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The Bhakti Movement was a rapid growth of bhakti, first starting in the later part of 1st millennium CE, from Tamil Nadu in southern India with the Shaiva Nayanars [23] and the Vaishnava Alvars. Their ideas and practices inspired bhakti poetry and devotion throughout India over the 12th-18th century CE.
The twelve Tirumurais (books) are the devotional Tamil corpus in the Hindu Shaiva tradition in Tamil Nadu. The Tirumurukarruppatai was likely included in this corpus for god Shiva , because Murugan is one of his sons and the historic reverence for the text. [ 7 ]
Tirumurai (Tamil: திருமுறை, meaning Holy Order) is a twelve-volume compendium of songs or hymns in praise of Shiva in the Tamil language from the 6th to the 11th century CE by various poets in Tamil Nadu. Nambiyandar Nambi compiled the first seven volumes by Appar, Sambandar, and Sundarar as Tevaram during the 12th century.
This song is unique because it does not assume the tone of devoted prayer as most Hindu devotional songs but one of thankfulness to God. The song comprises 3 stanzas each set in three different ragas. Kurai Onrum Illai is a very popular song in South India and is a regular in most Carnatic concerts. It became very famous after it was sung by M ...
Late Chola, Tamil Nadu. Vinayagar Agaval is a devotional poetic hymn to the Hindu deity Ganesha. It was written in the 10th century during the Chola dynasty by the Tamil poet Avvaiyar, shortly before her death. [1] It is considered to be her greatest poem. [2] The 72-line 'Agaval' is a form of blank verse, close to speech.
The majority of the songs are sung to Murugan, but there are also a few songs that sing of deeds of Shiva or the avatars of Vishnu, and of the power of Parvati. Almost all songs end addressing Murugan as Perumal, a term that traditionally had strong associations with Tamil Vaishnavism. However the literal meaning in Tamil of the word Perumal is ...
On the song "Vaada Malare", she wrote "In the line 'Muzhu Nilave', the swaras 'NDSRM' are neatly outlined in the madhyama sthayi, a highlight in the song". [5] On the song "Vaanam Inge", she wrote "The refrain at the conclusion of the piece 'Ini Naanum Verillai', in the voices of Bhanumathi and T. M. Soundararajan, is a fitting finale".
The hymns of the Periya Tiruvantati are written in the poetic style called the antati, in which a new verse is linked with the last word of the preceding verse. [8]There are two theories that seek to explain the name of this text, both of which are drawn from hymns within the work.