eye burfi — Shilpa Shastras is an umbrella term for numerous...
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Madurai Meenakshi Appeared in Person Meenakshi Amman Temple (मीनाक्षी अम्मां मन्दिर) is one of the oldest and most miraculous temple in Madurai, has a great… | 53 comments on LinkedIn
"No Sadhana or Proficiency in the Six Shastras is necessary, have faith and confidence in your Guru" Om sai ram.
Shastra Chandrika - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. This is a nice introduction to Shastras in general. Must read.
The Trailokya Vishvakarma Lakshmi Yantra is a complex, one-of-a-kind tool expounded in tantric shastras. It showers the devotee with opportunities and prosperity, so under the guidance of an experienc
Arguably the most complex of all the yantras expounded in the tantric shastras, the Gayatri Yantra is the versatile harbinger of good fortune and well-being. Each concave and convex angle of this yant
In the serene village landscape, under the shade of ancient trees, revered Hindu rishis sit absorbed in shastras, their minds immersed in timeless wisdom. The gentle rustle of leaves and the quiet of the village ground create a sacred atmosphere, as they embody the essence of spiritual pursuit and introspection.
By Gwen Burdick Vastu, which means “science of space” in Sanskrit, is a sister science to Yoga, Jyotish and Ayurveda, and is the precursor to Feng Shui. The ancient Shastras are the books of rules of the Vedic sciences and the Vastu Shatra is the text that explains the principles of design, layout and spatial […]
Avoid these mistakes while offering water to the Sun each morning! - According to Hindu Shastras, offering water to the Sun each morning is the perfect way to start your day --- it is said that doing this not only makes the Sun God happy, but is also good for your mental peace. However, when it comes to offering water to the Sun, there are certain rules you should follow. Read on to know more...
You can print it and keep it for daily reference. It will be good to get proper assistance in every day by praying to deities of head of that day. Our scriptures are full of knowledge, our whole life is also not enough to understand and grasps it. Respect our sages, learn and implement shastras mentioned by them. Jay Shri Ram | Follow me @drsaurabhshelar #vedicastrology #astrology #kundli #astrologyposts #astrologysigns #astrologyreadings #panchang #rashifal #horoscope #dailyhoroscope #dail
Cloning is the creation of a genetically identical copy of a living being by reproduction of cells and tissue. The possibility of human cloning has raised controversies. Many ethical concerns have prompted several nations to pass laws regarding human cloning and its legality. But if I say cloning was known to man even in the Pauranic era, does it sound absurd? Perhaps not! There are lots of indications in various Hindu Puranas and Shastras. Let’s explore…
North Indian temple architecture, style of architecture produced throughout northern India and as far south as Bijapur district in northern Karnataka state, characterized by its distinctive shikhara, a superstructure, tower, or spire above the garbhagriha (“womb-room”), a small sanctuary housing the main image or emblem of the temple deity. The style is sometimes referred to as Nagara, a type of temple mentioned in the Shilpa-shastras (traditional canons of architecture), but exact correlation of the Shilpa-shastra terms with extant architecture has not yet been established. The typical Hindu temple in northern India, on plan, consists of a square garbhagriha preceded by
About 200 years ago in the early 1800's, there was an Anglo-Indian man, an adventurer, James Skinner, who commissioned portraits of people doing various jobs, fulfilling various roles, in India. When I lived in India from 1975 to 1985, many of these jobs continued, just as they had done for centuries and I feel, looking at these images, as if they are paintings of people I saw with my own eyes, doing the same things. Anyone who has traveled to India, and it's probably the same to this very day, can see people fulfilling these same roles in Indian society with very few, if any, changes. The quality of the painting of these images is marvelous. I