OUR DEEPAVALI GREETINGS TO ALL.
LOKA SAMASTHA SUKINO BHAVANTHU.
இந்த தீபாவளி திருநாளில் எல்லோரும் எல்லாம் பெற்று வாழ்வாங்கு வாழ எல்லாம்வல்ல இறைவனை, பாற்கடல் பள்ளிகொண்டானை, தாயாரை வந்திக்கிறேன்.
தீபாவளி பண்டிகை 5.11.2010 . அன்று அதிகாலை எண்ணெய் ஸ்நானம் செய்து புது உடைகள் உடுத்தி பெரியோர்களை நமஸ்கரித்து அவர்கள் ஆசிகள் பெறுவதுடன்
மஹா லக்ஷ்மி தாயாரை வந்தித்து ஸ்ரீ ஸ்துதி செய்வது மிகவும் ஸ்ரேஷ்டம்.
இந்த ஸ்ரீ ஸ்துதி எல்லோர் வீடுகளிலும் அன்று ஒலித்து எல்லோரும் கேட்கும்படியாகச் செய்யவேண்டும்.
Sri Mahalakshmi/Sengkamalavalli Thayar (Periya Piratti) Alangaram & Sevai at ShanguChakra Home.
ShanguChakra's home ashram is devoted to worship of Sriman Narayana according to Thenkalai Iyengar Sect and the teachings of Sri Manavalamamuni and Vedanta who is also known as Devaperumal or Varavaramuni. It is operated out of a ShanguChakra's home in small basement space. All Alangarams are done by Shanguchakra. Daily rituals and kainkariyams are performed for the Lord including all auspicious events.
The accompanying hymn is "Sri Stuti" on Sri Mahalakshmi (consort of Sri Vishnu or Narayana) is composed by Sri Vedanta Desika and rendered by Dr. R. Thyagarajan Ensemble.
Sri Stuti is Vedanta Desika's Kanaka-dhaara-stavam. Lakshmi or Sri is reputedly the Goddess of Wealth. Sloka 16 refers to how She can shower wealth on her votaries.
That apart, the importance of this Stotra lies in the emphasis it lays on the concept of Divya-Dampati (Divine Couple). Narayana and Sri together as a dvandvam (couple) are the ultimate Tattva or Reality, the most potent Upaaya or Means, and the Goal, or Purushartha, to be attained. Thus Divya-Dampati is the Tattva; Saranya-Dampati is the Hita; and Seshi-Dampati is the Purushartha. Sloka 9 posits this truth that not Narayana by Himself, nor Lakshmi by Herself, is to be sought after, but the two of them together (yuvAm dampatI nah daivatam). As many as seven slokas out of the 25 refer to the two of them together (slokas 5, 6, 7, 9, 16, 19, and 13). Where earlier acharyas who sung the praise of Lakshmi were inclined to put Lakshmi above the Lord or the Lord above Lakshmi, Desika studiedly maintains absolute equality among them.
Sloka 13, the central sloka in the stotra, celebrates the coronation of Lakshmi in the presence of the Lord. Only thereafter the devas and their chiefs together with their wives regained the rulership (which they had lost by curse) (14), by being the recipients of Lakshmi's kataaksha-s (glances). All riches and wealth will vie with one another to go and stay where Lakshmi-kataaksha goes and settles (15)
The reference to the Lord at the beginning and at the end (1 and 24) as Madhuvijayi, a term by which Desika indicates Lord Srinivasa in the Hamsa Sandesa, and the name sarasija-nilayaa for Lakshmi are pointers to Padmavati Thayar of Tiruchanur (Tirupati) being praised in, and by this stotra. The opening words 'maanaateeta' meaning "exceeding bounds" will befit only Padmavati Thayar, who alone goes out in procession outside the temple precincts. This stotra, it is said here (25), has emerged out of guru bhakti. Without that the supremacy of Sri Tattva cannot be visualised.
Vedanta Desika was one of the foremost poets and philosophers of India, a versatile genius who permanently set Ramanuja's philosphy on a firm footing. Vedanta Desika (Swami Desikan, Thoopul Nigamaantha Desikan) (1269 1370) was a Sri Vaishnava Guru. He was a poet, devotee, philosopher and master-teacher. His writings include devotional works on deities and Acharyas, treatises on Vishishtadvaita, commentary on the Bhagavad Gita, secret doctrines of Vaishnavism, original Tamil poems, epic poems and allegorical dramas in Sanskrit, dialectical works such as Satadushani directed against rival religious schools , treatises on daily life and several other miscellaneous treatises. His gloss on the meanings of the Vedas, reconciling the teachings of the Alvars and the Prasthanatrayi created history because it exposed the Divya Prabhandham of the Alvars to a much wider audience and elevated it to a status equivalent to that of the Vedas in the eyes of the Tamil Vaishnava people.
The poem "Sudarshnashtakam" on Lord Sudarshana the deity that represents the disc-shaped weapon that Vishnu carries in his right hand, and a similar poem "Hayagriva Stotram" on Hayagriva are his most famous works. He composed close to fifty other Stotrams (sacred prayer poems similar to psalms) on different Vaishnava gods on various occasions.