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The above palm leaf manuscript pages are from Tamil Nadu India, in Grantha script, Sanskrit language. This manuscript is likely pre-17th century, but the exact year of its production is unknown. Such manuscripts were produced and preserved in Hindu temples.
J. V. Chelliah a popular Tamil scholar who translated the Ten Idylls into English states that Paṭṭiṉappālai (Commonly dated between 1st to 2nd Century CE) has mentions that Vellalars belonged to the Vysya caste, They followed the 4 Vedas, they were commonly involved in agriculture, taking care of cattle, trade and other business pursuits ...
The lord who is master of Indra and Brahma appears as the five elements earth, water, fire, air and space, the poetry of Tamil and the Sanskrit Vedas. He is the four Quarters, Moon and Sun, the gods in the sky, the invisible Veda-purusha, the secret of the Upanishads. O Heart! If you can remember him through the Mantra, we can live in eternity.
Vedas finds its earliest literary mention in the Sangam literature dated to the 5th century BCE. The Vedas were read by almost every caste in ancient Tamil Nadu. An Indian historian, archaeologist and epigraphist named Ramachandran Nagaswamy mentions that Tamil Nadu was a land of Vedas and a place where everyone knew the Vedas. [227]
[13] [14] The verses of the various Alvars were compiled by Nathamuni (824–924 CE), a 9th-century Vaishnavite theologian, who called it the "Dravida Veda or Tamil Veda". [15] [16] The songs of the Prabandam are regularly sung in various Vishnu temples of South India, daily, and also during festivals. [14] [17]
The Tamil Vaishnavites, also known as Ubhaya Vedanti follow both the Sanskrit Vedas as well as the Tamil-language Tiruvaymoli, a work which devotees of Sri Vaishnavism regard as the Tamil Veda. [4] In many temples — Srirangam, for example — the chanting of the Divya Prabandham forms a major part of the daily service.
The Tamil kings are described in the epic as performing Vedic sacrifices and rituals, where Agni and Varuna are invoked, and the Vedas are chanted. These and numerous other details in the epic were neither of Dravidian roots nor icons, rather they reflect an acceptance of and reverence for certain shared pan-Indian cultural rituals, symbols and ...
The poem is divided into 10 sections (pattu) of about 100 verses each.Each hundred is divided into 10 decads (tiruvaymoli) 28 of 10 verses (pasuram) each.A special feature of the poem is that it is in the style of an antati, that is, the last words of one verse forms the opening words of the next one.