Difficulty: Easy
03. Sri Ekapaada Moorthi - The one from whom Brahma and Vishnu emerge from, and the one into whom Brahma and Vishnu merge into. Ekapada Moorthi firmly establishes that the entire Universe springs into existence from him and it finally merges into him and He alone has no beginning nor an end.
Visit the post for more.
PrimerInSaivaSiddhanta
About 178 km from the state capital Agartala, Unakoti is a Shaiva pilgrimage in Tripura that boasts of thousands of Shiva sculptures.
His Divine Holiness is the 293rd Guru Mahasannidhanam (Pontiff) of the oldest Shaiva Aadheenam (temple monastery complex) – Madurai Aadheenam; He is the founder of the largest Shaiva Aadheenam – Bengaluru Aadheenam; He is the Acharya Mahamandaleshwar (spiritual head) of Atal Akhada Mahanirvani Peetha. His Divine Holiness is the founder and spiritual head of Nithyananda Hindu University – world’s largest Hindu University .
His Divine Holiness is the 293rd Guru Mahasannidhanam (Pontiff) of the oldest Shaiva Aadheenam (temple monastery complex) – Madurai Aadheenam; He is the founder of the largest Shaiva Aadheenam – Bengaluru Aadheenam; He is the Acharya Mahamandaleshwar (spiritual head) of Atal Akhada & Mahanirvani Peetha. His Divine Holiness is the founder and spiritual head of Nithyananda Hindu University – world’s largest Hindu University.
Unakoti in Tripura is a Shaiva pilgrimage known for its bas relief structures. Read this travel blog to know how to reach Unakoti from Dharmanagar & others.
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
Ghulam Rasool Santosh (1929-1997), aka G. R. Santosh, was a prominent Kashmiri Painter, Poet, Weaver & Craftsman. He was self-taught. He was best known for his themes inspired by Kashmir Shaivism (a nondualist Hindu tradition of Shaiva-Shakta Tantra which originated in Kashmir sometime after 850 CE).
The Five Pilgrims Witness Wondrous Sights in the City of King Shankha-Pal, Folio from the “Large” Kedara Kalpa (Book of Kedara), , India, Himachal Pradesh, Kangra, circa 1820, Drawings, Opaque watercolor and gold on paper, The Kedara Kalpa (Book of Kedara) is a Shaiva text exalting the merits of pilgrimage to Kedara-Kailasha, the Himalayan region of Kedarnath, Uttar Pradesh where Shiva is believed to reside.
He is an ancient god, traceable to the Vedic era. Archaeological evidence from 1st-century CE and earlier, where he is found with Hindu god Agni (fire), suggest that he was a significant deity in early Hinduism.[4] He is found in many medieval temples all over India, such as at the Ellora Caves and Elephanta Caves.[3] His iconography varies significantly, reflecting the variation in his legends. He is typically represented as an ever-youthful man, riding or near a peacock, dressed with weapons sometimes near a rooster. Most icons show him with one head, but some show him with six heads reflecting the legend surrounding his birth where six mothers symbolizing the six stars of Pleiades cluster who took care of newly born baby Kartikeya.[4][6][5] He grows up quickly into a philosopher-warrior, destroys evil in the form of demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva Siddhanta.[5][1] He has inspired many poet-sants, such as Arunagirinathar.[1][7] Kartikeya, as Murugan or Subrahmanya, is found as a primary deity in temples wherever communities of the Tamil people live worldwide, particularly in Sri Lanka, Mauritius, Indonesia, Malaysia, Singapore, South Africa and Réunion. Three of the six most richest and busiest temples in Tamil Nadu are dedicated to him.[1] The Kataragama temple dedicated to him in Sri Lanka attracts Tamils, Sinhalese people and the Vedda people.[8] He is also found in other parts of India, sometimes as Skanda, but in a secondary role along with Ganesha, Parvati and Shiva.[5] Kartikeya is known by numerous names in ancient and medieval texts of the Indian culture. Most common among these are Murugan (Muruga), Kumaran (Kumara), Skanda, and Subrahmanyan (Subrahmanya). Others include Aaiyyan, Cheyon, Senthil, Vēlaṇ, Svaminatha ("ruler of the gods", from -natha king), Saravanan ("born amongst the reeds"), Arumugam or Shanmuga ("six-faced"),[9] Dandapani ("wielder of the mace", from -pani hand), Guhan or Guruguha ("cave-dweller"), Kadhirvelan, Kandhan, Vishakha and Mahasena.[10] In ancient coins where the inscription has survived along with his images, his names appear as Kumara, Brahmanya or Brahmanyadeva.[11] In ancient statues, he appears as Mahasena, Skanda and Vishakha.[12] Skanda is derived from skanḍr-, which means to "spill, ooze, leap, attack".[13] This root is derived from the legend of his unusual birth. The legend, translates Lochtefeld, states "Shiva and Parvati are disturbed while making love, and Shiva inadvertently spills his semen on the ground".[5] This semen incubates in River Ganges, preserved by the heat of god Agni, and this fetus is born as baby Kartikeya on the banks of Ganges. The "spill" epithet leads to the name Skanda.[5][13] Kartikeya means "of the Krittikas".[5] This epithet is also linked to his birth. After he appears on the banks of the River Ganges, he is seen by the six of the seven brightest stars cluster in the night sky called Krittikas in Hindu texts (called Pleiades in Greek texts). These six mothers all want to take care of him and nurse baby Kartikkeya. They argue. Baby Kartikkeya ends the argument by growing five more heads to have a total of six heads so he can look at all six moms, and let them each nurse one.[5][14] Another legend explains his various names as the result of competition by many to seek and claim him. He loves everyone, and takes many names and forms to be with them. For example, Kumara spends time with goddess Ganga as her son, Skanda as the son of goddess Parvati, Karttikeya as son of Shiva, while Guha as the son of fire god Agni.[6] There are ancient references which can be interpreted to be Kartikeya, Skanda, Kumara, or Murugan in the Vedic texts, in the works of Pāṇini (~500 BCE), in the Mahabhasya of Patanjali and in Kautilya's Arthashastra.[15] For example, the term Kumara appears in hymn 5,2 of the Rig Veda.