love the details of each portrait, the trees, the shoes, landscapes, architecture. I only - and really - miss seeing women fulfilling the many societal roles, other than "harlot", "conjurer" and acrobat, which were and are very much the same as many of the male roles, including those that were and are their own. Here is the man who commissioned these images, James Skinner. From the Hazrat-E-Dilli blog: "James Skinner and Tashrih al-aqvam Colonel James Skinner,(1784-1841) or Sikander sahab was an Anglo-Indian military adventurer who is known for raising 2 cavalry regiments for the British, known as Skinner’s Horse. Even today they are part of the Indian army. He spoke fluent Persian and is the author of the book Tashrih al-aqvam(an account of origins and occupations of some of the sects, castes, and tribes of India). It was completed in 1825 and is part of the collection of the British Library. Skinner translated into Persian the summary of the Vedas and Shastras with a survey survey of both Hindu and Muslim occupational groups and religious mendicants in the Delhi region. The book also gives details of Hindu, Jain, and Sikh religious faqeers (mendicants) such as yogis and sanyasis as well as the Muslim Afghans of Kasur, qawwals, and fakirs. The text was illustrated by a number of Delhi artists commissioned by Skinner for the album, the chief of them being Ghulam Ali Khan. The watercolor paintings all seem to have been made from live subjects by the painter who accompanied Skinner on his travels." These images below are from the Asia Society page, which offers no information about any of the specific images, only a brief general overview. I gathered as much information as I could about the images from this LessingImages.com page. some of the images have no descriptions that I could find on the web: Hindu Tantric ascetic Kshatriya warrior A Vaishya, a Hindu trader A Vaishya money lender An astrologer with his divination board. "Dakaut", impure Brahman caste, represented by a fortune teller. An image of the elephant keeper in India riding his elephant from Tashrih al-aqvam (1825). Female conjuror/Bhanmati A bear-keeper with his dancing bear. Nat – gypsy acrobat A singer or bard. Bandijan or kalavant, a singer or bard from the Bhat caste. A Harlot Ship's captain, represented by the Mars, a naval battleship Bhangi, a caste represented by a sweeper. Chamar, a caste represented by a tanner. Shoemaker. "Moci", Muhammadan shoemakers, an occupational sub-division of the Camars. A dyer ("chimba" class) dipping cloth in red dye. Man with a rifle. Dhanak, a caste formerly of bowmen and hunters. A brush maker. "Kanjar", a wandering tribe who make rope and articles of grass. Bavari, an itinerant predatory tribe, represented by a bird-snarer. Kahar, the carrier or bearer class of the eastern Panjab. "Mallah", boatman class. Boatman in the River Ravi in the foreground with Lahore Fort beyond. Two men wrestling. Macchi, a Muslim caste of fishermen. Man with his Ghulam servant Hajjam, a barber, i.e. Muslim barber as opposed to Hindu A Bari leaf-worker. Bari, a caste that made plates and cups from leaves. Jarrah, a caste of surgeons. Baghban, a gardener. Making a garland. "Kunjra", an occupational group represented by a greengrocer. Coppersmith (Thathera). Ahangar, the Persian term for the Lahore caste of blacksmith. Bellmaker. Weaver, Julaha, a Muslim caste of weaver. A tape-weaver. Rope-maker Potter, Kumhar, the potter caste of the Panjab. A brickmaker. Goldsmith (Sunar). Sunar, the Goldsmith caste. An artist seated, and at work. Tashrih al-aqvam. Chipi (or chimba), a cloth printer. Printing green cloth with a red geometric design. Khayyat (or Darzi), a tailor. Darzi is an occupational group rather than a caste but it is organised in the guilds. Embroiderer. A betel-nut seller preparing his wares. Earpicker. A man cleaning another man's ears. Kalal, a Hindu caste of distillers or tavern-keepers. A professional criminal. Mina, a Hindu caste of professional criminals, represented by a man cutting through the wall of a building at night. "Raj", mason or bricklayer. An occupational sub-group of the "Tarkhan" or carpenter caste. Represented by a man ("raj") building the wall and another ("muzdur") mixing mortar. Khati