When I visited
Recently, I read something which took me nearer the truth in this pursuit of this secret of secrets. As usual, I am sharing here all that I learned upto now . Most of the statements are in numbered format and given as short as possible.
Chidambaram
Lord Shiva dances here in Chidambaram. Before we speak of the Dance , we will explore the stage that is Chidambaram.
A temple is called ‘Kovil’ in Tamil. It literally means( Ko- il) the abode of the Lord. Whenever the mere name ‘kovil’ is mentioned, it specially means Chidambaram which is split as Chit( gnana or wisdom) + Ambaram ( akasa or space) .
Structure of a typical Siva Temple
A classical Siva temple as per Agama rules will have five prakaras or circuits each separated by walls one within the other. The outer prakaras 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 prakara houses the sanctum sanctorum ( karuvarai in Tamil). In it sits Shiva, the supreme Lord.
Symbolism behind the structure of a Shiva Temple
1. The temple is so constructed as to resemble the human body with all its subtleties.
2. The five walls encircling one another are the kosas ( sheaths) of human existence .
a. The outermost is the Annamaya kosa , symbolizing the material body.
b. The second is Pranamaya kosa , symbolizing the sheath of vital force or prana.
c. The third is Manomaya kosa, symbolizing the sheath of the thoughts, the mana
d. The fouth is the Vignyana maya kosa, symbolizing, the sheath of the intellect
e. The fifth and innermost is the Ananda maya kosa, symbolizing the sheath of Bliss.
3. The sanctum which is in the prakara symbolizing the Ananda Maya Kosa sheath ,
houses the lord, seated as the Jiva within us. It is to be noted that the sanctum is an
unlit space, just as if within the heart closed on all sides.
4. The entry Gopuras are likened to the feet, as resembling a person who is lying on the
back with the toe up.
5. The flag post depicts the sushumna nadi which raises from the Mooladhar (base of the
spine ) to the sahasrar ( vertex in the head).
6. Some temples will have three prakarams. There they represent the stoola, sukshma
and karana sareeras (bodies) of a human being Some temples have only one and they
represent all the five.
Chidambaram temple and its symbolism:
Saint Thirumoolar, whose legend is intricately woven with Chidambaram, says in his thirumanthiram
திருமந்திரம்
மானுடராக்கை வடிவு சிவலிங்கம்
மானுடராக்கை வடிவு சிதம்பரம்
மானுடராக்கை வடிவு சதாசிவம்
மானுடராக்கை வடிவு திருக்கூத்தே
transliterated into English, it reads
mAnudarAkkai vadivu sivalingam
mAnudarAkkai vadivu chidambaram
mAnudarAkkai vadivu sadAsivam
mAnudarAkkai vadivu thirukkoothe
Meaning: “Sivalingam is of the form of the human body; So is Chidambaram ; So is Sadasivam ; And so is his divine dance”.
- The temple has the above five prakaras resembling the sheaths.
- Nataraja gives dharshan from the sanctum called Chit Sabha with a golden roof.
- The roof has 26,000 golden tiles (see picture), denoting the number of breaths of a person in a day.
- These tiles are fixed to the wooden roof with the help of 72,000 nails depicting the number of nadis (the invisible ducts carrying energy to various parts of the body)
- As the heart is to the left of the body, the sanctum in Chidambaram is also aligned slightly leftward.
- On top of the Chit sabha roof, we find nine kalasas (made of copper) depicting the nine shaktis (powers)
- The roof has 64 cross wooden reapers denoting the 64 arts.
- The artha mandapa has six pillars denoting the six shastras
- The mantapa next to the artha mantapa has eighteen pillars symbolizing the eighteen puranas.
- There are five steps leading to the Chit sabha from the Kanaka sabha depicting the five lettered Panchakshara mantra ( Na ma chi vA ya)
- The Chit sabha roof is supported by four pillars symbolic of the four Vedas.
Symbolism of Nataraja Swamy
1. Nataraja’s dance is said to indicate the five divine acts which are
a. Creation . Nataraja dances with a small drum called damarukam in one of his
right hands. Easwra is nada brahmam. He is the origin of all sounds (nadam).This is
the seed (vindu) from which the tree of the Universe emanated.
b. Protection (Operation)- In another of the right hands, he shows the ‘Abhaya
Mudra’, meaning he is the kind protector .
c. Destruction; He has fire in one of his left hands , symbolizing destruction.
When everything is destroyed by fire, only the ash will remain which the Lord has
smeared on his body.
d. The foot which is planted shows the act of hiding
e. The raised foot shows the act of bestowing
- Nataraja swamy has the Vigraha ( icon) of Devi Sivakama Sundari to his left . This symbolizes Ardhanareeswara , ‘ the Lord who has the female as his left half’. To his right there is a screen. When the deeparadhana – showing lamps takes place to the swamy and to the left side , the screen is removed and we see five vertical long hangings of golden vilva leaves. We see nothing behind it. Sivakami shows the Saguna Brahman (the God with a form) that is Nataraja . The Saguna Brahman leads us to the Nirguna Brahman (the God without form or the God who has formlessness as his form). This is told as ‘Chidambara Rahasyam’ by the Dikshitars , who are the traditional pujaris in the temple.
- Shiva’s dance is called the cosmic dance by many scholars. In Chidambaram, this dance is called ‘Ananda Tandava’
- Lord Maha Vishnu also saw the Divine dance. In a nearby mantapa called Chitrakoota, Maha Vishnu, gives us dharshan in his fully reclining Yoga Nidra pose on the snake bed. If one stands on a small lotus sculpted on the floor slab in front of Narayana, one can at the same time see Nataraja in his right side.
- Sages Patanjali and Thirumoolar also saw Nataraja’s dance in Chidambaram. Their figures are embossed on the Silver doors of the Chit Sabha.
I think you enjoyed reading the above. Nataraja Rahasyam is said to have come to Tamilnadu from the
(The pictures have been collected from the net)
36 comments:
EXCELLANT WORK
"Kishore patnaik"
hidambaram is a lofty set of Cosmological Secrets. It is no wonder
that the phrase " Chidambara Rahasyam" is popular all over South India
to signify a deeply kept secret.
