Some Distinguished Temples of Hinduism

Dr Uday Dokras
1
2
Ancient Hindu temples have fascinated me since Childhood

Hindu temples have inspired me to write 480 papers and 87 books most on them and
also those in Cambodia.

I thank the Gods for this - particularly GOD SHIVA , my favourite God.

We live through exciting times. With the commemcement of the buiding of the Ram
temple at Ayodhya, India, Hindu have entered a new epoch. The light of Hinduism will
shine brighter and the temple will be the lighthouse.

These research articles have been accumulated in this Book about

TEMPLES
You may read the rst on academia.edu

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CONTENTS Page 3
CHAPTER I-Why were temples built? Why do we worship idols?
The science of HINDU Temple Construction page 5
CHAPTER II-Medieval temple architecture: North Indian style page 23
CHAPTER III-1000 Petal Temple- Page 34
CHAPTER IV- A Shivling Established by Lord Kartikeya Himself tht
emerges and submerges each day page 43
CHAPTER V-Ananthapura Lake Temple, Kerala - A beautiful lake temple
with a crocodile guardian page 63
CHAPTER VI- Dashavatara दशावतार page 70
CHAPTER VII- Virat hridaya padma sthalam
Chidambaram Sri Thillai Nataraja Temple page 144
CHAPTER VIII- CHIDAMBARAM TEMPLE TAMIL NADU,INDIA Interesting
design Facts over and above those earlier written about page 218
CHAPTER IX- EMERGE SUBMERGE TEMPLE & GOD KARTIKEYAN-PART
II page 238
About the Author page 261

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 CHAPTER I
Why were temples built? Why do we worship idols?
The science of HINDU Temple Construction

Why were temples built? Why do we worship idols? The very nature of human
perception is such that, right now, whatever a human being is involved with, that
will be the only truth for him in his experience. Rulers built temples to demonstrate
their devotion to various deities. They also endowed temples with grants of land and money
to carry out elaborate rituals, feed pilgrims and priests and celebrate festivals. Pilgrims who
flocked to the temples also made donations.

Various Kings who could afford to, built temples to favour their
favourite deities. For example The Cola Kings built temples such as the
Brihadisvara Temple at Thanjavur which is supposed to be the greatest achievement
of Chola architects and the highlight of Dravidian architecture. The temple was built
by the Chola King Rajaraja I between 1003 and 1010 AD. The sculptures and
inscriptions here are related to Shaivism, Vaishnavism, and Shaktism. The quality of
the sculpture here is also famous and the temple is one of the most visited religious
sites in Tamil Nadu.

The other example one can give is that of Narasingha Deva I who is mentioned as
Paramamahesvara, Durga-Putra and Purushottamaputra in the Chandrashekhera
temple inscription. The titles show that he was a protector and a follower of the
Shaiva, Shakti and Jagannath sects during his rule. A sculpture from the Konark sun
temple build by him shows bowing before the three lead deities of the sects as per his
titles and a priest. The Lingaraj temple inscriptions says that he had constructed a
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Matha (monastery) called as Sadashiva Matha to give shelter to the fleeing refugees
from Radha and Gauda after the incursion by Muslim forces there. According to the
Srikurmam temple inscription, he was a sober person without any bad nature and
agitation. He possessed valuable articles and was a sincere learner of art,
architecture and religion.
He administered the state by the traditions of Marici and Parasara while following
the Niti sashtra (book of law). Due to his dedication towards faith and spirituality, he
commissioned and completed the building projects for many temples like Konark,
Kapilash, Khirachora Gopinatha, Srikurmam, Varaha Lakshmi Narasimha temple at
Simhanchalam and Ananta Vasudeva temple which was built by the interest of his
widowed sister, Chandrika. Sanskrit and Odia were both patronized as court
languages during his rule and the Sanskrit masterpieces like Ekavali of Vidhydhara
were written during this time. An inscription at Kapilash temple built by him
compares him to the Varaha avatar (incarnation) of Vishnu who saved and raised
the Vedas and the world from the oceans of uncertainty. He was the first king to use
the title of 'Gajapati' or lord of war elephants among the Odishan kings.
The Konark temple complex is the creation of architects of his era and is a marvel of
architecture is dedicated to Indian God of Sun, Surya. The temple has been built in
the shape of his chariot which is drawn by seven horses. It was built in the 13th
century by Narasimhadeva.
IDOL
Murti (Sanskrit: मूर्ति , ISO: Mūrti; lit. 'form, embodiment, or solid object')[1 is a
general term for an image, statue or idol of a deity or mortal in Hindu culture. In
Hindu temples, it is a symbolic icon. A murti is itself not a god in Hinduism, but it is
a shape, embodiment or manifestation of a deity. Murti are also found in some
nontheistic Jainism traditions, where they serve as symbols of revered mortals
inside Jain temples, and are worshiped in murtipujaka rituals.
A murti is typically made by carving stone, wood working, metal casting or through
pottery. Ancient era texts describing their proper proportions, positions and
gestures include the Puranas, Agamas and Samhitas. The expressions in a murti vary
in diverse Hindu traditions, ranging from Ugra symbolism to express destruction,
fear and violence (Durga, Kali), as well as Saumya symbolism to express joy,
knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common
in Hindu temples.[8] Other murti forms found in Hinduism include the linga.
A murti is an embodiment of the divine, the Ultimate Reality or Brahman to some
Hindus. In religious context, they are found in Hindu temples or homes, where they
may be treated as a beloved guest and serve as a participant of puja in Hinduism. In
other occasions, it serves as the centre of attention in annual festive processions and
these are called utsava murti. The earliest murti are mentioned by Pāṇini in 4th
century BCE. Prior to that the agnicayana ritual ground seemed to served as a
template for the temple.
Temples are built for deities, not gods.

Deities are “attributeless, formless” energy, or often “attributed formless” energy

that can be invoked and “made resident” in any material representation - a material
abstraction, personification or image. This process is known as the pranapratishta.
And it is done so as to make it visible & relatable for the purpose of worship, even
though we know that the process of worship is entirely internal.
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We are all physical or material forms of deities as there is a “life force” within us.
Deities in temples are thus just a physical representation of the divinity within.
Divinity has many attributes, all of which can be worshipped individually or
collectively based on the objective of the specific tantric practice.

So while a church is a church is a church (leave aside denominations), and a mosque

is a mosque, each temple is different. Churches and mosques are not places of
worship, they are places of congregation. A temple however, is always a place of
worship, never a place of congregation.
The form and function of temples is thus very variable, though they are often
considered by believers to be in some sense the "house" of one or more deities.
Typically offerings of some sort are made to the deity, and other rituals enacted, and
a special group of clergy maintain, and operate the temple.

Vedic
Temple design

A temple has a very unique design according to Hindu mythology. The

construction of a normal house and a temple are very different. There are many
points which are to be taken care of while constructing a temple. It is supposed to
be connected with the nature, the universe and the Supreme Power that is
controlling and driving the whole universe. We specialize in in the designing of
Vedic temples.

We take care of all the important points that are to be considered while
constructing a fruitful Temple. A temple is considered to be a place where we
connect ourselves with gods. If there is any error in building a temple, the results
are exactly opposite. A temple must be promote the constructive elements of the
universe and control the negative energies. The purpose of the Vedic Knowledge of
Sthåpatya Veda—Våstu Vidyå—is to maintain individual life in harmony with Cosmic
7
 Life, and save the individual from being torn apart by the disharmonious influence of the
surroundings he has created around him—his house, his village, his city, etc.

This is being mentioned here to explain the need for everyone in the world
to live and work in an auspicious Våstu building and enjoy the support of
Natural Law in daily life.In Vedic Architecture, the geographical centre
of the country holds special significance for the support of Natural Law
for the progress and prosperity of the whole country.This science of Vedic
Architecture is not a matter of belief or faith; it is as concrete as the
burning nature of fire and the cooling nature of ice.

Selecting the site

We first of all examine the site to consider it to be perfect for the site for a temple. It
is not an individual’s choice. One must consider the presence of other temples. If
there is temple of a particular God, it is advisable to build another Temple of some
other god or goddess. This is to help the society. Temples are not built only to fulfill
an individual’s wish. Suppose a temple is being built to give a tribute to a beloved
person whose soul is taking a rest in peace, then the site of the temple must be
definitely taken care of. Facilities available near the temples must be considered.
There has to be water supply 24 by 7. The soil has to be fertile. If all these
parameters are getting fulfilled, then only our architects and sculptors approve the
site.

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 Direction of Idols
We take good care of the direction of the placement of the deities and idols. There
are different stories associated with the direction of different Gods and Goddesses. If
they are placed in the respective directions, the results achieved are quick according
to Vedic astrology. For example, the idols of most of the Gods and Goddesses are
south facing or west facing but the idol of Lord Hanuman must be placed in the
manner it faces the north direction. It is so because Lord Hanuman went to Sri
Lanka and got victory over Sri Lanka. It is in the south direction. Therefore, Lord
Hanuman was victorious in the southern direction. Thus, it is believed that if we
worship the idol of Lord Hanuman that faces the north direction shall give the best
results. It is also said that, the direction of riddles actually does not matter but it is
the direction of the human beings that matters. We must face the north and the east
direction while worshipping.

There is one more reason to support the placement of most of the idols in north east
direction. There is magnetism in this direction of any place, be it a house or a
temple. We need to attract the Gods, therefore we plce their idols in this direction so
that the idols for the souls of the Gods can remain attracted to the place with the
help of magnetism.

Determining the size

Before beginning the construction, we determine the size of the idol or the deity that
is to be built. There is a dome that is built in correspondence with the temple. A
Hindu temple is believed to have the dome for sure. After determining the size of the
idol, the architect will make a complete plan and then the construction will begin.
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Ganesh Pooja and Vastu Pooja

We Indians never begin anything without worshipping Lord Ganesha. After

worshipping Lord Ganesha, we also go for Vastu Pooja to please Vastu Devta. It is
very necessary to do everything in the construction of a temple absolutely correctly.
It is said that, what starts well, gets completed perfectly.

Consideration of Vedic astrology

We consider Vedic astrology at every step of construction. Every inch is constructed
keeping in mind the rules and regulations mentioned by the Vedic Shastra. Our
architects and sculptors are well trained in all the aspects that are to be considered
as per Vedic astrology.

Using the Nakshatra

Before the construction of the temple takes place, our Vedic astrologers check.
The Nakshatra of the founder of the temple. It has to be in correspondence with the
possibilities or yog of construction of a temple. The Nakshatra of the place or the
village is also taken into consideration.

Material used
The kinds of material that are used for the construction of a temple are gold, silver,
copper, etc; but not iron. Iron attracts negative energy. It is very necessary to avoid
the usage of iron. In case iron is used in the construction of the temple, it becomes
necessary to make sure that all other particulars are followed while building the
temple so that it can attract the positive energy only.

Formation of grid

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While building the temple, it is very necessary that there must be strict grids. The
grids are made up of equilateral Triangles and squares. Everything has a very strong
and in-depth religious significance. Even if we do not know the scientific reason
behind it, we don’t hesitate in following it because we have complete faith in Vedic
astrology. There must be either 64 or 81 squares. The idol of the temple is with the
square that is in the center.

The plan or GRID

The design, especially the floor plan, of the part of a Hindu temple around the
sanctum or shrine follows a geometrical design called vastu-purusha-mandala. The
name is a composite Sanskrit word with three of the most important components of
the plan. Mandala means circle, Purusha is universal essence at the core of Hindu
tradition, while Vastu means the dwelling structure. Vastupurushamandala is
a yantra.[32] The design lays out a Hindu temple in a symmetrical, self-repeating
structure derived from central beliefs, myths, cardinality and mathematical
principles.
The four cardinal directions help create the axis of a Hindu temple, around which is
formed a perfect square in the space available. The circle of mandala circumscribes
the square. The square is considered divine for its perfection and as a symbolic
product of knowledge and human thought, while circle is considered earthly, human
and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each
supports the other. The square is divided into perfect square grids. In large temples,
this is often a 8x8 or 64 grid structure. In ceremonial temple superstructures, this is
an 81 sub-square grid. The squares are called ‘‘padas’’. The square is symbolic and
has Vedic origins from fire altar, Agni. The alignment along cardinal direction,
similarly is an extension of Vedic rituals of three fires. This symbolism is also found
among Greek and other ancient civilizations, through the gnomon. In Hindu temple
manuals, design plans are described with 1, 4, 9, 16, 25, 36, 49, 64, 81 up to 1024
squares; 1 pada is considered the simplest plan, as a seat for a hermit or devotee to
sit and meditate on, do yoga, or make offerings with Vedic fire in front. The second
design of 4 padas has a symbolic central core at the diagonal intersection, and is also
a meditative layout.

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The 8x8 (64) grid Manduka Hindu Temple Floor Plan, according to
Vastupurusamandala. The 64 grid is the most sacred and common Hindu temple
template. The bright saffron centre, where diagonals intersect above, represents the
Purusha of Hindu philosophy.

The 9 pada design has a sacred surrounded centre, and is the template for the
smallest temple. Older Hindu temple vastumandalas may use the 9 through 49 pada
series, but 64 is considered the most sacred geometric grid in Hindu temples. It is
also called Manduka, Bhekapada or Ajira in various ancient Sanskrit texts. Each
pada is conceptually assigned to a symbolic element, sometimes in the form of a
deity or to a spirit or apasara. The central square(s) of the 64 is dedicated to the
Brahman (not to be confused with Brahmin), and are called Brahma padas
In a Hindu temple's structure of symmetry and concentric squares, each concentric
layer has significance. The outermost layer, Paisachika padas, signify aspects of
Asuras and evil; the next inner concentric layer is Manusha padas signifying human
life; while Devika padas signify aspects of Devas and good. The Manusha padas
typically houses the ambulatory. The devotees, as they walk around in clockwise
fashion through this ambulatory to complete Parikrama (or Pradakshina), walk
between good on inner side and evil on the outer side. In smaller temples, the
Paisachika pada is not part of the temple superstructure, but may be on the
boundary of the temple or just symbolically represented.
The Paisachika padas, Manusha padas and Devika padas surround Brahma padas,
which signifies creative energy and serves as the location for temple's primary idol
for darsana. Finally at the very centre of Brahma padas is Garbhagruha(Garbha-
Centre, gruha- house; literally the centre of the house) (Purusa Space), signifying
Universal Principle present in everything and everyone.[2] The spire of a Hindu
temple, called Shikhara in north India and Vimana in south India, is perfectly
aligned above the Brahma pada(s).

A Hindu temple has a Shikhara (Vimana or Spire) that rises symmetrically above the
central core of the temple. These spires come in many designs and shapes, but they
all have mathematical precision and geometric symbolism. One of the common
principles found in Hindu temple spires is circles and turning-squares theme (left),
and a concentric layering design (right) that flows from one to the other as it rises
towards the sky.
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Beneath the mandala's central square(s) is the space for the formless shapeless all
pervasive all connecting Universal Spirit, the Purusha. This space is sometimes
referred to as garbha-griya (literally womb house) - a small, perfect square,
windowless, enclosed space without ornamentation that represents universal
essence. In or near this space is typically a murti. This is the main deity image, and
this varies with each temple. Often it is this idol that gives it a local name, such as
Vishnu temple, Krishna temple, Rama temple, Narayana temple, Siva temple,
Lakshmi temple, Ganesha temple, Durga temple, Hanuman temple, Surya temple,
and others. It is this garbha-griya which devotees seek for ‘‘darsana’’ (literally, a
sight of knowledge, or vision[).
Above the vastu-purusha-mandala is a high superstructure called the shikhara in
north India, and vimana in south India, that stretches towards the
sky.[31] Sometimes, in makeshift temples, the superstructure may be replaced with
symbolic bamboo with few leaves at the top. The vertical dimension's cupola or
dome is designed as a pyramid, conical or other mountain-like shape, once again
using principle of concentric circles and squares (see below). Scholars such as
Lewandowski state that this shape is inspired by cosmic mountain of Mount Meru or
Himalayan Kailasa, the abode of gods according to its ancient mythology.

Mandapa of a temple in South India. Much temple sculpture was originally painted.
In larger temples, the outer three padas are visually decorated with carvings,
paintings or images meant to inspire the devotee. In some temples, these images or
wall reliefs may be stories from Hindu Epics, in others they may be Vedic tales about
right and wrong or virtues and vice, in some they may be idols of minor or regional
deities. The pillars, walls and ceilings typically also have highly ornate carvings or
images of the four just and necessary pursuits of life—kama, artha, dharma, and
moksa. This walk around is called pradakshina.
Large temples also have pillared halls called mandapa. One on the east side, serves
as the waiting room for pilgrims and devotees. The mandapa may be a separate
structure in older temples, but in newer temples this space is integrated into the
temple superstructure. Mega temple sites have a main temple surrounded by smaller
temples and shrines, but these are still arranged by principles of symmetry, grids
and mathematical precision. An important principle found in the layout of Hindu
temples is mirroring and repeating fractal-like design structure, each unique yet also
repeating the central common principle, one which Susan Lewandowski refers to as
“an organism of repeating cells”
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Exceptions to the square grid principle
Predominant number of Hindu temples exhibit the perfect square grid principle.
However, there are some exceptions. For example, the Teli ka Mandir in Gwalior,
built in the 8th century CE is not a square but is a rectangle consisting of stacked
squares. Further, the temple explores a number of structures and shrines in 1:1, 1:2,
1:3, 2:5, 3:5 and 4:5 ratios. These ratios are exact, suggesting the architect intended
to use these harmonic ratios, and the rectangle pattern was not a mistake, nor an
arbitrary approximation. Other examples of non-square harmonic ratios are found
at Naresar temple site of Madhya Pradesh and Nakti-Mata temple near Jaipur,
Rajasthan. Michael Meister states that these exceptions mean the ancient Sanskrit
manuals for temple building were guidelines, and Hinduism permitted its artisans
flexibility in expression and aesthetic independence.

The Hindu text Sthapatya Veda describes many plans and styles of temples of which
the following are found in other derivative
literature: Chaturasra (square), Ashtasra (octagonal), Vritta (circular), Ayatasra (r
ectangular), Ayata Ashtasra (rectangular-octagonal fusion), Ayata
Vritta (elliptical), Hasti Prishta (apsidal), Dwayasra Vrita (rectangular-circular
fusion); in Tamil literature, the Prana Vikara (shaped like a Tamil Om sign, ) is
also found. Methods of combining squares and circles to produce all of these plans
are described in the Hindu texts.
Entrance: North or East
It is preferred that the entrance of the temple must be in the east direction. It means
that the sunlight of the rising Sun must enter the temple. Sunlight has the power to
kill the bacteria and microbes present in the air. Therefore it is very good, if sunlight
can enter the temple. The purity of a place is decided with cleanliness. All the rights
and rituals are directed towards killing the bacteria and microbes and ultimately the
negative energy. This makes the environment positive and therefore people feel nice
and light-hearted when they come to a temple. If it is not possible to make the
entrance of the temple from the east direction, at least it must be the north direction.

Major elements of a temple

There are four important elements of a temple. The first one is the porch. The porch
has to be at the entrance of the temple. The second element is a Mandap or hall. This
Mandap can be attached with the temple or detached. But it has to be there. The
third element happens to be Garbh Griha. It can be understood as the womb
chamber or the inner sanctum. The fourth element is the Dom or the tower that is
constructed directly above the womb chamber.

Importance of proper orientation

It is very necessary to understand that a temple that is not built in in accordance
with the proper orientation may bring misfortunes. Please take the services of
Himani Agyani to save you from the destructive results. Show that whenever the
spiritual rites and rituals are performed, only the positive results and blessings I
received by the people. If the construction does not take place in the right manner, it

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will be difficult for the souls of human beings to get connected with the souls of gods
and it will result in the attraction of negative energy.

Checking the geo thermal energy

Every place has its own geo thermal energy. We take care of the different kinds of
energies and the construction of the temple should take in the manner that the
negative energies get purified and the temples constructed give the positive results.
First used in Italy in 1904, geothermal has been a consistent – and expanding –
source of energy in recent years. According to the International Renewable Energy
Agency (IRENA), geothermal energy has grown steadily from around 10GW
worldwide in 2010 to 13.3GW in 2018.

So what is geothermal energy, how does it work and where is it prevalent?

Where does geothermal energy come from?

Geothermal energy is the heat that comes from the sub-surface of the earth. It is
contained in the rocks and fluids beneath the earth’s crust and can be found as far
down to the earth’s hot molten rock, magma.

To produce power from geothermal energy, wells are dug a mile deep into
underground reservoirs to access the steam and hot water there, which can then be
used to drive turbines connected to electricity generators. There are three types of
geothermal power plants; dry steam, flash and binary.

Dry steam is the oldest form of geothermal technology and takes steam out of the
ground and uses it to directly drive a turbine. Flash plants use high-pressure hot
water into cool, low-pressure water whilst binary plants pass hot water through a
secondary liquid with a lower boiling point, which turns to vapour to drive the
turbine.

Where it’s used

Geothermal energy is used in over 20 countries. The United States is the largest
producer of geothermal energy in the world, and hosts the largest geothermal field.

Known as “The Geysers” in California, the field is spread over 117 square kilometres
and formed of 22 power plants, with an installed capacity of over 1.5GW.

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The energy source is also prevalent in Iceland, where it has been used since 1907.
Describing itself as a ‘pioneer’ of geothermal power, the country produces 25% of its
energy from five geothermal power plants. This is due to the 600 hot springs and
200 volcanoes in the country.

Problems due to wrong construction

There can be many problems faced by the founder of the temple or the family
associated with the temple if there is any error in construction of the temple or the
placement of the idol or statue.

1) Restlessness and tensions at home and workplace

2) Health issues
3) More unnecessary expenses
4) Poor relations among family members
5) Poverty, anxiety, aggression and constant fear
6) Unnecessary struggle
7) Less income

Intricacy: The prominent feature

The designs of the temples must be highly intricate. You can see the complexity in
the designs of the temples in the ancient times also. It is very minute work. It takes a
long time and effort to construct a temple. It is not so easy to create the complex
designs with accuracy. Himani Agyani has a lot of experience in designing such
intricate temples.

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Principle of Building in Accord with Natural Law-Aligning any Building
with the Evolutionary Power of Natural Law

The principle of building in accord with Natural Law—aligning any building with the
evolutionary power of Natural Law—comes from the ancient Vedic Literature. This is
the Science and Technology of Consciousness—the supreme structuring dynamics of
creation—which maintains every particle of matter, everything in creation, in perfect
harmony with everything else, and thereby maintains eternal order in the ever-
expanding, ever-evolving universe. The purpose of the Vedic Knowledge of
Sthåpatya Veda—Våstu Vidyå—is to maintain individual life in harmony with Cosmic
Life, and save the individual from being torn apart by the disharmonious influence of the
surroundings he has created around him—his house, his village, his city, etc.

This is being mentioned here to explain the need for everyone in the world to live and
work in an auspicious Våstu building and enjoy the support of Natural Law in daily life.
In Vedic Architecture, the geographical centre of the country holds special
significance for the support of Natural Law for the progress and prosperity of the whole
country
18
 This is because the inner intelligence of everything is Cosmic in such a way that it
sustains every individual structure; at the same time, permeating everything in
creation, it sustains the holistic value of the universe.This omnipresent, all-pervading
intelligence—the Unified Field of all the Laws of Nature—renders every single structure in
the nature of itself, which is both individual and Cosmic. The reality is: the individual is
Cosmic.

