February 16, 2015 Pradosham at Arunachaleswarar Temple

The photographs below are of Pradosham celebrated today at Arunachaleswarar Temple. Crowds were very large in spite of the building work currently going on. 

Work started recently on the refurbishment and renovation of Arunachaleswarar Temple with major focus on restoring the antiquity of the Temple by changing what was recently carried out; such as granite flooring at various spots in the complex. 

Apart from the restoration, work on all the nine Gopurams of the Temple will be repaired and re-plastered wherever required and thereafter painted. Currently several of the Gopurams are crisscrossed with bamboo scaffolding in order to facilitate this work. 

After all of the above work has been completed a grand Kumbhabhishekam will be held at Arunachaleswarar Temple.

2015 Arunachaleswarar Temple Mahashivaratri Programme

Arulmigu Arunachaleswarar Temple, Tiruvannamalai 

Mahashivaratri Festival Celebration Invitation 

Tuesday February 17th-18th, 2015. 

Details of the programmes in the Temple Auditorium on the evening of Tuesday February17, 2015 and early morning of Wednesday 18th February, 2015. 

Cultural Programme Timings:

6.00 p.m. to 7.00 p.m. Devaram poems with music 

7.05 p.m. to 8.00 p.m. Bharatnatyam Dance 

8.05 p.m. to 9.00 p.m. Bharatnatyam Dance by Sri Krishna Kalamandhir (Vellore) 

9.05 p.m. to 10.00 p.m. Bharatnatyam Dance 

10.05 p.m. to 11.05 p.m. Bharatnatyam Dance 

11.05 p.m. to 12.05 a.m. Violin and Saxophone music of devotional songs (Sri Mani Thilaka Group) 

12.05 a.m. to 1.00 a.m. Devotional songs 

Mahashivaratri Night Puja Programme: 
1st Kala Puja 8.30 p.m. February 17 

2nd Kala Puja 11.00 p.m. February 17 

3rd Kala Puja 2.00 a.m. February 18 

4th Kala Puja 4.00 a.m. February 18 

Night of Mahashivaratri February 17-18 at 12 midnight Commencement of the Sri Lingodbhavamurti (at back of Siva Sannidhi) 

Special Abhishekam Lakshana Archana on Tuesday February 17, 2015 from morning 5 a.m. to 2 p.m. at the Moolasthana 

Visit to a village shrine

On our way back from a recent visit to the ashram of Sri Siva Siddhar Mona Swami, we stopped briefly at a small shrine set off the Nallan Pillaei Petral village road. The Goddess is represented at that place in the form of an uncarved stone and both the Shrine and surrounding area had a serene, peaceful atmosphere. 

On returning home I read up on Village Goddesses and am posting the below fascinating information. 

Despite the number and variety of gramadevatas (village deities), several typical characteristics of these local deities have been noted. First they are usually female, second these deities are usually not represented by anthromorphic images instead they are usually represented by uncarved stones, trees, or small shrines . . . third, these deities, goddesses for the most part, capture the primary interest of the villagers and tend to be worshipped with more intensity than the great gods of the Hindu pantheon . . . the village goddess engages the villagers directly by being associated with their local, existential concerns. She is perceived to be their deity and to be concerned especially with their well-being and that of their village. 

Goddess as manifest in the form of uncarved stone

“Many Indian villages have Brahmanic temples within them, however the religious focus is mainly on the shrines of the village's goddess and god. Rural Indians inhabit a world full of divine and semi-divine beings; tree spirits (yakshas), ghosts (bhootas), puranic, local, personal and ancestral gods who co-exist in a complex hierarchy. . . . Unlike in orthodox puranic Hinduism villagers have direct access to the local gods and do not require the intercession of a priest. The Goddess also plays a larger role in local religion, and rural religion is centred on specific places of perceived spiritual power. The shrines themselves are relatively simple affairs. 

Guardian of Shrine

In parts of South India Goddess shrines are located to the north of the village. This is significant as the north is associated with spiritual knowledge and disease and so emphasises the innate duality of the Goddess. 