It is Fritjof Capra who has tried to capture this essence of
cosmological presentation that has been made in the Nataraj of
Chidambaram.
http://timesofindia.indiatimes.com/articleshow/1857054667.cms
"Fritjof Capra catapulted Nataraja into a modern-day scientific icon
when he euphorically stated in his cult book of 1974 The Tao of
Physics that ''the dancing Shiva is the dancing universe, the
ceaseless flow of energy going through an infinite variety of patterns
that melt into one another''."
Only recently, I came across two other cosmological aspects of this
Great Temple, which shares these secrets with Egypt.
The Chidambaram connected to Egyptian cosmological influences in the
following aspects:
1.Their sphinx has been represented by us as purusha mriga .
2.The mystery of Orion is present in both pyramids & chidambaram
http://www.geocities.com/rdeekshithar/pagina1.html
However, it is not new that Temples of India are a Scriptural
representations of Cosmological effervescence. For eg., I came across
very recently in a book about the concept of Tarakka, that the ancient
monuments being reflections of Stars.
It took lots of time for me to search for this paper on the net but
somehow I could get it.
http://www.grahamhancock.com/forum/DBhattacharya1.php
I invite comments from every one,
Kishore patnaik
great work...
but i do have one comment and one doubt...
first my comment............isnt the secret that the half seen which is the left side ,in the form of a lady.....this means that our ancestors and the gr8 scholars wwanted us to know the truth that the ONLY visible GOD in the universe is a LADY and that is mostly OUR MOTHERS....(On A Lighter Note: so much so that this defeats the colloquial theory that by meaning chidambaram rules it actully the lady in the house reins..)
my doubt now..the golden covering of the temple was done very recently and long after the temple was constructed..so many of your explanantions are in reference with this..so how do you explain when the inside inscriptions that is the ones below the gold covering are one and the same first and what if they differ.........is it just an explanation of justification and conveinience....
A very good question
The golden tiling was done by King ParAntaka Cholan, father of Raja raja Cholan in about 1000 AD. But, the temple existed before that. The Agamic masters of the chola period must have refined the work by adding these subtleties.
There is another fact. The saiva Agamas based worship and construction generally followed in other Shiva temples is not followed in Chidambaram. The procedure used was given by Patanjali himself , it is said.
Thirumoolar, whose history remains a mystery, is said to have lived between BC 6000 and BC 3000 ( he lived for 3000 years singing one song per year). and also at 6 th century Ad. He has in detail explained about Chidambaram.
Our ancestors chose to prefer anonimity, and self oblivion and we still grasp for light on our past.Though not an answer in toto to your question, this is an effort in that direction.
Venkat
Om Nama Shivaya
Great post detailing the intricies of Chidambaram. I have referenced this on my blog at
http://dhriti.wordpress.com/2008/02/07/chidambara-rahasyam/
-Dhriti
parameswaran said
I have visited the great temple many times
now I have got the explantion to understant the great temple BETTER
Thanks
Parameswaran
Jai Sri Ram
A reply from Sri Ram, was sent to me through Sri Parameswaran. I thought it fit to provide the info as it is. My reply will be posted separately.
++++++++++++++++++++++++++
I read with interest the information on Çidambaram as explained by ‘Venkat’. He starts by saying that he would explain the rahasya, but has never done that at the end. I still could not understand what he refers to rahasya at the end.
I saw a comment by one ‘Parameswaran’ at the end of the blog and I thought it could be you and based on that guess, I believe you are interested in this topic and therefore, I am offering some explanation on Çidambaram, some according and endorsing Venkat and some disputing Venkat.
For a lucid commentary on the Ananda Tandava the best resource to consult will be the texts by Dr Ananda K(entish) Coomaraswamy, a geologist—art historian—Indologist. He has provided the best commentary, in my opinion.
Çidambara
Basically Çidambaram is known in ancient Tamil references (e.g., Sangam period literature) as Tillaivanam, referring to the forest (= vanam) of Tillai tree, which is a mangrove species (Excoecaria agallocha). This particular taxon tillai, because of proximity to the coast, grows abundantly in this region and according to mythic references, a siddapuruşa by name Pulippaani Sithar (Vyagra-paada--Samskrit) lived in this area, who worshipped the Lord of Çidambaram. At least during the time of Pulippaani Sithar, this place was known as Tillaivanam only.
The name Çidambaram (as explained by Venkat: Çith+ambaram) came into existence much later, although we are unsure the exact time. But during the time of the 63 Nayaanmaars (= Saiva samaya leaders), this name Çidambaram existed, because in Tevaaram references to the term Çidambaram occur plentifully. And this period is certainly about the time of Mahendra Varma Pallava (6th century AD), because Mahendra Varma was converted into Saiva faith from Jain faith by the action of Tirunavukkarasar (= Appar). Of course, much contribution was made by the Çola King Raja Raja (11th century AD) and his accomplished sister Kundavai Naacchiar in contributing substantially to the repair of the ramparts of the temple of Çidambaram and also in retrieving Tevaaram -- the contribution of the naalvar, viz., Appar (Tirunavukkarasar), Tirugnanasambandar, Sundarar, and Manikkavasakar from the cellars of Çidambaram temple.
According the Saiva faith, Siva exists as five bhutas (the sky, water, land (=soil), fire, and air) and Siva is worshipped representing each of these bhutas: e.g., Tiru-aanai-k-ka (near Sri Rangam) represents Siva as air/wind. In a similar context, in Çidambaram, Siva exists as the sky (the vast empty space; we ecologists refer to this as the atmosphere, which has several layers including a vacant space [recall what the late PRK researched on, while at IIT (Powaii), on the atmospheric vacuum].
Therefore, the priests at Çidambaram explain the existence of the Lord as akaasa (the sky; empty space), when devotees seek an explanation for the rahasya. The rahasya according to them is the very existence of Lord as vacant space, an element only the enlightened can relate to, understand, and appreciate; for the less enlightened, it will be a hard phenomenon to relate to Siva as vacant space.