or Tarkhan, carpenter caste of the Panjab. Man sawing a plank. Man attending a pilgrim. Two actors. Bahrupiya, originally an occupational group of strolling players. Washerman. Dhobi, a caste of washermen. A cotton-dresser. Dhuniya or Pamjara, synonyms for the caste of cotton-dressers, represented by a masked man using a bow to prepare raw cotton. Acrobats. Nat, a caste of gypsy acrobats. A water-seller. Saqqa, a Muslim caste of water-carriers. Man sifting grain with a sieve. Agari, a grain-sifter. Sweepings-sifter. A man searching sweepings for gold or silver. A labourer wielding a pick. Badhak or Qassab, the caste of butcher. A snake-charmer of the Sapera caste. "Bharbhumja", occupational caste of corn roasters. Man using a kiln type of brazier to roast grain. A mat-weaver, possibly of the Dumna caste. A screen-maker, possibly of the Dumna caste. Polisher. (Term "Barhiya" caste applies to Hindus and "Saikalgar" to Muslims). Man polishing a "tulwar". "Gandhi", a caste of perfumers or druggists. Surrounded by shelves of bottles, a man is pouring liquid into a bowl. Ribari, a caste of camel-men. Lime-burner. Cunari, a caste of lime-burners, in front of a kiln. Runner or messenger ("paik"). Luniya, a caste of salt-diggers. Kamdangar, a bowmaker. Shown bending the wood of a bow over a bowl of embers. Leather-bottle makers. (Presumably members of the "Chamaar" caste). Sannyasi, a Saiva mendicant. "Paramahamsa", a naked ascetic, usually a Saiva. "Dandi", a Saiva ascetic who possesses only a staff and a waterpot. "Sarabhanga" order of ascetics who did not believe in the ordinary ideas of pollution. A portrait of Bhajan Das Bairagi, a member of the Vaisnava order of ascetics, usually followers of Ramananda. "Nanga", a naked ascetic. This particular one is associated with the "Vairagis" and is armed with a spear, gun and tulwar. "Dhundiya", a member of the strict "Sthanakavasi" sect of Jains. Wearing a mouthcloth to protect microscopic life from harm, he carries a brush to clear insects from his path. Kanphata yogi. A Saiva ascetic with large earrings and wearing the 'linga' around his neck, accompanied by Tashrih al-aqvam. 1825 "Jangama", a member of the priestly order of the "Virasaiva" A Nanakpanthi, a follower of the teachings of Guru Nanak, the first guru of Sikhism. A Sikh A Suthra Shahi, an order of Sikh devotees Sadhu, Hindu renunciate. Qusuri or Kusuri, a pathan of Kasur -Tashrih al-aqvam (1825) ‘Qawwal’, a sub-caste of the large Muslim caste of ‘Mirasis’ or singer/genealogists. A man beating a Dhol drum. Sufi dervish "Tashrih al-aqvam album The illustrated Tashrih al-aqvam (an account of origins and occupations of some of the sects, castes, and tribes of India) was completed in 1825 and is part of the collection of the British Library. The text, a summary of the Vedas and Shastras, translated into Persian by Colonel James Skinner (1778–1841), is a survey of both Hindu and Muslim occupational groups and religious mendicants in the Delhi region and begins with an account of the house of Timur down to Akbar II (reigned 1806–37). The largest section is devoted to the various Hindu castes found in the area around Delhi. In addition to these major occupational groups, The text also discusses Hindu, Jain, and Sikh religious mendicants such as yogis and sanyasis; after listing the kings of Avadh, the book describes the Muslim Afghans of Kasur, qawwals, and fakirs. The Tashrih al-aqvam, along with the Tazkirat al-umara(historical notices of some princely families of Rajasthan and the Panjab)—also by James Skinner and illustrated—are examples of a new kind of nonliterary Persian text written by, or under the patronage of the British that emerged in late Mughal literary culture and combined topography, biography, and ethnography. Skinner commissioned Delhi artists to illustrate the album, the chief of them being Ghulam Ali Khan. The artist accompanied Skinner on his travels, and the watercolor portraits in the British Library manuscript are likely studies from life.The portraits in the Tashrih al-aqvam, especially those of ascetics, are done in a realistic manner that reflects the ethnographic quality of the text. Some figures are named. All of the paintings from the album may be viewed here."