An unpaid priest and his assistants have the duty to maintain the shrines (at the community's expense) and to propitiate the deity to ward off communal bad luck and disease. Individual villagers, regardless of caste, can approach the village deity directly as and when they have a need. At specific times of year and during crisis a festival is held in honour of the Goddess. Generally main feature of these festivals is the sacrifice of an animal, at one time buffalo sacrifice was widely practised, nowadays the victim is more likely to be a goat or chicken.” 

[By Rowan] 

Painted terracotta horse

At this particular shrine, the Tamil words are written under the shrine which translated specifically declare: ‘Don’t kill animals in the name of God.’ 

View of all 9 Temple Gopurams

This post is about one spot inside the Arunachaleswarar Temple Compound from where you can see all nine Temple Gopurams. That spot is located near the sacred Mahila Maram trees in the Third Prakaram. In the below photograph, I have marked with a pink "X" the location of the trees and Dais. 

"X" marks the spot

The next photo shows the dais next to the Trees in the Third Prakaram outside the Siva Sannidhi. At the bottom of the photograph one can see four round pillars encompassing a flat Lingam, which during the Vasantha Ursavam Festival, is filled with water and flowers, which makes it look as if it is floating.

Flat Lingam surrounded by four cylindrical pillars

Statues of Dakshinamurthi and Lord Vinayaka are situated close to the Linga.

Statues of the Gods on the Dais

Boon Cradles

In the above photograph one can see Boon Cradles hanging from the branches of the Mahila Marams; the cradles are made of cloth and sometimes wood and are hung by devotees who are seeking the blessings of the Annamalayiar for a child. 

Circle from where to view all 9 Temple Gopurams

Above one can see in front of the raised platform, a circle drawn on the ground. When standing in the centre of that spot and turning a complete circle, it is possible to see all nine gopurams of the Temple. In addition if you raise your head to view the Temple, one can see see the stone Nandis that face Arunachala. 

In the above photograph (taken from the circle in front of the Mahila Maram tree dais, the smaller structure is the West Kattalai Gopuram and in the background the larger structure is the Pey Gopuram. Notice the Nandis on the wall facing Arunachala.

Continuing in a clockwise direction from Pey Gopuram and the West Kattalai Gopuram, the next Gopurams viewed from the circle spot at the Mahila Maram Trees and dais are to the north; the Ammani Amman Gopuram and in front the North Kattalai Gopuram. 

Ammani Amman and North Kattalai (in front) Gopurams

The next photograph below and facing east are three Gopurams: back Raja Gopuram, centre Vallala Maharaja Gopuram and front the Kili (parrot) Gopuram. 

Back to front: Raja, Vallala and Kili Gopurams

The final 2 Gopurams to be viewed making a total of the 9 Temple Gopurams, are to the South; the large one at back is Thirumanjana Gopuram and smaller in front South Katalai Gopuram.

Back: Tirumanjan Gopuram, front South Katalai Gopuram

Life of Ammani Amman (Arunachaleswarar North Gopuram)

I have received a number of enquiries asking for information about women saints and sadhakas of this place. I earlier made a posting of the renowned and mysterious Sufi Saint Syedini Bibi whose Darghar (burial site) is located on Car Street. 

The below posting is of Ammani Amman, the great sadhaka responsible for the construction of the North Gopuram of Arunachaleswarar Temple. The information and legends have come from several Tamil sources. It is my belief that the below narrative is the first time information and legends of this sadhaka have appeared in English. 

Ammani Amman 

Ammani Amman was born in the small village of Chennasamutharam, which is located at the foot of Javadhi Hills (near Chengam). She is famous for building the North Gopuram of Tiruvannamalai Temple (Arunachaleswarar Kovil). She was born to Gopala Pillai and Alu Ammal and had a brother named Thandavan Pillai. Her parents planned to marry off their daughter and although Ammani Amman was not interested in marriage, she did not oppose the wish of her parents. Her parents selected a boy, who was related to her family and fixed the date for the marriage. 