However, some historians challenge this theory. According to them, the name Çidambaram (until then, Tillaivanam), came into existence with the movement (migration) of certain group of people from somewhere in far north of India, to whom Venkat refers as the people from Saraswati civilization (similar to the Indus Valley Civilization). This means, those people came approximately from the present Delhi —Kanpur-Illahabad belt. However, I recall reading that the migrants were from Kashmir (the Kashmiri Brahmins – Pandits), who were Siva worshippers and because of the extensive Jain faith domination in the far north of India at that time, (4th--6th centuries). No convincing explanation exists as to why and how these Pandits (the migrants from Kashmir/Delhi-Kanpur-Illahabad belt) selected this area. Were they attracted by the serenity of Tillaivanam or did the Kollidam river attract them? Not clear at this stage.
What is clear is that the temple, which these migrants (= foreigners) created was different to those temples that were existing already in southern India in several ways:
1. They never referred to their temple (temple of the Lord of Çidambaram) as Ko-il (here I dispute Venkat). Çidambara temple is always referred as ambalam (a chaste Tamil word that exists in contemporary Malayalam); because of the golden roof, the temple is wholly referred as Pon-ambalam (because of the golden-roofed dance hall, it is Kanaka-sabhai).
2. In all the then prevalent southern-Indian Siva temples, the principal deity (= the moolavar) is always in the form of linga, whereas in the Çidambaram temple alone, the moolavar and the utsavar are one and the same pançaloha idol; during veedi-ula, the same idol is taken out in procession and the garba-griha remains empty (vacant).
3. The Brahmins, who own the hereditary trusteeship of this temple, are referred in Tevaaram as ‘tillai-vaazh-aņdanar-moovaayiravar’ specifically, which makes them special in context of the remainder of the community in southern India of that time. Given that Tirugnanasambandar (son of Sivapaada-hirudayar, Sirkazhi) was also a Brahmin (aņdanar) by birth, why the Brahmins of Çidambaram alone came to be referred as ‘tillai-vaazh-aņdanar-moovaayiravar’ remains an unanswered question. But what is obvious is that they were unique, which could mean someone different from the locals. [An ordinary analogy could be in Madras context any northern Indian migrant is a maarvaadi, whereas the person in reality could be from Gujarat and need not be from Maarvaar at all!]
I have not explained the rahasya yet; but all the above circumlocutions are necessary to set the context for explaining the rahasya (according to a few historians).
Please recall that I indicated at the beginning of this commentary that the modern priests will show to a cellar (from where the Çola King Raja Raja retrieved the Tevaaram palm-leaf notes) and refer to it as the empty space –- the metaphysical symbolism of akaasa (emptiness).
Some of the historians refer to this cellar was the chamber where the migrant Pandits used to end their lives –- usually by fasting to death -- once the life purposes on this earth were done (= completed; achieved). Ending one’s life (through either drowning in running waters or fasting to death or subjecting oneself to being eaten by wild animals) is permitted in Saiva faith (also accepted by the modern eclectic Hinduism), provided all responsibilities of that individuals have been completed. [Recall that, in recent times, Vinobha Bhave denied food and water, and thus starved to death.] Resorting to one of the identified three mechanisms to end one’s life is not a sin, whereas ending one’s life through other means (e.g., consuming poison or hanging oneself) is a sin, according to Hindu belief. This practice (i.e, ending one’s life at the completion of all obvious purposes) was prevalent in Jain faith of that time, more than in Saiva faith of southern India . The northern-Indian migrants who came to Tillaivana were influenced by some of these Jain practices and they practiced it in Çidambaram temple (in the cellar that was directly under the Garba-griha). An oversimplified explanation for this is that they believed that a savam becomes sivam in such a context. In the then existing Saiva faith (e.g., in the 4th--12 century Tamizhagam), this was an unacceptable practice. Even today, when a funeral procession proceeds on the street or road that abuts on the entrance of a temple, the priests would shut the main door/gate of the temple till the funeral procession gets past.. Under such circumstance, the migrant Pandits, who followed a ‘bizarre’ practice of dying within the temple precincts, kept it as a secret and retained it within their clan (the dikshitas of Çidambaram).
The following comment has no obvious link either to Çidambaram or to the diskhitas. The Lingayats (the Virasaivaites; from the Carnatik, which implies parts of modern Karnataka and Central Andhra Pradesh) have similar (note ‘similar’ only and not ‘same’) practices.
Will stop here; any questions, will be happy to reply
Affectionate
Ram
As a person who has visited Chidambaram temple number of times,on careful scrutiny and watch found the garlands are hanging from a big lingam which has thousand lingams ingrained in one.Due to some people ,the Chidambaram Lingam is not worshiped and why? This needs answer. If a fact finding committee is allowed then,the answer will be known
An amazing piece of information indeed on the well-known chidambara rahasya by Shri Ram.I have never read such an astonishing account on the rahasya anywhere.May I convey the material trusting the veracity of it to my friends and people in satsanga?Would somebody corroborate the finding?
The essence of a temple is to practice satsanga and clarify the doubts in the day to day life i.e. swadharma palan. This is the sole reason for the manifestation (swayabhuvus) of the celestial abodes on this very earth. The temples, for your indormation, are the stepping stones in the tradition of bhakthi, but not of yukthi. The tradition of yukthi involves the philosophical texts.
I can see, that you are relating two disjoint domains. Though the motives for both domains being the same i.e. of liberation, you cannot relate two different domains unless you know the paths in each domain and what is the analogy between them. Since, with all due respect to everyone, relating two domains demands having in depth understanding of at least one of the domains, one should is not qualified to comment or interpret.
An article that left me spellbound.I am afraid I do not possess enough words to appreciate your article and your work.Truly excellent.
Thanks for the work.
Hello sir,earlier 3 years i saw a serial in t.v regarding chidambaram rahasyam in tht they have shoun 5 shiv lingas made of 5 different stones immersed in a well made the well water as a medicine will it belong to chidamabaram rahasyam or not is their any place in tamil nadu with this history or real lingas,plz help me in this matter,as iam very eager to know whether it is true or not.
you have a wonderfulblog. I really appreciate the effort u have taken:) very informative. thanks!