Chapter – 125- Sur -Vinaya – Pathrika – Oh! Mind, learn to develop pure love and devotion at the lotus feet of Lord Sri Hari Sri Surdas Maharaj speaks “Oh! Mind, practice to fall in love with Lord Madhav, listen to me carefully, the impurities of mind such as Kama/lust, Krodha/anger, Lobha, Moha/desire, Madha/ego, Mathshcharya, Ahamkara/arrogance, and Mamakara/ignorance are the huge obstacles for the practice of devotion, hence abandon your interest in worldly matters, contemplate and meditate upon Lord Sri Hari and get rid of the impurities of the mind. Oh! Mind, learn to develop the love for Supreme Lord Sri Hari. You can learn from the honey bees, which relentlessly wander all over the woods, collect honey from the flowers without destroying it, and never get disappointed or delighted. These honey bees settle inside the lotus flower to collect honey, unfortunately, it gets trapped in it at the time of sunset, as soon as the sunflower shrinks. Oh! Mind, abandon your interest in infinite and diversified worldly matters, get rid of lust, desire, ego, jealousy, anger, and pride, learn to free yourself from the dualities of happiness and sorrow, good and evil, honor and disgrace, etc. Oh! Mind, learn not to grieve at loss or overjoy at the gain, surrender at the lotus feet of Lord Sri Hari, contemplate and meditate upon him, and fall in love with the Jagathpitha Jagadheeshwar Lord Sri Hari like the Chathaka/birds. These Chathaka get anxious to see the full moon, get overjoyed at the sight of rain clouds, they do not drink water even from the sacred Manasarovar to quench their thirst, they yearningly wait for the raindrop from the Swathi star to remove their thirst. In this way, grow fond of Lord Sri Hari, fall in love with the Paramathma Paramambhramam reside as a soul in you, take shelter at his lotus feet, and remain in supreme bliss. Oh! Mind, whoever surrendered at the lotus feet of Lord Sri Hari would get freed from the sufferings and grief of worldly existence and remain protected always. Oh! Mind, learn the love of the lotus flower towards the sun/Lord Surya, it absorbs all the heat from the sun, even after living in the water, sometimes it gets dried up along with the water, but its love for the sun never diminishes. Oh! Mind, learn the love of fireflies that gets attracted towards the flames and burn into ashes, but it never leaves its attraction towards the flames. Oh! Mind, see the love of fishes for the water, whenever the sun dries up the water all the living creatures in the water get alarmed, yearn for its immediate presence, the water does not care about the living things in it, or die without it, but the aquatic creatures never leave its love for the water. Oh! Mind, learn the love of the dove to its female partner, it flies high in the sky with great enthusiasm, and if it notices its female companion on the ground, it will control its breath, and dash to Earth, eventually it will fall on the Earth with a loud thud and die. Oh! Mind, learn the love of Harina/deer, it is a great lover of melodious music, it enjoys the music with its back feet raised from the ground, which is the only source to sprint, unfortunately, the hunter approaches the deer and shoots an arrow on its chest, and it gets killed. Oh! Ignorant, the woman who lost her husband would embrace the funeral pyre of her husband, willingly or unwillingly, it was her love for her husband that forced her to burn herself into ashes. The Veda and Shastras emphasize that the stealing, and burglary, are the grave sins, which creates trepidation not only to the doer but also to whoever witnesses the same, but the stealer or thieves who are soaked in this habit do not think of the consequences of it or do not leave their habit even if they are helpless to do it. The love is superior among all the emotions, the people who are drenched in the material matters of possession, wealth, money, richness, fame, children, wife, relatives, and