0080.Abhirami Andhadhi Slogan 78 Poem by rajagopal. h..

To Get and Enjoy all Comforts
Tamil Transliteration

Cheppum kanaga kalasamum poalum thiru mulai mael
Appum kalabha Abhirama valli Anitharalakk
Koppum vayirakk kuzhayum vizhiyin kozhum kadaiyum
Thuppum nilavum ezhudhivaiththaen enn thunai vizhikkae

Translation

Abhirami! Drew in my pupils thy form,
The ruby laced bronze armour-like
And golden dome shaped mounts,
Smeared with sandal paste pleasant scented,
Garland of pearl oscillating between them,
Supported by diamond-steaded ears,
Eyes glowing with loving grace and
Crescent smile emanating from the coral red mouth!

Simple Meaning

Abhirami! I kept your following form in my eyes; breasts which are like round red bronze armour and gold dome, smeared with pleasant scented paste of sandal, pearl garland oscillating between those mounts, diamond-steaded ears, eyes overflowing with grace, crescent moon-like smile emanating from the coral-red coloured mouth.

Commentary:

One of the forms of Abhirami is Parvathi; lets see how she is depicted.

Naturally Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more Goddesses into her Iconography. Therefore, her depictions have become rather generic today. When shown with Lord Shiva, She carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness, like every other Goddess) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other Goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, and enjoy large followings of their own, apart from Brahma and Vishnu, but Parvati hasn’t been depicted this way for many centuries. Still, for the dogged researcher, depictions are there which give hints as to the original appearance of Goddess Parvati even if they are a bit clouded.
The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge.Since white is a combination of all colours it shows that She has all the qualities or Gunas. Since white also depicts colourlessnss, it indicates that She is devoid of all Gunas.Hence, She is referred to as Trigunatmika(having the three gunas- Sattva, Rajas, and Tamas) and at the same time being Nirguna(without any gunas) . She has three eyes. Her accoutrements tend to be those of a Rishi (seer) but she may also wear the ceremonial garments and carry the ritual items of a Gur (Himalayan Oracle) .She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted.She is also shown as having a cresent moon bound in her locks, like Shiva.
Parvati is consistently depicted with bare breasts and wearing a sacred thread in Pallava, Chola, and Jain statuary, right up until the muslim invasion in 12th century A.D.. Bare breasts were considered a mark of divinity in ancient India and only those Goddesses who were exclusively divine may go about 'sky clad, ' as it were. Clothes symbolised the body and earthly attachments whereas nudity was indicative of unfettered divinity.She carries a rosary, mirror, bell, and citron in her four hands.
Her Mudras (symbolic hand gestures) are Kataka—fascination and enchantment, Hirana—the antelope, the powers of nature and the elusive, Tarjani—gesture of menace, and Chandrakal—the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness) , and Varada, (beneficence) , are used. Abhaya and Varada are depicted almost as a matter of course in modern depictions as they are “safe” mudras and are unlikely to carry any inauspicious side affects for the artist if he is superstitious.
So considering the times and the reality, the descriptions of Abhirami as explained by Abhirami Bhattar are natural; when that divine beauty is taken into our mind no other force can hinder or oscillate us.

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