I would like to add the following to the discussion.
Re: Thillaivazh Andanar Moovaiyaavar:-
According to one report, Lord Shiva performed Ananda Thandava (Cosmic Dance) for Pathanjali / Vyaghrapadha on a Thai Poosam Day which was a Thrusday. This is referred to as "Thai Masathil Guru Possathil" by Gopalakrish\na Bharathi in his son "Nadanam Aadinaar". When Shiva came down to Thillaivanam to dance for his devotee, the Shiv Ganas also came with him and on the request of Pathanjali/Vaygrapatha Shiva stayed here to give dharsan his devotees in the dancing posture. The Shiv Ganas who came with Lord Shiva stayed back to perform pooja and they were three thousand in no. When they counted themselves they found one missing and lord nataraja was reproted to have stated that he is the missing person and the 3000 would incldue him. The Nataraja Vigraha has tuft just like the Dhikshitars. As they are a seperate clan even though they are brahmins, they are known as Thillai Moovayiravar or Thillai Vazh Andhanargal.
Re: Concept of Chidambara Rahasya"
I would like to add the to what has been stated by Venkat.
As Chidambaram is Akasha Ksehtra of the Pancha Bootha Kshetras, the Swmai Akasha Linga is invisible and we have to visualise the lord by his golden vilva hara. This explanation is for those less enlightened.
On a higher spiritual level less enlightened (those who dwelve in Agnana) need a form to pray to while those who have attained enlightenment (Meignana) need no form to pray to.
This is the essence of Chidambara Rahasya.
Nataraja,
U r absolutely right. Those who live in agnana need a form to pray to, and those who've attained enlightenment there is no need for any kind of idols, as they have reached the next level.
This compilation on the Chidambara Ragasiyam is awesome. Hats off!!! well done.
Thanks for the explanation about the temple.
i was particularly interested in the song by thirumoolar.
The explanation and the song indicated one thing, that the whole temple can be related to a human being, and if god is depicted as empty space, then he is within the chidambaram temple which means within the human being.
Excellent Accounts given By Mr. Ram and Mr. Nataraj.
One clarification I would like to hear from any one who know is regarding the number 63 nayanmars Vs 3000 ShivaGanas.
When I visited more than 15 yrs ago, I remember a friend of ours who is close to the Dikshatar clan gave us most of the detail you both have listed and I concur.
However, I recall, one of the Dikshatar mentioning that there were 64 Nayanmars who descended to the Chidambaram for the Celestial performance of Shiva, but as they counted on a plan to exit the planet earth, there were only 63 and the one left out was Lord Shiva himself. Since he enshrined himself as the Akhasa Linga, the rest of the 63 Nayanmars decided stay behind and care for the deity.
Besides, It is believed that the Dikshatars whom we see in the temple complex are direct descendants of the 63 Dikshat families. They do take turns to perform priestly duties through out the year.
Also, the Chidambara Ragasiyam is Shiva existing in the AkashaLinga form and it is a empty space adjascent to the Karpagraha, I remember peering into the Dark empty space - and the Dikshata who guided us there said THIS is the Chidambara Ragasiyam.
=Bala
Re: Balas' query on 63 Naynmars vs 3000 Shivaganas.
Plese refer to my earlier post. The dhikshidars of Chidambaram Temple are descendants of Shiv Gansa and not descendants of Nayanmars.
As regads the 63 Nayanmars, They are Sivandiyars. Although the sivanadiyars (Worshippers of Lord Shiva) may be in Thousands if not in lakhs or crores, the no. 63 has its origin from Thituthondathogai of Sundaramoorthy Nayanar.
It is well known that Sundaramoorthy Nayanar treated Lord Shiva as a Friend and hence is known as Vanthondar. It is stated that a sivanadiyar sitting in the Tiruvaru Temple scolded Sundaramoorthy Nayanar for not acknowledging and respecting Sivanadiyars as he treats him on par with Lord Shiva and that Sundaramoorthy Nayanar sang a poem in which he states that he is a slave of the sivanadiyars described in the song. This song is known as Thiruthondathoogai which starts with the Words, "Thillai Vaazh Andanar tham Adiyarkum Adiyen, Thiruneelakanda Kuyavanarkum Adiyen, Illai Enatha Iyarpagaikkum Adiyen"
Sundaramoorthy Nayanar sang about 62 people in this song and adding him they made it 63 in all and these 63 are known as Nayanmars. The Periya Puranam or Thiruthondar Puranam of Sekkizhar is based on the Tiruthondarthogai.
An irony is that how Sundaramoorthy Nayanar chose the 62 people is not clear. He had included some about whom there is not much info and had also included his parents as 61 and 62 which has to be taken as his respect to his parents but he had left out Manickavasagar who is a great devotee and beleived to have lived at least 2/3 centuries before him. Thus Despite the glory of his Thiruvasagam being written by Lord Nataraja himself (Azhagiya Thiruchitrmbalamudaiyan) and his Thiruvasagam being explained by the Lord as nothing but himself and renonwned by the term " Thiruvasagathukku Urugathar Oru vasgathukkum Urugar", Manickavasagar does not find himself amongst the elite 63. The nayanmars come from different castes and are not brahmins alone. Thiruneelakanda Nayanar was a potter, Meiporul Nayanar was a Kshatriyar, Kannappa Nayanar was a Tribal (Hunter), Nandhanar was a Harijan. Thus it is not correct to conclude that the Dhikshidars are descendants of Nayanmars is not correct.
For other details, please refer to my earlier post
Very nice presentation and all commentaries on the subject
I heard that the golden vimanam over the Kankasabai is unique in temple structure and exists nowhere in any Hindu temples. It is said that the Vimanam presents grouping of one Siva Linga over the other and you see this formation only in Mt.Kailash
Comments worth reading
Have anybody seen the Abishekam. It is done on an idol of Sri Nataraja in red transparent stone. The priests use to remove the idol from its pedestal which will reveal a Shivalinga which is of Manikka stone and abishekam is done to this Shivalinga also. it is usual to refer to this idol as Rathna Sabapathy.