companions, are gamblers sacrificing their body, mind, wealth, and their youthfulness, indulging in material and physical pleasure of toxic poison of worldly matters, finally get defeated by the ‘Time’/aging, illnesses, fear of death, separation from beloved ones, etc. Alas! their love for physical and material pleasures won’t leave them. Oh! Mind, you have achieved the rarest birth as a human, it is considered as the most precious gem, but you have not utilized it properly. Oh! Mind, you have not practiced austerities, penance, Swadhayaya, non-violence, truthfulness, purity of mind, celibacy, self-control, Shamadhamadhi, etc. you did not take up the austerities to burn the impurities of the mind. Oh! Mind, you might have heard of various legends of love, why do not you practice the pure love upon that Sacchidhanandha Swaroopa Paramathma Parambhramam resides as a soul in you? Aren’t you ashamed of it? He is supreme Lord Sri Hari who is the Lord of the Universe, he is the protector of living and living things in the Universe, he is the source of happiness and welfare, he is Prana/soul /vital air which is the sole source for the functioning of the mind, intellect, Karma, Gnananedhriyas/sensory organs, Chiththa/wisdom, Ahamkara/attributes, Prana, etc. how could you forget that Paramathma Parambhramam? Oh! Ignorant, the Veda, Purana, Agamashasthras, Rishis, Sages, and deities and humans’ worships that supreme Lord Sri Hari, who is omniscient, omnipotent, and omnipresent, he represents all the living and non-living things in the Universe, he is all-pervasive supreme Bhramam represents Khaga/birds, Mriga/animals, Nara/humans, even the minuscule creatures, in the Earth, Air, Sky and Water and finally, there is nothing other than Lord Sri Hari in the Universe. He is the Lord of the Universe, he is kind and compassionate/Dhayalu and Kripalu/ benevolent, merciful to the living and non-living creatures. Oh! Ignorant, there was none to protect you while you were in your mother’s womb, you were a helpless mass of meat, you were in extreme agony, without limbs, at that point the supreme Bhramam reside as soul/Prana, protected you. The compassionate Lord was protecting you day and night in the mother’s womb, he made a source of air, water, and food for you in the mother’s womb and nurtured you. Finally, you have been pushed out of the mother’s womb after ten months of hellish torture in the dark and tiny space, falling upside down on the Earth, by the time, the compassionate Lord arranged mother’s milk to nurture you. Oh! Ignorant, you were Jada/without consciousness in the mother’s womb, the compassionate Lord who is the creator of the Universe, with the Rajasik, Thamasik, and Sathvik attributes from the Panchathaththva/five elements such as water, air, ether, earth, and fire, infused life/Prana and attributes in you. He meticulously provided the nose, eyes, ears, legs, hands, hair, nails, etc., he provided you the necessities of life such as food, shelter, and clothing. He provided parents and siblings according to your taste and habits, he provided you relatives, companions, servants, children, wife, wealth, richness, fame, money, etc. Oh! Ignorant, you have completely forgotten that Sacchidhanandha Swaroopa Paramathma who has protected you and provided welfare and happiness in your life, Oh! Mahamoorkh/dull-mind, how could you forget that supreme Lord and chase after the toxic poison like worldly matters? Your youthful days are over, and your entire life has been wasted chasing after physical and material pleasure. Oh! Fool, you are like the morally wrong person who approaches a strange woman in the dark hours for physical pleasure, and returns home in daylight with fear/the night hours represent the toxic poison of worldly matters, and daylight is later years of age/Mahamrithyu Bhaya/fear of death. Oh! Ignorant, you have been soaked in worldly