Individual intelligence and its connectedness with the Cosmic Intelligence of the
galactic universe is the most precious feature of life. This makes it clear that on the level
of intelligence, everything is well connected with everything else in the whole
universe.Sthåpatya Veda is one of the forty areas of the Vedic Literature. It details the laws
of structuring, or laws of building, any structure so that structurally and functionally
man’s creation is naturally in harmony with Nature’s creation—the creation of
Natural Law.

This Vedic Science of Structuring, or Vedic Science of Building, which is Nature’s own
system of structuring, or building, can be seen as the system of harmonizing individual
life with Cosmic Life. Every humanly designed, man-made structure should conform
to the Natural Laws of structuring if that structure is to be in harmony with the
structure of the universe—the expression of Cosmic Intelligence.
Such a structure has that quiet influence of order and harmony in its environment which
harmonizes individual life with Cosmic Life.

If there is some knowledge which can be helpful to harmonize human creation (man- made
structures) with Nature’s creation, it is wise to make use of this knowledge so that
individual life may enjoy that supreme level of order and harmony of Natural Law which
belongs to the universe, and to the essential nature of every individual.

Now is the time, in this scientific age, to reconstruct the world and free mankind from
problems and suffering that have been continuing for a long time. The principles and
programmes of Sthåpatya Veda will eradicate the basis of the age-old suffering caused by
the violation of Natural Law.

Sthåpatya Veda, as brought to light by Maharishi, will remove the obstacles to

perfection in life by providing housing according to Natural Law, and by offering the
knowledge and programmes through which every individual can always gain the full
support of Natural Law for success and fulfilment in daily life:

* People need homes built in accord with Natural Law to gain the support of Natural
Law and promote harmonious family life;
* Parents need schools, colleges, and universities built in accord with Natural Law to
bring the support of Natural Law to their children;
• Patients need hospitals built in accord with Natural Law to gain the support of Natural
Law for fast and complete recovery;
• Executives and employees need office buildings and factories built in accord with
Natural Law to gain the support of Natural Law for unrestricted, fulfilling success (both
for employers and employees);

19
 (The effect of routine work is restrictive to the blossoming of creativity. But when life
is lived in accord with Natural Law, under the influence of auspicious Våstu, the
irresistible power of evolution neutralizes the negative effect of routine work, and
individuals enjoy the theme of evolution—increasing health, happiness, and
prosperity—all the time.)
• Mayors need garden cities and communities built in accord with Natural Law (free
from crime, congestion, pollution, and stress) to bring the support of Natural Law
to the whole population;
• Administrators need administrative buildings built in accord with Natural Law to
bring the support of Natural Law to government—for conflict-free politics;
• Heads of State, governors, and national leaders need to redesign and rebuild the
whole country in accord with Natural Law, to bring the support of Natural Law—health,
wealth, and happiness—to the whole nation, generation after generation.

Bringing the Support of Natural Law to the Whole

Population

Meissner Effect
The principle of the Meissner Effect from Quantum Physics verifies that the
inner coherence and harmony of a system expels disturbing influences. This
explains how the order, harmony, and good fortune, generated by an ideal
Våstu, disallow the penetration of any harmful, negative influence. (Refer to
diagram at the end of this text.)

Bringing the Support of Natural Law to the Whole Population

The principle of the Meissner Effect from Quantam Physics verifies that the
inner coherence and harmony of a system expels disturbing influences.
This explains how the order, harmony, and good fortune, generated by an ideal
Våstu, disallow the penetration of any harmful, negative influence.

20
Auspicious and Inauspicious Influences due to the Orientation of Buildings—North,
South, East, or West

Vastu Effect
The example of coherence and invincibility through the establishment of an ideal Våstu
is described in the ancient literature of Sthåpatya Veda, which maintains that by virtue of
the internal orderly structure of the Våstu, all negative influences have to remain beyond
the boundaries of a building’s Våstu demarcation—or in the case of a city—at the outskirts
of the city—beyond the Våstu demarcation—creating the ground for ideal, harmonious
living conditions in accord with Natural Law for the fortunate residents of that
building or city.

The Våstu Effect not only prevent any negative influence penetrating the Våstu of any
building, town, or city, but in the case of the individual living in an ideal Våstu, the self-
repair mechanism of his own physiology is not disturbed or diminished; its orderly
functioning is maintained.

Thus the phenomenon of the Våstu Effect, which corresponds to the Meissner Effect in
Physics, presents the need for the complete reconstruction of the whole world for the
world to be really healthy on a permanent basis. Sthåpatya Veda will provide ideal
housing for all those who are living and working under the negative influence of a wrong
Våstu, and to especially help those who need financial assistance to improve their
quality of life through the quality of their housing.

21
 ‘People do not generally know that the orientation (north, south, east, west)
of residential and office buildings contributes a great deal to success and
progress in professional life; and health, happiness, and
fortune on the individual level.
‘A considerable amount of ill health, misfortune, and suffering
can be eliminated by living and working in properly oriented
homes and offices.
‘Sthåpatya Veda promotes construction according to Natural
Law, which takes into account the orientation of buildings in view
of direction—north, south, east, and west.’
—Maharishi-Mahesh Yogi

Temple designing at home

While designing a temple at one’s home, one must take care of many aspects. We
build the temple in the north-east direction only. It is very important to understand
that the Shadow of the temple must never reach the house. If you are getting a
temple constructed in your veranda or Garden, please note that the shadow of the
Dome of the temple should not reach your house at any cost. In fact, the shadow of
any Temple should not be on any house. The people living in that house have to face
adverse results in case it happens. This is the reason; people avoid taking a piece of
property immediately near a temple.

22
 PART I
Smaller HINDU TEMPLES

23
 CHAPTER II
Medieval temple architecture: North Indian style

North Indian temples generally consist of a sanctum enshrining the main

image, usually square in plan and shaped like a hollow cube, and one or more
halls (called maṇḍapas), aligned along a horizontal axis. The sanctum may or
may not have an ambulatory, but it is invariably dark, the only opening being
the entrance door. The doorway surrounds are richly decorated with bands of
figural, floral, and geometrical ornament and with river-goddess groups at the
base. A vestibule (antarāla) connects the sanctum to the halls, which are of two
broad types: the gūḍhamaṇḍapas, which are enclosed by walls, light and air let
in through windows or doors; and open halls, which are provided with
balustrades rather than walls and are consequently lighter and airier. The
sanctum almost invariably, and the maṇḍapas generally, have śikharas; those
on the sanctum, appropriately, are the most dominant in any grouping.
Internally, the sanctum has a flat ceiling; the śikhara is solid theoretically,
though hollow chambers to which there is no access must be left within its
body to lessen the weight. The ceilings of the halls, supported by carved pillars,
are coffered (decorated with sunken panels) and of extremely rich design.
The sanctum is often set on a raised base, or a plinth (pīṭha), above which is a
foundation block, or socle (vedībandha), decorated with a distinct series of
moldings; above the vedībandha rise the walls proper (jaṅghā), which are
capped by a cornice or a series of cornice moldings (varaṇḍikā), above which
rises the śikhara. One, three, and sometimes more projections extend all the
way from the base of the temple up the walls to the top of the śikhara. The
central offset (bhadra) is the largest and generally carries an image in a niche;
the other projections (rathas), too, are often decorated with statuary.

The entire temple complex, including sanctum, halls, and attendant shrines,
may be raised on a terrace (jagatī), which is sometimes of considerable height
and size. The attendant shrines—generally four—are placed at the corners of
the terrace, forming a pañcāyatana, or quincunx, arrangement that is fairly
widespread. The temple complex may be surrounded by a wall with an arched
doorway (toraṇa).

The śikhara is the most distinctive part of the North Indian temple and
provides the basis for the most useful and instructive classification. The two
basic types are called latina and phāmsanā. Curvilinear in outline, the latina is
composed of a series of superimposed horizontal roof slabs and has offsets
called latās. The edges of the śikhara are interrupted at intervals with grooved
discs, each one demarcating a “story.” The surface of the entire śikhara is

24
covered with a creeper-like tracery, or interlaced work, composed of diminutive
ornamental candraśālās.

Elevation of a North Indian temple with the latina type of superstructure.

Encyclopædia Britannica, Inc.
The śikhara is truncated at the top and capped by a shoulder course
(skandha), above which is a circular necking (grīvā), carrying a large grooved
disc called the āmalasāraka. On it rests a pot and a crowning finial (kalaśa).

Unlike the latina, the phāmsanā śikhara is rectilinear rather than curvilinear in
outine, and it is lower in height. It is composed of horizontal slabs, like
the latina, but is capped by a bell-shaped member called the ghaṇṭā. The
surface of this type of śikhara may have projections, like the latina śikhara,
and be adorned with a variety of architectural ornament.

From the 10th century onward, the śekharī type of spire, an elaboration of
the latina type, became increasingly popular. In its developed form it consisted
of a central latina spire (mūlaśṛṅga) with one or more rows of half spires added
on the sides (uraḥ-śṛṅga) and the base strung with miniature spires (śṛṅgas).
The corners, too, are sometimes filled with quarter spires, the whole mass of
carved masonry recalling a mountain with a cluster of subsidiary peaks.

25
Elevation of a North Indian temple with the śekharī type of superstructure.
Encyclopædia Britannica, Inc.
The latina and śekharī spires are generally found on the sanctum, while
the phāmsanā and its variants are usually confined to the maṇḍapas, or halls.
The sanctum spires also have a large and prominent projection in front
(śukanāsā), generally rising above the vestibule (antarāla). These projections
are essentially large ogee arches of complex form, which often contain the
image of the presiding deity.

A particularly rich and pleasing variety of North Indian śikhara, popular in

Mālwa, western India, and northern Deccan, is the bhūmija type. It has a
central projection on each of the four faces, the quadrants so formed filled with
miniature spires in vertical and horizontal rows right up to the top.

Although basically reflecting a homogeneous architectural style,

temple architecture in northern India developed a number of distinct regional
schools. A detailed elucidation of all has yet to be made, but among the most
important are the styles of Orissa, central India, Rājasthān, and Gujarāt. The
style of Kashmir is distinct from the rest of northern India in several respects,
and hardly any examples of the great schools that flourished in modern Uttar
Pradesh, Bihār, and Bengal are left standing. The North Indian style also
extended for some time into the Karnataka (formerly Karṇāṭa) territory, situated
in the southern Deccan, though the architecture of Tamil Nadu was relatively
unaffected by it.
Medieval temple architecture: South Indian style of Tamil Nadu
(7th–18th century)

The early phase, which, broadly speaking, coincided with the political
supremacy of the Pallava dynasty (c. 650–893), is best represented by the
important monuments at Mahābalipuram. Besides a fine group of small cave
temples (early 7th century), among the earliest examples of their type in
southern India, there are here several monolithic temples carved out of the
rock, the largest of which is the massive three-storied Dharmarāja-ratha
(c. 650). The finest temple at this site and of this period is an elegant complex
of three shrines called the Shore Temple (c. 700), not cut out of rock but built
of stone. The Tālapurīśvara temple at Panamalai is another excellent example.
The capital city of Kānchipuram also possesses some fine temples—for
example, the Kailāsanātha (dating a little later than the Shore Temple), with its
stately superstructure and subsidiary shrines attached to the walls. The
enclosure wall has a series of small shrines on all sides and a small gopura.
Another splendid temple at Kānchipuram is the Vaikuṇtha Perumāl (mid-8th
century), which has an interesting arrangement of three sanctums, one above
the other, encased within the body of the superstructure.

26
The 9th century marked a fresh movement in the South Indian style, revealed
in several small, simple, but most elegant temples set up during the
ascendancy of the Cōḻa and other contemporary dynasties. Most important of a
large number of unpretentious and beautiful shrines that dot the Tamil
countryside are the Vijayālaya Cōḻīśvara temple at Nārttāmalai (mid-9th
century), with its circular sanctum, spherical cupola, and massive, plain walls;
the twin shrines called Agastyīśvara and Cōḻīśvara, at Kīḻaiyūr (late 9th
century); and the splendid group of two temples (originally three) known as
the Mūvarkovil, at Koḍumbāḷūr (c. 875).

These simple beginnings led rapidly (in about a century) to the mightiest of all
temples in the South Indian style, the Bṛhadīśvara, or Rājarājeśvara, temple,
built at the Cōḻa capital of Thanjāvūr. A royal dedication of Rājarāja I, the
temple was begun around 1003 and completed about seven years later. The
main walls are raised in two stories, above which the superstructure rises to a
height of 190 feet (60 metres). It has 16 stories, each of which consists of a wall
with a parapet of shrines carved in relatively low relief. The great temple
at Gaṅgaikoṇḍacōḻapuram, built (1030–40) by the Cōḻa king Rājendra I, is
somewhat smaller than the Bṛhadīśvara; but the constituent elements of its
superstructure, whose outline is concave, are carved in bolder relief, giving the
whole a rather emphatic plasticity. The Airāvateśvara (1146–73) and
Kampahareśvara (1178–1223) temples at Dārāsuram and Tribhuvanam follow
the tradition of the 11th century but are smaller and considerably more ornate.
They bring to a close a great phase of South Indian architecture extending from
the 11th to the 13th century.

From the middle of the 12th century onward, the gopuras, or entrance buildings, to
temple enclosures began to be greatly emphasized. They are extremely large and
elaborately decorated with sculpture, quite dominating the architectural ensemble.
Their construction is similar to that of the main temple except that they are
rectangular in plan and capped by a barrel vault rather than a cupola, and only the
base is of stone, the superstructure being made of brick and plaster. Among the finest
examples are the Sundara Pāndya gopura (13th century) of the Jambukeśvara temple
at Tiruchchirāppalli and the gopuras of a great Śiva temple at Chidambaram, built
largely in the 12th–13th century (see photograph). Even larger gopuras, if not of such
fine quality, continued to be built up to the 17th century. Such great emphasis was
placed on the construction of gopuras that enclosure walls, which were not really
necessary, were especially built to justify their erection. In the course of time several
walls and gopuras were successively built, each enclosing the other so that at the
present day one often has to pass through a succession of walls with their gopuras
before reaching the main shrine. A particularly interesting example is the Ranganātha
temple at Srīrangam, which has seven enclosure walls and numerous gopuras, halls,
and temples constructed in the course of several centuries. The gopuras of the Mīnākṣī
temple at Madurai are also good representative examples of this period.

27
Southern gopura of the Shiva temple at Chidambaram, Tamil Nadu, India, c. 1248.P. Chandra

In addition to the gopuras, temples also continued to be built. Although they

never achieved colossal size, they are often of very fine workmanship. The
Subrahmaṇya temple of the 17th century, built in the compound of the
Bṛhadīśvara temple at Thanjāvūr, indicates the vitality of architectural
traditions even at this late date.
Medieval temple architecture: South Indian style of Karnataka

The early phase, as in Tamil Nadu, opens with the rock-cut cave temples. Of
the elaborate and richly sculptured group at Bādāmi, one cave temple is dated
578, and two cave temples at Aihole are early 8th century. Among structural
temples built during the rule of the Cālukyas of Bāẖāmi are examples in the
North Indian style; but, because the Karnataka region was more receptive to
southern influences, there are a large number of examples that are basically
South Indian with only a few North Indian elements. The Durgā temple (c. 7th
century) at Aihole is apsidal in plan, echoing early architectural traditions; the
northern latina śikhara is in all probability a later addition. The Mālegitti
Śivālaya temple at Bāẖāmi (early 8th century), consisting of a sanctum, a hall
with a parapet of śālās and kūṭas (rectangular and square miniature shrines),
and an open porch, is similar to examples in Tamil Nadu. The Virūpākṣa at
Pattadkal (c. 733–746) is the most imposing and elaborate temple in the South
Indian manner. It is placed within an enclosure, to which access is through
a gopura; and the superstructure, consisting of four stories, has a projection in
the front, a feature inspired by the prominent projections, or śukanāsā, of
North Indian temples. Belonging to the 9th century is the triple shrine (the
three sanctums sharing the same maṇḍapa, or hall) at Kambaḍahalli and the
extremely refined and elaborately carved Bhoganandīśvara temple at Nandi.
The Chāvuṇḍarāyabasti (c. 982–995) at Śravaṇa-Beḷgoḷa is also an impressive
building, with an elegant superstructure of three stories.

With the 10th century, the Karnatic idiom begins to show an increasing
individuality that culminates in the distinctive style of the 12th century and
later. The Kalleśvara temple at Kukkanūr (late 10th century) and a large Jaina
temple at Lakkundi (c. 1050–1100) clearly demonstrate the transition. The
superstructures, though basically of the South Indian type, have offsets and
28
recesses that tend to emphasize a vertical, upward movement. The Lakkundi
temple is also the first to be built of chloritic schist, which is the favoured
material of the later period and which lends itself easily to elaborate sculptural
ornamentation. With the Mahādevā temple at Ittagi (c. 1112) the transition is
complete, the extremely rich and profuse decoration characteristic of this
shrine being found in all work that follows. Dating from the reign of
the Hoysaḷa dynasty (c. 1141) is a twin Hoysaḷeśvara temple at Halebīd, the
capital city. The sanctums are stellate in form but lack their original
superstructures. The pillars of the interior are lathe-turned in a variety of
fanciful shapes. The exterior is almost totally covered with sculpture, the walls
carrying the usual complement of images; the base, or socle, is decorated with
several bands of ornamental motifs and a narrative relief. Among other temples
that were constructed in this style, the most important are the Chenna Keśava
temple at Belūr (1117), the Amṛteśvara temple at Amritpur (1196), and the
Keśava temple at Somnāthpur (1268).

29
Medieval temple architecture: South Indian style of Mahārāshtra,
Andhradeśa, and Kerala

The traditions of cave architecture are stronger in Mahārāshtra than in any

other part of India; there, great shrines were cut out of rock right up to the 9th
century AD and even later. Of those belonging to the early phase, the most
remarkable is a temple at Elephanta (early 6th century); equally impressive are
numerous temples at Ellora (6th–9th centuries). The Karnatic version of the
South Indian style extended northward into Mahārāshtra, where the Kailasa
temple at Ellora, erected in the reign of the Rāṣṭrakūṭā Krishna I (8th century),
is its most stupendous achievement. The entire temple is carved out of rock
and is over 100 feet (30 metres) high. It is placed in a courtyard, the three sides
of which are carved with cells filled with images; the front wall has an
entrance gopura. The tall base, or plinth, is decorated with groups of large
elephants and griffins, and the superstructure rises in four stories. Groups of
important temples in the southern style are also found in the Andhra country,
notably at Biccavolu, ranging in date from the 9th to the 11th centuries. The
13th-century temples at Palampet are the counterparts of the
elaborate Karnatic style of the same period, but without its overpowering
elaboration. The temples of Kerala represent an adaptation of the South Indian
style to the great main fall of this region and are provided with heavy sloping

30
roofs of stone that imitate timber originals required for draining away the
water.

Kailasa temple (cave 16), Ellora Caves, northwest-central Maharashtra state,

India.

31
32
 CHAPTER III
1000 Petal Temple

Dr Uday Dokras Ph D Sweden

Nizhal Thangal, Attoor, Kanyakumari

.5 Kms from Thiruvattaru, 15 Kms from Thuckalay, 6 Kms from Marthandam, 6 Kms from
Kulasekharam, 28 Kms from Nagercoil, 20 Kms from Colachel, 49 Kms from Kanyakumari and
50 Kms from Thiruvananthapuram is the Nizhal Thangal, Attoor temple - one among the few
renowned Worship centers of Ayyavazhi in the western Kanyakumari.
It is also the second Thangal built in the Thamarai Thangal series only after the Nizhal Thangal
of Nelli-Ninra Vilai, and the first ever Temple built with the Sahasrara architecture.
The Pathis and Nizhal Thangals, are centers of worship and religious learning for the followers
of Ayyavazhi which are established in different parts of India. They served as centres for
propagation of the beliefs and practices of Ayyavazhi. There are more than 8000 worship centers
throughout India, mostly in Tamil Nadu and Kerala. Nizhal Thangal, Attoor, Kanyakumari is
a pathi and larger temple.The Pathis are given religious importance than the Nizhal Thangals
and are considered as primary worship centers. Since Ayyavazhi is not an organised
religion, Swamithoppepathi serves, religiously but not officially, as the headquarters of all.
Ayyavazhi "Path of the Master") is a henotheistic belief[ that originated in South India It is
cited as an independent monistic religion by several newspapers, government reports, journals
and academic researchers. In Indian censuses, however, the majority of its followers declare
themselves as Hindus. Thus, Ayyavazhi is also considered a Hindu denomination. Officially
(legally), it exists within Hinduism as a Hindu denomination.
Ayyavazhi is centered on the life and preachings of Ayya Vaikundar; its ideas and philosophy
are based on the holy texts Akilathirattu Ammanai and Arul Nool. Accordingly, Vaikundar was

33
the Purna avatar of Narayana. Lord Ayya Vaikundar (c.1833–c.1851; Tamil: அய் யா
வைகுண்டர்), known to his followers as tenth avatar or incarnation of Lord Vishnu, also
called as Sriman Narayana Vaikundaswamy or Narayana Pandaram, was a 19th-
century social reformer and iconoclast who worked for the upliftment of downtrodden people in
the Kingdom of Travancore. He is central to the Hindu denomination of Ayyavazhi, as per holy
scripture.
Ayyavazhi shares many ideas with Hinduism in its beliefs and practice, but differs considerably
in its concepts of good and evil and dharma. Ayyavazhi is classified as a dharmic belief because
of its central focus on dharma.
Ayyavazhi first came to public attention in the 19th century as a Hindu sect. Vaikundar's
activities and the growing number of followers caused a reformation and revolution in 19th-
century Travancorean and Tamil society. surprising the feudal social system of South India. It
also triggered a number of reform movements including those of Narayana Guru and Ramalinga
Swamigal.
Though Ayyavazhi followers are spread across India, they are primarily present in South
India especially concentrated in Tamil Nadu and Kerala. The number of practitioners is
estimated to be between 8,000,000 and 10,000,000 although the exact number is unknown, since
Ayyavazhis are reported as Hindus during censuses

The Design: The 100 petal symbol is the Sahasrara or Sahastrar

(Sanskrit: सहस्रार, IAST: Sahasrāra, English: "thousand-petaled") or crown chakra is generally
considered the seventh primary chakra, according to most tantric yoga traditions.
Architectural -Appearance
The Sahasrara or Sahastrar is described as a lotus flower with 1,000 petals of different colors.
These petals are arranged in 20 layers, each layer with approximately 50 petals. The pericarp is
golden and within it a circular moon region is inscribed with a luminous triangle, which can be
either upward- or downward-pointing.
Often referred to as a thousand-petaled lotus, it is said to be the most subtle chakra in the system,
relating to pure consciousness, and it is from this chakra that all the other chakras emanate.
When a yogi is able to raise his/her kundalini (energy of consciousness) up to this point, the state
of Nirvikalpa Samādhi is experienced. Sahasrara or Sahastrar is related to the crown of the head.
It is typically associated with the fontanelle and the intersection of the coronal and sagittal
sutures of the skull. Various sources will relate it to the pineal gland, hypothalamus or
the pituitary gland although these are often given instead as locations of Ajña Chakra. The
crown wheel is important within the Anuttarayoga Tantra tradition of Buddhist Vajrayana. It is
triangular, with 32 petals or channels that point downwards, and within it resides the white drop
or white bodhicitta. Through meditation, the yogi attempts to unite this drop with the red
bodhicitta in the navel, and to experience the union of emptiness and bliss. It is very important in
the Tantric practice of Phowa, or consciousness transference. At the time of death, a yogi can
direct his consciousness up the central channel and out of this wheel in order to be reborn in a
Pure Land, where he can carry on his tantric practices, or transfer that consciousness into another
body or a corpse, in order to extend life.