In ancient days it was cutomary to have six poojas a day in all the temples. In Chidambaram puja is performed 6 times a day "Aru Kala Poojai" around 8 am, 10 am and 11.30 am in the fore noon; around 6 pm, 8 pm and 10 pm in the evening.
In all the six pooja times, Abishegam is performed on a Spadiga (Crystal) Linga. In the pooja performed around 10 am in addition to the abishegam for the Spadiga Linga, absiishegam is performed for Rathna Sabapathy (A Ruby Stone idol of Lord Nataraja).
Both the Spadiga Linga and Rathna Sabapathy are placed on the same pedestal.The speciality of this is that after showing Campahor Aarathi the Dhiskshidar shows the Campahor behind the idol when the full form of the lord is visible which is soemthing everyone should see for himself.
Now six pooja a day is performed only in a few temples. Many tempels managed by the HR&CE Board of the Government of Tamilnadu sport a Board stating that the temple is covered by "Oru Kala Poojai Thittam" meaning that pooja is performed only once a day. It is a shame such a Board which is spending / diverting money from rich temples to constuct Marraige Halls, Guest Houses and also use it for Kumababishegam of other imporatant temples but does not care to divert even a portion of the revenue of rich and famous temples to nearby rural tempels to ensure that pooja is performed at least twice a day (once in the morning and once in the evening) if not for six times a day. that is hell bent on wresting the administration of Chidambaram Temple from the Dhikshidars.
its really excellent
Jai Gurudev!
Ii just visited the temple yesterday and the aura is too great!! Before the sanctum sanctorum opened I did a brief meditation and it was intensely peaceful.
What Ram is saying silly. It is pathetic that without due check he is writing anything he wants to!
1. Anyone well versed in Tamil Nadu will know that Kovil do signify Chidambaram only.
2. Yes Tillaivanam is also a name for Chidambaram temple. Infact most of the ancient and sacred temples have multiple names. This does not mean that people concoted a story out of Chidambaram. there could be thousand interpretations for name..for eg..many say Chidamabaram denotes Chitr + Ambalam (your very heart) --In most temples in South India atleast, the worshipers first pay their respects to flag(kodi maram), bali peedam and vahanam (bull, lion, peacock, elephant as appropriate for deity)and get near the sanctum sanctorum. Whereas in Chidambaram, all locals go through the side entrance (left of kanagasabai) ...some said even blood does not reach the heart straight but circumbulates...what you say for this
3. It is just not only Chidambaram which has moortham as both moolavar and urchavar for Sivan. Thiruvarur Thiagarajar is one, Sri Kalasamharamurthy is another and there are many.
4. Thinking of doing a Jain practice of starving to death in garbagraham at Chidambara Rahasyam is preposterous and worse is comparing it when temple is closed during death procession! Get the facts right before you write something..dont preach false propaganda! Chidambaram is the most important temple of Siva Worshippers. Please take care.
Thennadudaya Sivane Potri!!!
Yennaattavarkum Iraiva Potri!!!
Awesome points to ponder over... Great Work
Dear Venkatasubramanian
Can you please the exact reference to the book you read about Chidambara Rahasym?
thanks
Excellent. I was researching Chidambara Rahasiyam, and your blog is superb.
Interesting ...........
Great work so many times read and gave it my sons and daughter to read.
yellam sivan seyal sivaanugraham petru vazhaa thiyanikkiren.
Tiruchitrambalam
Question to Mr. Venkat
Today my son asked why temples having koburam and sillaigal.
As per Thirumoolar namathu udambe kovil and he refer each and every part of our body same as Agathiyar also referred our body is kovil.
please email about this.
Chandrasekaran said....
I recently visited Thillai Nataraja Temple in Chidambaram. I observed one think which has not been quoted any of the description about this temple. That is the presence of Thillai Govindaraja Perumal in the Anandasainam Posture. A quick glimpse of this reveals me one message that both the Lords, Shiva and Perumal, are present in the Temple at 90 degree to each other. And the posture of Perumal is as if HE is watching the Dance of Lord Shiva. Now Is this what the real Chidambara Ragasya ?
எனக்கு தெரிந்த வரையில் சில விஷயங்களை இது சம்பந்தமாக உங்களுடன் பகிர்ந்து கொள்ள ஆசை படுகிறேன் ..தில்லை புராணத்தில் .. மஹா விஷ்ணு பாற்கடலில் ஆதி சேஷன் மீது பள்ளி கொண்டிருக்கிறார் .. திடீரென்று ஆதிசேஷனால் பெருமாளின் எடையை தாங்க முடியவில்லை கடலுக்குள் முழுகிக்கொண்டு இருக்கிறார் .. பெருமாளே என்னால் உங்கள் சுமையை தாங்க முடியவில்லையே காப்பாற்றுங்கள் என்று கதறுகிறார் .. உடனே சுமை குறைந்து லேசாக ஆகிறார் பெருமாள் .. இப்பொழுது ஆதிசேஷன் பெருமாளிடம் கேட்கிறார் .. என்ன சுவாமி இப்படி நடந்ததே என்ன சோதனை இது என்று .. பெருமாள் அதற்க்கு பயப்படாதே இத்தனை நாள் எனக்குள் வைத்து அனுபவித் ததுக்கொண்டிருந்த ஆனந்த நடராஜ் மூர்ததியை இன்று வெளியில் வைத்து ஆராதித்தேன் இரண்டு பேர் ஆனதால் உன்னால் தாங்க முடியவில்லை என்றார் உடனே ஆதிசேஷன் தானும் அந்த ஆனந்த தாண்டவத்தை பார்க்க ஆசை கொண்டார்
அதற்கு பெருமாள் நீ தில்லை வானத்தில் போய் தவம் செய் சுவாமி உனக்கு காஷி தருவார் என்றார் . அதன் படியே ஆதிசேஷன் பதஞ்சலி யாக தில்லை வனத்தில் தவம் செய்து கொண்டு இருக்கிறார் .அதே நேரத்தில் இனூறு முனிவர் அதே தில்லை வனத்த்தில் மூலட்டாநேசுவரருக்கு (இவர் தான் தில்லையில் மூலவர் ) மலர் தொண்டு செய்யும் போது அதிகாலை தேனீக்கள் மலரில் தேனை குடிப்ப்தற்குள் மலர்களை பறிக்க வேண்டும் என்பதற்க்காக காட்டில் அலைந்து திரிய சுவாமியிடம் புலிக்கால்களை பெற்று தவம் செய்து வருகிறார் .. இப்படி பலபேரின் தவம் பலிக்க சுவாமி மார்கழி திருவாதிரை நன்னாளில் அவர்களுக்கு ஆனந்த தாண்டவ தரிசனம் தருகிறார் அதை நந்தி முதல் அனைவரும் கண்டு களிக்கின்றனர் .. சுவாமி ஆடி நிறுத்தும் போது உடுக்கையில் கடைசியாக 14 ஒலிகள் எழுந்தன அதை பதஞ்சலி முனிவர் அப்படியே எழுதி வைத்து அதற்கு ஊரை எழுதுகிறார் அந்த சப்தங்கள் தான் மாஹேஸ்வர ஸூத்ரம் என்று சமஸ்கிருத இலக்கணம் அதற்கு பதஞ்சலி முனிவர் எழுதிய உரை தான் வியாக்ரணம் இது போல் யோகா சூத்ரங்கள் முதிலிய பல அரிய புத்தகங்கள் எழுதி மீண்டும் பார்கடலை அடைய ஆசை கொண்டு தான் எழுதியவற்றை உபதேசம் செய்து விட்டு போக நினைத்தார் . இது ஆதி சங்கரர் வரல்லாற்றில் போகிறது .கௌட பாதர் கோவிந்தர் இப்படி ..