On the first day of her marriage Ammani Amman told her husband about her devotion to Lord Shiva, and that she wanted to live a life dedicated to her chosen God. Her husband was irate and told his wife of his own wishes for their marriage. The discussion between the two led to strong words and Ammani Amman spoke harshly to her husband. After their argument, she left the house and went and stood in a nearby pond. She remained in the pond throughout the night and when she left the pond the next morning, was able to chant many mantras. Still in a trance-like condition, she wandered about near her village until she reached a small waterfall. At that place she remained motionless for two days. On the third day, in response to the unceasing prayers of her relatives, Ammani Amman left the waterfall and gave handfuls of sandy earth to her awaiting relatives (who had remained fasting in that place throughout on a vigil). The sand was transformed into fried rice, which amazed her family—who then questioned Ammani Amman about who she was and the nature of the powers she had acquired. 

Ammani Amman responded to their questioning:- 

It is reported that she claimed she was Parashakthi, consort of Lord Shiva. She continued with her narrative relating that when she was living with the Lord, one day she asked Him to answer her doubt as what was the sun and the moon. The Lord replied that, “the sun and moon are my two eyes – the right is the sun, and the left is the moon.” In play Parashakti moved to the back of the Lord and put her hands over His eyes, closing them. All became dark. The Lord angrily told her that although she was His wife, that she had to atone for the mistake of closing His eyes by taking birth for two jenmas (lives) on earth. Both those two births were ordained to take place at the village of Chennasamutharam. 

In the first jenma (birth), Ammani Amman related to her relatives (who were listening to her narrative), that she was brought up as an adopted daughter to a farmer and his wife of Chennasamutharam. Her adopted parents were Aadhyan and Godvari. They were devotees of Lord Shiva and did not themselves have a child. One day local villagers summoned them to a big stone at the village. On the stone the couple saw a small female child. Believing the child to be prasad from the Lord, they adopted the baby and gave it the name of Chennama (which was told by Lord Shiva in a dream to Aadhyan). Even to this day the villagers worship a big rock at that place (where the baby was believed to have been discovered) in the name of Ammani Amman i.e. Chennama Rock. 

As Chennama was growing up, she daily performed meditation and puja to Lord Shiva. A Muslim King Nawab, who was ruler in the area of Chengam, came to hear about the God-gifted child and came to see her. He asked Aadhyan and Godvari to give the child to his care, vowing that he would adopt the girl and eventually make her Queen of his Kingdom. 

The parents told their adopted daughter what the King proposed. The child asked the King to return on the eighth day. Before the King arrived on the eighth day (as related by Chennama) villagers and parents sent her away on a small boat, travelling throughout the night. In the morning she reached Neepathurai. On reaching that place, a person came to her – it was Velliyappa Chittar (a saint living in that village). On seeing the young girl he intuited who she was and showed her to a cave where the Saptha Kannigals (seven guardian deities) would protect her from all adversity. She went into the cave and sat surrendered to the protection of the Saptha Kannigals. 

Nawab, the King, on hearing the news that Chennama was at Neepathurai Village arrived there with his army to see the child. He met the saint Velliyappa Chittar who told the King that the child had been born to save devotees, that she was an incarnation of Parvati and did not belong in the worldly realm even as a Queen. Velliyappa Chittar showed the king the cave the child had entered and was now living under the protection of the Saptha Kannigals. On hearing the words of the saint the King was shocked and realised the mistake of his previously trying to take the child. Thereafter the King spent the remainder of his life as watchman and guardian to Chennama. 

The saint, Velliyappa Chittar soon after attained jivan samadhi. Above the rock of Velliyappa Chittar’s jivan samadhi, there is today a Temple at Neepathurai Village known as Sri Prasana Venktatesha Perumal Temple. 

Sri Prasana Venkatesha Perumal Temple

Thus the first jenma (birth) of Ammani Amman as Chennama ended.

In the second jenma (as she relates in her narrative to her friends and relatives by the waterfall) she took birth as Ammani Amman in order that she could perform tapas and service in atonement for the mistake she had previously made of closing the eyes of Lord Shiva. The service ordained to her was to complete the construction of the North Gopuram of Arunachaleswarar Temple (Tiruvannamalai) which had been started by King Vallala Maharaja. The King was responsible for the development of many parts of Arunachaleswarar Temple but had left the North Gopuram unfinished. When the King’s wives Malla and Salla had asked the King about the unfinished North Gopuram of the Temple; the King told them that a lady would come and finish the work. 