34
In the West, it has been noted by many (such as Charles Ponce in his book Kabbalah.) that
Sahasrara expresses a similar archetypal idea to that of Kether, in the Kabbalistic Tree of Life,
which rests at the head of the tree, and represents pure consciousness and union with God.

35
History
Though this Thangal was built in 1988, the new structure with Sahasrara architecture was built
recently. The foundation stone for the new structure was laid in 2005 by Bala Prajapathi
Adikalar and was inaugurated by him on 23 April 2007.

36
37
Architecture
This is one of the Nizhal Thangals in Kanyakumari district (west) built in 'Lotus
architecture'(Sahasrara). It's top-roof is covered by 1008 lotus petals. The Thangal was
constructed facing the geographic east and daily Panividais are conducted here twice (5.00 am
and 5.00 pm) and Ucchi-Panividais are conducted on every Sundays at 12.00 noon. The newly
built structure was inaugurated on 23rd April 2007 by Bala Prajapathi Adikalar, the present
Pattathu Ayya of Swamithoppu Pathi.

38
39
Festivals
Thiru Edu-Vasippu is the main festival conducted here. The festival includes a celebration for 10
days starting from the second Friday of the Tamil month of Chithirai (April/May) every year.
The 15141 verses of holy text Akilathirattu Ammanai is ceremonially recited during the 10
festival days. Religious conferences are also held every year. Ayya Vaikunda Avatharam is the
second most popular festival which is held usually on the 18th of the Tamil month of Masi.
Special Panividais are conducted and Annual celebration of the Akila-Ara Patasalai (spiritual
schools) are held along with the Masi Celebration. Other festivals
including Thirukarthigai, Diwali etc. are also celebrated with high fervor.

The Pathis and Nizhal Thangals, are centers of worship and religious learning for the followers
of Ayyavazhi which are established in different parts of India. They served as centres for
propagation of the beliefs and practices of Ayyavazhi. There are more than 8000 worship centers
throughout India, mostly in Tamil Nadu and Kerala. The Pathis are given religious importance
than the Nizhal Thangals and are considered as primary worship centers. Since Ayyavazhi is not
an organised religion, Swamithoppepathi serves, religiously but not officially, as the
headquarters of all.
Generally two facts are required to accredit a site as Pathi, They are

1. The site(place) should be historically associated with the incarnational activities

of Vaikundar.
2. The site should be mentioned in Akilam by referring it using the term 'Pathi' .

40
Nizhal Thangal (Tamil: நிழல் தாங் கல் ; also called Inai Thangals) are secondary worship
places of the Ayyavazhi, often smaller in size compared to Pathis, built per the instructions
of Akilattirattu Ammanai. Cleanliness is strictly enforced.
Though the common people, mainly in early times call them as Narayanaswami
koil or Narayanaswami pathi, the Ayyavazhi scriptures consider these centers distinct from
The Pathis. They call these worship centers, which were not associated with the religious
activities of Vaikundar as 'Inai Thangals'.
Unlike Pathis this Thangals were of small size. Inside the Nizhal Thangals, no murti or idol is
used. The Palliyarai of Thangals generally seems similar to Pathis. But inside, in most of the
Thangals instead of raised pedestal, chairs were placed as asanas in which the saffron or silk
cloths are wrapped-around. A garland made of rudraksha (string of rudraksha beads) is placed
around the neck of the asana. Mirrors were placed behind. In front of these there will be two
standing oil lamps(kuthu vilakku)made of brass, each placed on the either side of the asana.
In some of the Thangals there will be inner corridors as pathis to circumambulate the Palliyarai.
A hall is attached to this palliyarai for the worshippers. In some of the Thangals there are flag
masts, Vahanas and temple cars etc.

Ayyavazhi Symbols representing 1000 lotuses

Ayyavazhi: The Sociological and Mystical Teachings, Benjamin Grove,

2013https://sites.psu.edu/themaskswewear/2013/10/03/ayyavazhi-the-sociological-and-
mystical-teachings/
Do you ever feel that you are acting as a bystander to all of the terrors happening around you? Do you
wish to take the initiative to prevent such atrocities from damaging the lives of others as well as yourself?
This may seem like a daunting task, but it is available with a reminder

41
 with t he right type of

Perhaps you do not have to directly make a significant change, but you can still others to help reestablish
social justice throughout the world. Hopefully, then, you will have the means to reveal the true divine
knowledge that has been veiled by the injustice of modern human relations and governmental policies.
But let’s not get carried away here.
Kali, Goddess of Change and Time
If this is your goal, then the teachings of Ayyavazhi will certainly lead you in the right direction. A South
Indian dharmic belief system achieving official recognition in the nineteenth century as a Hindu Sect,
Ayyavazhi breaks its teachings down into two main categories. These are the mystical teachings and the
social teachings. The mystical teachings are primarily concerned with the individual finding the means to
reveal divine knowledge into his life. However, the Ayyavazhi practitioner must be aware of the nefarious
intents of the evil of Kali, who tries to disturb the connection between the soul and the universe, giving
the individual a false sense of identity that is often just feeding into the ego.With this, members of the sect
may develop a sense of hubris that will make them feel that they are more powerful or successful than the
people around them, when they are actually just making it more difficult for themselves to gain genuine
respect and admiration from their peers. The second aspect of Ayyavazhi teachings is sociological. This
facet is concerned with ensuring that the people on earth are treated equally and fairly. Naturally,
Ayyavazhi holds a general distaste for the caste system, a long-running tradition throughout India that
was based on social stratification, dividing labor and wealth to the Indian citizens based on hereditary
background and social class.

In regards to ethics, Ayyavazhi places most of its value in a concept known as Neetham. The idea behind
Neetham is that the citizens, authority, and rulers all live in complete harmony and thus allow nature to be
their ultimate protector. At a young age, practitioners always act in support of God, so they can then make
this a habit for the rest of their lives. The Ayyavazhi people strive to live in union, so if an outside threat
ever comes, they will always have strength in numbers.

42
I think it would actually be really difficult for many of us to bring the teachings of Ayyavazhi into their
lives. As I was looking into the evil of Kali, it too accurately described how we view individuality. They
constantly feed us this idea that our lives are predominantly “personal,” and have forgotten what it truly
means to be in union. Ayyavazhi emphasizes the importance of “oneness,” which means oneness with the
world. It is one of those belief systems that can truly improve how you feel about your own life while
also giving you the tools to improve the lives of others, having both mystical and sociological facets,
because it can help you control reality as well as your imagination.

43
 CHAPTER IV
A Shivling Established by Lord Kartikeya Himself tht
emerges and submerges each day

Introduction: According to the mythology, this Shiva Ling was installed by Lord
Kartikeya himself. One story says that, Lord Kartikeya (Shiva's Son) feels guilty after
killing the demon Tarakasura. So, Lord Vishnu consoled him saying that it was not
wrong to kill a demon who lived by troubling the common people. However, Lord
Kartikeya wanted to absolve his sin of killing a great devotee of Shiva. Hence, Lord
Vishnu adviced him to install Shiva Lingas and pray for the forgiveness.

Mention in Skanda Purana

You who has form and who is formless,
you who are both being and non-being,
who are the fragrance and the blossom,
who are the jewel and its lustre,
who are the seed of life and life itself,
who are the means and the existence itself,
who are the supreme guru, come
and bestow your grace, O Guha [Murugan]
—Kantaranuputi 51, Arunagirinathar
(Translator: Kamil Zvelebil)

What's the difference between emerge and submerge?

Emerge

Definition:
 (v. i.) To rise out of a fluid; to come forth from that in which anything has been
plunged, enveloped, or concealed; to issue and appear; as, to emerge from the
water or the ocean; the sun emerges from behind the moon in an eclipse; to
emerge from poverty or obscurity.
Submerge

Definition:
 (v. t.) To put under water; to plunge.
 (v. t.) To cover or overflow with water; to inundate; to flood; to drown.
 (v. i.) To plunge into water or other fluid; to be buried or covered, as by a fluid;
to be merged; hence, to be completely included.

New Delhi: There are many ancient and miraculous temples in India, which are
known worldwide for their specialties. You must have heard of many miracles
associated with Shiva. There is also a temple associated with Shiva's miracle in
Gujarat. Let us tell you about it.

44
This unique temple of Shiva is on the Cambay coast of Gujarat. This miraculous
temple sinks into the sea twice a day (morning and evening) and then reappears. This
temple is known as the Pillarshwar Mahadev Temple. Learn here about this unique
temple of Lord Shiva
Disappears in the sea twice a day The temple disappears automatically in
the waves of the sea and comes out again after some time. This happens only twice a
day.
The sea does the consecration of the Shivalinga
This temple is on the edge of the sea, twice the tide comes. For this reason, the sea
water comes to the temple and anointed the Shivling twice and returns. During this
time no one is allowed to go there.
The temple is 150 years old and the pillar of the temple is about 150 years old and the
Shivling installed in the temple is 4 feet high.This unique temple is said to have been
built by Kartikeya, son of Shiva himself. Kartikeya built this temple to apologize for his
mistake when a great devotee of Shiva is killed by him.

Skanda Purana, one of 18 Hindu puranas, has references to this temple. After
slaying Tarkasur, Tarakasur asked the Gods that how will be absolve himself of
the sin of killing a devotee of Lord Shiv. Lord Vishnu consoled him-‘Killing a
wicked person, who nourishes himself on the blood of innocent people, is not a
sinful deed. But, still, if you feel guilty, the best way to atone for your sin is
establish Shiva lingas and worship them with deep devotion.’
Kartikeya installed these Shivalingas at three different places with proper rituals
in the presence of Maa Parvati and all other Gods. Stambeshwar is one of the three
shrines where these Shiv lings were established.

Temples of Sri Murugan are however as below. They contain Idols to worship
Murugan Swami.

Kartikeya-Subrahmaniya temples are popular in hilly regions such as the Western Ghats.
Above: the 12th-century Maruthamalai Temple in Coimbatore./Marudhamalai
temple Reflections

Murugan Temple of North America/

Within India-South India
Tamil Nadu
 Palani Murugan Temple
 Swamimalai Murugan Temple
 Thiruchendur Murugan Temple
 Thirupparamkunram Murugan Temple
 Thiruthani Murugan Temple

45
 Pazhamudircholai Murugan Temple
The above six temples are dedicated to Kartikeya as their primary deity. These six
temples in Tamil Nadu, together are referred to as Aru Padaiveedu (Tamil: Āṟupaṭai
vīṭu), that are mentioned in Thirumurugatrupadai, written by Nakkeerar and in
Thirupugal, written by Arunagirinathar.
Kerala
There are many temples dedicated to Subramanya in Kerala such as:
 Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod[
 Subramanya Swamy temple in Payyanur
 Panmana Subramanya Swamy temple in Panmana
 Haripad Sree Subrahmanya Swamy temple
 Kilimarathukavu Subrahmanya Temple

Andhra Pradesh
Anantapur District Pampanuru Subramanyam Swamy temple Kothur, Kurnool
District
 Skandagiri, Secunderabad
 Biccavolu
 Mopidevi[
 Mallam
Karnataka
 Kukke Subramanya Temple Kartikeya is worshipped as Subrahmanya where he is
regarded as Lord of the serpents.
 Ghati Subramanya
North India
Delhi
 Malai Mandir, a prominent temple complex[99]
Haryana
 Pehowa temple in Haryana
Punjab
 Achaleshwar Temple in Gurdaspur.
Chandigarh
 Sri Karthikeya Swami Temple
Himachal Pradesh
 Kartik Swami Temple in Manali
 Kartik Swami Temple in Chamba
Uttrakhand
 Karthik Swami temple above Rudraprayag
Madhya pradesh
 Kartikeya Mandir, Gwalior. It opens for a single day once in a year.
Gujarat
 Sri Balamurugan Devasthanam in Ahmedabad
Maharashtra
 Kartik Swami Thirumal Murugan Temple
 Thiruchembur Murugan Temple, Chembur, Mumbai
West Bengal
 Sri Ganesh & Murugan Temples in Kolkatta

46
Outside India
Sri Lanka
 Kataragama (Kadirgamam) in the south
 Temple in Tirukovil in the east
 Shrine in Embekke in Kandy
 Nallur Kandaswamy temple in Jaffna.
Malaysia

 Batu Caves near Kuala Lumpur which has a 42.7-m-high statue of Murugan at the
entrance, the largest Lord Murugan statue in the world.
 Arulmigu Balathandayuthapani Temple, Penang
 Nattukkottai Chettiar Temple, Penang
 Sri Marathandavar Bala Dhandayuthapani Alayam
 Sri Kandaswamy Kovil, Brickfields
 Sannasimalai Temple in Malacca.
 Kallumalai Temple in Ipoh
Indonesia
 Langkat, Indonesia which has 16 meter high and standing outside of its temple
named as Shri Raja Rajeshwari Amman Kovil Temple. It has second largest
Murugan statue in the world.
Singapore
 Sri Thendayuthapani Temple in Singapore is a major Hindu temple.
 Arulmigu Velmurugan Gnana Muneeswaran Temple, 50 Rivervale Cres Sengkang,
Singapore
 Sri Holy Tree Balasubramaniam Temple
 Sri Murugan Hill Temple, 931 Upper Bukit Timah Rd,
USA
 Shiva Murugan Temple in Concord, Northern California
 Murugan Temple of North America in Maryland, Washington DC.
 Carolina Murugan Temple (planned) in Chatham County, North Carolina. To
include “the tallest statue of Lord Murugan in the world.”
Canada
 Kanthasamy Temple in Toronto, Ontario, Canada
 Murugan temple in Val-Morin, a suburb of the city of Montreal.
United Kingdom
 Highgate Hill Murugan temple in London
 Sri Murugan Temple in Manor park, London
 Shri Siva Murugan Temple in Leicester is a popular temple
 Skanda Vale in Carmarthenshire, Wales is an ashram and place of pilgrimage [121]
Australia
 Murugan temple in Parramatta (Mays Hill)
 Perth Bala Muruguan temple in Mandogalup
 Kundrathu Kumaran temple in Rockbank, Melbourne
New Zealand
 Thirumurugan Temple in Auckland
 Kurinji Kumaran Temple in Wellington[

47
Switzerland
 Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil is the
largest Hindu temple in Switzerland.
South Africa
 Clairwood Shree Siva Soobramoniar Temple
Fiji
 Sri Siva Subramaniya temple

The Vanishing Spectacle: Stambheshwar Mahadev Temple in Gujarat By

Akshatha Vinayak

Sometimes it is not just devotion which takes us to a temple. Not that we are not
religious but some unique events pull us towards it. Similarly, here is one temple of
Shiva which goes through an interesting spectacle on a daily basis. Stambeshwara
Mahadev Temple in Gujarat is one of the incredible places to visit in the state. It is
unique because it submerges everyday and again reappears. Yes, Stambheshwar
Mahadev Temple is famously known as the Disappearing Shiva Temple in India.
Stambheshwar Mahadev Photo Courtesy: Nizil Shah One should visit this place to see
this extravaganza of nature. Stambheshwar Mahavdev is an ancient temple situated in
the town of Kavi Kamboi. The shrine is located between the shores of the Arabian Sea
and the Bay of Cambay in Gujarat. Everyday, this Shiva Temple gets submerged in
water during high tide hours and again reappears when the tide level comes down.
Again it will be open for the public. People from across the country come here to watch
this amazing sight. Legend of Stambheshwar Mahadev Submerged in Water How To
Reach Kavi Kamboi Kavi Kamboi is around 75km from Vadodara in Gujarat. Kavi
Kamboi is well-connected by road from places like Vadodara, Bharuch and Bhavnagar.
It is better to take private cabs or vehicles to travel from Vadodara to Stambeshwar
Mahadev. By Train: Vadodara Railway Station is the nearest railway station to Kavi
Kamboi

48
Shiva's miraculous temple, disappears into the sea after seeing it twice a day,
know what is the secret
Stambheshwar mahadev temple: This unique temple of Lord Shiva is in Gujarat which
is on the central Cambay coast of Sagar. The special thing about this temple is that it
comes back by drowning in the sea twice a day.

stambheshwar mahadev temple

Kartikeya (Sanskrit: कार्तिकेय, IAST: Kārttikeya), also known as Skanda, Kumara,
Murugan and Subrahmanya, is the Hindu god of war. He is the son
of Parvati and Shiva, brother of Ganesha, and a god whose life story has many
versions in Hinduism.[8] An important deity around South Asia since ancient times,
Kartikeya is particularly popular and predominantly worshipped in South India, Sri
Lanka, Singapore and Malaysia as Murugan.
Kartikeya is an ancient god, traceable to the Vedic era. Archaeological evidence from
1st-century CE and earlier,where he is found with Hindu god Agni (fire), suggest that
he was a significant deity in early Hinduism. He is found in many medieval temples all
over India, such as at the Ellora Caves and Elephanta Caves.
The iconography of Kartikeya varies significantly; he is typically represented as an
ever-youthful man, riding or near a peacock, dressed with weapons sometimes near a
rooster. Most icons show him with one head, but some show him with six heads
reflecting the legend surrounding his birth. He grows up quickly into a philosopher-
warrior, destroys evil in the form of demon Taraka, teaches the pursuit of ethical life
and the theology of Shaiva SiddhantaHe has inspired many poet-saints, such
as Arunagirinathar.
Kartikeya is found as a primary deity in temples wherever communities of the Tamil
people live worldwide, particularly in Tamil Nadu state of India, Sri
Lanka, Mauritius, Indonesia, Malaysia, Singapore, South Africa and Réunion. Three of
the six richest and busiest temples in Tamil Nadu are dedicated to
him.[7] The Kataragama temple dedicated to him in Sri Lanka attracts
Tamils, Sinhalese people and the Vedda people. He is also found in other parts of
India, sometimes as Skanda, but in a secondary role along with Ganesha, Parvati and
Shiva.

49
Kartikeya is known by numerous names in ancient and medieval texts of the Indian
culture. Most common among these are Murugan, Kumara, Skanda, and
Subrahmanya. Others include Aaiyyan, Cheyyon, Senthil, Vēlaṇ, Swaminatha ("ruler
of the gods", from -natha king), śaravaṇabhava ("born amongst the reeds"), Arumugam
or ṣaṇmukha ("six-faced"), guha (cave-teacher), Kadhirvelan, Kandhan, Vishakha and
Mahasena. In ancient coins where the inscription has survived along with his images,
his names appear as Kumara, Brahmanya or Brahmanyadeva. On some ancient Indo-
Scythian coins, his names appear in Greek script as Skanda, Kumara and
Vishaka.[15] In ancient statues, he appears as Mahasena, Skanda and Vishakha.
Skanda is derived from skanḍr-, which means "leaper or attacker".[17] In Kalidasa’s epic
poem Kumarasambhava (“The Birth of the War God”; 5th century CE), as in most
versions of the story, the gods wished for Skanda to be born in order to destroy the
demon Taraka, who had been granted a boon that he could be killed only by a son of
Shiva. They sent Parvati to induce Shiva to marry her. Shiva, however, was lost in
meditation and was not attracted to Parvati until he was struck by an arrow from the
bow of Kama, the god of love, whom he immediately burned to ashes. After many years
of abstinence, Shiva’s seed was so strong that the gods, fearing the result, sent Agni,
the god of fire, to interrupt Shiva’s amorous play with Parvati. Agni received the seed
and dropped it into the Ganges, where Skanda was born. Kartikeya means "of the
Krittikas. This epithet is also linked to his birth. After he appears on the banks of the
River Ganges, he is seen by the six of the seven brightest stars cluster in the night sky
called Krittikas in Hindu texts (called Pleiades in Greek texts). These six mothers all
want to take care of him and nurse baby Kartikeya. Kartikeya ends the argument by
growing five more heads to have a total of six heads so he can look at all six mothers,
and let them each nurse oneThe six Krittikas are Śiva, Sambhūti, Prīti, Sannati,
Anasūya and Kṣamā.

The Epic era literature of ancient India recite numerous legends of Kartikeya, often
with his other names such as Skanda. For example, the Vana Parva of
the Mahabharata dedicates chapters 223 to 232 to the legends of Skanda, but depicts
him as the son of Agni and Svaha.[25] Similarly, Valmiki's Ramayana dedicates
chapters 36 and 37 to Skanda, but describes him as the child of god Agni and goddess
Ganges.

The legends of Kartikeya vary significantly, sometimes within the same text. For
example, while the Vana Parva of the Mahabharata describes Skanda as the son of
Agni, the Shalya Parva and the Anushasana Parva of the same text presents Skanda's
legend as the son of Maheshvara (Shiva) and Parvati.

In Vana Parva, the circumstances behind Kartikeya's birth legend do not involve Shiva
and Parvati.[65] Rather it is deity Agni who goes to a hermitage of seven
married Rishis (sages) and meets their seven wives. He is sexually attracted to all
seven, but none reciprocate. Svaha is present there and she is attracted to Agni, but
Agni is not. According to the legend, Svaha takes the form of six of the wives, one by
one, and sleeps with Agni.[65] She does not take the form of Arundhati, Vasistha's wife,
because of Arundhati's extraordinary virtuous powers. Svaha deposits the semen of
Agni into the reeds of River Ganges, where it develops and then is born as six headed
Skanda.

50
A totally different legend in the later books of the Mahabharata make Shiva and
Parvati as the parents. They were making love, but they are disturbed, and Shiva
inadvertently spills his semen on the ground.[6] Shiva's semen incubates in River
Ganges, preserved by the heat of god Agni, and this fetus is born as baby Kartikeya on
the banks of Ganges.

Granite Karttikeya seated on a peacock from 12th-century Andhra Pradesh.

Some legend state that he was the elder son of Shiva, others make him the younger
brother of Ganesha. This is implied by another legend connected to his birth. Devas
have been beaten up by Asuras led by Taraka, because Taraka had a boon from
ascetic celibate yogi Shiva that only Shiva's son can kill him. Devas learn about this
boon, and plan how to get Shiva into a relationship. So they bring Parvati into the
picture, have her seduce yogi Shiva, and wed Parvati so that Skanda can be born to
kill Taraka.

According to Raman Varadara, Murugan or Kartikeya was originally a Tamil deity, who
was adopted by north Indians. He was the god of war in the Dravidian legends, and
became so elsewhere in the Indian subcontinent too. In contrast, G. S. Ghurye states
that according to the archeological and epigraphical evidence, the contemporary
Murugan, Subrahmanya and Kartikeya is a composite of two influences, one from
south and one from north in the form of Skanda and Mahasena. He as the warrior-
philosopher god was the patron deity for many ancient northern and western Hindu
kingdoms, and of the Gupta Empire, according to Ghurye. After the 7th-century,
Skanda's importance diminished while his brother Ganesha's importance rose in the
west and north, while in the south the legends of Murugan continued to grow.
According to Norman Cutler, Kartikeya-Murugan-Skanda of South and North India
coalesced over time, but some aspects of the South Indian iconography and mythology
for Murugan have remained unique to Tamil Nadu.

Kartikeya's legends vary by region. For example, in the northern and western Indian
traditions Kartikeya or Skanda is the perpetual celibate bachelor who never marries,
but in the Tamil legends he has two consorts, Valli and Devasena. Many of the major
events in Murugan's life take place during his youth, and legends surrounding his
birth are popular in Tamil Nadu. This has encouraged the worship of Murugan as a
child-God, very similar to the worship of the child Krishna in north India. Kartikeya's
youth, beauty and bravery was much celebrated in Sanskrit works like

51
the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic,
the Kumārasambhava.