[16][note 1] The Kumara of verse 5.2.1 can be interpreted as Skanda, or just any "boy". However, the rest of the verses depict the "boy" as bright-colored, hurling weapons and other motifs that later have been associated with Skanda. The difficulty with interpreting these to be Skanda is that Indra, Agni and Rudra are also depicted in similar terms and as warriors.[17] Kartikeya with a Kushan devotee, 2nd century CE. The Skanda-like motifs found in Rig Veda are found in other Vedic texts, such as section 6.1-3 of the Shatapatha Brahmana.[18] In these, the mythology is very different for Kumara, as Agni is described to be the Kumara whose mother is Ushas (goddess Dawn) and whose father is Purusha.[16] The section 10.1 of the Taittiriya Aranyaka mentions Sanmukha (six faced one), while the Baudhayana Dharmasutra mentions a householder's rite of passage that involves prayers to Skanda with his brother Ganapati (Ganesha) together.[19] The chapter 7 of the Chandogya Upanishad (~800–600 BCE) equates Sanat-Kumara (eternal son) and Skanda, as he teaches sage Narada to discover his own Atman (soul, self) as a means to the ultimate knowledge, true peace and liberation.[20][21][note 2] According to Fred Clothey, the evidence suggests that Kartikeya mythology had become widespread sometime around 200 BCE or after in north India.[23] The first clear evidence of Kartikeya's importance emerges in the Hindu Epics such as the Ramayana and the Mahabharata where his story is recited. In addition to textual evidence, his importance is affirmed by the archeological, the epigraphical and the numismatic evidence of this period. For example, he is found in numismatic evidence linked to the Yaudheyas, a confederation of warriors in north India who are mentioned by ancient Pāṇini.[24] They ruled an area consisting of modern era Haryana, Punjab, Rajasthan and Uttar Pradesh (extending into Garhwal region, Uttarakhand).[24] They struck coins bearing the image of Skanda, and these coins are dated to be from before Kushan Empire era started.[24] During the Kushan dynasty era, that included much of northwest Indian subcontinent, more coins featuring Kartikeya were minted.[24] The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Gupta Empire.[25] Kalidasa's epic poem the Kumārasambhava features Kartikeya. The Tolkāppiyam, one of the most ancient texts of the Tamil literature, mentions cēyōṉ "the red one", who is identified with Murugan, whose name is literally Murukaṉ "the youth"; the three other gods referred to in the Tolkāppiyam are Māyōṉ "the dark one" (identified with Vishnu), Vēntaṉ "the sovereign" (identified with Indra) and Koṟṟavai "the victorious" (identified with Kali). Extant Sangam literature works, dated between the third century BCE and the fifth century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[27] In the Tirumurukāṟtruuppaṭai, he is called Muruku and described as a god of beauty and youth, with phrases such as "his body glows like the sun rising from the emerald sea". It describes him with six faces each with a function, twelve arms, his victory of evil, and the temples dedicated to him in the hilly regions.[28] Kartikeya is mentioned in Shaiva Puranas. Of these, the Skanda Purana is the largest Mahāpurāṇa, a genre of eighteen Hindu religious texts.[29] The text contains over 81,000 verses, and is part of Shaivite literature,[30] titled after Skanda, a son of Shiva and Parvati, who is also known as Kartikeya and Murugan.[31] While the text is named after Skanda, he does not feature either more or less prominently in this text than in other Shiva-related Puranas.[31] The text has been an important historical record and influence on the Hindu traditions related to war-god Skanda.[31][32] The earliest text titled Skanda Purana likely existed by the 6th-century CE,[33][34] but the Skanda Purana that has survived into the modern era exists in many versions.[35] Ancient coins of the Yaudheyas, dated to 1st and 2nd century CE, show Kartikeya as a warrior with either one or six heads. Kushan coins show him with one head. In general, single head is far more common regardless of which dynasty minted them.[36] The earliest statues discovered in Punjab and Kashmir show him with either one or six heads. The oldest sculptures such as those found in Mathura show him with one head, while six head iconography is dated to post-Gupta Empire era.[37] All Kushan Empire era artwork show him with one head, even though there are Kushan deities such as a goddess who is shown with multiple heads.[14] The Kushan Empire era statues of Kartikeya, dated to 1st and 2nd-century CE, have been found at various sites in the Indian subcontinent, particularly at Mathura and Gandhara. They show him as a warrior dressed in dhoti (sheet wrapped at waist, covering the legs), armour like a warrior, spear in his right hand and a bird (rooster) in his left.[38][39] There is some difference between his ancient iconography in Mathura and Gandhara artwork. The Gandhara arts show him in more a Scythian dress, likely reflecting the local dress culture prevalent in those times. Further, it is in the oldest Gandharan statues where he is shown with a bird that looks like a chicken or cock.[40] According to Richard Mann, the bird may symbolize Kartikeya's agility and maneuverability as a warrior god.[40] Kartikeya iconography shows him as a youthful god, dressed as a warrior, carring the weapon called Vel. It is a divine spear, often called sakti. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding the sakti or spear. His vahana (vehicle, mount) is a peacock. He has either one head or six, depending on the region or artist.[41][42] The Epic era literature of ancient India recite numerous legends of Kartikeya, often with his other names such as Skanda. For example, the Vana Parva of the Mahabharata dedicates chapters 223 to 232 to the legends of Skanda, but depicts him as the son of Agni and Svaha.[19] Similarly, Valmiki's Ramayana dedicates chapters 36 and 37 to Skanda, but describes him as the child of god Agni and goddess Ganges.[44] The legends of Kartikeya vary significantly, sometimes within the same text. For example, while the Vana Parva of the Mahabharata describes Skanda as the son of Agni, the Shalya Parva and the Anushasana Parva of the same text presents Skanda's legend as the son of Maheshvara (Shiva) and Parvati.