matters, lust, desire, ego, jealousy, anger, and pride, Ahamkara, and Mamakara, it enhanced the flames of arrogance and ignorance in you, thereby you have lost the eyesight of wisdom, hence you have completely forgotten the Sacchidhanandha Swaroopa Paramathma Parambhramam who is most promising reside as a soul in you. Oh! Mind, the later years of age are miserable, there won’t be no one to protect you from the dreadful emissaries of Lord Yama who torture you for the sins committed, no one would be there to protect you, not even your Bandhu and Bandhava/family and relatives. Oh! Kubudhdhi/wicked, you do not even know how many times you had the experience of hellish torture of Garbhavasa/sufferings in the mother’s womb and the dreadful emissaries of Lord Yama. Oh! Ignorant, how could you achieve happiness in this life keeping yourself afar from the compassionate Lord Sri Hari? Oh! Mind, Oh! Ignorant, aren’t you ashamed of yourself? I have been uttering this for thousandth times, you did not practice devotion, austerities, or singing in praise of Lord Sri Hari.” Man RE Madhava Sau Kari Preethi | Kama Krodha Madha LobhaThu Cchadi Sabai Bipareeth || Bhaura Bhogi Ban Bhramai /re Modha Na Manai Thap | Sab Kusumani Mili Rasa Karai / Pai Kamala Bandhavai Aap || Suni Parimithi Piya Prema Ki /Re Chathaka Chithvana Pari | Dhanasasa Sab Dhukha Sahai/ Pai Anath Na Janchai Bari || Dhekhau Karani Kamala Ki /Re Keenhau Rabi Sau Heth | Prana Thajjyau Prema Na Thajjyau/ Re Sukhyau Salila Sameth || Dheepak Pari Na Janayi /Re Pavak Parath Pathanga | Thanu Thau Thihi Jwala Jarayau/Pai Chith Na Bhayau Rasabhanga || Meena Biyoga Na Sahi Sakai/Re Neer Na Poochai Bath | Dhekhi Ju Thu Thaki Geethihi Re Rathi Na Ghatai Than Jath || Parani Pareva Prem Ki /Re Chith Lai Chadath Aakas | Thaha Chadi Theeya Jo Dhekhayi/ Re Bhu Par Paratha Nisasa || Sumiri Saneha Kuranga Kau/Re Sravanani Rachyau Raga | Dhari Na Sakath Paga Pacchmanau/Re Sar Sanmukha Ura Laga || Dhekhi Jarani Jada Nari Ki /Re Jarathi Prema Ke Sanga | Chitha Na Chith Pheekau Bhayau/Re Rachi Ju Piya Kau Ranga || Loka Bedha Barajath Sabai /Re DhekhathNainani Thrasa | Chor Na Chith Chori Thajai/Re Sarbasa Sahai Binasa || Sab Rasa Kau Rasa Prem Hai /Re Bishayi Khelai Sar | Than Man Dhan Jobana Khasai/Re Thau Na Manai Har || Thau Jo Rathana Payau Bhalai/Re Janyau Sadhi Na Saj | Premakatha Anudhin Sunai /Re Thau Na Upajai Laj || Sadha Sanghathi Aapanau / Re Jiya Kau Jeevanapran| Su Thau Bisarayau Sahaja Hi/ Re Hari Eshwar Bhagavan|| Bedha Purana Smrithi Sabai/Re Sur Nara Sevath Jahi | Mahamooda Ajjana Mathi/ Re Kyau Na Sambharath Thahi || Khaga Mriga Meena Pathanga Lau /Re Mei Sodhe Sab Dair | Jala Thala Jeeva Jeethe Thithe /Re Kahau Kaha Lagi Aur || Prabhu Poorana Pavana Sakha /Re Pranani Hu Kau Nath | Parama Dhayalu Kripalu Hai /Re Jeevan Jakau Hath || Garbhavasa Athi Thrasa Mei/Re Jaha Na Yekau Anga | Suni Sad Therau Pranapathi/RE Thahau Na Chadyau Sanga || Dhinrathi Poshath Rahyau/Re Jausau Choli Pan | Va Dhukha Thau Thohi Kadi Kai/RE Lai Dheenau Pathapan || Jin Jada Thau Chethan Kiyau/Re Rachi Guna Thaththva Bidhana | Charana Chikura Kara Nakha Dhaye/Re Nayana Nasika Kan || Asana Basana Bahubidhi Dhaye /Re Ausar Ausar Aani | Mathu Pitha Bhaiyya Mile /RE Nayi Ruchi Nayi Pahichani || Sajana Kudumba Parijana Bade/Re Sutha Dharana Dhana Dham | Mahamooda Bishayi Bhayau /RE Chith Aakarshyau Kam || Khan Pan Paridhana Mei /Re Jobana Gayau Sab Beethi | Mor Bhaye Bhayi Beethi ||Jaisau Sukhahi Than Badyau/RE Thaisau Thanahi Ananga | Dhooma Badyau Lochana Khasyau/Re Sakha Na Soojjyau Sanga || Jama Janyau Sab Jaga Sunyau /Re Badyau Ajasa Apar | Beech Na Kahu Thab Kiyau/Jab Dhoothani Dheenhi Mar || Kaha Janau Kaiva Muvau /Re Yaisau Kumathi Kumeech | Hari Sau Heth Bisari Kai/RE Sukha Chahath Hai Neech | Jau Pai Jiya Lajja Nahi /Re Kaha Kahau Sau Bar? Yekahu Aank Na Hari Bhaje /RE Re Sad Sur Gavar ||
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