Guha (Kartikeya)
There is extensive Hindu symbolism and theology associated with Kartikeya.
Regardless of the variance among the legends, his birth is in difficult circumstances,
he is born through a surrogate after being left near a river. He is raised not by his
natural mother but a host of mothers, but later he is a part of his biological family.
Kartikeya symbolizes a union of polarities. He is handsome warrior and described as a
celibate yogi. He uses his creative martial abilities to lead an army against Taraka and
other demons, and described as a philosopher-warrior. He is a uniter, championing
the attributes of both Shaivism and Vaishnavism. His theology is most developed in
the Tamil texts,[11] and in the Shaiva Siddhanta tradition. He is described
as dheivam (abstract neuter divinity, nirguna Brahman), as kadavul (divinity in nature,
in everything), as Devan (masculine deity), and as iraivativam (concrete manifestation
of the sacred, saguna Brahman).
According to Fred Clothey, as Murugan (also referred to as Murugan, Cheyyon), he
embodies the "cultural and religious whole that comprises South Indian Shaivism". He
is the philosopher and exponent of Shaiva Siddhanta theology, as well as the patron
deity of the Tamil language.

Ancient
There are ancient references which can be interpreted to be Kartikeya in the Vedic
texts, in the works of Pāṇini (~500 BCE), in the Mahabhasya of Patanjali and in
Kautilya's Arthashastra. For example, the term Kumara appears in hymn 5,2 of the Rig
Veda. The Kumara of verse 5.2.1 can be interpreted as Skanda, or just any "boy".
However, the rest of the verses depict the "boy" as bright-colored, hurling weapons and
other motifs that later have been associated with Skanda. The difficulty with
interpreting these to be Skanda is that Indra, Agni and Rudra are also depicted in
similar terms and as warriors.[23]

Coins of the Yaudheyas feature Kartikeya, and these are dated to 1st century
CE Haryana, Punjab, Rajasthan and Uttar Pradesh. RIGHT Kartikeya with a Kushan devotee,
2nd century CE.

52
The Skanda-like motifs found in Rig Veda are found in other Vedic texts, such as
section 6.1-3 of the Shatapatha Brahmana. In these, the mythology is very different
for Kumara, as Agni is described to be the Kumara whose mother is Ushas (goddess
Dawn) and whose father is Purusha. The section 10.1 of the Taittiriya
Aranyaka mentions Sanmukha (six faced one), while the Baudhayana
Dharmasutra mentions a householder's rite of passage that involves prayers to Skanda
with his brother Ganapati (Ganesha) together. The chapter 7 of the Chandogya
Upanishad (~800–600 BCE) equates Sanat-Kumara (eternal son) and Skanda, as he
teaches sage Narada to discover his own Atman (soul, self) as a means to the ultimate
knowledge, true peace and liberation.

According to Fred Clothey, the evidence suggests that Kartikeya mythology had
become widespread sometime around 200 BCE or after in north India.[29] The first clear
evidence of Kartikeya's importance emerges in the Hindu Epics such as
the Ramayana and the Mahabharata where his story is recited. In addition to textual
evidence, his importance is affirmed by the archeological, the epigraphical and the
numismatic evidence of this period. For example, he is found in numismatic evidence
linked to the Yaudheyas, a confederation of warriors in north India who are mentioned
by ancient Pāṇini. They ruled an area consisting of modern era Haryana, Punjab,
Rajasthan and Uttar Pradesh (extending into Garhwal region, Uttarakhand). They
struck coins bearing the image of Skanda, and these coins are dated to be from
before Kushan Empire era started. During the Kushan dynasty era, that included
much of northwest Indian subcontinent, more coins featuring Kartikeya were minted.
He is also found on ancient Indo-Scythian coins, where his various names are minted
in Greek script.

Kartikeya was revered in major cultural centers of ancient India. For example, he was
a major god for the Ikshvakus, an Andhra dynasty, as well as for the Gupta
Empire.[33] In south India, eight of the early Pallava dynasty rulers (300-550 CE) were
named after Skanda or Kumara, suggesting the significance of Kartikeya by then.
Kalidasa's epic poem the Kumārasambhava features Kartikeya.

In Tamil literature
The Tolkāppiyam, one of the most ancient texts of the Tamil literature,
mentions cēyōṉ "the red one", who is identified with Murugan, whose name is
literally Murukaṉ "the youth"; the other gods referred to in
the Tolkāppiyam are Māyōṉ "the dark one" (identified with Vishnu), Vēntaṉ "the
sovereign" (identified with Indra) and Korravai "the victorious" (identified with Kali)
and Varunan "the sea god" Extant Sangam literature works, dated between the third
century BCE and the fifth century CE glorified Murugan, "the red god seated on the
blue peacock, who is ever young and resplendent," as "the favoured god of the
Tamils."[36] Korravai is often identified as the mother of Murugan.
In the Tirumurukāṟtruuppaṭai, he is called Muruku and described as a god of beauty
and youth, with phrases such as "his body glows like the sun rising from the emerald
sea". It describes him with six faces each with a function, twelve arms, his victory over
evil, and the temples dedicated to him in the hilly regions.

53
Puranas
Kartikeya is mentioned in Shaiva Puranas. Of these, the Skanda Purana is the
largest Mahāpurāṇa, a genre of eighteen Hindu religious texts. The text contains over
81,000 verses, and is part of Shaivite literature, titled after Skanda, a son
of Shiva and Parvati, who is also known as Kartikeya and Murugan. While the text is
named after Skanda, he does not feature either more or less prominently in this text
than in other Shiva-related Puranas. The text has been an important historical record
and influence on the Hindu traditions related to war-god Skanda. The earliest text
titled Skanda Purana likely existed by the 6th-century CE, but the Skanda
Purana that has survived into the modern era exists in many versions

Buddhism
Early texts
The earliest mention of this deity in Buddhist texts may be found in the Janavasabha
Sutta of the Pali Canon, where he is referred to as Sanankumāra. Here he is
introduced as a deva of the rank of Mahābrahmā and a disciple of the Buddha.
The Chinese translation of the Dīrgha Āgama features the same deity with the title
Brahmā[sanan]kumāra (梵童子). He is described as a manifestation of
Mahābrahmārāja. He has five hair coils (頭五角髻), a handsome face (顏貌端正) and
emanates purple-golden light (紫金色) that surpasses the light of the other devas.

Skanda Bodhisattva is the Dharma protector in Mahayana Buddhism.[46] Above: Skanda's

statue in Anhui province, China.
Theravada
According to Richard Gombrich, Skanda has been an important deity in Theravada
Buddhism pantheon, in countries such as Sri Lanka and Thailand. The Nikaya
Samgraha describes Skanda Kumara as a guardian deity of the land, along with
Upulvan (Vishnu), Saman and Vibhisana. Similarly, the 16th-century Siamese
text Jinakalamali mentions him as a guardian god. There are Buddhist Sinhala
shrines such as at Kataragama dedicated to Skanda which have historically been
officiated by Hindu priests, which attracted Buddhist devotees and enjoyed royal
support.[47] Since the 1950s, states Brian Morris, the Kataragama shrine of Skanda
has attracted over half a million devotional pilgrims every year, most being Buddhists.

54
Mahayana
The Mahāparinirvāṇa Sūtra mentions Kumāra as one of the eighty gods worshiped by
the common people.
The Ārya Kaṇikrodhavajrakumārabodhisattava Sādhanāvidhi Sūtra (T 1796) features
a section for the recitation of a mantra dedicated to the deity, where he is also paired
with Iśvara. Yi Xing's Commentary of the Mahāvairocana Tantra clarifies that Kumāra
is the son of Iśvara.
Sri Lanka
In Sri Lanka, the god Kataragama deviyo is a popular object of devotion among both
Tamil Hindus and Sinhalese Buddhists. While many regard him as a bodhisattva, he
is also associated with sensuality and retribution. Anthropologist Gananath
Obeyesekere has suggested that the deity's popularity among Buddhists is due to his
power to grant emotional gratification, which is in stark contrast to sensual restraint
that characterizes Buddhist practice in Sri Lanka.
China
In Chinese Buddhism, Skanda (also sometimes known as Kumāra has been portrayed
as Weituo, a young heavenly general, the guardian deity of local monasteries and the
protector of Buddhist dhamma. According to Henrik Sørensen, this representation
became common after the Tang period, and became well established in the late Song
period. Skanda was also adopted by Korean Buddhism, and he appears in its
woodblock prints and paintings.
Jainism
According to Asko Parpola, the Jain deity Naigamesa, who is also referred to as Hari-
Naigamesin, is depicted in early Jain texts as riding the peacock and as the leader of
the divine army, both symbols of Kartikeya.

55
The six-headed Kartikeya riding a peacock, by Raja Ravi Varma.RIGHT Kartikeya(Kâtkâ Dyao)
is worshiped with a bow and an arrow by the Hajongs of Northeastern India.
Ancient coins of the Yaudheyas, dated to 1st and 2nd century CE, show Kartikeya as a
warrior with either one or six heads. Kushan coins show him with one head. In
general, single head is far more common regardless of which dynasty minted
them.[55] The earliest statues discovered in Punjab and Kashmir show him with either
one or six heads. The oldest sculptures such as those found in Mathura show him
with one head, while six head iconography is dated to post-Gupta Empire era. All
Kushan Empire era artwork show him with one head, even though there are Kushan
deities such as a goddess who is shown with multiple heads.[19]
The Kushan Empire era statues of Kartikeya, dated to 1st and 2nd-century CE, have
been found at various sites in the Indian subcontinent, particularly
at Mathura and Gandhara. They show him as a warrior dressed in dhoti (sheet
wrapped at waist, covering the legs), armour like a warrior, spear in his right hand
and a bird (rooster) in his left. There is some difference between his ancient
iconography in Mathura and Gandhara artwork. The Gandhara arts show him in more
a Scythian dress, likely reflecting the local dress culture prevalent in those times.
Further, it is in the oldest Gandharan statues where he is shown with a bird that
looks like a chicken or cock. According to Richard Mann, the bird may symbolize
Kartikeya's agility and maneuverability as a warrior god, and may be
a Parthian influence. His iconography symbolizes his attributes as a hunter, warrior
and philosopher.
Kartikeya iconography shows him as a youthful god, dressed as a warrior, carrying the
weapon called Vel. It is a divine spear, often called sakti. He is sometimes depicted
with many weapons including: a sword, a javelin, a mace, a discus and a bow
although more usually he is depicted wielding the sakti or spear. His vahana (vehicle,
mount) is a peacock. He has either one head or six, depending on the region or artist.
Legends abroad:

Skanda statue are found in Southeast Asia. Above: 6th–8th century Skanda from Prey Veng
Province, Cambodia. RIGHT
Shiva, Uma, and Their Son Skanda (Somaskandamurti) | India (Tamil Nadu) | Chola period
(880–1279) | The Metropolitan Museum of Art

The Epic era literature of ancient India recite numerous legends of Kartikeya, often
with his other names such as Skanda. For example, the Vana Parva of

56
the Mahabharata dedicates chapters 223 to 232 to the legends of Skanda, but depicts
him as the son of Agni and Svaha.[25] Similarly, Valmiki's Ramayana dedicates
chapters 36 and 37 to Skanda, but describes him as the child of god Agni and goddess
Ganges.[64]
The legends of Kartikeya vary significantly, sometimes within the same text. For
example, while the Vana Parva of the Mahabharata describes Skanda as the son of
Agni, the Shalya Parva and the Anushasana Parva of the same text presents Skanda's
legend as the son of Maheshvara (Shiva) and Parvati.
In Vana Parva, the circumstances behind Kartikeya's birth legend do not involve Shiva
and Parvati. Rather it is deity Agni who goes to a hermitage of seven
married Rishis (sages) and meets their seven wives. He is sexually attracted to all
seven, but none reciprocate. Svaha is present there and she is attracted to Agni, but
Agni is not. According to the legend, Svaha takes the form of six of the wives, one by
one, and sleeps with Agni. She does not take the form of Arundhati, Vasistha's wife,
because of Arundhati's extraordinary virtuous powers. Svaha deposits the semen of
Agni into the reeds of River Ganges, where it develops and then is born as six headed
Skanda
A totally different legend in the later books of the Mahabharata make Shiva and
Parvati as the parents. They were making love, but they are disturbed, and Shiva
inadvertently spills his semen on the ground.[6] Shiva's semen incubates in River
Ganges, preserved by the heat of god Agni, and this fetus is born as baby Kartikeya on
the banks of Ganges.

Granite Karttikeya seated on a peacock from 12th-century Andhra Pradesh.

Some legend state that he was the elder son of Shiva, others make him the younger
brother of Ganesha. This is implied by another legend connected to his birth. Devas
have been beaten up by Asuras led by Taraka, because Taraka had a boon from
ascetic celibate yogi Shiva that only Shiva's son can kill him. Devas learn about this
boon, and plan how to get Shiva into a relationship. So they bring Parvati into the
picture, have her seduce yogi Shiva, and wed Parvati so that Skanda can be born to
kill Taraka
According to Raman Varadara, Murugan or Kartikeya was originally a Tamil deity, who
was adopted by north Indians.[67] He was the god of war in the Dravidian legends, and
became so elsewhere in the Indian subcontinent too. In contrast, G. S. Ghurye states
that according to the archeological and epigraphical evidence, the contemporary
Murugan, Subrahmanya and Kartikeya is a composite of two influences, one from

57
south and one from north in the form of Skanda and Mahasena. He as the warrior-
philosopher god was the patron deity for many ancient northern and western Hindu
kingdoms, and of the Gupta Empire, according to Ghurye. After the 7th-century,
Skanda's importance diminished while his brother Ganesha's importance rose in the
west and north, while in the south the legends of Murugan continued to grow.
According to Norman Cutler, Kartikeya-Murugan-Skanda of South and North India
coalesced over time, but some aspects of the South Indian iconography and mythology
for Murugan have remained unique to Tamil Nadu.
Kartikeya's legends vary by region. For example, in the northern and western Indian
traditions Kartikeya or Skanda is the perpetual celibate bachelor who never marries,
but in the Tamil legends he has two consorts, Valli and Devasena. Many of the major
events in Murugan's life take place during his youth, and legends surrounding his
birth are popular in Tamil Nadu. This has encouraged the worship of Murugan as a
child-God, very similar to the worship of the child Krishna in north India. Kartikeya's
youth, beauty and bravery was much celebrated in Sanskrit works like
the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic,
the Kumārasambhava.
Theology: Guha (Kartikeya)
You who has form and who is formless,
you who are both being and non-being,
who are the fragrance and the blossom,
who are the jewel and its lustre,
who are the seed of life and life itself,
who are the means and the existence itself,
who are the supreme guru, come
and bestow your grace, O Guha [Murugan]
—Kantaranuputi 51, Arunagirinathar

There is extensive Hindu symbolism and theology associated with Kartikeya.

Regardless of the variance among the legends, his birth is in difficult circumstances,
he is born through a surrogate after being left near a river. He is raised not by his
natural mother but a host of mothers, but later he is a part of his biological family.
Kartikeya symbolizes a union of polarities.He is handsome warrior and described as a
celibate yogi. He uses his creative martial abilities to lead an army against Taraka and
other demons, and described as a philosopher-warrior. He is a uniter, championing
the attributes of both Shaivism and Vaishnavism
His theology is most developed in the Tamil texts and in the Shaiva Siddhanta
tradition. He is described as dheivam (abstract neuter divinity, nirguna Brahman),
as kadavul (divinity in nature, in everything), as Devan (masculine deity), and
as iraivativam (concrete manifestation of the sacred, saguna Brahman).
According to Fred Clothey, as Murugan (also referred to as Murugan, Cheyyon), he
embodies the "cultural and religious whole that comprises South Indian Shaivism". He
is the philosopher and exponent of Shaiva Siddhanta theology, as well as the patron
deity of the Tamil language.

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Worship Within India
Southern India

Murugan with Deivaanai (on right of image) and Valli (on left of image).
Kartikeya is a major deity among the Hindus of Tamil
Nadu, Kerala, Karnataka, Andhra Pradesh and Telangana.
Tamil Nadu
He is considered the God of Tamil language and he is mentioned a lot in Sangam
literature. The six abodes of Murugan are all in Tamil Nadu. Each of these temples has
a unique history and different reason to worship Lord Murugan.Thirupparamkunram
Murugan Temple he is worshiped as he (Lord Kartikeya) worshiped Lord Shiva. As per
tradition, devotes who go to the six abodes of Murugan tonsure their head in imitation
of Palani deity.
 Thai Poosam during January – February month is celebrated as a 6-day festival.
On Thai Poosam day, Kavadis and Palkudams are taken by devotees in procession
around Chhedanagar. Special Abhishekams are performed to the Moolavar and
Utsavar. Annadhanam is provided to all devotees participating in the functions. In
the night, Lord Muruga is taken in procession accompanied by Nadaswaram, Veda
Parayanam around Chhedanagar.
 Vaikasi Visakam day, (during May –June month), Kavadis and Palkudams are
taken by devotees in procession around Chhedanagar.
 Skanda Sashti during October-November month is celebrated as a 6-day festival.
Spiritual discourses by learned scholars and/or music concerts by popular artists
from South or from Mumbai are organized.

59
Beyond India
Nepal
Kartikeya is worshipped as Kumar in Nepal both by Hindu and Buddhist
Communities. The Newah community celebrates Sithi Nakha: Festival dedicated to
Sithi Kumar. Sithi Nakha(Kumar Shashthi) is celebrated on this sixth day of the
waxing moon, according to the lunar calendar, in the Lunar month of Jestha. The
festival is celebrated by cleaning water sources like wells, ponds and stone spouts and
ending it with a grand Newah feast of six different varieties of Newarhi food including
Wo or Waa (fried lintel bread) and Chatamari (Newah pizza). The Festival is traditional
Environment day as houses, courtyards, streets and allies are cleaned during this day.
It is believed that cleaning such water sources will bring in rain for good cultivation of
crops. It is also celebrated to welcome monsoon as this was the ideal time to set up
rice seedbeds. The most of Newah communities also mark the festival as the end of
Dewaali, to worship their family deities.
Malaysia
Kartikeya is revered by the Hindus in Malaysia and other South-East Asian countries
such as Singapore and Indonesia. Thaipusam is one of the important festivals
celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is
dedicated to Kartikeya. There are some other temples in Malaysia such as:
 Kallumalai Temple in Ipoh
 Arulmigu Balathandayuthapani Temple, Penang
 Sannayasi Andavar Temple in Cheng, Malacca
Sri Lanka
Karthikeya is worshipped by the Sinhalese as Kataragama deviyo also by Sri Lankan
Tamils as Muruhan, a guardian deity of Sri Lanka. Numerous temples exist
throughout the island. He is a favourite deity of the common folk everywhere and it is
said he never hesitates to come to the aid of a devotee when called upon. In the deeply
Sinhalese south of Sri Lanka, he is worshipped at the Kataragama temple, where he is
known as Kathiravel or Kataragama deviyo. Local legend holds that Murugan alighted
in Kataragama and was smitten by Valli, one of the local girls. After a courtship, they
were married. This event is taken to signify that Murugan is accessible to all who
worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy
temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near
Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha
temple in Verukal on the border between Trincomalee and Batticaloa is also
noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era
temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a
Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the
Sinhalese tradition. Almost all Buddhist temples house a shrine room for Kataragama
deviyo reflecting the significance of Murugan in Sinhala Buddhism.

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The Sri Lankan Nallur Kandaswamy temple (Jaffna) is dedicated to Murugan (Kartikeya).
By the 16th century, the Kataragama temple had become synonymous with Skanda-
Kumara who was a guardian deity of Sinhala Buddhism. The town was popular as a
place of pilgrimage for Hindus from India and Sri Lanka by the 15th century. The
popularity of the deity at the Kataragama temple was also recorded by the Pali
chronicles of Thailand such as Jinkalmali in the 16th century. There are number of
legends both Buddhist and Hindu that attribute supernatural events to the very
locality. Scholars such as Paul Younger and Heinz Bechert speculate that rituals
practiced by the native priests of Kataragama temple betray Vedda ideals of
propitiation. Hence they believe the area was of Vedda veneration that was taken over
by the Buddhist and Hindus in the medieval period.

Hindus in Réunion

61
Sawan Hariyali Amavasya: Sawan Amavasya is very special this time, know
importance, date and method of worship
Sawan Hariyali Amavasya: According to Hindu calendar, Amavasya Tithi is being
celebrated this month, which is considered very special. The Amavasya of Sawan is
considered very auspicious for taking bath, donation etc.

Sawan Hariyali Amavasya | Picture Sincerely: Instagram

month of August brings a lot of important fasts and festivals. This month alone is also
called the month of festivals. According to Hindu calendar, Amavasya Tithi is also
being celebrated this month, which is considered very special. The Amavasya of Sawan
is considered very auspicious for taking bath, donation etc.
Pitru and related rituals should be performed on this date of occurrence as it will
never yield auspicious occasion. For the peace of soul of our fathers, Sawan Amavasya
Tithi is considered auspicious. This Amavasya is also known as Hariyali Amavasya,
because greenery comes to Teej just after 3 days.

62
When is Sawan Amavasya
this month, Sawan Amavasya is falling on 11 August 2018, Saturday. It will start on
August 10, 19:08 and will end on August 11 at 15:27.
Sawan Amavasya Puja method:
This Amavasya tree plants gain new life, so the Peepal tree is worshiped and planted
in Savan Amavasya. After this, the peepal tree is offered to Malpua.

63
 CHAPTER V
Ananthapura Lake Temple,
Kerala - A beautiful lake temple with a crocodile guardian

1. About 40 kms away from Mangalore and 15 kms away from Kasargod in a peaceful place
called Kumbla, lies Anathapura, Kerala’s only lake temple. The temple nestles serenely amidst
the abundant beauty of nature with a rectangular lake surrounding it on all sides.Built in the 9th
century, the Ananthapura Temple is said to be the original abode of Anandapadmanabha, the
deity of Sree Padmanabha Swami Temple, Thiruvananthapuram.
2. The Legend about the temple associates it with the great mystic and devotee of Lord Vishnu,
Sree Vilvamangalathu Swami, who dominates the ancient spiritual lake of Kerala. In fact, his
fame for extends the borders of Kerala. In Bengal he is popular as Bilvamgala. A legend
associated with Vilvamangalathu Swami describes the temple as the Moolasthanam of Sri
Padmanabha Swamy Temple of Thiruvananthapuram.
3.While Sage Vilvamangalthu Swami was doing penance in the holy spot, Lord Krishna used to
visit him disguised as a mischivous little boy. One day he did some pranks on him while the
swamigal doing his pooja. Swamigal, at his wits end, admonished the child and pushed him with
his back hand. The Lord, transformed into a ball of divine aura hastened through the cave. A
divne voice echoed “Now if you want to see me, come to Ananthankadu”. Then only
Vilvamangalathu Swami realised that the boy was none other than his own lord.
4. It is said that the sage also ran into the cave and going through the passage that formed there
he reached the Seashore and from there travelled southwords in search of Ananthankadu, At last
the sage reached a place which is the present location of Thiruvanathapuram, the capital of
Kerala, where he had the splendrons vision of Lord Vishnu. It was at this holy spot Eventually
Sri Anantha Padmanabha Swamy Temple of Thiruvanathapuram came up.
5. On the north-East corner of the lake there is still a big cave with a small pit with a parennial
presence of water in it, Which is considered as a sacred Theertham. It is beleivered to be the cave
where boy Krishna disappeared.