[19] Granite Karttikeya seated on a peacock from 12th-century Andhra Pradesh. In Vana Parva, the circumstances behind Kartikeya's birth legend do not involve Shiva and Parvati.[45] Rather it is deity Agni who goes to a hermitage of seven married Rishis (sages). He is sexually attracted to all seven, but none reciprocate. Svaha is present there and she is attracted to Agni, but Agni is not. According to the legend, Svaha takes the form of six of the wives, one by one, and sleeps with Agni.[45] She does not take the form of Arundhati, Vasistha's wife, because of Arundhati's extraordinary virtuous powers. Svaha deposits the semen of Agni into the reeds of River Ganges, where it develops and then is born as six headed Skanda.[45] A totally different legend in the later books of the Mahabharata make Shiva and Parvati as the parents. They were having sex, but they are disturbed, and Shiva inadvertently spills his semen on the ground.[5] Shiva's semen incubates in River Ganges, preserved by the heat of god Agni, and this fetus is born as baby Kartikeya on the banks of Ganges.[5][13] Some legend state that he was the elder son of Shiva, others make him the younger brother of Ganesha. This is implied by another legend connected to his birth. Devas have been beaten up by Asuras led by Taraka, because Taraka had a boon from ascetic celibate yogi Shiva that only Shiva's son can kill him. Devas learn about this boon, and plan how to get Shiva into a relationship. So they bring Parvati into the picture, have her seduce yogi Shiva, and wed Parvati so that Skanda can be born to kill Taraka.[46] Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular in Tamil Nadu. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. Kartikeya's youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam.[44] Theology[edit] There is extensive Hindu symbolism and theology associated with Kartikeya. Regardless of the variance among the legends, his birth is in difficult circumstances, he is born through a surrogate abandoned near a river. He is raised not by his natural mother but a host of mothers. Kartikeya symbolizes a union of polarities.[47] He is handsome warrior and described as a celibate yogi. He uses his creative martial abilities to lead an army against Taraka and other demons, and described as a philosopher-warrior.[5][1] He is a uniter, championing the attributes of both Shaivism and Vaishnavism.[48] His theology is most developed in the Tamil texts,[7] and in the Shaiva Siddhanta tradition.[5][1] He is described as teyvam (abstract neuter divinity, nirguna Brahman), as katavul (divinity in nature, in everything), as tevan (masculine deity), and as iraivativam (concrete manifestation of the sacred, saguna Brahman).[49] According to Fred Clothey, as Murugan (also referred to as Murukan, Cheyyon), he embodies the "cultural and religious whole that comprises South Indian Shaivism".[47] He is the philosopher and exponent of Shaiva Siddhanta theology, as well as the patron deity of the Tamil language.[50][51] Murugan is worshiped primarily in areas with Tamil influences. Subramanya is also a major deity among the Hindus of Kerala, Karnataka, Andhra Pradesh and Telangana. Rituals like Nagaradhane are unique to Uttara Kannada region of Karnataka. Kataragama Sri Lanka temple is another important Murugan center.[citation needed] In Sri Lanka and India, Murugan is popular with more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam. It was written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[citation needed] Batu Caves near Kuala Lumpur, Malaysia has a famous temple of Lord Murugan. Kartikeya is revered during the Kartik Puja festival, observed in November in eastern states of India.[52][note 3] During Durga Puja in Bengal, Kartikeya is featured as a son of Durga (Parvati) and Shiva, sitting along with his brother Ganesha.[54] Kartikeya in Kartik Puja, Odisha. Odisha[edit] Kumara Purnima, which is celebrated by girls and newly married women on the full moon day after Vijayadashami. It is dedicated to Kartikeya in Odisha. The festivities bring girls together, they sing and dance, and play a game called Puchi. The prayers on the day are aimed with hopes of getting a husband similar to Kartikeya.[55] Kartikeya is worshipped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Himachal Pradesh[edit] Kartikeya is the main deity at Chamba district of Himachal Pradesh. The temple of Kartikeya in Kugti village is visited every year by thousands of devotees when the trek is opened in the month of March–April.[citation needed] Sri Lanka[edit] Karthikeya is worshipped by Sri Lankan Tamils but also by the Sinhalese as Kataragama deviyo, a guardian deity of Sri Lanka. Numerous temples exist throughout the island. He is a favourite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, he is worshipped at the Kataragama temple, where he is known as Kathiravel or Kataragama deviyo. Local legend holds that Murugan alighted in Kataragama and was smitten by Valli, one of the local girls. After a courtship, they were married. This event is taken to signify that Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all Buddhist temples house a shrine room for Kataragama deviyo reflecting the significance of Murugan in Sinhala Buddhism. The Tamil Hindu temple Nallur Kandasamy dedicated to Murugan (Kartikeya). By the 16th century, the Kataragama temple had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[56] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15th century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[56] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[57] Malaysia[edit] Murugan is one of the most important deities worshipped by the Tamil Hindus in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thaipusam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Murugan. Batu Caves in short also referred as 10th Caves or Hill for Lord Muruga as there are 6 important holy shrines in India and 4 more in Malaysia. The 3 others in Malaysia are Kallumalai Temple in Ipoh Arulmigu Balathandayuthapani Temple, Penang Sannasimalai Temple in Malacca Other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Viralimalai, Vayalur, Thirumalaikoil, Chennimalai, Sivanmalai, Pachaimalai, Thindal malai (Near Erode) and Pavalamalai near Gobichettipalayam. Goddess Skandamata with son Skanda or Kartikeya on her lap, is worshipped as fifth form of Navadurga. There are many temples dedicated to Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad, one in Bikkavolu, East Godavari district and one in Mopidevi,Krishna district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Murugan is worshipped as the Lord of the serpents. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana. Thaipusam festivities near the Batu Caves, Malaysia. The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord. In the USA, Shiva Murugan Temple[63] in Concord, Northern California and Murugan Temple of North America[64] in Maryland, Washington DC region are popular. Thaipusam walk for Shiva Murugan Temple in Concord, USA is very popular and attracting many devotees from all over America. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Val-Morin, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple[65] is gaining popularity recently. Skanda Vale[66] in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[67]
Maa Durga is the Ultimate form of Mahamaya. This 3D Picture Created by Me (Manash Kundu) Goddess Durga : Goddess or Devi Durga according to ancient hindu Purana was the Ultimate Form of Mahamaya (Prakriti or Female Counterpart of Universe) or Devi Parvati (Wife of Lord Shiva) . According to ancient Veda the whole universe was continuously originated from a Single entity named Param Brahma (Not confused with lord Brahma) . Param Brahma then divided into three ultimate form of Trimurti . 1) Lord Brahma : Creator of Vedas and Rules of Universe 2) Lord Vishnu : Preserver of Balance of Universe 3) Lord Shiva : Destroyer and Initiator of New Ragimes and Law of Universe. After the creation universe filled with only Purusha or Male Counterpart in form of Trimurti . Due to maintain the Balance of Universe with two Opposite forces Prakriti ( Female Counterpart) Came into exsistence from the parts of Trimurti. Ultimate form of Prakriti or Mahamaya was Devi Durga. Devi Durga`s Three eyes like the petals of Lotus, long curly hair, red- golden radiance from the skin and a quarter moon on the forehead endow the Goddess with Her Striking beauty. The Goddess looks gorgeous in oceanic blue attire and in dazzling gold ornaments studded with precious jewels. We come to know about the creation of the Goddess in the Markandeya Purana. According to the Hindu purana there was a Asura or Demon names Mahishsasura ( Buffelo headed Demon) who received the blessing of lord Brahma by his intense penance and devotion that he cannot be killed by any male creature in the universe but only by Female girl. With This blessing of Brahma he thought he became invincible and attacked heaven . After defeating Devas force, he became the king of Heaven and Earth.With the Newly achieved powers he became very arrogant and ordered all his Asur companions to destroy all theTemples and Idols of Devas on Earth. He aslo ordered all Sages to worship his Idols only instead of Devas. All deafeted devas take refuge to Trimurti (Brahma, Vishnu and Shiva) . The Unified power of Trimurti formed Devi Durga . Face of Devi durga was formed from Lord Shiva (Or may be from Lord Shiva`s Wife Parvati) . Ten Hands were formed from Lord Brahma and Legs were created from Lord Vishnu. Devi Durga`s Ten hands were adorned with very powerfull weapons which were given by various devas : Devi Durga Slaying Demon Mahishasura. This 3D Picture Created by Me (Manash Kundu) Lord Shiva Gave another Trident which was originated from his own Trident Lord Vishnu gave his Sudarshan Chakra or Disk and Mace Lord Brahma gave his holy Kamandal Indra (King of Devas) gave his Lightning Bolt Baruna gave his snake rope. Himalaya gave his Lion Kumara’s gave his lance To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. Mahishasura had gravely underestimated her, thinking: "How can a woman kill me, Mahishasur—the one who has defeated the trinity of gods?". However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers. And the terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga. Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and proclaimed to Mahishasur in a colorful tone—"Roar with delight while you still can, O illiterate demon, because when I will kill you, the gods themselves will roar with delight".When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword. By Killing Mahishasura Devi Durga also Named as Mahishasurmardhini—the slayer of Mahishasur. Akal Bodhon The time at which Durga Puja is celebrated nowadays (autumn) is not supposed to be the right time to perform the puja, as per the scriptures. That’s why Durga Puja is also sometimes called Akal Bodhon (untimely invocation). Akal Bodhon By Sri Ram (Incarnation of Lord Vishnu) The reason for this timing may be traced back to another piece of Indian mythology, the epic Ramayana. Lord Rama, the hero of the epic, performed Durga Puja at this time to invoke the blessings of goddess Durga before waging war with Ravana, the demon-king who had abducted his wife, Sita. During The Puja Ram Needed One Hundred Eight Lotus flower to please devi, but he could found only Hundred and Seven lotus flower therefore he decided to sacrifise his own eye (Which was as beautiful as Lotus) to please Devi. Devi Durga was the pleased with Ram`s Devotion and gave him her blessings to slay Ravana. Goddess Durga is said to descend to earth from the heavens with her children Ganesh, Lakshmi, Saraswati and Kartik. This 3D Picture Created by me (Manash Kundu) Days of the Puja Mahalaya- which marks the beginning of Debi-Poksha, comes seven days before the actual Puja. Saptami is regarded as the first day of Durga Puja. Maha Sashti – This is the day that the Goddess is said to descend to earth from the heavens. She is accompanied by her children Ganesh, Lakshmi, Saraswati and Kartik. On this day the idol of the goddess is unveiled, followed by the Kalparambho (ritual performed before beginning the Pujas), Bodhon (invocation of the deity), Amontron (invitation) and Adibas (sanctification of the place of worship). Maha Saptami – Nine different plants, symbolizing the nature-pervading power of the Goddess, are worshipped, followed by Kalparambho, Mahasnan (ritual pre-dawn bathing) and Saptami Puja. Maha Ashtami – Devotees give offerings, or Anjali, to the