Ammani Amman Gopuram, Arunachaleswarar Temple

Ammani Amman started to raise money for the North Gopuram. One way she financed the work was by visiting the homes of Lord Annamalaiyar’s devotees and asking them for money towards the cost of the Temple tower. If they refused she would make them vow to give a cash donation if she was able to tell them exactly how much money they had in their homes. She would always guess correctly, and the devotees believing Ammani Amman had Divine grace for the work, would invariably donate towards the development of the North Gopuram. 

Later with a group of devotees Ammani Amman went to the King at Mysore seeking a donation towards the Temple work. The Mysore King agreed to help and gave her money laden on seven camels and a valuable pearl necklace. Returning with the treasure to Tiruvannamalai on the forested mountain path of Manjavadi Kaanavai a group of thieves attacked her encampment in order to steal her treasure. Ammani Amman allowed the thieves to take the money saying that it belonged to Lord Shiva. As the robbers touched the riches they became blind. In great remorse and realising their mistake they fell down before Ammani Amman in worship and asked her to restore their vision. As their sight returned, the band of reformed thieves accompanied her to her village Chennasamutharam where they made a pond for forest animals and planted many trees brought from Mysore. They then accompanied her to Tiruvannamalai and continued with the work on the North Gopuram. 

North Gopuram at left

Ammani Amman built up the seventh stage of the Gopuram by using specialist masons (spathis) but by the eighth stage (of the Gopuram) money had once again run out and thus she worshipped Lord Shiva by performing japa and begged for His support. Lord Shiva told her in a dream to continue and to give vibhutti to the workers. On giving vibhutti to the builders, it was transformed into gold and the work continued until the Gopuram was completed. 

************ 

The North Gopuram of Arunachaleswarar Temple is known as Ammani Amman Gopuram and comprises one of the four major Gopurams of the Temple; Raja Gopuram (east), Thirumanja Gopuram (south), Pey Gopuram (west) and Amman Amman Gopuram (north). 

Ammani Amman Compound, next to Esanya Mutt

The samadhi of this great sadhaka is next to the Esanya Mutt across from Esanya Lingam in Tiruvannamalai. 

Samadhi of Ammani Amman

2015 Maruvoodal -- Arunachaleswarar Temple

The below photograph is of the part of the Thiruvoodal Festival known as the Maruvoodal . . . which marks the reunion of the Divine couple in their abode at Arunachaleswarar Temple. 

When Lord Shiva completes his pradakshina he returns to Arunachaleswarar Temple early the next morning. He wishes to have reunion with his consort. This part of the Festival is known as Maruvoodal. The point of the Maruvoodal myth is to show the world that even a Celestial Couple has differences between them. But in the end there should only be reunion, even at the cost of a loss in finances which is represented by the loss of the jewels the night previously. 

Returning to his residence, Shiva knocks at the door but it has been bolted by Parvati. Lord Shiva asks, 

‘Oh my darling why have you locked the door?’ 

‘Sir after we came to an understanding still you went without me. And see now look you have lost everything there is no ornament or clothes. Not, only that but you went and gave darshan to all kinds of people. So, I am now requesting you must establish your manliness to me and retrieve everything that is lost and give the special one-legged dance.’ 

 Shiva starts the dance, Parvati forgets everything and opens the door. Their reunion is complete. 

2015 Arunachaleswarar Thiruvoodal Enactment

The below two photographs are of the enactment of the 2015 Thiruvoodal (petty quarrel) between Lord Shiva and the Goddess which partly takes place on the mada veedhi (perimeter streets) of Arunachaleswarar Temple here at Tiruvannamalai. 

Thiruvoodal is enacted by Shiva and Parvati to convey social truths to their devotees. It takes place; inside the compound of Arunachaleswarar Temple, on the streets delineating the perimeter of the Temple, and on the girivalam pathway itself; by iconic representations of Shiva and Parvati. Thiruvoodal Festival is regarded in such high esteem that one of the perimeter roads has earned the special name Thiruvoodal Street by this convention. 

From the early hours Abishekam is performed at the Temple to start the procession by 5 a.m. At which time an iconic representation of the Lord (and Parvati) is carried by attendants on a palanquin with a huge sunshade. 