ஆதி சங்கரர் கைலாய மலை சென்று சுவாமியை நேரே த்ரீசித்து 6 ஸ்படிக லிங்கமும் சௌந்தர்யா லஹரி ஸ்தோத்திரமும் வாங்கிய வரலாறு தெரியும் அதில் மோக்ஷா லிங்கத்தை சிதம்பரத்தில் பிரதிஷ்டை செய்கிறார் அதுவே இன்று நாம் பார்க்கும் ஸ்படிக லிங்கம் ..
இன்னொரு வரலாறு :
வட தேசத்திலிருந்து ஒரு ராஜா பெரிய யாகம் ஒன்று செய்ய ஆசைபபட்டு சிதம்பரம் வந்து தீக்ஷீதர்களை பிரார்த்திக்கிறான் .[ எல்லா யாகங்களையும் தொடர்ந்து முறைப்படி வாழ்நாள் முழுவதும் செய்பவர்கள் தான் தீக்ஷீதர்கள் ..மற்ற பிராம்மாணர்கள் இப்படி யாகம் செய்தால் மூன்று தலை முறைக்கு மட்டுமே இந்த தீக்ஷீதர் பட்டம் ஆனால் சிதம்பரம் தீக்ஷீதர்கள் மட்டும் இதை தொடர்ந்து வைத்துக்கொள்ளலாம் ஏனென்றால் இவர்களில் சுவாமியும் ஒருவர் அதுமட்டுமல்ல இவர்கள் இன்று வரை ஆசார அனுஷ்டாங்களை விடவில்லை யாகமும் விடவில்லை இதை சுவாமியே சொல்கிறார் இந்த புராணத்தில் இவர்கள் மொத்தம் மூவாயிரம் பேர் ] அவர்களும் ஒத்துக்கொள்கிறார்கள் .. ஒரு பில துவாரத்தின் வழியாக அவர்களை அழைத்து செல்கிறான் [may be compared with today's underground tubular transportation or sub marines ] அங்கே சென்று எண்ணிப்பார்க்கும் பொழுது 2999 பேர் தான் இருந்தனர் ராஜா மிகவும் வருத்தப்படுகிறான் .. அப்பொழுது சுவாமியே இந்த 3000 பேரில் நானும் ஒருவன் இப்பொழுது கணக்கு சரியா என்று கேட்கின்றார் . அதனால் தான் திருதொண்ட தொகை பாடும் போது "தில்லை வாழ் அந்தணர் தம் அடியர்க்கும் அடியேன் " என்று பாடுகிறார் சுந்தரர்
பிறகு யாகம் செய்து கொடுக்கின்றனர் . யாகம் முடிய உச்சி பொழு ஆகிவிட்டது தீக்ஷீதர்கள் சாப்பிடாமலேயே கிளம்புகின்றனர் .. ராஜா எவ்வளவோ கெஞ்சி பார்த்தும் நாங்கள் நடராஜா பூஜை செய்யாமல் சாப்பிட மாட்டோம் என்கின்றனர் .. ராஜா பட்டினி போட்ட பாவம் வருமே என்று சுவாமியீடமே முறையீடுகின்றான் அப்பொழுது சுவாமி தீக்ஷீதர்களிடம் தொடர்ந்து யாகம் செய்யுங்கள் நாமே யாகத்திலிருந்து வெளி வருவோம் அந்த மூர்த்திக்கு பூஜை செய்து விட்டு சாப்பிடுங்கள் என்று அசரீரியாக கூறுகிறார் .. அப்படியே அவர்கள் செய்யும் போது யாகத்திலிருந்து வந்த மூர்த்தமே ரத்தின சபாபதி .. இன்றும் அந்த மூர்த்திக்கு தான் இரண்டாம் கால பூஜை நீங்கள் குறிப்பிட்டது போல் சுவாமிக்கு பின்புறம் தீபாராத்னை காட்டும் போது நெருப்பு மாதிரியே ஜொலிக்கும்
My discussions will continue in English .. Due to space constraint .. I continue in my next mail
எனக்கு தெரிந்த வரையில் சில விஷயங்களை இது சம்பந்தமாக உங்களுடன் பகிர்ந்து கொள்ள ஆசை படுகிறேன் ..தில்லை புராணத்தில் .. மஹா விஷ்ணு பாற்கடலில் ஆதி சேஷன் மீது பள்ளி கொண்டிருக்கிறார் .. திடீரென்று ஆதிசேஷனால் பெருமாளின் எடையை தாங்க முடியவில்லை கடலுக்குள் முழுகிக்கொண்டு இருக்கிறார் .. பெருமாளே என்னால் உங்கள் சுமையை தாங்க முடியவில்லையே காப்பாற்றுங்கள் என்று கதறுகிறார் .. உடனே சுமை குறைந்து லேசாக ஆகிறார் பெருமாள் .. இப்பொழுது ஆதிசேஷன் பெருமாளிடம் கேட்கிறார் .. என்ன சுவாமி இப்படி நடந்ததே என்ன சோதனை இது என்று .. பெருமாள் அதற்க்கு பயப்படாதே இத்தனை நாள் எனக்குள் வைத்து அனுபவித் ததுக்கொண்டிருந்த ஆனந்த நடராஜ் மூர்ததியை இன்று வெளியில் வைத்து ஆராதித்தேன் இரண்டு பேர் ஆனதால் உன்னால் தாங்க முடியவில்லை என்றார் உடனே ஆதிசேஷன் தானும் அந்த ஆனந்த தாண்டவத்தை பார்க்க ஆசை கொண்டார்