Goddess and recite hymns. Young girls are also worshipped as forms of the Devi in a ritual known as Kumari Puja. The evening sees the Sandhi Puja, which is performed at the cusp of the eighth and ninth days. This is supposed to be the time during which Durga assumes the terrible and powerful form known as Kali or Chamundi. Maha Navami – Along with the concluding portion of the Sandhi Puja this is a day of great feasting. The food offering, or Bhog, is first made to the Goddess after which all devotees partake of it in a community meal. Bijaya Dashami – This is the last day of the Puja, and it is the day of farewell to the Goddess. It is an emotional moment for devotees, who have spent the past few days serving the Goddess, to have to let go of their Goddess who returns to the heavens. The idol of Durga is taken on a procession till the nearest riverbank, where it is immersed in the water. Durga Puja Celebration : Durga Puja is widely celebrated in the Indian states of Assam, Bihar, Jharkhand, Orissa, Tripura and West Bengal, where it is a five-day annual holiday. In West Bengal and Tripura, which has a majority of Bengali Hindus, it is the biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the state, it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Maharashtra, Gujarat, Punjab, Kashmir, Andhra Pradesh, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh all over the places of Dhaka, Durga Puja in Kolkata, West Bengal: Durga Idol waiting for Completion seven days before in Baghbazar, Kolkata ,West Bengal. Picture taken by me (Manash Kundu) The history of Durga Puja in Bengal dates back to the Mughal era. History says that the first Puja was organised by Raja Kangshanarayan of Teherpur, Nadia and then Raja Jagatnarayan of Bhaduria followed soon after. Other Hindu kings too came forward and the puja spread far and wide to Gour, Raj Mahal, Murshibad and Krishnagar. By the mid of 18th Century, this festival had become the occasion for the nouveaux rich Babus of Kolkata to flaunt their wealth. They invited Europeans in every evening of their feast to grace their occasion. The British too participated enthusiastically and had ‘Prasad’ and did Pranam, often lying prostrate on the ground. Durga Puja at Sovabazar Raj Bari Some believe that the Puja of Saborno Chowdhury is the oldest puja in the city and it started in 1610 AD near Behala Sakher Bazaar area. The second oldest Durga Puja was the Puja of Govindaram Mitra of Kumartuli in the earlier 1800 AD. Next renowned Puja was the Puja of Sovbazaar Raj Bari. Goddess Making Factory in modern day Kumartuli (Idol makers shops) in Kolkata giving their Final Touch. Picture taken by me (Manash Kundu) Sarbojanin Durgotsab, as we know it today, started off much later in Kolkata, in the 1920s, with Shimlaya Byayam Samti and Bagbazar being the earliest. Kolkata's oldest Durga puja turns 400: Sabarna Roy Chowdhury family`s Durga Mandop (Place where Durga Puja Offered) The oldest Durga pujo in Kolkata turned 400 on Saturday. It is older than Agra’s Taj Mahal by 43 years and is organised by one of the oldest families of the city who once ruled over most part of which is now called as Kolkata. However, the Sabarna Roy Chowdhury family maintains a low profile about the feat. Durga Idol of Sabarna Roy Chowdhury family The family’s Barisha Aatchala pujo was founded by Lakshmikanta Majumder in 1610 when Mughal emperor Jehangir was ruling Delhi. Mughal general Man Singh handed over parts of the city to Majumder as jaigir (property) and the Roy Chowdhury title to the family during his raids of Bengal. Since then there has been no break in tradition or rituals of this pujo. “Our family is the only family in Bengal to have Sakta, Shaiva and Vaishnav (the three rituals of the Hindu religion),” says president, Sabarna Roy Chowdhury Paribar Parishad, Devarshi Roy Chowdhury. Even the 37th generation of the family intends to carry the family’s legacy further. Source : http://ibnlive.in.com/news/kolkatas-oldest-durga-puja-turns-400/102235-3.html Durga Slays Mahishasura, Mahabalipuram sculpture. Old Ancient Durga Idols From India and Outside India: Figure of Durga at Halebid in Karnataka - 1856: Figure of Durga at Halebid in Karnataka - 1856: An albumen print by Richard Banner Oakeley of the figure of Durga at Halebid in Karnataka. Halebid (ancient Dwarasamudra), a small town in the Hassan district, was once the capital of the Hoysala dynasty of the southern Deccan which flourished from about 1100-1350 AD. Invasions by the Delhi Sultanate in the 14th century led to its decline. The Hoysalas were avid temple builders and the site is renowned for the remnants of architecture and sculpture fashioned out of the chloritic schist in the region. The most famous monument here is the twelfth-century Hoysaleswara temple dedicated to Shiva, which was built for an official of Vishnuvardhana (reigned 1108-42). It is an exemplar of the lavish Hoysala style and is encrusted with continuous bands of sculpture, unsurpassed in its detail and vitality. Here Durga (a form of Shakti the Mother Goddess) is seen in a typical pose slaying the demon Mahisha. Source: British Library Durga Temple, Aihole Durga Temple, Aihole: The Durga Temple at Aihole is one of the most celebrated and intriguing ancient Hindu temples. One of the most beautiful and well-preserved temple, it has a unique tapered-oblong plan, and one could never be tired of walking around it and admiring its shape. The photogenic Durga or the fortress temple is planned along the lines of a Buddhist chaitya, a high molded adisthana and a tower - curvilinear shikhara. A pillared corridor runs around the temple, enveloping the shrine, the mukhamandapa and the sabhamandapa. All through the temple, there are beautiful carvings. The temple derives its name from Durgadagudi meaning 'temple near the fort'. Dedicated to Vishnu, the temple appears to be a Hindu adaptation of the Buddhist chaitya (hall) with its apsidal end. Standing on a high platform with a 'rekhanagara' type of Shikhara, it is the most elaborately decorated monument in Aihole. The columns at the entrance and within the porch are carved with figures and ornamental relief's. The temple appears to be a late 7th or early 8th century construction. Aihole is a temple complex in the