The palanquin first visits the Kodi Kampathu Nandi and gives darshan as Viratswarupa and afterwards separates into three parts representing; Brahma, Siva and Vishnu before leaving the compound of Arunachaleswarar. 

After Blessing the Nandhis en route the Holy Couple of Periya Nayakar (Protagonist Of the Universe) and His Consort find their way out through the thitti vaasal - a small entry at the east of the Temple compound, instead of leaving through the main Temple gate known as the Raja Gopuram. 

On blessing the Sun at the thitti vaasal the procession goes around the temple perimeter thrice. During which the actual staging of the Divine Quarrel is re-enacted on the streets; the first time as Brahma, second as Vishnu and the third round as Rudra.

The Gods "quarrelling" on the Tiruvannamalai streets

To support the enactment of the 'tiff' between Shiva and the Goddess, emissaries are employed by both to convey messages between the deities and participate in 'brokering a deal' between the feuding couple. The emissary used by Shiva on his behalf is Sundaramurthi Nayanar – a saint feted as a great devotee of Lord Siva and one of the Tamil Samaya Acharyas (four Tamil religious Teachers). His story is included in the famous book entitled Periapuranam. Saint Sambandhar is the other emissary engaged to help conciliate the Divine couple. 

A Tamil Poem "Thirukkutraala Voodal" narrates how Devi and Swami sing mockingly against each other’s courting. Thiruvalluvar has stressed in his verses the fact that such play between the couple enhances love and affection between spouses especially in making love which is described as the supreme form of "understanding" each other. 

Parvati complains about Shiva in the presence of Saint Sundarar. She talks of her unhappiness about the unkempt ways of Shiva; about his matted hair and having the Goddess Ganga in his disheveled locks, about his naked body smeared with ashes, his reclusive nature and his way of wandering about in cremation yards, His liking for wearing bones and dried skin, the carrying of a skull and his other strange behaviour. The Goddess also complains of Lord Shiva appearing in the minimal clothing of a Kaupina (loincloth) in front of the Rishi’s wives to whom he gives mouna darshan. Parvati also criticises that she is unable to get her Lord to work as he is immersed in meditation most of the time. 

Saint Sundarar is nonplussed and does not know what to do. Shiva, for his part, knowing full well that Parvati is more concerned with 'this and now' while he dwells purely in the eternal, pleads with her to reconcile. Parvati is implacable and stops talking to Shiva. She enters the temple without him. In order to placate her and as night is approaching, Shiva agrees to circumambulate Arunachala. During his circumambulation, he meets Bhringi Rishi and grants him liberation. The Lord loses all his Jewels during his hill round. 

When Lord Shiva completes his pradakshina he returns to Arunachaleswarar Temple early the next morning. He wishes to have reunion with his consort. This part of the Festival is known as Maruvoodal. The point of the Maruvoodal myth is to show the world that even a Celestial Couple has differences between them. But in the end there should only be reunion, even at the cost of a loss in finances which is represented by the loss of the jewels the night previously. 

Returning to his residence, Shiva knocks at the door but it has been bolted by Parvati. Lord Shiva asks, 

‘Oh my darling why have you locked the door?’ 

‘Sir after we came to an understanding still you went without me. And see now look you have lost everything there is no ornament or clothes. Not, only that but you went and gave darshan to all kinds of people. So, I am now requesting you must establish your manliness to me and retrieve everything that is lost and give the special one-legged dance.’ 

Shiva starts the dance, Parvati forgets everything and opens the door. 

To learn about the sagas concerning the Gods which are used to create the scenario of the 'petty quarrel' (Thiruvoodal) that needs resolution go to this link here. 

Happy 2015 Pongal from Arunachala

Pongal was originally a Harvest Festival for the farming community but today it is celebrated by all. It follows the solar calendar and is celebrated on the same days each year. With the end of the wet month of Margazhi (mid December to mid January) the new Tamil month of Thai heralds a series of festivals.

According to the calendar based on the solar system the year is divided into two halves following the apparent movement of the Sun northwards and Southwards. The former is termed Uttarayanam and the latter is Dakshinayanam. Uttarayanam marks the Sun’s movement northward for a six month period and all important events are scheduled during this time. On the first day of Thai, the Sun leaves the zodiac sign of Sagittarius and enters that of Capricorn, the latter is known as Makaram. The event thus is celebrated as Pongal.