அதற்கு பெருமாள் நீ தில்லை வானத்தில் போய் தவம் செய் சுவாமி உனக்கு காஷி தருவார் என்றார் . அதன் படியே ஆதிசேஷன் பதஞ்சலி யாக தில்லை வனத்தில் தவம் செய்து கொண்டு இருக்கிறார் .அதே நேரத்தில் இனூறு முனிவர் அதே தில்லை வனத்த்தில் மூலட்டாநேசுவரருக்கு (இவர் தான் தில்லையில் மூலவர் ) மலர் தொண்டு செய்யும் போது அதிகாலை தேனீக்கள் மலரில் தேனை குடிப்ப்தற்குள் மலர்களை பறிக்க வேண்டும் என்பதற்க்காக காட்டில் அலைந்து திரிய சுவாமியிடம் புலிக்கால்களை பெற்று தவம் செய்து வருகிறார் .. இப்படி பலபேரின் தவம் பலிக்க சுவாமி மார்கழி திருவாதிரை நன்னாளில் அவர்களுக்கு ஆனந்த தாண்டவ தரிசனம் தருகிறார் அதை நந்தி முதல் அனைவரும் கண்டு களிக்கின்றனர் .. சுவாமி ஆடி நிறுத்தும் போது உடுக்கையில் கடைசியாக 14 ஒலிகள் எழுந்தன அதை பதஞ்சலி முனிவர் அப்படியே எழுதி வைத்து அதற்கு ஊரை எழுதுகிறார் அந்த சப்தங்கள் தான் மாஹேஸ்வர ஸூத்ரம் என்று சமஸ்கிருத இலக்கணம் அதற்கு பதஞ்சலி முனிவர் எழுதிய உரை தான் வியாக்ரணம் இது போல் யோகா சூத்ரங்கள் முதிலிய பல அரிய புத்தகங்கள் எழுதி மீண்டும் பார்கடலை அடைய ஆசை கொண்டு தான் எழுதியவற்றை உபதேசம் செய்து விட்டு போக நினைத்தார் . இது ஆதி சங்கரர் வரல்லாற்றில் போகிறது .கௌட பாதர் கோவிந்தர் இப்படி ..
ஆதி சங்கரர் கைலாய மலை சென்று சுவாமியை நேரே த்ரீசித்து 6 ஸ்படிக லிங்கமும் சௌந்தர்யா லஹரி ஸ்தோத்திரமும் வாங்கிய வரலாறு தெரியும் அதில் மோக்ஷா லிங்கத்தை சிதம்பரத்தில் பிரதிஷ்டை செய்கிறார் அதுவே இன்று நாம் பார்க்கும் ஸ்படிக லிங்கம் ..
இன்னொரு வரலாறு :
வட தேசத்திலிருந்து ஒரு ராஜா பெரிய யாகம் ஒன்று செய்ய ஆசைபபட்டு சிதம்பரம் வந்து தீக்ஷீதர்களை பிரார்த்திக்கிறான் .[ எல்லா யாகங்களையும் தொடர்ந்து முறைப்படி வாழ்நாள் முழுவதும் செய்பவர்கள் தான் தீக்ஷீதர்கள் ..மற்ற பிராம்மாணர்கள் இப்படி யாகம் செய்தால் மூன்று தலை முறைக்கு மட்டுமே இந்த தீக்ஷீதர் பட்டம் ஆனால் சிதம்பரம் தீக்ஷீதர்கள் மட்டும் இதை தொடர்ந்து வைத்துக்கொள்ளலாம் ஏனென்றால் இவர்களில் சுவாமியும் ஒருவர் அதுமட்டுமல்ல இவர்கள் இன்று வரை ஆசார அனுஷ்டாங்களை விடவில்லை யாகமும் விடவில்லை இதை சுவாமியே சொல்கிறார் இந்த புராணத்தில் இவர்கள் மொத்தம் மூவாயிரம் பேர் ] அவர்களும் ஒத்துக்கொள்கிறார்கள் .. ஒரு பில துவாரத்தின் வழியாக அவர்களை அழைத்து செல்கிறான் [may be compared with today's underground tubular transportation or sub marines ] அங்கே சென்று எண்ணிப்பார்க்கும் பொழுது 2999 பேர் தான் இருந்தனர் ராஜா மிகவும் வருத்தப்படுகிறான் .. அப்பொழுது சுவாமியே இந்த 3000 பேரில் நானும் ஒருவன் இப்பொழுது கணக்கு சரியா என்று கேட்கின்றார் . அதனால் தான் திருதொண்ட தொகை பாடும் போது "தில்லை வாழ் அந்தணர் தம் அடியர்க்கும் அடியேன் " என்று பாடுகிறார் சுந்தரர்
பிறகு யாகம் செய்து கொடுக்கின்றனர் . யாகம் முடிய உச்சி பொழு ஆகிவிட்டது தீக்ஷீதர்கள் சாப்பிடாமலேயே கிளம்புகின்றனர் .. ராஜா எவ்வளவோ கெஞ்சி பார்த்தும் நாங்கள் நடராஜா பூஜை செய்யாமல் சாப்பிட மாட்டோம் என்கின்றனர் .. ராஜா பட்டினி போட்ட பாவம் வருமே என்று சுவாமியீடமே முறையீடுகின்றான் அப்பொழுது சுவாமி தீக்ஷீதர்களிடம் தொடர்ந்து யாகம் செய்யுங்கள் நாமே யாகத்திலிருந்து வெளி வருவோம் அந்த மூர்த்திக்கு பூஜை செய்து விட்டு சாப்பிடுங்கள் என்று அசரீரியாக கூறுகிறார் .. அப்படியே அவர்கள் செய்யும் போது யாகத்திலிருந்து வந்த மூர்த்தமே ரத்தின சபாபதி .. இன்றும் அந்த மூர்த்திக்கு தான் இரண்டாம் கால பூஜை நீங்கள் குறிப்பிட்டது போல் சுவாமிக்கு பின்புறம் தீபாராத்னை காட்டும் போது நெருப்பு மாதிரியே ஜொலிக்கும் ..