64
6. The seven original idols found in the temple are made of neither metal nor stone, but of a
combination of about 108 materials collected from Kashmir to Kanyakumari and are called
Kadusharkara yogam.The walls of the temple are adorned with spectacular murals and one of its
unique features is a 16th century epigraph with engravings in the Tulu script. A very old fort
named Sarpakattu, which means even a serpent cannot climb it, surrounds the temple. Tourists
and worshippers frequent this place and usually choose to stay in the Devaragudde Palace
nearby.
7.Babia - The Guardian Crocodile
What is perhaps most unique about this temple is the presence of Babia, a pure vegetarian
human-friendly male crocodile who lives in the cave and lake waters. In fact it is believed to
have existed there for many years and is revered as the guardian and messenger of the temple.
The legend goes that there is only one crocodile in the lake at a time. When one crocodile dies,
another one appears in the lake.
In actual fact, the temple authorities told that there were two crocodiles living here. One
crocodile was killed by the British when this temple was attacked. At present there is only one
crocodile, Babia, and Babia is believed to be 76 years old.
The temple officials feed it a gruel made of rice and jaggery, which is actually the prasadam
offered by the devotees. Babia religiously sticks to his lunch timings and is there at exactly 1:30
in the afternoon to have his lunch. He does not seem to mind that he is not offered any dinner.
Strangely, he seems to be completely satisfied with his vegetarian diet and does not harm anyone
not even the fish in the lake.

At any one time, there is always only one croc in the lake, and as bizarre as it may sound, each
time the guardian crocodile dies, another one pops up mysteriously and takes on the job of

65
guarding the temple. Strange, but true! And to this day, no one knows how each new crocodile
appears in the lake. According to the legend, once a British soldier killed the guardian crocodile,
and in no time, another crocodile was seen in the lake guarding the temple. But, within a few
days, that British soldier died from a snakebite. Locals claim that the snake-god, Anantha,
punished him for his wrongdoing.

According to trustee of the temple,Ramachandra Bhatt, “the crocodile is a God’s messenger who
alarms the temple patrons if anything strange happens in and around the premises as well as
protects the shrine from evil”.

The vegetarian crocodile here is friendly and (since the soldier incident long agao) there has been
no incidence of harming anyone, not even the fishes in the lake. Interestingly, Babiya doesn’t eat
anything except the offerings (or ‘Prasad’) from the temple and eats only when the temple
official feeds him.

66
Today, several thousands of devotees and tourists visit this temple to catch a glimpse of Babiya,
the vegetarian crocodile. Though, Babiya doesn’t often show up, but if you’re lucky, you may
chance upon the croc in the lake. Legend has it that an ardent devotee of Lord Vishnu, Shree
Vilvamangalathu Swami, was meditating on the banks of the lake when Lord Krishna, in the
form of a child, came and started disturbing him. Irritated the sage pushed the child back and
Lord Krishna disappeared into a nearby cave. Upon realizing his folly the sage went in the cave
looking for the lord and later the cave turned into a shrine and a crocodile appeared as a protector
of the shrine. Babia, as the crocodile has been named, stood guard over the entrance. In 1945 a
British soldier shot the crocodile dead and ended up dying himself of snakebite a few days later.
Soon after another crocodile appeared who was just like the last one, vegetarian and docile.
Devotees feed prasadam to the crocodile.

The Ananthapura lake temple and its deities- Dedicated to Ananthapadmanabha Swamy, the
Ananthapura lake temple lies in the center of the Ananthapura lake which is 2 acres long, and is
the only lake temple in the southern Indian state of Kerala. The walls of the temple are adorned
with an impressive collection of ancient painting and intricate wooden carvings, and the deities
of the temple were made of an unusual mix of over 70 medicinal substances, referred as ‘Kadu-
Sharkara- Yogam’. Though, many of them are now in the form of Panchaloha metal.

Legends and myths: – The obscure and myriad past of the temple sheds light on one solid fact
that the temple premises was the meditation ground of the great Tulu Brahmin sage, Diwakara
Muni Vilwamangalam. The legend goes on to say that the Lord Narayana himself came in front
of the sage in the form of a little child to test him. Upon being overwhelmed by the radiance
emanating from the boy the sage asked him about his whereabouts and upon learning that he was
orphaned the sage took pity and allowed him to stay but the boy had a very peculiar condition
which said that if the boy felt humiliated then he would leave at once. Soon after, the boy’s
pranks became intolerable to which the sage responded violently and the boy left with the
message that if the sage wishes to see him again then he must travel to Ananthankat, the abode of
the serpent god Anantha. Realizing his folly Vilwamangalam travelled to the forest and at long
last found the boy near a woody tree by the sea. Upon the sage’s approach the boy vanished into
the Mahua tree and came out as the Lord Vishnu astride on the many headed snake Anantha.
This legend marks the holiness of the temple

67
Architectural genius

This temple exhibits excellent wood craftsmanship on the mandapam. The wood carvings depict
the scenes from Dasavaatharam and have an allusion to the Navagraha. On either side of the
Sreekovil Dwara, Jaya and Vijaya palakas are beautifully carved. The original idols of the temple
were not built with stone, metal or wood but of a combination of 70 medicinal plants. These
were replaced in the year 1972 by the idols of panchdhatu donated by Jayendra Saraswathy
Thirvatikal.

68
Unique idols

View of the adjacent hillocks from the premises

One of the many perks of being situated in the heart of nature is the vibrant view of the
surrounding hillocks covered with dense forests which is a sight for the eye sore from all the
digital exposure.

Tapotsavam Festival

This festival is celebrated in the month of April with great pomp and grandeur. The deity is taken
out on a procession along the lake. Afterwards the traditional dance form from Karnataka,
Yakshaganam, is performed. This festival draws in devotes from all over the country every year.

Madhur Temple

Situated about 8 km from the Ananthapura temple, the Madhur Temple is the residence of the
Siddhi Vinayaka Ganesha and Lord Shiva. The foundation of this temple dates back to the
Drapar Yuga lending a mystical undertone to it. The Appam served here with prasadam is quite
tasty. Surrounded by trees and streams on all sides this temple performs Anna Dan on auspicious
occasions making it a must visit.

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 CHAPTER VI
Dashavatara दशावतार

AVATAR a Sanskrit word made common by the movie- AVATARA

Avatar- /ˈavətɑː/
noun
1. 1. HINDUISM--a manifestation of a deity or released soul in bodily form on earth; an incarnate
divine teacher.
2.
3. An icon or figure representing a particular person in a video game, internet forum, etc.
"conversation is depicted in a balloon over the avatar's head"

Vishnu is said to descend in the form of an avatar to restore cosmic order. The
word Dashavatara derives from daśa, meaning 'ten', and avatar (avatāra), roughly equivalent to
'incarnation'.
The Dashavatara Sanskrit: दशावतार, daśāvatāra) refers to the ten primary (i.e. full or
complete) incarnations (avatars) of Vishnu, the Hindu god of preservation which has Rigvedic
origins.
The list of included avatars varies across sects and regions, particularly in respect to the inclusion
of Balarama (brother of Krishna) or Gautama Buddha. Though no list can be uncontroversially
presented as standard, the "most accepted list found in Puranas and other texts is [...] Krishna,

70
Buddha." Most draw from the following set of figures, in this
order: Matsya; Kurma; Varaha; Narasimha; Vamana; Parashurama; Rama; Krishna or Balarama;
Buddha or Krishna; and Kalki. In traditions that omit Krishna, he often replaces Vishnu as the
source of all avatars. Some traditions include a regional deity such as Vithoba[9] or Jagannath in
penultimate position, replacing Krishna or Buddha. All avatars have appeared except Kalki, who
will appear at the end of the Kali Yuga.
The order of the ancient concept of Dashavataras has been interpreted to be reflective of
modern Darwinian evolution – it is the theory of evolution told as a story, written between
12,000 and 14,000 years ago. It describes the cycle of human evolution beginning in water as
Matsya the fish, on to the amphibious phase (half land and water) as Koorma, the tortoise, on to
begin firmly established on land as the wild boar Varaha, then Narsimha (half man–half animal),
followed by Vamana, the Dwarf man, on to Parashurama, the emotionally volatile man, on to
Rama, the peaceful man, then Krishna, a loving man followed by Buddha, the meditative man,
who is said to be succeeded by the final incarnation of Vishnu, or the last stage of evolution as
Kalki, the mystical man. This is thus also a description of the evolution of consciousness.
'Dashavatara' or 'daśāvatāra' (दशावतार) means 'ten avatars' or 'ten incarnations':

 'Dash' or 'Daśā' (दश) means 'ten'

 'Avatara' (अवतार) means 'incarnation

According to Swami Parmeshwaranand, although the avatars of Vishnu are countless in number
and include hermits, Manus, sons of Manus, and other Devas (gods), due to the curse of
a Rishi called Bhrgu most are only partial (i.e. incomplete) incarnations. The Dashavatara is a list
of the ten complete (i.e. full) incarnations.[12]
Lists
Various versions of the list of Vishnu's avatars exist, varying per region and tradition. Some lists
mention Krishna as the eighth avatar and the Buddha as the ninth avatar, while others – such as
the Yatindramatadipika, a 17th-century summary of Srivaisnava doctrine – give Balarama as the
eighth avatar and Krishna as the ninth. The latter version is followed by some Vaishnavas who
don't accept the Buddha as an incarnation of Vishnu. Though no list can be uncontroversially
presented as standard, the "most accepted list found in Puranas and other texts is either Krishna,
Buddha."

Buddha is not mentioned as an Avatar of Vishnu in the more ancient Vaishnava Texts known
as Pancharatra. His place there is taken by Balarama. Adopting Buddha into the Hindu pantheon
was a way of trying to neutralize the popularity of Buddhism. This inclusion took place in
the Gupta period between 330 and 550 CE. The mythologies of the Buddha in
the Theravada tradition and of Vishnu in Hinduism share a number of structural and substantial
similarities.
Since I do not believe that Buddha is an AVATAR the discussion of who made him one etc is
pointless. The following table summarises the position of avatars within the Dashavatara in many
but not all traditions:

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 The Dashavatara or the ten avatars of Vishnu are
perhaps among the most well-known facts
of Hinduism. There are hundreds of temples
and other structures in India and even abroad
where the ten avatars of Vishnu are pictured,
painted or carved.
However, not all the ten avatars of Vishnu are
worshipped. The last avatar of Kalki is yet to
take shape. Among the avatars, the most
worshipped are Rama, Krishna and Narasimha.
The other six avatars-Matysa, Kurma, Balarama,
Vamana. Parashurama and Varaha are
worshipped but they are not all that popular and
the temples to them are far and few.
Though there are plenty of temples for Krishna,
Rama and Narasimha, there have been only a
handful for all the avatars put together. One such
temple, which goes back to great antiquity, is in
Deogarh in Madhya Pradesh.

Balarama,
Krishna, Krishna, Balarama,
Krishna Balarama,
Position Vithoba Jagannatha Yuga
(Vaishnavites)

1 Matsya (fish)

2 Kurma (turtle, tortoise) Satya Yuga[

3 Varaha (boar, wild swine)

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 Balarama,
Krishna, Krishna, Balarama,
Krishna Balarama,
Position Vithoba Jagannatha Yuga
(Vaishnavites)

4 Narasimha (man-lion)

5 Vamana (dwarf-god)

6 Parashurama (Brahman warrior) Treta Yuga[

7 Rama

8 Krishna Balarama Balarama Krishna[ Balarama

Dvapara
Yuga,
9 Balarama Krishna Balarama Vithoba Jagannatha

10 Kalki (prophesied 10th avatar who ends the Kali Yuga) Kali Yuga

In the Puranas
The Agni, Padma, Garuda, Linga, Narada, Skanda and Varaha Puranas mention the common
(Krishna, Buddha) Dashavatara list. The Garuda Purana has two lists, one longer list with
Krishna and Buddha, and a list with Balarama and Buddha, which substitutes Vamana for Rama.
The Shiva Purana has Balarama and Krishna. The list with Krishna and Buddha is also found in
the Garuda Purana Saroddhara, a commentary or ‘extracted essence’ of the Garuda Purana (i.e.
not the Purana itself, with which it seems to be confused):
The Fish, the Tortoise, the Boar, the Man-Lion, the Dwarf, Parasurama, Rama, Krisna, Buddha,
and also Kalki: These ten names should always be meditated upon by the wise. Those who recite
them near the diseased are called relatives.

— Garuda Purana Saroddhara by Navanidhirama (translated by E. Wood and S. V.

Subrahmanyam), Chapter VIII, Verses 10-11

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1st to 5th of the Dashavatars on Udupi temple gopuram, Karnataka.

1 - Matsya, the fish. King Vaivasvata Manu finds a little fish in the palm of his hands when
performing the tarpana (water-offering). Manu keeps the fish, which keeps growing,
eventually releasing it into the ocean, realizing it is Vishnu. Vishnu informs Manu of the
coming destruction of the world, by means of fires and floods, and directs Manu to collect
"all creatures of the world" and keep them safe on a boat built by the gods. When
the deluge (Pralaya) comes, Vishnu appears as a great fish with a horn, to which Manu ties

the boat, which leads them into safety.

2 - Kurma, the giant tortoise. When the devas and asuras were churning the Ocean of
milk in order to get Amrita, the nectar of immortality, the mount Mandara they were using as

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the churning staff started to sink and Vishnu took the form of a tortoise to bear the weight of

the mountain.

3 - Varaha, the boar. He appeared to defeat Hiranyaksha, a demon who had taken the Earth,
or Prithvi, and carried it to the bottom of what is described as the cosmic ocean (much like in
ether theory) in the story. The battle between Varaha and Hiranyaksha is believed to have
lasted for a thousand years, which the former finally won. Varaha carried the Earth out of the
ocean between his tusks and restored it to its place in the universe.

4 - Narasimha, the half-man/half-lion. Jaya and his brother Vijaya are cursed by the
sage Sanaka when they stop him from seeing Vishnu, and will be reborn three times as
demons (asura) to be killed by Vishnu. In their first demonic birth they become Hiranyaksha
and Hiranyakashipu. Hiranyakashipu persecuted everyone for their religious beliefs
including his son who was a Vishnu follower. he was protected by Brahma, and could by no
means be killed. Vishnu descended as an anthropomorphic incarnation, with the body of a
man and head and claws of a lion. He disemboweled Hiranyakashipu, and brought an end to
the persecution of human beings including his devotee Prahlada.

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5 - Vamana, the dwarf. The fourth descendant of Vishnu, Bali, with devotion and penance
was able to defeat Indra, the god of firmament. This humbled the other deities and extended
his authority over the three worlds. The gods appealed to Vishnu for protection and he
descended as a boy Vamana. During a yajna (यज्ञ) of the king, Vamana approached him and
Bali promised him for whatever he asked. Vamana asked for three paces of land. Bali agreed,
and the dwarf then changed his size to that of a giant Trivikrama form.[35] With his first stride
he covered the earthly realm, with the second he covered the heavenly realm thereby
symbolically covering the abode of all living beings. He then took the third stride for the
netherworld. Bali realized that Vamana was Vishnu incarnate. In deference, the king offered
his head as the third place for Vamana to place his foot. The avatar did so and thus granted
Bali immortality and making him ruler of Pathala, the netherworld. This legend appears in
hymn 1.154 of the Rigveda and other Vedic as well as Puranic texts.

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Vamana LEFT Parshuram RIGHT

6 - Parashurama, the warrior with the axe. He is son of Jamadagni and Renuka and was
granted as boon, an axe after a penance to Shiva. He is the first Brahmin-Kshatriya in
Hinduism, or warrior-sage, who had to follow the Dharma of both, a Brahmin as well as
a Kshatriya. Once, when king Kartavirya Arjuna and his hunting party halted at the ashrama
of Jamadagni, the father of Parashurama, and the sage was able to feed them all with the aid
of the divine cow Kamadhenu. The king demanded the cow, but Jamadagni refused.
Enraged, the king took it by force and destroyed the ashram. Parashurama then killed the
king at his palace and destroyed his army. In revenge, the sons of Kartavirya killed
Jamadagni. Parashurama took a vow to kill every Kshatriya on earth twenty-one times over,
and filled five lakes with their blood. Ultimately, his grandfather, Rishi Rucheeka, appeared
before him and made him halt. He is a chiranjeevi (immortal), and believed to be alive today
in penance at Mahendragiri. He also credited for creating coastal belt
of Karnataka and Kerala throwing his mighty axe as per Hindu mythology. The place the axe
landed in sea got its water displaced and the land which emerged thus came to be known as
coast of Karnataka and whole of Kerala.

Ram LEFT Krishna RIGHT

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7 - Rama, the prince and king of Ayodhya. He is a commonly worshipped avatar
in Hinduism, and is thought of as the ideal model of a common prince without super powers,
despite being an incarnation. His story is recounted in one of the most widely read scriptures
of Hinduism, the Ramayana. While in exile from his own kingdom with his
brother Lakshman and the God Hanuman, his wife Sita was abducted by the demon king
of Lanka, Ravana. He travelled to Lanka, killed the demon king and saved Sita. Rama and
Sita returned home and were crowned. The day of the return of Prince Rama to the kingdom
of Ayodhya is celebrated in the form of festival Diwali all over India.

8 - Krishna (sometimes at 9 or "0") or Balarama:

Krishna was the eighth son of Devaki and Vasudeva and the foster-son
of Yashoda and Nanda. A frequently worshipped deity in Hinduism, he is the hero of various
legends, particularly the Kansa-vadha and Mahabharata and embodies several qualities such
as love, duty, compassion, and playfulness. Krishna's birthday is celebrated every year by
Hindus on Krishna Janmashtami according to the lunisolar Hindu calendar, which falls in
late August or early September of the Gregorian calendar. Krishna is usually depicted with a
flute in his hand. Krishna is also a central character in Mahabharata, Bhagavata Purana, and
the Bhagavad Gita.Balarama, the elder brother of Krishna, is regarded generally as an avatar
of Shesha an extension of Ananta, a form of Lord Vishnu. Balarama is included as the eighth
avatar of Vishnu in the Sri Vaishnava lists, where Buddha is omitted and Krishna appears as
the ninth avatar in this list. He is particularly included in the lists where Krishna is removed
and becomes the source of all.

9 - Krishna, (sometimes at 8 or "0"), Vithoba, or Jagannath. Krishna; commonly at 8,

sometimes at "0". In Maharashtra and Goa, Vithoba's image replaces Buddha as the ninth
avatar of Vishnu in some temple sculptures and Hindu astrological almanacs. In certain Odia
literary creations from Odisha, Jagannath has been treated as the Ninth avatar, by
substituting Buddha.

10 - Kalki is described as the final incarnation of Vishnu, who appears at the end of
each Kali Yuga. He will be atop a white horse and his sword will be drawn, blazing like a
comet. He appears when only chaos, evil and persecution prevails, dharma has vanished, and
he ends the Kali Yuga to restart Satya Yuga and another cycle of existence.

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 Historical development;
Vishnu Dashavatara inscription
Matsyah Kurmo Varahas-cha Narasimhas-cha Vamana
Ramo Ramas-cha Ramas-cha Buddha Kalki-cha te dasa

The Fish, the Tortoise, the Boar, the Man-lion, the Dwarf,
Parasurama, Dasarathi Rama, Balarama, Buddha and Kalki – thy ten.[40][41]
—Sanctum entrance, Adivaraha cave (7th century), Mahabalipuram;
earliest avatar-related epigraphy

Temple door depicting Dashavatar with Vithoba, at Sree Balaji Temple, Goa. From leftmost upper corner,
clock wise: Matsya, Narasimha, Parashurama, Rama, Krishna, Kalki, Vamana, Vithoba, Varaha and Kurma.
Krishna
Jayadeva, in his Pralaya Payodhi Jale from the Gita Govinda, includes Balarama and
Buddha where Krishna is equated with Vishnu and the source of all avatars.
In traditions that emphasize the Bhagavata Purana, Krishna is the original Supreme
Personality of Godhead, from whom everything else emanates. Gaudiya
Vaishnavas worship Krishna as Svayam Bhagavan, or source of the incarnations.
The Vallabha Sampradaya and Nimbarka Sampradaya, (philosophical schools) go even
further, worshiping Krishna not only as the source of other incarnations, but also Vishnu
himself, related to descriptions in the Bhagavata Purana. Mahanubhavas also known as
the Jai Kishani Panth, considers Lord Krishna as the supreme God and don't consider the
list of Dashavatara while consider another list of Panchavatara (5 Avatars).

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Thirty-nine avatars are mentioned in the Pañcaratra including the likes of Garuda.
However, despite these lists, the commonly accepted number of ten avatars for Vishnu
was fixed well before the 10th century CE.

Astrological Interpretations JYOTISHA

The term 'Jyotisha' refers to Hindu or Vedic astrology, one of the six Vedangas or
ancillary disciplines linked with the Vedas. The Brihat Parasara Hora Sastra mentions
the Dashavatara as follows:
From the Sun God the Incarnation of Rama, from the Moon that of Krishna, from Mars
that of Narasimha, from Mercury that of Buddha, from Jupiter that of Vamana, from
Venus that of Parasurama, from Saturn that of Koorma (Tortoise), from Rahu that
of Varaha [Boar] and from Ketu that of [Matsya] (fish) occurred. All other incarnations
that these are through the Grahas. The beings with more Paramatmamsa [i.e. Rama,
Krishna, Narasimha and Varaha] are called divine beings'.

— Brihat Parasara Hora Sastra, Translated by R. Santhanam (1984), Chapter 2, Verses 5-7

Notably, according to the Brihat Parasara Hora Sastra - an important Smriti Sastra or
compilation of Indian astrology for prediction (i.e. fortune telling) - although all ten of
the Dashavatara have corresponding astrological symbols, only four are considered as
divine beings (i.e. Rama, Krishna, Narasimha and Varaha).
The sun is the soul of all. The Moon is the mind. Mars is one's strength. Mercury is
speech-giver while Jupiter confers knowledge and happiness. Venus governs semen
(potency) while Saturn denotes grief.

Of royal status are the Sun and the Moon while Mars is the army chief. Prince-apparent
in Mercury. The ministerial planets are Jupiter and Venus. Saturn is servant. Rahu and
Ketu form the planetary army.

— Brihat Parasara Hora Sastra, Translated by R. Santhanam (1984), Chapter 3, Verses 12-15

Dasavatar, 19th century, Andhra Pradesh, India.

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Some modern interpreters interpret Vishnu's ten main avatars as an ascending order from
simple life-forms to more complex life-forms, and see the Dashavataras as a reflection, or a
foreshadowing, of the modern theory of evolution. Such an interpretation was first propounded
by the Gaudiya Vaishnava saint Bhaktivinoda Thakura in his 1873 book Datta-kaustubha and
again in his 1880 book Kṛṣṇa-saṁhita. Theosophist Helena Blavatsky also reiterated this in her
1877 opus Isis Unveiled. Bhaktivinoda Thakura proposed the following ordering of the
Dashavataras:

 Matsya - fish (Paleozoic era)

 Kurma - amphibious tortoise (Mesozoic era)
 Varaha - boar (Cenozoic era)
 Narasimha - man-lion, the last animal and semi-human avatar (Cenozoic era)[66][67]
 Vamana - growing dwarf and first step towards the human form
 Parasurama - a hero, but imperfect human form
 Rama - another hero, physically perfect, befriends a speaking vanara deity Hanuman
 Krishna - son of Devaki
 Buddha - the Buddhism founder
 Kalki - yet to happen and the savior, and is like Christian Advent, which Madame Blavatsky
believed Christians "undoubtedly copied from the Hindus"
Blavatsky believed that the avatara-related Hindu texts were an allegorical presentation
of Darwinian evolution. Some Orientalists and reformist Hindus in India picked up this idea to
rationalize Hinduism as being consistent with modern science. Keshub Chandra Sen stated in
1882,
The Puranas speak of the different manifestations or incarnations of the Deity in different epochs
of the world history. Lo! The Hindu Avatar rises from the lowest scale of life through the fish,
the tortoise, and the hog up to the perfection of humanity. Indian Avatarism is, indeed, a crude
representation of the ascending scale of Divine creation. Such precisely is the modern theory of
evolution.
Similarly Aurobindo regarded "Avataric Evolutionism" as a "parable of evolution", one which
does not endorse evolutionism, but hints at "transformative phases of spiritual
progress. According to Nanda, the Dashavatara concept has led to some Hindus asserting that
their religion is more open to scientific theories, and has not opposed or persecuted scientists
midst them like the way Christianity and Islam has. But, adds Nanda, Hinduism has many
cosmological theories and even the Vaishnava one with Dashavatara concept does not explicitly
teach evolution of species, rather it states an endless cycles of creationism.

