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This is the 4th name in shrii miinaakshii ashhTottaram. sachi

means minister and vesha is role or act. That She took the act or

role of minister. That is why SHE is called mantriNii. But it is

an act or vesha, and not the real one. In reality SHE is the

supreme being.

 

Also a reference to HER as mantriNii is absent in shankara's

miinaakshii pa~ncharatnam, miinaakshii stotram and agastya's yoga

miinaakShii stotram. In miinaakShii stotram shankara worships

HER as

 

shabdabrahmamayI charAcharamayI jyotirmayI vA"nmayI

nityAnandamayI nira~njanamayI tattvaMmayI chinmayI |

tattvAtitamayI pAratparamayI mAyAmayI shrImayI

sarvaishvaryamayI sadAshivamayI mAM pAhi mInAmbike || 8||

 

--

parabrahmapatnIm bhaje paaNDya baalam.

parandhaama ruupaam bhaje paaNDya baalam.

ameyAtma vidyaam bhaje paaNDya baalam.

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On Tue, 11 Jan 2000, Ravisankar S. Mayavaram wrote:

> This is the 4th name in shrii miinaakshii ashhTottaram. sachi

> means minister and vesha is role or act. That She took the act or

> role of minister. That is why SHE is called mantriNii. But it is

 

I got the name wrong. It is not sachiveshhyaa but sachiveshii

(sachiva + ishii). sachiva means minister and the name denotes

HER as mantriNii. I realized it as soon as I went home. But this

error was a blessing in disguise, as I spent the rest of evening

and morning thinking about HER.

 

Also even though shankara does not refer to HER as mantriNi in

his pancharatnam or stotram on miinaaxii. In the stotram he calls

HER muni-sute indicating HER as a daughter of a sage and it is

needless to say that it denotes HER as maata~Ngii.

 

More later,

 

Ravi

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Sri Ravi Wrote,

>Also even though shankara does not refer to HER as mantriNi in

>his pancharatnam or stotram on miinaaxii. In the stotram he calls

>HER muni-sute indicating HER as a daughter of a sage and it is

>needless to say that it denotes HER as maata~Ngii.

>

 

In contrast, Tripurasundhari Stotram of Sri BagavatpAdA is solely dedicated

to Sri LalitA Maha Tripura Sundari. In this hymn, in every verse he

indirectly refers to maataN^gi as

 

‘kadambavanavaasiniiM, kanakavallakiidhaariNiiM…’

 

And finally adds a beautiful shloka to explicitly recognize her form,

 

kuchaaJNchitavipaJNchikaaM kuTilakuntalaalaMkR^itaaM kusheshayanivaasinIM

kuTilachittavidveshhiNIm.h .

madaaruNavilochanaaM manasijaarisaMmohinIM

mataN^gamunikanyakaaM madhurabhaashhiNImaashraye .. 5..

 

This vividly describes how she bears the vINa and is fully immersed in

playing and singing in tune with it.

 

As per my little knowledge goes, I think vArAhI manifested first. Both

vishanga and vishukra had equal status in Bhanda senA, like wise ShyaamaLaa

and VaaraahI in lalitaa’s army. The main reason why I suggested Sahasranaama

was, it was composed by ‘vashinyaadi vak devI’ and later baktA’s like

Bhaskararaaya, Diikshitar and NiilakanTa shivan hold sahasranaama instead of

the puraaNa. As Sri RA.GaNapati elaborated on the puraaNa he stuck to the

text as such.

 

One compromise is, as these happen in different kalpa kaalas in one it could

have been this way and in another the other way.

 

giiti chakra ratha stithaayai

guru guha nuta shyAmaLAyai namaste namaste ..

 

giitAmR^iutAnanditAyai giirvANa vanditAyai .

hata vishhanka samUhAyai kritalokopakArAyai ..

 

nata bhairavAdi senAyai .

navanava vidha bhaaNa karAyai ..

 

Aravind

 

 

 

 

____

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