The existence of matter is classified into five in our Indian science . They are broadly the ether ( sky) , the air , the fire , the water , and the earth, going coarse from one to the other . These are clearly explained in our upanishads ( aakashaath vaayuhu, vayor agnihi, anger aapaha, aapaf prithivi, prithivyoshadheepyaha) Manickavachagar also explains this in his potri thiruvagaval . Let us take first the earth which possesses five inherent qualities like saptha , sparsha, roopa , rasa gandham , ( hearing sound , touch feeling , seeing or vision , taste and smell) and having the special quality of smell . Here by earth we mean the things growing on earth also which contributes for smell. Then comes the water which is having the four qualities like saptha ,sprsa roopa rasam , taste being the special quality of water and the smell in absent in this . Only by mixing earthly materials we get smell in water and of its own accord it does not posses smell,. Only because of saliva being secreted in our mouth we recognize taste. Then the fire which has saptha sprasa, roopam . Seeing or vision is the special quality ., and the other two are absent here . likewise the air possesses the special quality of touching sense and the sky or ether through which the sound or electro magnetic waves spread.. which is proved in modern science also and by this principle only today’s all modern wireless equipments work..
Now from earth we go subtler and subtler , upto fire we see and beyond that is also absent and our other senses only can grasp. The last point known to us is only sky and beyond that the subtlest thing we cannot understand through our senses and can logically prove something beyond that.. here comes our manas ( or) mind the job of which is to think only .. and where dwells this mans or mind in our body? NO we can not tell.. and here I raise one more question .. What is our body at least .. we are a little bit confused .. is it my bone flesh, blood ,, etc . not at all they are only tools of our body and body means our nervous system which carries the information .. can be compared to days hardware portion which is our body and the soft ware portion of it is mind .. and now what is the use of this mind? To think and think nothing else but thinking just like Hamlet .. it has got a purpose it imagines where the enjoyment is derived from .. and this is called manomaya kosam .. the fire , water and earth are represented as annamaya kosam and the air and sky arepranamaya kosam .. Now comeas the brain which analyses and executes what the mind or manas says and so called vignana maya kosam.. and beyond that why all these struggles of these kosas? All for happiness only and so the last thing inside is the aanandha maya kosam.. full of bliss and happiness only which cannot be compared to our worldly pleasures .. And that is aanandham (Refer AAnandha valli in Thaithreeya Upanishad)
BUT for whose happiness all these kosas function .. for me .. each and every creatures “ I” ( ME) .. which is the same for all and that is called aathma ( the SELF) .. (called CHITH) and this existence is the ultimate truth never changing truth unlike our modern science and that is SATH .. SATH … CHITH.. AANANDHAM.. and whose ambaram (cloth) or body is this CHITH is Swamy and HE dwells in this CHITH>> AMBARAM ..
So seeing beyond the sky through your analysis only fetch you the real truth and so the CHDAMBARA RAHASYAM is what is shown as only silver Bilwa garland and you have to see within ..
The last subtler thing we know is sky which is the seat of sound and the basic sound is OM .. which is represented by Lord Nataraja.. starting from his right upper hand to his waist and to his lifted left leg (Kunjitha paadham or Thokiya thiruvadi) forms a shape 3 a part of the OM (a script beyond any language) now follow his upper left hand the curve
on this 3 and the fire in this hand the dot on this curve .. (so many Explanations are there .. let us stop and proceed to our point)
Further more to go scientifically
Further more to go scientifically which is the modern fashion today (only When we say science we believe things) So let me also pull science for my rescue.. Our Vedhas are beyond the boundaries of any language
(vedha – itself means the pure knowledge ) .. and so they wished every body should understand the vedic proclamations .. A man needs water .. lifts his thumb near his mouth means water in any language .. now a man in deep rest .. ( we know only sleep which gives a 5% rest only ) but this is 100% rest which can be picturised as sleep only and this is not a mere sleep of a human being but the yoga nithra .. That is what perumal is doing but he is 100% alert ( how – is a different topic which I can explain by my Guru’s Blessings) This is no vibration state of mind .. which is actually the AATHMA swaroopam ( but this is omni present omni potent etc .. again a different subject) ..This is called SHIVA .. (Even in viilages they say summa sevanennu kedakka maatta means don’t do anything – ultimately the no vibration state ) and this is represented by the GovindaRaja there in Chidambaram.
Now this omni potent starts creations .. means start vibrating .. which very easily can be picturised as dance .. the real cosmic dance .. and from here creations start and it is here the creations are being sucked in.. Both these characters are diagonally opposite .. So Govinda Raaja and Nataraja are taking opposite sannadhis in Chidambaram ..
When life starts it is sensed by the heart beat .. the cosmic dance of Nataraja in our heart and when it ceases we become dead or savam when Nataraja dances it is sivam. The “I” in sivam represents the SELF or AATHMAN
That is why as said earlier in this article by Scholars the shape of the temple depicts all, the nerves naadis etc of our body ..
A lot more and more to tell .. Please forgive me if I have stated anything wrong in this article ..
Really awesome article!
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