There is a Tamil saying; "Thai peranthal Vali Perakum" – which means - with the dawn of the month of Thai, there will be peace, happiness, prosperity, brightness and harmony in the life of everyone.

Four festivals are celebrated at Tiruvannamalai (and throughout Tamil Nadu) for four consecutive days during Pongal Festival. Bhogi Pongal on January 13th, Surya Pongal on January 14th, Maattu Pongal on January 15th, and Thiruvalluvar Day (Kaanum Pongal) on January 16.

On Bhogi old clothes and materials are thrown away and set on fire, marking the beginning of a new life. The second day of Pongal, is celebrated by boiling fresh milk early in the morning and allowing it to boil over the vessel - a tradition that is the literal translation for Pongal. The third day, Mattu Pongal, is meant to offer thanks to the cows and buffaloes, as they are used to plough the lands. The fourth day of this Festival is called Kaanum Pongal. In a few places this day is also known as Karinaal or Thiruvalluvar Day.

Decorated Nandi at Arunachaleswarar Temple, Pongal 2015

Today the third day is known as Mattu Pongal, on which we offer thanks to the cows and buffaloes. To look at an earlier cow pongal at Tiruvannamalai, please go to this link here. As well as farmers and agriculturalists celebrating Mattu Pongal today, the cow (buffalo) is also worshipped at Arunachaleswarar Temple.

The Five Nandis

During Mattu Pongal at Arunachaleswarar Temple, apart from other celebrations, the five Nandis inside the Temple are lavishly decorated with garlands and foodstuff.

The five Nandis are; Pradosha Nandi, in the Moolastanam, Ratha Vilaku Nandi in the Second Prakaram, Kodi Kampathu Nandi in the Third Prakaram, Chinna Nandi in the fourth prakaram and the Periyar Nandi that stands in front of the Vallala Gopuram in the Fifth Prakaram.

Mattu Pongal Arunachaleswarar Temple 2015

The Gods giving darshan at Thitti Vasal Gate, Big Temple

Also on this day and unique to Tiruvannamalai, we observe the Tiruvoodal Festival. Legend has it that the Lord in answer to a promise given to Parvati appears on this holy day (Uttarayana) to dance on one foot. He says; ‘On Uttarayana holy day, I will do the dance when the sun rises.’ 

The word 'Thiru' signifies; deity, sacred, holy and wealth and the word 'Voodal' actually means 'tiff' or 'petty quarrel', and represents the friction between the male and female in a love relationship which is consciously exacerbated. The distinguishing mark of Voodal is that it should arise and stay only for a brief period and not be prolonged as its focus is the bliss when the Voodal is withdrawn. 

The poem Thirukkural says in the chapters dedicated to 'kama' which is concentrated on the relationship between man and woman and the establishment of household and children, that; 'The way to amplify bliss through desire or relationship is through voodal. That ever present bliss you can only see when the tension comes and is withdrawn. It is like salt to food – beyond a certain limit it is lost completely.' Thirukurral explains the tiff as 'creation of a tension, which when released you have a bliss that is always present. It is the Voodal that helps one focus upon that.' 

Thus Thiruvoodal is enacted by Shiva and Parvati to convey social truths to their devotees. It takes place; inside the compound of Arunachaleswarar Temple, on the streets delineating the perimeter of the Temple, and on the girivalam pathway itself; by iconic representations of Shiva and Parvati. Thiruvoodal Festival is regarded in such high esteem that one of the perimeter roads has earned the special name Thiruvoodal Street by this convention. 

To read more of this narrative please visit my website at this link here, and an earlier posting on Arunachala Grace at this link here.

Thiruvathira Festival and Saint Manikkavacakar

For the previous nine days the statue of Manikkavacakar has been taken from its place near the Siva Sannidhi Shrine, and brought out in procession around the Big Temple’s maha veedhis (four perimeter streets). 