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 The Dashavatara Temple
The Dashavatara Temple is a Vishnu Temple (often termed Dashavatara Temple) located
at Deogarh in Central India built in c. 500 ADThe temple is one of the earliest Hindu stone
temples to still survive today. Built in the Gupta Period (320 to c. 600 AD), Vishnu Temple
shows the ornate and beauty seen in Gupta style architecture- .[2] This temple is also a good
resource for examining Gupta style sculpturesand art. The Dashavatara temple is locally known
as Sagar marh, which literally means "the temple on the tank", a name it gets from the square
water pool cut into the rock in front.
The temple site is in Deogarh, also spelled Devgarh (Sanskrit: "fort of gods" in the Betwa River
valley at the border of Uttar Pradesh and Madhya Pradesh. It is an ancient Hindu temple below
the Deogarh hill, towards the river, about 500 metres (1,600 ft) from a group of three dozen Jain
temples with dharmashala built a few centuries later, and the Deogarh Karnali fort built in early
13th-century.
The Dashavatara temple is about 30 kilometres (19 mi) from Lalitpur town in Uttar Pradesh, 220
kilometres (140 mi) west of Khajuraho, 250 kilometres (160 mi) south of Gwalior, 230
kilometres (140 mi) northeast of Bhopal, and about 400 kilometres (250 mi) southwest
of Kanpur. The nearest railway station is located in Lalitpur, while the closest major airport with
daily services is Khajuraho (IATA: HJR) and Bhopal (IATA: DBH).[15]
The site is on the western edge of the Lalitpur range, with rocky Betwa river rapids about 500
metres (1,600 ft) away, amidst a forest. The British India era archaeologist Alexander
Cunningham visited this site in 1875 and called the general location as "singularly picturesque".
The fort has several Jain temples, and the Dashavatara temple is solitary Hindu monument
midway between the fort and the Deogarh village.

Even though The temple at Deogarh is dedicated to Vishnu but includes in its small footprint
images of various gods and goddesses such as Shiva, Parvati, Kartikeya, Brahma, Indra, River
goddesses Ganga and Yamuna, as well as a panel showing the five Pandavas of the Hindu
epic Mahabharata.[3][4] The Temple was built out of stone and masonry brick. Legends
associated with Vishnu are sculpted in the interior and exterior walls of the temple. Also carved
are secular scenes and amorous couples in various stages of courtship and intimacy.
This temple was built according to the third khanda of the Hindu text Vishnudharmottara Purana,
which describes the design and architecture of the Sarvatobhadra-style temple, thus providing
a floruit for the text and likely temple tradition that existed in ancient India. Though ruined, the
temple is preserved in a good enough condition to be a key temple in the Hindu temple
architecture scholarship, particularly the roots of the North Indian style of temple design.

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 Dashavatara Temple on its jagati.

How Ancient Indian Temples including the Dashavatara were built?

Looking back in time, the Indian sub-continent has been through diverse evolution, be it in
discoveries, social structures, arts and cultures, science and technology, architecture and so
on. There also have been revolutions with foreign invasions on Indian lands. All these have
left remarkable impressions on the indigenous identity of India. India is known for the
conscientious knowledge that the ancestors were well versed with. This is evident with the
facts that so many inventions in the fields of science (astronomy), mathematics (concept of
zero), medicine (Sushruta’s theories and practices of Ayurveda), lifestyl e (Yoga and
Pranayam) etc took place in the Indian subcontinent. When we look at ancient Indian
wisdom, it is the Vedas that form a deep rooted foundation in the evolution of the sub -
continent. One of the areas that interested me is the conceptualisation o f the “Indian Temple”
and this article emphasises the concept of “Temple” as a physical and spiritual expression,
through its evolution – spiritually and architecturally.

The Vedic Tradition

The Vedic literature is an ocean of knowledge which was handed down from generation to
generation by oral transmission. It is not just religious knowledge but also provides one a
plethora of spiritual well-being of humans. Such elaborate collection of hymns, prayers,
incantations and sacrificial formulas expressed in the form of Samhitas, Brahmanas,
Aranyakas and Upanishads shows detailed study and thought behind its conceptualisation.
The newer additions were regarded as improvisations or changes with respect to changes in
society and human behaviour. What is thought provoking is the fact that humans always
regarded some super power which is above their capacities and they constantly were under
the influence of the behaviour of those super powers. Vedic Gods were nature Gods – Agni,
Indra, Varuna, Rudra, Vishnu, Surya, Chandra and female Gods like Ushas, Prithvi, Nirruti
etc. The Vedic tradition believed in the ideas of give and take and were primarily based on
the performance of the yadnya. It was more of a karma kanda (ritualistic section) where the
yajmaan would perform the yadnya at a temporarily erected structure made of timber and
reed. The object of veneration was the vedi or the fire alter with the yadnyakunda where
offerings in various forms were given through the sacrificial fire to the deity.

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Vedic Symbolism
The Vedas give us information about the hidden aspects of the deities and their symbolic
significance in the human body. Since it has a holistic approach, it encompasses the entire
gamut of human endeavors – bodily, mental, societal, environmental and spiritual aspects.
The very fact that the Vedic deities were symbolically perceived as a part of our own system
i.e. human and then characterized as per our basic needs i.e. food, shelter and survival
illustrates such a fundamental ideology deeply rooted in thought. Symbolism is also reflected
in the mental perception of these deities e.g. Varuna with thousand eyes – symbolism in
thought. In later periods we also see symbolism in physical appearance i.e. the elephant
headed Ganpati or the eight armed Durga. In temple sculptures we find this symbolic
representation of Gods and Goddesses as the ones one of us yet they are something more
(more powerful, more skilled or more stronger) than us.
During the Vedic era, there were no temples. The Vedic people were nomads who used to
travel from one place to the other. As they advanced and started practicing agriculture, the
lifestyle became more settled than nomadic. They no more depended completely at the mercy
of these natural forces and had gained knowledge about certain basics of survival. Sooner as
life became little predictable and changes in social structures happened, there came many
changes in the lifestyle of the people too. The ritual of the yagna slowly started fading away
giving way to the puja. Puja involved more of an emotional connect with the God. Gods were
worshipped, appease and adored. Gods were now perceived as a part of us i.e. human but
with some superpower, and hence not human but God.
This change in thought led to ideas of having a house for the Gods – architecturally
expressed as a Temple i.e. God’s residence. Gods in the form of idols started taking shape. It
was preferred to enhance the emotional connect between the devotee and the idol in
humanised form. This idol would be different to any ordinary idol, as the aura it carried
could respond to the sensitive and emotional connect that a human needed. With more and
more humans seeking this aura, it could fade away in time, hence, it was needed to be
securely preserved. A space which is secluded, dark and with just one side open responded to
this requirement. It resembled the womb – where life begins, hence termed as the
“garbhagriha” or “gabhara”. Later rituals and ceremonies related to the God-human
relationship became more elaborate, we see evolution of the temples corresponding to the
same.

Evolution Of Temple Architecture

Temples were initially rock cut and later we see examples to structural temples too. Early
examples include temple no. 17 at Sanchi having just a square garbhagriha with a rect angular
porch and flat roof.

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Temple no. 17, Sanchi/// Dashavatara Temple, Deogarh

Addition of an ambulatory path or the pradakshina path is seen in examples like the Shiva
temple at Bhumara. At Dashavatara temple, Doegarh, a small squat shikhara or t he pyramidal
tower is seen along with a high plinth. Here we also see the concept of a Panchayatan making
its entry. These examples belong to the Gupt era which is also known as the phase when
temple architecture was in its formative stage.

During the Chalukyan phase in the southern parts of India, we see many experiments done at
Aihole and Badami, and, at Pattadakkal in Karnataka these temple styles achieved
standardization. Three distinct styles viz. Dravida, Nagara and Vesara evolved.

Durga Temple,Aihole/ Sangameshwar and Galaganath Temples, Pattadakkal

Architecture responded to the changes of time and rituals, in the form of additional spaces
like antarala or the vestibule, different mandapas or halls for public gatherings like natya
mandapa, bhoga mandapa, kalyana mandapa etc.

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 Vitthala Temple, Hampi
The temples were slowly progressing into not just free standing structures but were now
encompassed in a temple complex with gopurams or entrance gateways facing the four
cardinal directions. These compound walls also house miniature shrines or the devakulikas of
the deities belonging to the pantheon of the main deity of that temple.

Vitthala Temple, Hampi

As the rituals become more and more elaborate, temple towns came into being with further
additions of concentric rings of walls and walkways or the prakarams. Interesting additions
included the 1000 pillared halls, water tanks and so on.

Meenaxi Temple, Madurai-Written by, Ketaki Patwardhan,Director, Green Hat Studio Pvt. Ltd

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Gupta Period is called the “Golden age of India” or the “Classical Age of India” partially
due to the unprecedented activities and development in the arts, architecture, sculpture, painting
and literature.During Gupta Era, the rock cut architecture reached its zenith and this era marked
the beginning of the
Free Standing temple Architecture. Most of the temples built in the Gupta era were
carved with representation of Gods (mainly avatara of Vishnu and Lingams) and
Goddesses. The most important temple of Gupta era is Dasavatar Temple of Deogarh, Uttar
Pradesh.
Following is a brief description of the temples & Stupas of the Gupta Era:
1. Dasavatara temple, Deogarh Uttar Pradesh
Dasavatara temple is located in Deogarh Village in Lalitpur town in Uttar Pradesh. The
temple was discovered by Captain Charles Strahan and was named so by Alexander
Cunningham. It depicts the 10 avatara of Vishnu. It is a large and elaborate edifice with
typical temple art of Guptas (without Shikhara) and cubical Garbhagriha. This temple has
also been linked to the “Sarvatobhadra temple” mentioned in the Vishnudharmottara
Purana by several scholars.
2. Bhitargaon Temple
Bhitagaon Temple is located in Kanpur District of Uttar Pradesh. It is the oldest
remaining Hindu temple, and was built in the Gupta Era in 6th century.
3. Dhamekha Stupa
The Dhamekha stupa is located at Sarnath, 13 km away from Varanasi. It marks the deer
park or Rishipattana where Buddha gave his first sermon. As per an inscription dated
1026 AD, recovered from the site, its older name is Dharmachakra Stupa. Archeologist,
Alexander Cunningham in search of a relic casket bored a vertical shaft through it center

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 down to the foundation and at a depth of around 91 centimeter he found a slab with an
inscription…..Ye Dharma Hetu Prabhava Hetu…..written in Brahmi script. This
inscription is of 6th or 7th century. Below this, one more stupa made of mauryan bricks
has been found which gives in indication that Asoka might have commissioned it.
Other temples of the Gupta Era are as follows:
1. Vishnu Temple of Tigawa Jabalpur
2. Shiva Temple of Bhumara
3. Parvati Temple of Nachria Kathura
4. Mukund Darra Temple of Kota
5. Lakshaman Temple of Raipur
6. Shiva Temple of Koh.
7. Bhitari Temple at Ghazipur
Salient features of the Gupta Temples:
In Gupta period, the basic, characteristic elements of the Indian temple consisting of
a square sanctum sanctorum and a pillared porch had emerged.
1. The Shikhara was not much prominent in the early Gupta temples but was prominent
in later Gupta era. There was a single entrance or mandapa or Porch.
2. Gupta style temple was modeled on the architectural norms of the Mathura school.
3. Some Other Notes about Gupta Temples
4. Sanchi temple at Tigwa has a flat roof.
5. Dasavatar Temple at Deogarh , Bhitargaon temple and Mahadev Temple at Nachna
Kuthar have a square tower of Shikhara.
6. Manyar Math at Rajgriha is a circular temple of Gupta Era.
7. Main style of temple architecture in i.e. Nagara style and Dravida style actually began
from the Gupta era.
8. The earliest stone temple with Shikhara is Dasavatar Temple at Deogarh.
9. The Bhitargaon temple at Kanpur is entirely made up of Bricks.

Architecture of Dashavatara Temple speaks a lot about the extensiveness and grandeur of the
design. Dashavatara Temple was the first North Indian temple with tower or shikhara, even though
the shikhara is unfinished and part of it has also disappeared (details as to when the shikara
disappeared are not reported). The temple has high plinth and is set with cellar terrace. Dashavatara
temple has a "compelling presence" in spite of its decaying condition.

The old discourse of Vishnudharmottara Purana explains many temples including a "Sarvatobhadra
temple" that has been contrasted by archaeologists and Indologists with the Dashavatara Temple
(Vishnu temple) or the Gupta Mandir of Deogarh. A comparative study also revealed that the perfect
temple design depicted in the discourse as "Sarvatobhadra temple" was the same as the Vishnu
temple of Deogarh. The conclusion was inferred on the basis of size, plan, iconography and

88
numerous other customs illustrated for building Hindu temples. On the basis of this comparison the
structural details of the Deogarh temple have been inferred. Various maps have also been drawn of
temple structure. The approximate date of construction of temple has been estimated to between 450
and 650. During this period, the temple was highly venerated.

Temple face west, with slight deviation to south that also enables the setting sun's rays to fall on the
main idol in temple. The platform also measures 55.5 feet (16.9 m), about 9 feet (2.7 m) on top of the
foundation step (called the moon stone) of the shrine. In the layout of nine squares, the temple
of Lord Vishnu is in the middle square. Outside the platform, there are four stairways that provide
access to the temple. However, as per details of excavation, combined with two small shrines with
middle shrine seen now, the layout of the temple has been interpreted to represent a typical
Panchayatana style of the temples of North India. The full height of the shrine is also based on
isometric projections is about 45 feet (14 m). There are provisions of porches that has been
corroborated but some equivalent comparisons with Varaha temple (boar incarnation of Vishnu) in
the fort precincts, which belonged to the same period, suggests the existence of porticoes even in the
Vishnu temple. Further, a later date with Kuriya Bira temple about 2 miles (3.2 km) to the south of
the Vishnu Temple has been cited to substantiate that this temple had a Mandapa around a small
Shikara shrine.

Gupta Temple was a "shikara" type of temple, built in a straight edged pyramid shape, but this
cannot be fully set up by active proof. Yet, the partisan features of copying and amalakas (a bulbous
stone finial), support the theory that a shikara existed as part of the main shrine. Finally, it was
concluded that the graceful and favourable Deogarh Temple tallied with the account provided for the
Sarvatobhadra Temple in the antique discourse of Vishnudharmottara Purana. The temple of Lord
Vishnu and its uniqueness have been expressed succinctly by archaeologist Percy Brown, in these
words:

Deogarh is an ancient site. Numerous inscriptions in different languages and scripts have been
found here, as have a series of Hindu, Jain and Buddhist monuments. These suggest that it was
once a significant human settlement, likely a location on an imperial trade route that brought
people from different linguistic backgrounds to it. According to Madho Vats, Deogarh nestled
within picturesque hills in north, west and south along with its abundant waters was conveniently
located between the major ancient economic centers such as Pataliputra (Patna), Kashi
(Varanasi), Sanchi, Udayagiri, Ujjain, Bhilsa and Bagh. Gupta script are visible and few others
that cannot be deciphered.
The phrase "Om! namah Shivaya! (...)", and the samvat dates included within the inscriptions
meant that the various inscriptions ranged from 808 CE to 1164 CE, none before the 8th-century
or after the 13th-century. The colossal Tirthankaras statutes in the Jain part of the temples site
distinguished them from "Gupta Temple".The architectural style and themes displayed in the
Dashavatara temple suggest that the temple must have been built before 700 CE, probably being
600 to 700 CE.
The temple was visited by Charles Strahan around 1871, who found it midst the jungle growth.
Strahan shared his enthusiasm;
The jungle is heaviest in the immediate neighborhood of Deogarh, where the Betwa is overlooked on
either bank by rocky cliffs once sacred to Hindu shrines, whose ruins display the utmost profusion of
the art of sculpture, but which now hardly overtop the surrounding trees. One temple of great

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magnificence, with a broad paved causeway leading from the foot of the hill on which it stands, along
the face of the rocks, is of great archaeological interest, some of the sculptures being well preserved.
– Charles Strahan

Vishnu sleeping, protected by Shesha the serpant RIGHT 1880 sketch of 9-squared Dashavatara temple plan (not to
scale, some parts not shown
In 1899, P.C. Mukerji surveyed the site more comprehensively on the behalf of Archaeological
Survey of India. He noticed the profusion of Vishnu imagery in the reliefs and accepted the local
oral tradition that claimed that the ten avatars of Vishnu were carved on the temple but are now
missing. In his report, he called it the Dashavatara temple and mentioned the local Sagar
Marh name for the temple.
In the decades following the Mukerji's report, excavations in the Deogarh region in early 20th-
century such as those by Daya Ram Sahni yielded evidence of more Hindu shrines as well
inscriptions, Jain temples and Buddhist monuments. These include the Naharghati inscriptions, a
monastic cave and the inscribed relief of Saptamatrikas (seven mothers, Shaktism). In 1918,
Sahini also found panels from the temple buried near the foundation and used by someone to
build a wall nearby. These panels narrated scenes from the Hindu epic Ramayana. According to
Bruhn, the Deogarh Naharghati inscriptions, cave and sculptures are all Hindu monuments and
one of richest archaeological findings in Deogarh area, and they include Gupta era art, several
early and late Nagari script inscriptions, an early Mahishasura-mardini Durga relief, Shiva lingas
and various Hindu statues.
In early 20th-century, the missing ten avatars that Sahni knew about but no one else had seen
proof of, led to a debate whether the temple should be called Dashavatara temple or something
else. However, the excavations and subsequent study of reliefs from the Deogarh temple site by
scholars such as Vats yielded the evidence of reliefs showing Krishna, Narasimha, Vamana,
Balarama, Rama, and others. Thereafter the temple has generally been known as the
Dashavatara temple of Deogarh. According to Vats, the evidence suggests that a large number of
reliefs that existed in late 19th century went missing in the first few decades of the 20th century.

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Much of the Dashavatara temple, along with Jain temples nearby, are in ruins and shows signs of
damage.
Archaeologists have inferred that it is the earliest known Panchayatana temple in North India. It
was subsequently renamed by Cunningham as Dashavatara Mandir or Dashavatara Temple
(because the temple depicts ten incarnations of Vishnu), and also as Sagar Marh (meaning: the
temple by the well).

Sanctum door reliefs. TO RIGHT

Date
The Dashavatara temple is generally dated between late 5th-century and early 6th-century, or
about 500 CE. Benjamín Preciado-Solís, a professor of Indian History specializing in Hindu and
Buddhist iconography, dates it to the 5th-century.[21] According to George Michell, an art
historian and a professor specializing in Hindu Architecture, it is unclear when exactly the
Dashavatara temple was built but its style suggests the sixth century. Michael Meister, another
art historian and professor of Indian temple architecture, dates the temple to between 500–525
CE.
The Dashavatara temple has a high plinth (jagati) and is set with a basement porch. The temple
provides steps in the center of all sides of the platform to let the pilgrim enter the temple from all
four directions.
The temple faces west, with slight deviation to the south that enables the setting sun's rays to fall
on the main idol in the temple. The plinth is square with a 55.5 feet (16.9 m) side, about 9 feet
(2.7 m) above the bottom step (called the moon stone) of the shrine.] Each corner of the platform
has a 11 feet (3.4 m) square projection with remnants of a shrine. The plinth was molded in four
parallel courses, each molding about 0.95 feet (0.29 m) thick. Above the four moldings,
rectangular panels separated by pilasters ran all along the plinth with friezes narrating Hindu
texts such as the Ramayana and the Mahabharata. Some of these friezes are now in museums
such as the National Museum in Delhi. These show, for example, the narratives from the Krishna
legend.
On the platform is a nine squares layout. The surviving Vishnu temple is in the middle
square.[27] The sanctum is a square with 18.5 feet (5.6 m) side. Its doorway is intricately carved
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with reliefs. The images on the top of the lintel of the sanctum and walls show Vishnu and
Lakshmi, flanked by Shiva, Parvati, Indra, Kartikeya, Ganesha, Brahma and others. The outer
wall of the sanctum on three sides have niches with sculptures of Vishnu legends: Gajendra-
moksha flying in with Garuda, Nara-Narayana seated in lalitasana position, and Anantasayi
Vishnu in reclining position.
On the top of the sanctum is the remnants of sikhara of the Dashavatara temple. According to
Vats, this sikhara is one of the earliest extant lithic illustration in North India along with the one
in Mundeshvari temple in Bihar. The Deogarh temple is built on a square plan, while the
Mundeshvari temple is built on an octagonal plan. The Deogarh temple sikhara was pyramidal of
receding tiers (tala), with a straight edge.
The Dashavatara Temple is closely related to the iconic architectural temple structure described
in the Viṣṇudharmottara purāṇa, and can be interpreted as an architectural representation of
the Caturvyuha concept and the Pancaratra doctrine, centering on the depictions of the four main
emanations of Vishnu: Vāsudeva, Samkarshana, Pradyumna and Aniruddha.
Sculptures]

Left: Sheshashayi Vishnu reclining on the serpent-bed of Shesha. Right: Vishnu or Vāsudeva in sitting posture under the
serpent's hood.

Sculpted panels are seen on the terraced basement, with carved figurines of river goddesses
Ganga and Yamuna flanking the doorway to the sanctum sanctorum, standing respectively on
their vahanas: crocodile and tortoise. The panels of the stone door have intricate carvings
showing amorous couples in different stages of courtship and intimacy. On the facade are two
males standing, one holding a flower and the other a garland as if greeting the visitor.
The relief on the doorway lintel of the sanctum shows Vishnu.[30] He is four-armed, holds his
iconic conch shell in his rear left hand, the iconic chakra in his rear right, front right hand is
in abhaya mudra while the left front is on his thigh. Below him, to his right, is a female figure
presumably Lakshmi but her iconic details are missing. Below to his left is . To the right, he is
flanked by standing Narasimha (the man-lion avatar of Vishnu) in namaste posture, while on left
is a dwarf who has been interpreted as Vamana (the dwarf avatar), or more often Gana as he
lacks the iconic details of Vamana.

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A relief at Dasavatara temple (L to R): Kartikeya, Indra, Brahma, Shiva, Parvati, Nandi.

DASHAVATara temple AT

Mahabharata relief (L to R): Arjuna, Bhima, Yudhisthira, Nakula, Sahadeva and Draupadi.[note 4]
On the outer walls of each side of the sanctum are niches. Each niche has an alto-relievo
of Vaishnava mythology.