Bagalkot district of Karnataka, India. It is a very popular tourist spot in north Karnataka. Aihole is to the east of Pattadakal, along the Malaprabha River, while Badami is to the west of both. Aihole has the potential to be included as a UNESCO World heritage site. Early inscriptions call this town Ayyavole and Aryapura. Aihole has its own historical significance and is called as cradle of Hindu rock architecture. Many temples and caves of historical importance can be found at Aihole. Aihole was the first capital of the early Chalukyas. Here they built over 125 temples in various styles and is said to be a laboratory of experiments in rock cut architecture. Pulakesi I, one of the greatest rulers of this dynasty, moved the capital to Badami nearby. Badami was then known as Vatapi. It is from these temples that the Chalukyas gained their experience and went on to build the great temples of Pattadakal. The first phase of temple building in Aihole dates back to the 6th century CE, the second phase up to the 12th century CE. Some temples were even built as early as the 5th century CE. Aihole, was the cradle of ancient Hindu temple architecture. It has more than 70 temples. The experimentation with different styles was undertaken by the artisans. The artisans worked on the rocks to create the earliest rock cut shrines. The artisans graduated to the full fledged Chalukya style of architecture. The early Chalukyas inherited architectural styles largely from their neighbours to the north and south of their kingdom. Usage of curved towers decorated with blind arches came from northern India. Pilastered walls with panel inserts are a southern Indian style. The usage of Deccan style is in their balcony seating, angled eaves and sloping roofs, and elaborately carved columns and ceilings (George Michell,1997). In short, they artistically brought together the prevailing styles in their neighbourhood to create the Chalukya style. Typical features unique to Badami Chalukyas architecture include mortarless assembly, an emphasis on length rather than width or height, flat roofs, richly carved ceilings, and, sculpturally, an emphasis on relatively few major figures, which tend to be isolated from each other rather than arranged in crowded groups. The aesthetic sensibility of sculpture from this period also seems to retain a certain classical quality whose impulse does not carry over into later periods of Indian art (Susan Huntington, 1985). Source : By Mukul Banerjee (www.mukulbanerjee.com) Durga :Fu Nan period, 7th–8th centuryLuu Nghiep An Village, Tra Vinh Province Durga Fu Nan period, 7th–8th century Luu Nghiep An Village, Tra Vinh Province Stone Museum of Vietnamese History, Ho Chi Minh City The bull’s head on the base of this sculpture identifies this figure as Durga, an important Hindu goddess. Durga is worshipped independently, but is also considered to be a form of Parvati, Shiva’s consort. According to Hindu tradition, when Brahma, Shiva, and Vishnu proved unable to defeat the demon Mahisha, the task fell to Durga. She vanquished the demon while he was in bull form, an act that came to symbolize religious attainment or victory. All four of Durga’s hands would originally have brandished weapons, but only the dagger in her upper right hand and the shield in her upper left are extant. Source : Jill Krementz covers Arts of Ancient Viet Nam Standing Four-armed goddess Durga, late 9th century India Standing Four-armed goddess Durga, late 9th century India (Jammu and Kashmir, ancient kingdom of Kashmir) Stone Two small male attendants on a stepped pedestal flank this standing four-armed female deity. The deity is richly adorned with jewels and wears a trilobed tiara. Her elaborate costume includes the pointed tunic so often worn by females in Kashmiri sculptures. All of this is rendered with an unusual and meticulous precision, providing a useful description of costume of the period. The deity holds a sword in her lower right hand and a bell with attached ribbons in her lower left. Her raised front right hand is missing but was probably held in the fear-allaying gesture known as the abhayamudra. In her raised front left hand she holds what appears to be the head of a ram, but which probably represents a rhyton. Incised on her forehead is a vertical third eye. These characteristics identify the deity as Durga, a powerful and potent form of the goddess Devi. Source : "Standing Four-armed goddess Durga [India] (1984.488)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/1984.488 (October 2006) Hindu Goddess Durga - 10th century statue found at the ancient city of Anuradhapura, Ceylon(Sri Lanka) 1903 Hindu Goddess Durga - 10th century statue found at the ancient city of Anuradhapura, Ceylon(Sri Lanka) 1903 KALINGA SCULPTURE of Devi Durga, CHENGAMEDU KALINGA SCULPTURES, CHENGAMEDU The northern part of the present Orissa state used to be called Kalinga in the ancient times. Sculptures of Durga, Kali, Bhairavar and Bhairavi found here were brought by Rajendra Chola I (11th century CE) from the Kalinga country as a mark of his victory. These sculptures of red sand stone are excellent examples of the Kalinga art. Location : 5 km from Gangaikondacholapuram. A VERY RARE EARLY PANDYAN DURGA In Thondi Thailand A VERY RARE EARLY PANDYAN DURGA In Thondi Thailand: This statue is found in a very ancient temple in a place called Thondi. Thondi was aport city with a very busy harbour. It lies in the same latitude as Ta Kua Pa in Thailand. Ta Kua Pa was a very important port city with colonies of Tamil merchants. The ships would make use of the monsoon winds and sail straight to Nicobar and then to Ta Kua Pa. From Nicobar the ships can go to Akshaya - the present day Acchey. Or to Kedah. The temple is very very near the sea shore. It is unusual to build a temple so very near the sea. Geographical changes had evidently taken place during these millenia. You can see many early Durgais with lovely lively expressions. It is all Middle Pandya Era. Thats the time that the Pandyas took sculptures and carvings to new heights. They were the masters of miniaturisation and other artistic wonders which would seem impossible at present. Stone polishing was also very well-developed. The figure belongs to the Early Pandya Era which would