Manikkavacakar was a poet of the Hindu bhakti revival movement and his work forms one volume of the Tirumurai, the key religious text of Tamil Shaiva Siddhanta. His poems are a poetic expression of the joy of God-experience and the anguish of being separated from the Lord. This great saint aided the spiritual and religious revival of Hinduism and is revered as one of the four Samayak Kuravarkal (nalvars) of Shaivism who took birth in the world to show the path of elevating oneself to the Supreme Shiva. 

For more information about his life go to this link here, and to read two of his more famous works with English translation and audio go to his poems: Thiruvammaanai (Exulting Bliss) and Thiruvepaavai. 

On this the 10th day of his Festival and in conjunction with the Thiruvathira Festival, Lord Nataraja and the Goddess join Manikkavacakar in a procession around Arunachaleswarar Temple. 

Lord Nataraja and the Goddess

Gods coming from the 1000 Pillared Hall after worship

Lord Nataraja

The Goddess accompanying her Lord

Saint Manikkavacakar

Nataraja Abhishekam during 2015 Arudra Darshanam

Arudra (Arudra is the name of a star and there are 27 stars in the Hindu calendar) Darshan, also known as the Thiruvathira Festival, is an occasion celebrated in a grand manner during the Tamil month of Margazhi. The month of Margazhi is known as ‘Twilight’ in Heaven (the time the sun is in Sagittarius), and is considered the most appropriate time in which the Gods can rest and rejuvenate. This year Arudra Darshan fell on January 5th. 

In this festival Abhishekam of Lord Nataraja takes place early in the morning and then He comes outside amongst his devotees. 

Abhisekham of Lord

Legends of Arudra Darshan 

Once while Lord Vishnu was lying on the serpent Adisesha, the serpent felt the Lord was getting heavier. On asking the reason, Vishnu responded that He was remembering and enjoying the great dance of Lord Siva. The answer developed the desire in the serpent to see the great dance of Lord Shiva. 

There was also a sage named Viyaagara Paadha, who prayed to God for the legs of tiger, in order that he could pluck flowers early in the morning (before any bee touched and spoilt the blooms). This sage also wished to see the dance of the Lord. Pleased with their prayers the Lord appeared to them on Thiruvaadhirai day in the form of Nataraja. 

It is during this auspicious period that Lord Shiva’s birthday is celebrated and it is when it is believed that Lord Shiva’s energy is closest to earth. Lord Shiva is worshipped in the cosmic dance form as Lord Nataraja, and the full moon night of Margazhi is also the longest night of the year. After this date, days get longer and nights get shorter. 

Arudra denotes a red flame and Lord Siva has also a name called "Semporjyoti" or "Golden Red Flame," and thus Nataraja is the manifestation of Siva as a Light. It is in the form of light the lord performs his function of five activities which are Creation, Protection, Destruction, Embodiment and Release. 

The term 'Nataraj' means 'King of Dancers' and it is believed that the energy from this dance of bliss (Ananda Tandavam) sustains the cosmos, and when Siva is finished with this dance, the Universe will end and a new one will begin. To read more about Shiva as Nataraja, go to this link here. 

“Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter . . . For the modern physicists, Shiva's dance is the dance of subatomic matter . . . Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics." 

[Fritjof Capra] 

Shiva's dance overcoming dwarf-demon, who symbolises ignorance

Dancing with Shiva 

The world is seen as it truly is – sacred -- when we behold Siva's cosmic dance. Everything in the universe, all that we see, hear and imagine, is movement. Galaxies soar in movement; atoms swirl in movement. All movement is Siva's dance. When we fight this movement and think it should be other than it is, we are reluctantly dancing with Siva. We are stubbornly resisting, holding ourselves apart, criticizing the natural processes and movements around us.

It is by understanding the eternal truths that we bring all areas of our mind into the knowledge of how to accept what is and not wish it to be otherwise. Once this happens, we begin to consciously dance with Siva, to move with the sacred flow that surrounds us, to accept praise and blame, joy and sorrow, prosperity and adversity in equanimity, the fruit of understanding. We are then gracefully, in unrestrained surrender, dancing with Siva. The Vedas state, "The cosmic soul is truly the whole Universe, the immortal source of all creation, all action, all meditation. Whoever discovers Him, hidden deep within, cuts through the bonds of ignorance even during his life on earth." 