 On the north side is the Gajendra Moksha in a niche that is 3.25 feet by 5 feet (0.65:1 ratio).
A symbolic elephant is praying for help with his leg inside a pond and lotus flower in his
trunk, where he is being strangled. Vishnu is shown flying in on Garuda to liberate the
elephant from evil strangulation.
 On the east side is the Nara Narayana alto-relievo. Nara and Narayana are seated in
meditation in lalitasana. Both of them hold a rosary in hand, are shown to be with closed
eyes and calm, as if lost in their meditation. Apsaras are shown flying above with cusped
hands as if showering flowers. Below Nara and Narayana sit lion and deer in peace and
without anxiety. The panel also has four headed Brahma seated on lotus and in lotus asana.
 In the south side niche is the Anantasayi Vishnu legend as he rests after creating a new
cosmic cycle. He sleeps on Sesha whose 7-headed hood shades him. Lakshmi is sitting near
Vishnu's feet and shown caressing his right leg. Vishnu is wearing an elaborate crown
(kiritamukuta) and neck, ear, arm and body jewelry. A miniature four headed Brahma is
above in center, but he does not emerge from Vishnu navel (a version found in later-dated
Puranas). Brahma also has only two hands, with one holding his iconic kamandalu (water
pot). Others flanking Brahma are Indra and Kartikeya (Skanda) on one side, Siva and Parvati
on Nandi, and a person with a garland. Below the reclining Vishnu is a panel depicting the
five males (Pandavas) and one female (Draupadi) of the Mahabharata legend.

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 Nara Narayana panel on the eastern wall of the Vishnu temple

According to Lubotsky, it is likely that the entrance is dedicated to the Vāsudeva aspect of
Vishnu; the Anantashayana side is his role as the creator (Aniruddha); the sage form of Nara-
Narayana side symbolizes his preservation and maintainer role in cosmic existence (Pradyumna);
and the Gajendramoksha side represents his role as the destroyer (Samkarsana).
Reliefs and museums
The Dashavatara temple had numerous plinth panels of about 2.5 feet by 2 feet each, with friezes
related to secular life and themes of Hinduism. Some of these reliefs were found during
excavations at the site, some recovered nearby and identified by their location, the material of
construction and the style. Many are lost. The recovered reliefs are now housed in major
museums. Some of the significant reliefs identified include:

 Ramayana scenes: a panel depicts the Ahalya-uddhara legend where Hindu god Rama
redeems Ahalya. The scene shows Ahalya in a reverential state offering flowers, Rama and
Lakshmana holding their bows, and a rishi monk sitting nearby with a rosary. Other legends
include the departure of Rama, Sita and Lakshmana for their exile; the three arriving at sage
Atri's hermitage; the Surpanakha legend; the Dandaka forest legend; the abduction of Sita by
Ravana; the bullying of Sita by Ravana legend; the Sugriva victory legend and the Hanuman
bringing the herb containing mountain for Lakshmana legend.

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A Deogarh temple Ramayana relief now in National Museum, Delhi; L to R: Rama, Sita, Lakshmana, in lower
right is demoness Surpanakha caught after harassing Sita and Rama.

 Mahabharata and Vishnu Purana scenes: a panel narrates the Krishna's birth in a prison
legend; Yashoda and Nanda playing with Baladeva and Krishna; Krishna battling Kamsa
legend; Krishna stealing bathing gopi clothes and two nude women concealing their breasts;
the Sudama legend and a few others. One of the panels shows the Vamana, Bali and
Trivikrama legend; another the Narasimha saving Prahlada legend.
 Secular life scenes: A number of panels show solitary women with various expressions;
small boys playing; girls picking flowers in a field; six girls together of which five are
watching and one is dancing; five girls of which one in center is dancing and the other four
are playing musical instruments; a woman giving a baby to a man so that he can hold the
baby but the man stands indifferent; and others.[36]
 Kama and mithuna scenes: lovers are shown as if having a conversation with one of his hand
on her shoulder, the shy woman looking the other way; she sitting in his lap and he fondling
her breasts; a man and woman with intertwined bodies, her body reclined on his; a man
turning away while the woman embracing him from behind and clinging to him; another
panel showing a woman declining a man making advances; and others.
Another sculpture found in the Vishnu temple depicts the Krishna legend in which Devaki hands
over her new born son Krishna to her husband Vasudeva. This sculpture is said to be one of the
best depictions of Gupta period art, based on the sensuous and graceful modelling of the
figurines, but different in that its clothes are shown draped in an exclusive fashion. It is now
housed at the National Museum in New Delhi.
The panels show the culture and dress of ancient India. The jewelry and clothing
including dhoti, sari, kurta, lahanga, blouse, pleated skirt, dopatta (uttariya), langoti, neck wear
and others.[38]
Textual roots

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The Hindu treatise Vishnudharmottara Purana describes several temples including a
"Sarvatobhadra temple", which has been compared by archaeologists and Indologists with the
Dashavatara Temple (Vishnu temple) or the Gupta Mandir of Deogarh. According to Lubotsky, a
comparative study suggests that the ideal temple design and iconography described in the treatise
as "Sarvatobhadra temple" was the same as the Vishnu temple of Deogarh.[39] This conclusion
was based on plan, size, iconography and several other norms described for building the
Sarvatobhadra style Hindu temples.[40] Based on this comparison, the structural details of the
Deogarh temple have been inferred. Maps have also been drawn of the temple structure. The
probable date of the temple's construction has been estimated to be between 425 and 525.[41]
The Sarvatobhadra design requires a superstructure with nine sikharas. The Dasavatara temple at
Deogarh shows only one "shikara", and right squares with no remnant structure. Lubotsky
acknowledges that this aspect of the Sarvatobhadra design cannot be fully established by existing
evidence. However, the supporting features of copings and amalakas (a bulbous stone finial)
have been found in the ruins, which supports the theory that more shikaras existed on eight
mandapas, as part of the temple.
Four stairways outside the platform provide access to the temple. However, as per excavation
details, combined with the two small shrines with the central shrine seen now, the layout of the
temple has been interpreted to represent a typical Panchayatana style of the temples of North
India.[19] The total height of the shrine based on isometric projections is about 45 feet
(14 m).[43] Provision of porches has not been corroborated but some analogous comparison with
the Varaha temple (boar incarnation of Vishnu) in the fort precincts, which belonged to the same
period, suggests the existence of porticoes even in the Vishnu temple. Further, a later date Kuriya
Bira temple about 2 miles (3.2 km) to the south of the Vishnu temple, has been cited to
substantiate that this temple had a mandapa around a small shikara shrine, as required in the
Sarvatobhadra design.
According to Lubotsky, the Deogarh temple tallied with the description provided for the
Sarvatobhadra temple in the ancient treatise of Vishnudharmottara Purana.
Reconstructions Proposed
Cunningham had originally proposed a reconstruction of the temple with four columns on each
side supporting a portico and a shikhara topped by an amalaka.[47] However Vats[48] and Imig
have proposed that it was a panchayatana temple. Imig compared a number of temples from the
region and from other regions from similar period, and concluded that the garbhagriha (sanctum)
cell was surrounded by a wall forming an ambulatory.

Dashavatara Temple Dedicated to 10 Avatars of Lord Vishnu

Many of these early Hindu stone temples were dedicated to a single Hindu deity. The temple at
Deogarh is dedicated to the Vishnu.[1] These temples made in the early part of the 6th century of
the Gupta Period housed images and symbols of Hindu gods.[5] These temples allowed people to
make contact with the gods they were worshiping.[5] The Temple was built out of stone and brick
consisting of a single cubical sanctum that sheltered the images within.[5] Statuaries of the
Vishnu were both sculpted in the interior and exterior walls of the temple. The temple’s
affiliation with the deity Vishnu can be seen by looking at the statuary of the deity seated on a

96
coiled serpent seat that decorates the carved doorway into the temple.[1] There are also many
sculpted panels showing the myths and tales connected with Vishnu.[1]
Vishnu Temple is a great example of early Gupta architecture. The style and organization of the
structure was the method for the decoration of many Hindu temples seen around India at the
time.[1]Though it is in poor condition, having a damaged tower, the temple still exudes the ornate
decorations and structural complexity created back in the early 6th century.

The Dashavatara Temple is an early 6th century Vishnu Hindu temple located at Deogarh, Uttar
Pradesh in the Betwa River valley in north-central India. It has a simple, one cell square plan and
is one of the earliest Hindu stone temples still surviving today. Built in the Gupta Period, the
Dashavatara Temple at Deogarh shows the ornate Gupta style architecture.

It has a simple, one cell square plan and is one of the earliest Hindu stone temples still surviving
today.Built in the Gupta Period, the Dashavatara Temple at Deogarh shows the ornate Gupta
style architecture.The Temple was built out of stone and masonry brick.Legends associated with
Vishnu are sculpted in the interior and exterior walls of the temple.
.
Dashavatara Temple is identical to the Sarvatobhadra Temple of Vishnudharmottara
Purana

During the early days of temple construction, each temple is dedicated to single Hindu god or
goddess. This temple is a prime example of that. However, there are images and symbols of
other Hindu gods here too, which allows people to harmonize with their devotion to God by
worshipping. The temple is built out of stone and brick, with a single cubical sanctum that
shelters the images within. Vishnu is carved in both the interior and external walls of the temple.
97
The affiliation with Vishnu can be seen primarily with the statuary of the deity seated on a coiled
serpent seat that decorates the carved doorway into the temple. But it’s not just that, other
sculpted panels also show myths and tales connected with Vishnu. The temple also served as a
prototype for Sarvatobhadra temple as described in Vishnudharmottara Purana, according to
Dakog Otin.

The Architecture of Dashavatara Temple

The Dashavatara temple is the first North Indian temple with a tower, although the shikhara is
curtailed and part of it has disappeared. There are a basement porch and a high plinth. Though
the condition is poor Currently, the temple still has a compelling presence.

The treatise of Vishnudharmottara Purana talks about a Sarvatobhadra temple, which the
archaeologists and Indologists compare with this temple or the Gupta Mandir of Deogarh. The
study shows that the style and architecture are ideally similar to the one mentioned in the
Vishnudharmottara Purana. Factors like plan, size, iconography and several other norms were
accounted for. The estimated date of construction is around 425-525. The temple was a primary
place of veneration till the seventh century from its construction.

Dashavatara Temple faces west, with a slight inclination towards the south. This enables the sun
rays to fall on the main idol of the temple. The plinth of the temple is 55.5ft, about 9ft from the
moonstone, the bottom step. Outside the temple is a platform that provides access to the temple.

However, the two small shrines and the central shrine that is seen today is similar to the layout of
the temple of typical Panchayatana style of the temple of North India, as per the excavation
details. Based on isometric projections, the total height of the shrine in the temple is 45feet.
Some suggest that porticoes existed even in the Vishnu temple, with analogous comparison made
with the Varaha temple (the boar incarnation).

Recommended - Narasimha Avatar and Prahlad - An Ardent Devotee of Lord Vishnu

The existing evidence does not fully support the claim that the Gupta temple was of
shikhara style, with a straight edged pyramid shape. But it does suggest features of

98
copings and Amalakas (a bulbous stone finial), which in turn suggests a theory that
the shikhara existed. Percy Brown, a famous archaeologist, says:

“When complete, this building was unquestionably one of rare merit in the
correct ordering of its parts, all alike serving the purpose of practical utility, yet
imbued with supreme artistic feeling. Few monuments can show such a high
level of workmanship, combined with a ripeness and rich refinement in its
sculptural effect as the Gupta temple at Deogarh.”
Proposed Reconstructions
The original reconstruction had been proposed by Cunningham himself, by starting with the four
columns on each side supporting a portico and a Shikara topped by Amalaka. But Vats and Imig
proposed to start with the Panchayatana style of Temple by comparing with other temples in the
region of similar period. He even concluded that Garbhagriha cell was surrounded by a wall
forming an ambulatory.

The Sculptures in Dashavatara Temple

On the terraced basement, sculpted panels can be seen. It consists of carved figurines of river
goddesses Ganga and Yamuna flanking the doorway to the sanctum sanctorum. On the other
side, mythology related to Gajendra moksha, Nara Narayana Tapasya, and the Sheshashayi
Vishnu are carved on panels. After the discovery, a protective wall of stone was built around the
temple. However, the main idol of the temple is still missing and is believed to have been
relocated somewhere else.

Vishnu reclining on the serpentShesha (Ananta) on a side panel of the Vishnu temple of 5th century

The Sheshashayi Vishnu shows reclining Vishnu on the serpent Shesha, with four-arms lying
down on the spiral of the serpent with seven hoods, forming a shade over his crowned head. At
his feet are Lakshmi and other two attendants. It also shows other gods looking at that picture,
and another panel shows two demons Madhu and Kaitabha about to attack. But they are shown

99
to be repulsed with the four personified weapons of Ayudhapurushas of Vishnu. Some
interpretations claim that the lower panel might be that of five Pandavas and their common wife
Draupadi.

The relief on the temple shows Vishnu on Shesha, with Lakshmi sitting down and caressing his
feet, flanked by two incarnations of Vishnu Narasimha and Vamana.

T- he Dashavatara Temple or Vishnu Temple also called Gupta temple at Deogarh.

Other carved panels at the side and back of walls show Vishnu’s life. There is a Gajendra
Moksha carved on a panel in the northern wall, which represents Vishnu arriving to rescue the
elephant Gajendra. Nara-Narayana is depicted on a panel on the eastern side wall, while on the
southern wall, Vishnu is shown to be reclining on the serpent in relaxing or sleeping mode.
These show the four facets of Vishnu:

the entrance represents Vasudeva; the Gajendramoksha side is referred as Samkarshana, the destructive aspect of Vishnu;
the Nara-Narayana side is known as Pradyumna, the preserving aspect of Vishnu; and the Anantashayana side is known as
Aniruddha.

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 There is another sculpture that shows the legend of Krishna where Devaki hands Krishna to her
husband Vasudeva. It is considered to be the best of Gupta form of art, based on sensuous and
graceful depictions of the figures, and yet, still different form of clothing as if it were an
exclusive fashion. This is now housed at the National Museum in New Delhi.
https://vedicfeed.com/dashavatara-temple/

What does Sarvatobhadra type of temple in ancient India mean?

With the construction of the Stupas, the construction of the Hindu temples also started as free
standing structures. The subject matter of the deities in the Hindu temples were the mythical
stories narrated in the Puranas. There were three kinds of the temples on the basis of access and
the circumambulatory path built in it.
 Sandhara: These types of the temples have a square sanctum enclosed by a gallery of pillars
meant for Pradakshina. Thus, the Sandhara temples have a Pradakshinapatha.
 Nirandhara: This type of temples do NOT have Pradakshinapathas
 Sarvatobhadra: These types of the temples have four functional doors on cardinal direction and
also a Pradakshinapatha with a row of 12 pillars around the santum sanctorum. These types of
temples could be accessed from all sides.
The earliest temples of India include the Dasavatar temple at Deogarh, in Uttar Pradesh, Nachna-
Kuthara and Udaygiri near Vidisha in Madhya Pradesh. All of these temples are simple
structures consisting of a veranda, a hall and a shrine at the rear.

Sarvatobhadra: These types of the temples have four functional doors on cardinal direction and
also a Pradakshinapatha with a row of 12 pillars around the santum sanctorum. These types of
temples could be accessed from all sides.

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NEELKANTHMAHADEV TEMPLE The NeelkanthMahadev Temple is a very famous Shiva
Temple which is located in the Kumbhalgarh Fort. The temple was built in 1458 AD and has a six
feet high Shivling, made of stone. One of the unique featuresof this temple is the fact that you can
enter it from all four directions, which is commonly referred to as a Sarvatobhadra
temple. (welcomerajasthan, Feb 2020)

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Sarvatobhadra Jain - Circa 6-7th Century CE - ACCN 00-B-65 - Government Museum - Mathura

103
 CHAPTER VII
Brihadeeswarar Temple Tamil Nadu

Brihadisvara Temple inscription reading "Rajaraja"

Tag : Cultural UNESCO World Heritage Site

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 Built in : 1003-1010 AD
Year of Inscription : 1987
Reasons for Inscription : Criteria number (2) and (3). It is a peerless piece of architecture and
represents the culture during Chola Dynasty in India. Moreover, it is a significant Hindu Temple
built in ancient times. There are
98 temples in Thanjavur but the most famous one is
Peruvudaiyar Kovil, well known as Brihadeeswarar Temple, RajaRajeshwara and
Rajarajeswaram Temple, was edified by Raja Raja Chola I in the year 1010 AD. This ancient
shrine is situated at Thanjavur district in Tamil Nadu. Brihadeeshwara Temple is a revered
temple for Hindus, which they bestow to Lord Shiva (The God of destruction). This temple is
one of the largest temples of India, and one of supreme brilliances of Indian architecture.
Category : Archaeological site and Southeastern Asian Religious structure of Hindus.

A brief about Brihadeeswarar Temple

The Brihadeswara Temple is located in the city of Thanjavur, about 350 kilometres (220 mi)
southwest of Chennai. The city is connected daily to other major cities by the network of Indian
Railways, Tamil Nadu bus services and the National Highways 67, 45C, 226 and 226 Extn. The
nearest airport with regular services is Tiruchirappalli International Airport (IATA: TRZ), about
55 kilometres (34 mi) away.

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The city and the temple though inland, are at the start of the Cauveri River delta, thus with access
to the Bay of Bengal and through it to the Indian Ocean. Along with the temples, the Tamil
people completed the first major irrigation network in the 11th century for agriculture, for
movement of goods and to control the water flow through the urban center.
This temple is a perfect illustration of the great heights achieved in the field of architecture by
the Chola rulers. It is a homage paid to Lord Shiva and is a display of power of Raja Raja Chola
I.

Brihadeeshwar Temple is one of the most beautiful architectural splendors of the country. It is
erected amidst the great walls made perhaps in the sixteenth century.
Brihadeeshwara Temple is a revered temple for Hindus, which they bestow to Lord Shiva (The
God of destruction). This temple is one of the largest temples of India, and one of supreme
brilliances of Indian architecture. The temple has a massive colonnaded prakara (corridor) and
one of the largest Shiva lingas in India. It is also famed for the quality of its sculpture, as well as
being the location that commissioned the brass Nataraja – Shiva as the lord of dance, in 11th
century. Brihadishvara Temple, also called Rajarajesvaram or Peruvudaiyār Kōvil, is a Hindu
temple dedicated to Shiva located in South bank of Kaveri river in Thanjavur, Tamil Nadu,
India. It is one of the largest South Indian temples and an exemplary example of a fully
realized Dravidian architecture.[4] It is called as Dhakshina Meru (Meru of south). Built by Tamil
king Raja Raja Chola I between 1003 and 1010 AD, the temple is a part of the UNESCO World
Heritage Site known as the "Great Living Chola Temples", along with the Chola
dynasty era Gangaikonda Cholapuram temple and Airavatesvara temple that are about 70
kilometres (43 mi) and 40 kilometres (25 mi) to its northeast respectively.

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Temple Timeline

The much celebrated 'Ponnambalam' (temple with golden roof) at Thillai (Chidambaram) was
just a few hours of journey away. Thiruvarur, the most important 'Sapta Vitanka Sthalam’, which
had the patronage of the Cholas right from the days of Manuneedhi Cholan and Musukuntha
Cholan, was also nearby. So were numerous temples referred to as 'paadal Petra Sthalangals' -
temples where the Saivite saints Appar, Sundarar, Sambandhar and Manickavasagar had sung
Thevaram hymns (religious hymns praising the deeds of Lord Shiva). Then, what made Rajaraja
Cholan build a massive temple in his capital city?

Few centuries back, the Pallavas had given a new dimension to art and architecture. Under their
patronage rose the majestic Rathas, Shore Temple and Yali Caves at Mamallapuram. Rajasimha
Pallavan built two splendid temples in Kanchipuram 'Paramesvara Vinnagaram' and
'Kailasanathar Kovil'. The latter, dedicated to Lord Siva, held Rajaraja Cholan's attention. He
called it 'kachchipettu Periya Thali' (The Big Temple of Kanchipuram). Rajaraja Cholan's dreams
and aspirations were always huge. The visionary he was in all matters, there is no wonder that he
envisaged a huge temple to celebrate the power of divinity.

Many a people, have wondered why he chose to build an imposing monument. Did he want to
showcase the power and might of his empire by building something colossal? Did he want to
stamp his authority and tell the world, 'Look what I have accomplished?' Did he want to get rid
of sins wrought by years of warfare or get a magical cure to a disease of unknown origin, as
some people claim? May be the reason was simple. He wanted to show the whole world the
towering presence of God that is everlasting against human life that is highly evanescent.

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History of Brihadeeswarar Temple

The original monuments of this 11th century temple were built around a moat. It included
gopura, the main temple, its massive tower, inscriptions, frescoes and sculptures predominantly
related to Shaivism, but also of Vaishnavism and Shaktism traditions of Hinduism. The temple
was damaged in its history and some artwork is now missing. Additional mandapam and
monuments were added in centuries that followed. The temple now stands amidst fortified walls
that were added after the 16th century.
Built out of granite, the vimana tower above the sanctum is one of the tallest in South India. It
was, in all likelihood, one of the tallest structures in the world at the time of its construction. The
temple has a massive colonnaded prakara (corridor) and one of the largest Shiva lingas in
India. It is also famed for the quality of its sculpture, as well as being the location that
commissioned the brass Nataraja – Shiva as the lord of dance, in 11th century. The complex
includes.shrines.for Nandi, Parvati, Kartikeya, Ganesha,
zabhapati, Dakshinamurti, Chandeshvara, Varahi and others. The temple is one of the most
visited tourist attractions in Tamil Nadu.

Rajaraja, who commissioned the temple, called it Rajarajeshvaram (Rajarājeśvaram), literally

"the temple of the god of Rajaraja".A later inscription in the Brihannayaki shrine calls the
temple's deity Periya Udaiya Nayanar, which appears to be the source of the modern names
Brihadisvara and Peruvudaiyar Kovil. Brihadishvara (IAST: Bṛihádīśvara) is
a Sanskrit composite word composed of Brihat which means "big, great, lofty,
vast", and Ishvara means "lord, Shiva, supreme being, supreme atman (soul)". The name means

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the "great lord, big Shiva" temple. Inside the temple, there is a temple tower famous as Vimana
among the devotees and tourists.
Brihadeeswarar Temple is also widely known by name of 'Big Temple'. This temple completed
its 1000 years in the year 2010.

Statue of Rajaraja Chola I who built the temple over 1003-1010 CE.

A spectrum of Hindu temple styles continued to develop from the 5th to the 9th century over
the Chalukya era rule as evidenced in Aihole, Badami and Pattadakal, and then with
the Pallava era as witnessed at Mamallapuram and other monuments. Thereafter, between 850
and 1280 CE, Cholas emerged as the dominant dynasty. The early Chola period saw a greater
emphasis on securing their geopolitical boundaries and less emphasis on architecture. In the 10th
century, within the Chola empire emerged features such as the multifaceted columns with
projecting square capitals. This, states George Michell, signaled the start of the new Chola
style. This South Indian style is most fully realized both in scale and detail in the Brihadeshvara
temple built between 1003 and 1010 by the Chola king Rajaraja I.

Additions, renovations and repairs

The main temple along with its gopurams are from the early 11th century. The temple also saw
additions, renovations, and repairs over the next 1,000 years. The raids and wars, particularly
between Muslim Sultans who controlled Madurai and Hindu kings who controlled Thanjavur
caused damage. These were repaired by Hindu dynasties that regained control. In some cases, the
rulers attempted to renovate the temple with faded paintings, by ordering new murals on top of
the older ones. In other cases, they sponsored addition of shrines. The significant shrines
of Kartikeya (Murugan), Parvati (Amman) and Nandi are from the 16th and 17th-century Nayaka
era. Similarly the Dakshinamurti shrine was built later.