be 7th to 10th centuries. The statue could be around 7th or 8th century. Or earlier. Source : http://jaybeemuseum-e.blogspot.in/2011/05/very-rare-early-pandyan-durga.html Mahisasura Mardini Devi Durga Sculpture it is the Entrance of Ellora Cave No. 29 and was built around 650 to 900 AD. Mahisasura Mardini - Devi Durga This is the oldest Mahisasura Mardini Devi Durga Sculpture it is the Entrance of Ellora Cave No. 29 and was built around 650 to 900 AD. This photo was taken on December 26, 2009 in Ellora, Maharashtra, Source : http://www.flickr.com/photos/anjan03/4895485021/ Different Names of Devi Durga: Goddess Durga is the embodiment of the divine force of the Almighty. The word Durga, in Sanskrit means "the invincible". Durga Devi represents power, strength, morality and protection. Maa Durga is the destroyer of sin and protector of morality. Goddess Durga is also known as Shakti (Power). Durga came into being, when Maha lakshmi, Maha Saraswati and Maha Kali assimilated their powers. So, Durga is the ultimate power. Durga is the mother, as well as the slayer of evils at the same time. Goddess Durga is known by 108 different names. It is believed that Maa Durga gets happy if, these names are spoken with a dedicated heart. So, recite these names of Durga and make her happy. Some of Them are : Sati One who got burned alive Saadhvi The Sanguine Bhavaprita One who is loved by the universe Bhavaani The abode of the universe Bhavamochani The absolver of the universe Aarya Goddess Durga The Invincible Navadurga: The Nine Forms of Goddess Durga: Nava – that also means 'new' – denotes 'nine' the number to which sages attach special significance. Hence, we have Nava-ratri (9 nights), Nava-patrika (9 leaves / herbs / plants), Nava-graha (9 planets), and Nava-Durga (9 appellations). There are of the 9 manifestations of Goddess Durga. Each goddess has a different form and a special significance. Nava Durga, if worshipped with religious fervor during Navaratri, it is believed, lift the divine spirit in us and fill us with renewed happiness. Shailaputri 1) Shailaputri : literally means the daughter (putri) of the mountains (shaila). Variously known as Sati Bhavani, Parvati or Hemavati, the daughter of Hemavana - the king of the Himalayas, she is the first among Navadurgas. Bharmacharini 2) Bharmacharini : She is worshipped on the second day of Navaratri and is the second form of Mother Goddess. Bharmacharini means one who practices devout austerity. She enlightens us in the magnificent embodiment of Durga with great powers and divine grace. She holds a rosary in her right hand and a water utensil in her left hand. Chandra Ghanta 3) Chandra Ghanta: The third facet of Goddess Durga is ‘Chandraghanta’, who is worshipped on the third day of Navaratri, for peace, tranquility and prosperity in life. She has a ‘chandra’ or half moon in her forehead in the shape of a ‘ghanta’ or bell. Kushmanda 4) Kushmanda: Kushmanda is the fourth form of the mother goddess and is worshipped on the fourth day of Navaratri. The meaning of the name ‘Ku-shm-anda’ is as follows: ‘Ku’ = a little; ‘ushma’ = ‘warmth’; ‘anda’ = ‘the cosmic egg’. Skanda Mata 5) Skanda Mata: The fifth aspect of the Mother Durga is known as ‘Skanda Mata’ - the mother of Skanda or Lord Kartikeya, who was chosen by gods as their commander in chief in the war against the demons. Katyayani 6) Katyayani: The sixth form of Mother Durga is known as ‘Katyayani’, who is worshipped on the six day of Navaratri. The legend behind her name goes thus: Once upon a time, there was a great sage called Kata, who had a son named Katya. Kata was very famous and renowned in the lineage of saints. He underwent long austerities and penance in order to receive the grace of the Mother Goddess. He wished to have a daughter in the form of a goddess. According to his wish and desire the Mother Goddess granted his request. Katyayani was born to Kata as an avatar of Durga. Kaal Ratri 7) Kaal Ratri : This is the seventh form of Mother Durga and is worshipped on the seventh day of Navaratri. She has a dark complexion, disheveled hair and a fearlessness posture. A necklace flashing lightning adorns her neck. She has three eyes that shine bright and terrible flames emanate from her breath. Her vehicle is the donkey. Her raised right hand always seems to grant boons to all worshippers and all her right lower hand is in the pose of allaying fears. Maha Gauri 8) Maha Gauri: She is worshipped on the eighth day of Navaratri. Her power is unfailing and instantly fruitful. As a result of her worship, all sins of past, present and future get washed away and devotees get purified in all aspects of life. Maha Gauri is intelligent, peaceful and calm. Due to her long austerities in the deep forests of the Himalayas, she developed a dark complexion. When Lord Shiva cleaned her with the water of the Ganges, her body regained its beauty and she came to be known as Maha Gauri, which mean extremely white. Siddhidatri 9) Siddhidatri: Siddhidatri is the ninth form of Goddess. She is worshipped on the ninth day of Navaratri. Siddhidatri has supernatural healing powers. She has four arms and she is always in a blissful happy enchanting pose. She rides on the lion as her vehicle. She blesses all Gods, saints, yogis, tantrics and all devotees as a manifestation of the Mother Goddess. Source of Pictures : With inputs from Shri Shankerprasad S Bhatt. Art by Manohar Saini. Watercolor on cotton, available at www.exoticindia.com Source of Text : By Subhamoy Das, About.com Guide Nine Different forms of Devi Durga Click Here to see the Graphical Comics on Devi Durga as Mahishasurmardhini—the slayer of Mahishasur.
Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine. A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name. The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple. Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash. ETYMOLOGY The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance". LEGEND The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy). The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals. PATRONAGE To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar. Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals. Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British. Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates. TEMPLE STRUCTURE The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை). Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed"). The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam. This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms: - the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni. - the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni. - the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni. SIGNIFICANCE OF THE TEMPLE DESIGN The layout and architecture of the temple is replete with philosophical meanings. Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west). The 9 gateways signify the 9 orifices in the human body. The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas. The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts). The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas. TOWERS The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other. HALLS There are 5 ambalams or sabhas (halls) inside the temple. - Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name. - Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted. - Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy - Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days. - Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar. SHRINES - The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai - The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar. - Shrine of Sivagami. - Ganesha shrine - Shrine of Muruga or Pandiya nayakan There are also several smaller shrines in the temple complex. GOVINDARAJA SWAMY SHRINE The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court. TEMPLE TANKS The Chidambaram temple is well endowed with several water bodies within and around the temple complex. - Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine. - Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes. - Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai. - Pulimadu is situated around a kilometer and a half to the south of Chidambaram. - Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar. - Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple. - Nagaseri tank is situated to the west of the Anantha thirtham. - Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri. - Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use. - Thiruparkadal is the tank to the south-east of the Shivapiyai tank. TEMPLE CAR The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals. ANANDA TANDAVA The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage Patanjali and sends him to the Thillai forest, informing him that he will display the dance in due course. Patanjali who meditated in the Himalayas during krita age joins another saint, Vyaghrapada or Pulikaalmuni (Vyagra / Puli meaning "Tiger" and patha / kaal meaning "feet" – referring to the story of how he sought and got the feet and eyesight of a tiger to help climb trees well before dawn to pick flowers for The Lord before the bees visit them). The story of sage Patanjali as well as his great student sage Upamanyu is narrated in both Vishnu Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, a deity worshipped today as Thirumoolataneswarar (Thiru - sri, Moolatanam - primordial or in the nature of a foundation, Eswarar- the Lord). Legends say that Lord Shiva displayed his dance of bliss (the Aananda Thaandavam) - as Nataraja to these two saints on the day of the poosam star in the Tamil month of Thai (January-February). THE ANANDA TANDAVA POSTURE The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world. - The demon under Lord Nataraja's feet signifies that ignorance is under His feet. - The fire in His hand (power of destruction) means He is the destroyer of evil. - The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms. - The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth. - The drum in His hand signifies the origin of life forms. - The lotus pedestal signifies Om, the sound of the universe. - His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively. - His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman). - The crescent moon in His hair signifies benevolence and beauty. - The flowing of river Ganges through His matted hair signifies eternity of life. - The dreading of His hair and drape signify the force of His dance. Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire. RELIGIOUS SIGNIFICANCE OF THE TEMPLE Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple. Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye. Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper). RELIGIOUS WORK AND SAINTS There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization. THE CHIDAMBARA RAHASIYAM During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence. The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss. Temple administration and daily rituals WORSHIP FORMS A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam. At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati. Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance". WORSHIP The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple. DIKSHITARS The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments. DAILY RITUALS The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum). Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night. TEMPLE ADMINISTRATION The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship. FESTIVALS A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution. There are references in Umapathy Sivam's Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days. Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja. HISTORY Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied." The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag. Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD. At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans. To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today. The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country. INSCRIPTIONS There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found. KUMBHABISHEKAM 2015 The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna. INVASIONS The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan. WIKIPEDIA
