundari by Sarasvatī and Lakṣmī in the nama Sacāmara-ramā-vāṇī-savyadakṣiṇa-sevitā सचामर-रमा-वाणी-सव्यदक्षिण-सेविता. This also means that Abirāmi likes the worship performed with lotus flowers. Another subtle interpretation is that Abirāmi becomes happy when “Śrī Sūkta” is chanted during her worship and Tripurā rahasyaṃ mahātmya goes to the extent of saying that, if no ritual or pūja is possible by a sādhakā, mere recitation of “Śrī Sūkta” and meditating on Abirāmi, will confer all the benefits upon the sādhakā. The subtle meaning conveyed in these words, is that Abirāmi likes Her worship performed through the Samayamārgā, in which she is contemplated on the six cakras within the body. These cakras resemble the lotus flowers, and each cakra-flower has an individual attribute associated with it and a form of devata installed.

miṉkŏṭi - Lightning - Continuing from the above interpretations, Lakṣmī and Sarasvatī have contemplated Abirāmi in the form of light or lightning, via the modus operandi of Samayamārgā. Meditating of Abirāmi in the form of light in the cakras, will confer faster results as the sādhakā’s mind is steered away from the limitations of name and form. As the devatas are already in a higher evolutionary consciousness than any other sentient beings of the Creation, such meditation for them is possible in the very beginning itself. For human beings like us however, we can start with the rituals and gradually progress towards meditative stages, thus laying a strong foundation in understanding the much needed spiritual knowledge for elevation.

Lalita Sahasranāma Taḍillatā -samaruciḥ तडिल्लता-समरुचिः (107) refers to her as lightning realized in the spinal cord and realization of brahman in less than a second. Miṉkŏṭi also refers to a white light here. As Parabrahman is beyond all attributes and the merger of all colours beyond name and individual identity is white, She is thus the conglomeration of all gods and goddesses, thereby becoming miṉkŏṭi or a flash of lightning. Another interpretation is, after a flash of lightning the darkness returns. Only the light can dispel the ultimate darkness of the night. Darkness is always present and the presence of light or its absence, are due to the modifications of time. Here it also means that the ultimate absence of light (actually it is neither dark nor light, as there is no other choice of words to use for this phrase here), is where the pure knowledge of Brahman is obtained. The knowledge is revealed, just because of the flash of lightning, which is also a reason for calling Abirāmi as lightning and as She is Śiva-jñāna-pradāyinī शिव-ज्ञान-प्रदायिनी (727), She alone in a flash of lightning can provide the knowledge of Brahman. In the Tantric parlance, Dakshināmūrti Saṁhita speaks about the rituals and pūja to be performed for invoking Lalita Tripurasundari with these three bījākṣaras (Aiṁ-Klīṁ-Sauḥ) alone.

     Another interpretation is that, since white is referred to as a form of lighting, it also refers to the Vākbhāva bīja “aiṁ”. The colour associated with this bīja is white and the sādhakā, like the bījas “klīṁ” and “Sauḥ”, can do the japa and meditate upon devī, in the form of white light from Mūladharā till brahmarandhra, for obtaining clarity and wisdom. The three bījas and colours that are discussed here and the act of worship by Lakṣmī and Sarasvatī, could also be a reference to the innermost triangle of Śrī Cakra, where Mahākāmeśvarī is the śakti of Brahma, Mahāvajreśvarī is the śakti of Viṣṇu and Mahābhagamalinī is the śakti of Rudra, performing the acts of Creation, Sustenance and Destruction respectively.

The commentary of Ravi Guruji on Adishankara’s Saundarya Lahari Verse 1 explains more about the concept of three bindus (Śiva, Śakti, and Miśra Bindu), which is also the cause of Creation, Sustenance, and Destruction.

Saubhāgya Cintāmaṇi, authored by Mahaṛṣi Durvāsa, expounds a similar ritualistic worship of Goddess Kāmākṣi housed in the Kanchipuram temple, in which the innermost triangle of Śrī Cakra is invoked during the pūja.

mĕṉkaṭik mĕṉ- soft, tender. kaṭi- waist, water. Abirāmi is portrayed to have a slender waist. Lalita  Sahasranāma says Stanabhāra-dalanmadhya-paṭṭabandha-valitrayā स्तनभार-दलन्मध्य-पट्टबन्ध-वलित्रया (36) She who has a slender waist due to the heaviness of Her bosoms and also has three lines formed in Her stomach due to the same. This verse of Abirāmi andhādhi and the three bījas “Aiṁ klīṁ sauḥ” denote the acts of Creation, Sustenance and Destruction, like the lines formed on Her stomach.

kuṅkuma toyamĕṉṉa- kuṅkuma - Saffron powder, toyam - Paste, body, water Abirāmi’s red complexion is once again mentioned in this line. Toyam is a paste made from a mixture of limestone and turmeric, which are white and yellow respectively. When the mixture is processed, the resultant product is Kuṁkuṁ which is reddish orange. Thus, this interpretation shows that all the three bījas - “Aiṁ klīṁ sauḥ”, are present in the kuṁkuṁ powder. This toyam was adorned by pious women of yesteryears on their feet, as a mark of auspiciousness. Abirāmi has this on Her feet as Her feet alone, are sufficient to grant boons to devotees. This is also interpreted as, by Her grace the devotees can expect auspicious boons. At the same time, if toyam is considered as Her body, which is an alternate meaning of this word, Her entire form is auspicious. Lalita Sahasranāma mentions this as Sarvāruṇā सर्वारुणा (49) with similar interpretations and Śrī Rudram mentions the same quality as “asau yastāmro aruṇa uta babhruḥ sumaṅgalaḥ”. The saffron paste mixed with the flowers and water will generate a wonderful fragrance once the pūja is completed. This is another interpretation.

vitikkiṉṟa maeni - vithi - Rules, vitikkiṉṟa- of perfect order, meṉi- body. Abirāmi has a perfect body as per the śāstras, as She is the Saguṇa Brahman. As She is the ultimate power of Brahman, all Her acts have a perfect order. Abirāmi has set in motion perfect laws of nature, which govern the entire Creation and also enforce the karmic cause and effect without any intervention. There is no single straight consequence that can be explained by the human intellect in terms of karmic laws. Such is the order of Her Creation and the karmic laws, which is the reason why the term “vitikkiṉṟa” is used here. This sentence also emphasizes the need for order or discipline in the spiritual aspirants. If there is no discipline and perseverance in the lives of spiritual aspirants, proximity to the divine can take a longer duration than desired.

abirāmi ĕṉtaṉ viḻittuṇaiye- Enthan - mine, Vizhu - Highest, thunai - companion. The poet calls upon the power of Brahman, Adi Śakti – the primordial force as his sole companion and protector. Except for God, none can be a protector or a friend.

Verse 1 of Abirāmi Andhādhi, thus encompasses the teachings from Vedas, Śāstras, Vedanta, Bhagavad Gita, and the Tantra Śāstras. Thus expounding the all-pervasiveness of Brahman in all forms of Knowledge, proving Andhādhi is not just a literary work of devotion, but also contains within, the supreme teachings for sādhakās to put into practice for their spiritual elevation.

This article is wirtten by Shri Arun who can be contacted at arun.radhakrishnan25@gmail.com