[By Satguru Sivaya Subrmauniyaswami] 

January 2, 2015 Pradosham -- Arunachaleswarar Temple

Below is a very nice sequence of photographs of the recently completed Pradosham at Arunachaleswarar Temple. In the photographs, abhishekam and aarti are being performed on the Nandi next to the Flagpost in front of the Siva Sannidhi. Thereafter the photographs are of the Gods being carried on pradakshina around the Siva Sannidhi.

For those interested in learning how to correctly perform Somasutra Pradakshinam, please check on my Blog Arunachala Mystic, at this link here and here. 

Tumeric (Manjalpodi) being applied during Abhishekam Puja

Waiving of Aarti

Large crowd accompanying the Lord

Wonderful photograph of the Gods on the golden Rishbaba

Completing their circumambulation of the Siva Sannidhi

Sorgavasal Thirappu 2015

Vaikunta Ekadasi (Ekadasi is synonymous with fasting and abstinence) is an auspicious day dedicated to Lord Vishnu. It occurs in the month of Margashirsha and this year has fallen today, Thursday, January 1, 2015. In Tamil Nadu the festival is known as Mukkoti Ekadasi or Sorgavasal Thirappu. 

Fasting is an important aspect associated with this Festival. The austerity is associated with much deeper aspects associated with the below legend: 

Lord Krishna Shrine, Arunachaleswarar Temple

During the Krita Yuga, also termed the golden age, an asura called Muran harassed both devas and mortals. Unable to bear his tyranny, the devas sought refuge in Shiva. He directed them to approach Vishnu. Vishnu agreed to help the devas and went out to battle with Muran. During the long battle, which lasted one thousand celestial years, Vishnu needed to rest for a while. He entered a beautiful cave called Himavati in Badarikashrama to sleep. 

Muran wanted to strike Vishnu while he was sleeping. However, Shakti (Vishnu's female energy) emerged out of his body and assumed the form of a beautiful damsel who fought Muran and vanquished him. When Vishnu awoke he was very pleased and named this maiden as Ekadasi and granted her a boon. The maiden said, "O Lord, if You are pleased with me and wish to give me a boon, then give me the power to deliver people from the greatest sins if they fast this day". Vishnu granted her the boon and declared that people worshipping her would reach Vaikunta. Thus, it is said, the first Ekadasi originated and devout people have since observed the Ekadasi fast. 

Outside Krishna Shrine, Arunachaleswarar Temple

The esoteric implication of this legend signifies that the demon Muran represents the tamasic and rajasic qualities in us. The import of the Ekadasi vrata is that one can conquer rajasic and tamasic tendencies through fasting (fasting means abstaining from anything that feeds the senses). This helps us reach our ultimate destination, Vaikuntha, which is the place or stage of no 'kuntitha'—which means to have no dullness, stupidity or misery. 

On this day, the Vaikunta Dwaram or the Swarga Vaasal, ‘The Gates of Heaven’ are believed to be kept open. The area encircling the sanctum is referred to Swarga Vaasal and devotees throng to gain entry into the Temple, to seek the Lord. The day of Ekadasi is to be spent in prayers and japam and visits to Temple. 

Walking through Gates of Heaven

As Lord Vishnu is celebrated as the founder of Arunachaleswarar Temple and Lord Brahma as the founder of Adi Annamalai Temple, this Vishnu Festival is celebrated in grand style. 

There is also a fascinating story connected to the idols of Venugopala (with Rukumini and Satyabhama) whose shrine is immediately behind the Siva Sannidhi. It is believed that the statues were originally installed in a small Vaisnava temple near Samudram Eri (lake) some 2 miles southwest of Arunachaleswarar Kovil. During certain festival, villagers used to carry statues of their God to the large Vishnu temple at Tirukoilur (20 kms). 

However whenever Saiva idols from Arunachaleswarar Temple passed the Samudram, Vishnu devotees from Samudram Village consistently created a disturbance. In response to continuous complaints, the King ordered the people of the Vaisnava village to go in procession to Tirukoilur. When they were gone, he had the images of Venugopal (Krishna with flute) and his wives removed from the Samudram Temple and installed in a shrine immediately at the back of the Siva Sannidhi at Arunachaleswarar Temple.