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 Architecture

Brihadisvara temple, seen in profile.

Have you heard of the Living Chola Temples? Temples that have no shadows? Or have been
built with material that was not native to the place? Or have dozens of underground secret
passages? Well, these are just some of the facts about one of the oldest temples in India. Located
in the ancient town of Thanjavur (also, called Tanjore), the Brihadeeswarar Temple is
indeed a sight to behold. The temple is more than just a religious stop. It is a destination of
mysteries and spellbinding architecture, making it the topmost among the places to visit in
Thanjavur. Locally, the Brihadeeswara temple is called Peruvudaiyar Koyil or Thanjavur Kovil.
This “Great Living Chola Temple” is dated back to the 11th century and the times of the
famous Raja Raja Chola. This was after the famous group of monuments in Mahabalipuram (8th
century) but before the gorgeous Madurai Meenakshi temple (14th Century). The temple is built
using granite and is dedicated to Lord Shiva. It is in fact, called the Dakshin Meru
(South Meru).

During the reign of one of the longest-ruling dynasties of India – the Cholas, the temple was
called Rajarajeshwaram. It was a center for all religious functions and festivals. Later, after
the Nayakas and Marathas invaded it, the temple became famous as the Brihadeeswarar Temple.
It is now a UNESCO Heritage site and one important destination in South India. This stems not
just from its history but also, owing to the unusual facets of it.

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Unusual Facts about Brihadisvara Temple

Whether by design or by coincidence, the architecture and the design of the Thanjavur Temple
have made it quite mysterious. There are quite a few unexplained stories about it that will
intrigue every visitor here. Some of them did make my eyebrows disappear into my hairline. No
– really – they did. My first guide at the Tanjore temple did not give me a scientific explanation
to some of these but it was the guide on my 2nd visit who helped explain them. Check them out
–

1. In most South Indian Temples, the gates (gopurams) are taller than the main temple tower
(Vimana). Check my post of the Meenakshi temple and you will know what I mean.
However, in the Brihadeeswarar Temple, it is exactly the opposite. The gopurams are
smaller than the main Vimana.
2. The entire temple is made of Granite. Evidence shows that there was no granite cutting
quarry or even sources to get the stone around Thanjavur. In fact, it is not available even
within 50 km of the site. Imagine how they would have carried it all here to be used in the
temple – and in those days!
3. Speaking of Granite, the main Vimana measures 66 m in height. This is 6 stories high and
was the largest structure in South India in those days. The astonishing part about this is
that the large granite capstone on the top weighs around 80 tons. This is those days, was
placed over the hollow Vimana – how? No one knows!’ Upon my 2nd visit, this
astonishing fact was explained. My guide told me that they had created inclines
stretching to almost 8 km to reach the top of the temple and place the granite there. Close
your eyes and imagine how a procession of elephants carried a piece at a time to reach
the apex. That itself must have been a jaw-dropping sight.
4. The tall Vimana is made using interlocking bricks. There is no binding material used. The
best part is – it has survived so many centuries and various invasions and calamities like
earthquakes
5. According to my first guide, there is a debate on whether this was really a temple or was
it a watchtower. The presence of a moat around the temple and the various underground
passages leading to different locations definitely add some weight to this theory.
However, my money was on it being a temple for there is other evidence that points to
it. And boy! Was I right? Upon my 2nd visit to the Tanjore temple, my 2nd guide
explained that owing to the kingdom wars after the Cholas, the Marathas and the Nayaks
sought refuge within the temple and consequently used it as a watchtower. The added
extra fortifications around the temple – which is the moat and the outer gates and walls.
6. And here is the whoopiest of all facts about Brihadeeswarar temple. You will never see
the shadow of the Vimana at noon – no matter which season you visit it in. In fact, I was
super puzzled by it. My first guide through the Golden Chariot insisted on it by pointing
the various spaces in the Tanjore temple grounds at noon and saying there was no
shadow. However, this myth was debunked by the facts shared by my knowledgeable 2nd
guide a few years later. She said that it is true that the shadow of the Big Temple
Thanjavur did not fall within the grounds. However, the Tanjore Big Temple did cast a

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 shadow away from the main grounds, towards the periphery. One could not see it owing
to the various trees covering the ground.

Layout of the Tanjore Temple

The Dravidian styled Tanjore Temple may seem quite elaborate and daunting when you see it
from the entrance. However, it is a fairly simple layout. To help you get your bearings right –
you will first cross three Gopurams (gateways) and enter the main square. Here along the
perimeter of the wall are open corridors called mandapams. Straight in front of the gopuram, you
will see a cow shrine – Nandi Mandapam. This faces the entrance to the main shrine – Sri
Vimana. Around the Shri Vimana, are several other shrines. And yes, each of these has a story of
its own. Thus, not surprising if you spend half a day just seeing all this around.

Gopurams of Brihadeeswarar Temple

Technically, there are three gates but only two elaborate Gopurams. The first one is more like a
fort gate that was built by the Marathas to defend the place. It was connected to the moat that
surrounded the Temple. It is the 2nd gate – Keralantakan Tiruvasal and the 3rd gate – Rajarajan
Tiruvasal that I spend a lot of time admiring.

Keralantakan Tiruvasal

The gate as the sign informed me, was constructed to celebrate the victory of the King Raja Raja
Chola over the Cheras. Tiny figures of the popular Hindu Gods – Ganesha, Shiv –
Parvati, Vishnu and more highlighted the entrance arch. Along with these, all through to the top.
I could see various mini-stories of mythical beasts, nymphs and humans. I could have figured
more out except that from the arched gateway, I could see an even more elaborate gopuram –
waiting to be explored. That is what I did – but not before a quick stop to the shoe stand behind
the Keralatakan Tiruvasal.

Rajarajan Tiruvasal

The third and final gateway was a teaser of things to come. Every inch of the Rajarajan Tiruvasal
(Gate of the King) was covered with detailed stone carvings. Two stone guards – Dwarpalikas
flanked the arched doorway. As I gazed over the arch, I could make out three distinct tiers of
carvings. Stories from the life of Shiva seemed to be the overlying theme for I could make out
some that referred to his marriage.

There were also, scenes from the Puranas like this one that is said to be of a wishing tree –
Kalpavriksha. I remember this one as I first thought it was from the life of Krishna – like this one
where he mischievously steals the clothes of the bathing ladies and climbs up a tree. I was

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corrected by my first guide saying that it wasn’t that – though he could not substantiate his
explanation. Personally still, think that it is Krishna and not Kalpvriksha 😉

Even within the arched gateway, there are complete stories etched along the walls. Once you
come out, spare a glimpse along its inner walls. You will see many cows or Nandi figures on it.
The ones on the corner have 2 bodies but one head.

And finally, the first glimpse of the grand Vimana from the doorway. It was time to move ahead
to the next stop – the Nandi Mandapam.

Nandi Mandapam

Where there is Shiva, there is Nandi. For those of you who are not familiar, Nandi is Shiva’s
guardian as well as his mount. Every Hindu temple that is dedicated to Shiva, will have a Nandi
outside its shrine, with the Nandi idol facing the Shiva Idol. Brihadeeswarar Temple too,
followed this norm. However, the interesting thing is that the pavilion with this Nandi was only
built later in the 16th century by the Nayaka Kings.

Maybe, there was a structure earlier or maybe, the Nandis along the Tanjore Temple walls served
the original custom of a Nandi before the Shiva. Or maybe, it was indeed a defense post and not
a temple. Either way, there was no denying the excellent craftsmanship of the monolithic Nandi
here (yes, carved out of a single stone).

Pillars of Nandi Mandapa at Brihadeeswarar TempleIf you are here and glance up, you will see
gorgeous ceiling paintings. Some say that the Nayak dynasty was responsible for these while
some credit the Maratha kings. While you admire the Nandi and the ceilings, remember to check
out the pillars with the mythical Yellis holding up the Nandi Mandapam. I am sure, you will
even notice the old oil lamp in front of the Nandi as you exit it.

Sri Vimana of Brihadeeswarar Temple

Following the gaze of the faithful Nandi, I made my way across an elaborate courtyard to the
main shrine – the Sanctum Santorium – the Sri Vimana. The courtyard was marked out like a car
park and a query to my guide revealed that this was where an annual cattle fair was held. Cows
were brought here for cow worship and each herd was given a lot for it. However, in the olden
days, this same courtyard was used for religious gatherings and functioned as a community hall.

Standing at the entrance of the Brihadeshwara temple, I could see the magnificent Shiva Linga. It
was at the far end in a smaller shrine called the Garbha Griha, where only the priests were
allowed. No pictures were allowed inside the temple and the only window that our guide pointed
out was to take whatever we could from the entrance.

I don’t remember much about the work inside the temple for I was focused on the glistening
Shiva Linga. Also, possibly because it was so dark inside. However, the one thing that I recall

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my guide telling me – the Vimana which stood over the Garbha Griha was hollow so much that
the echo of “OM” chanted in it became a divine sound!

Exiting out of the shrine, there were different splendors to experience. The entire outer facade –
be it the walls or the great Vimana – was covered with scenes and characters from the Hindu
Mythology. Conspicuous among them, on the other side of the Vimana, is this carving of a
foreigner with his hat. Now, this guy is the hidden mystery that I mentioned in the unusual facts
about Brihadeeswarar temple. No one knows who he is – but the popular explanation is that he is
a European tradesman. Now if that were true – well, even before the historical records show, we
had European trade relations. 😉

When you get here, look closer at the lower walls for inscriptions in Tamil. What do they say –
well? That is a short-term mystery for my first guide did not know. However, the 2nd guide
mentioned that it referred to who paid for those carvings!

Cloister Mandapa of Thanjavur temple

As you exit the main Vimana Shrine, along the perimeter of the temple grounds, you will see a
corridor. This is the Cloister Mandapa that contains the shrines of several minor deities. A sign
told me all that I wanted to know about it. It was built by the military commander of Raja Raja
Chola, named Krishnan Raman. Besides the shrines, the interesting bit about this cloister was
that it contains several ancient murals.

. The Maratha king – Saraboji installed 108 Shiva Lingas here. Some of them in a cluster while
some of them in a line along with their guardian Nandis. Behind them the sequence of murals
tells you a pictorial tale of the marriage of Lord Shiva and Goddess Parvati. You will see pictures
of the various guests arriving at the wedding. The wall art has been done using natural organic
colors like vegetable dyes and has survived the long passages of time.

When you walk along the walls of these mandapas as well as near the innermost gates, you will
notice a lot of ancient scripts carved on them. These are the various accounts of the donations
and wealth spent in the temple by the Chola kings. Every bit of the temple make and care has
been mentioned on these walls and in some cases, floors. However, nowhere is the secret to the
Brihadeeshwara Temple architecture been mentioned. The temple has withstood centuries of
wear and tear and natural calamities. The mystery of its construction remained with the Chola
kings and has now been lost with time.

Other Shrines of Brihadeeswarar Temple

The rest of the Brihadeeswarar Temple grounds were filled with smaller shrines meant for the
other Hindu deities. Some of these shrines had their own unique elements to see. To be honest, it
was a little overwhelming to do this in the short time I had. However, here are the few that still
remain fresh in my memory.

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Ganesha Shrine

I will always remember the shrine of my favorite God. The Elephant-headed Ganesha bestowed
his blessings on me as I visited his temple right behind the main Shri Vimana. He was also, the
chief deity of the Marathas and the main idol in the temple is said to have been installed by them.
Note the little building on the right of the Ganesha shrine. More on that below.

Karuvur Dewar Shrine

The little shrine mentioned above is dedicated to the guru of Raja Raja Chola – Karuvur Dewar.
Compared to all the other shrines, there isn’t much to talk of in terms of its design. However,
note the little tree along the way to it. The sacred tree is revered by the devotees of the temple
and they tie a sacred thread or cloth on festivals around it. Normally, this is accompanied by their
heart’s wish and a desire for the well being of their near and dear ones.

Subramanya Shrine

Compared to his younger brother, Lord Subramanya or Karthikeya had a far bigger and elaborate
shrine. This was placed behind the Sri Vimana temple on the right-hand side (if you were facing
the front entrance of the main temple). Among the many carved beauties of its walls and roof, it
was the staircase that caught my attention.

Upon my 2nd visit to the temple, my guide unveiled another curious fact of the Brihadeeshwarar
temple. This one required a bit of a demo where she took a blade of glass and inserted it into the
hollow and hidden loops within the carvings of the Subramanya temple. Such were the
intricacies of the Chola construction!

Chandikeswara Temple

Carved reservoir at Tanjore TempleA carved reservoir by the Brihadeeshwara temple is bound to
attract your attention and bring you close to a smaller shrine just next to it. This is the
Chandikeswara temple. The construction of it is said to be as old as the Tanjore temple itself and
you can see a lot of similarities in the designs too.

Amman Shrine

Literally meaning the “Mother’s shrine“, this is dedicated to Shiva’s consort and Ganesha’s mom
– Parvati. The shrine faces the main temple (Sri Vimana) and is on the right-hand side of the
main entrance or the Rajarajan Tiruvasal. This one is quite distinctive for its gorgeous carvings

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that are interspersed with the murals of yesteryears. The Murals, in particular, are quite detailed –
almost like a graphic novel of mythology.

Natarajan Mandapam

This is right next to the Nandi Mandapam and is said to have the idol of the dancing form of
Shiva – Nataraja. This one I recall, owing to its proximity to the entrance and it being different
from the elaborately carved shrines around Brihadeeswara Temple.

There is plenty more that I have left unseen in this gorgeous Tanjore Temple. Brihadeeswarar
temple is in fact, one destination where one visit is just not going to be enough. As I wait for my
second visit, I wonder if you have made your first. And if you have not, I am sure you are
planning one now. Let me know – first, second or “n” the visit – what are your views about this
1000-year-old Brihadeeswarar Temple of Thanjavur.

The Brihadeshvara temple plan and development utilizes

the axial and symmetrical geometry rules. It is classified as Perunkoil (also called Madakkoil), a
big temple built on a higher platform of a natural or man-made mounds.[27] The temple complex
is a rectangle that is almost two stacked squares, covering 240.79 metres (790.0 ft) east to west,
and 121.92 metres (400.0 ft) north to south. In this space are five main sections: the sanctum
with the towering superstructure (sri vimana), the Nandi hall in front (Nandi-mandapam) and in
between these the main community hall (mukhamandapam), the great gathering hall
(mahamandapam) and the pavilion that connects the great hall with the sanctum
(ardhamandapam).

The temple complex integrates a large pillared and covered veranda (prakara) in its spacious
courtyard, with a perimeter of about 450 metres (1,480 ft) for circumambulation. Outside this
pillared veranda there are two walls of enclosure, the outer one being defensive and added in
1777 CE by the French colonial forces with gun-holes with the temple serving as an arsenal.
They made the outer wall high, isolating the temple complex area. On its east end is the original
main gopuram or gateway that is barrel vaulted. It is less than half the size of the main
temple's vimana. Additional structures were added to the original temple after the 11th century,
such as a mandapa in its northeast corner and additional gopurams (gateways) on its perimeters
to allow people to enter and leave from multiple locations. Some of the shrines and structures
were added during the Pandya, Nayaka, Vijayanagara and Maratha era, before the colonial era
started, and these builders respected the original plans and symmetry rules. Inside the original
temple courtyard, along with the main sanctum and Nandi-mandapam are two major shrines, one
for Kartikeya and for Parvati. The complex has additional smaller shrines.
The Brihadisvara temple continued the Hindu temple traditions of South India by adopting
architectural and decorative elements, but its scale significantly exceeded the temples
constructed before the 11th century. The Chola era architects and artisans innovated the expertise
to scale up and build, particularly with heavy stone and to accomplish the 63.4 metres (208 ft)
high towering vimana. This temple tower has an elevation of 66 meters. Vimana is one of the
tallest temple towers on the earth. A rounded apex structure is there in the Brihadeeshwar
Temple, which is believed to be constructed out of carving on a single stone only.

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There is also located a figurine of a consecrated bull or Nandi at the entry of this Brihadeeshwar
Temple, which is approximately thirteen feet in elevation and sixteen feet in length. Remarkably,
this idol is made by a single rock carving.

The Brihadeeshwar Temple is edified by using granite, which can be brought from the granite
sources near Tiruchirapalli, located roughly 60 kilometer from the western side Thanjavur.

Nandi mandapam and the entrance gopurams, northeast view from courtyard.

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The temple faces east, and once had a water moat around it. This has been filled up. The fortified
wall now runs around this moat. The two walls have ornate gateways called the gopurams. These
are made from stone and display entablature. The main gateways are on the east side. The first
one is called the Keralantakan tiruvasal, which means the "sacred gate of the Keralantakan". The
word Keralantakan was the surname of king Rajaraja who built it. About a 100 metres (330 ft)
ahead is the inner courtyard gopuram called the Rajarajan tiruvasal. This is more decorated than
the Keralantakan tiruvasal, such as with its adhishthanam relief work narrating scenes from
the Puranas and other Hindu texts. The inner eastern gopuram leads to a vast courtyard, in which
the shrines are all signed to east-west and north-west cardinal directions. The complex can be
entered either on one axis through a five-story gopuram or with a second access directly to the
huge main quadrangle through a smaller free-standing gopuram. The gopuram of the main
entrance is 30 m high, smaller than the vimana.

The main temple-related monuments and the great tower is in the middle of this courtyard.
Around the main temple that is dedicated to Shiva, are smaller shrines, most of which are aligned
axially. These are dedicated to his consort Parvati, his sons Subrahmanya and Ganesha,
Nandi, Varahi, Karuvur deva (the guru of Rajaraja Chola), Chandeshvara and Nataraja. The
Nandi mandapam has a monolithic seated bull facing the sanctum. In between them are stairs
leading to a columned porch and community gathering hall, then an inner mandapa connecting to
the pradakshina patha, or circumambulation path. The Nandi (bull) facing the mukh-mandapam
weighs about 25 tonnes. It is made of a single stone and is about 2 m in height, 6 m in length and
2.5 m in width. The image of Nandi is a monolithic one and is one of the largest in the country.

The temple stands amidst fortified walls that were probably added in the 16th century. The
vimanam (temple tower) is 216 ft (66 m) high and is the tallest in the world. The Kumbam
(the apex or the bulbous structure on the top) of the temple is carved out of a single rock and
weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock
measuring about 16 ft (4.9 m) long and 13 ft (4.0 m) high at the entrance. The entire temple
structure is made out of granite, the nearest sources of which are about 60 km to the west of
temple. The temple is one of the most visited tourist attractions in Tamil Nadu. The temple tower

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is believed to be the tallest in the world and the temple complex consists of other beautiful
structures that glorify the incredible craftsmanship of the architects of that era.
Besides the huge Shiva Linga, which is located in the sanctum sanctorum (Garbha Griha), the
huge Nandi draws crowds from world over. And interestingly, the temple tower or the Gopuram
or the Vimana is constructed in such a manner that its shadow disappears at noon.

Sanctum and the Sri-vimana

This happens because the base of the Vimana is bigger than its pinnacle. Hence at noon, the
shadow of the temple tower gets merged on itself and not on the ground.
Kudos to the architects of the era for building something as beautiful as the Brihadeshwara
Temple—a heritage structure that dates back to ancient India.

Different views of the Sri-vimana.

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The sanctum is at the center of the western square. It is surrounded by massive walls that are
divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each
side of the sanctuary has a bay with iconography. The interior of the sanctum sanctorum hosts an
image of the primary deity, Shiva, in the form of a huge stone linga. It is called Karuvarai, a
Tamil word that means "womb chamber". This space is called garbha griha in other parts of
India. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the sanctum takes the form of a miniature vimana. It has the inner wall
together with the outer wall creating a path around the sanctum for circumambulation
(pradakshina). The entrance is highly decorated. The inside chamber is the sanctum sanctorum,
which houses the brihad linga.

The main Vimana (Shikhara) is a massive 16 storeys tower of which 13 are tapering squares. It
dominates the main quadrangle. It sits above a 30.18 metres (99.0 ft) sided square.[34] The tower
is elaborately articulated with Pilaster, piers(a raised structure), and attached columns which are
placed rhythmically covering every surface of the vimana.

Deities and Natya Sastra dance mudras

The bronze Nataraja design of Thanjavur found in many museums was commissioned for this temple's sanctum.

The temple is dedicated to Shiva in the form of a huge linga, his abstract aniconic representation.
It is 8.7 m (29 ft) high, occupying two storeys of the sanctum.[3][9] It is one of the largest
monolithic linga sculptures in India.

Sculptures on the maha-mandapam walls

North side South side
Bhairava (Shiva) Ganesha
Mahishasuramardini (Durga) Vishnu
Saraswati Gajalakshmi

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The sikhara, a cupolic dome (25 tons), is octagonal and rests on a single block of granite, weighing 80 tons. One of the 81
dance positions carved on the outer wall of the upper storey corridor wall.

The Shaivism temple celebrates all major Hindu traditions by including the primary deities of
the Vaishnavism and Shaktism tradition in the great mandapa of the main temple. The
distribution of the deities is generally symmetric, except for the east entrance side which provide
for the door and walkway. In addition to the main deities, each side provides for dvarapalas
(guardians), and various other sculptures. The vestibule has three stone sculptures that is
intricately carved, and mural paintings. The ground floor level sanctum walls have the following
sculptures:

 East wall: Lingodbhava, standing Shiva, Pashupata-murti, plus two dvarapalas flanking the
pathway from ardha-mandapam
 South wall: Bhikshatana, Virabhadra, Dakshinamurti, Kalantaka, Nataraja[ plus two
dvarapalas
 West wall: Harihara (half Shiva, half Vishnu), Lingodbhava, Chandrashekhara
without prabhavali, Chandrashekhara with prabhavali, plus two dvarapalas
 North wall: Ardhanarishvara (half Shiva, half Parvati), Gangadhara without Parvati,
Pashupata-murti, Shiva-alingana-murti, plus two dvarapalas.

Engineering Feats: On the second floor, Shiva's Tripurantaka form in different postures is
depicted corresponding to these sculptures. Above these floors, the sri-vimana towers above in
thirteen storeys (talas). Above these storeys is a single square block of granite weight 80 tons,
and 7.77 metres (25.5 ft) side. On top of this block, at its corners are Nandi pairs each about 1.98
metres (6 ft 6 in) by 1.68 metres (5 ft 6 in) in dimension. Above the center of this granite block
rises the griva, the sikhara and the finial (stupi) of Tamil Hindu temple architecture. This stupi is
3.81 metres (12.5 ft) in height, and was originally covered with gold (no longer). The sikhara at
the top is cupola-shaped and weighs 25 tons. Each storey of this tower is decorated
with kutas and salas. The shrinking squares tower architecture of this temple differs from the
tower at the Chola temple at Gangaikondasolisvaram, because this is straight in contrast to the
latter which is curvilinear. The temple's sri-vimana magnitude has made it a towering landmark
for the city.[38] The upper storey corridor wall of the aditala is carved with 81 of the 108

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dance karanas – postures of Natya Sastra. This text is the basis of the Bharathanatyam, the
classical dance of Tamil Nadu. The 27 unrepresented karanas are blank blocks of stone, and it is
unclear why these were not carved. The 81 postures carved suggest the significance of this
classical Indian dance form by early 11th century.The garbhagriha is square and sits on a plinth.
This is moulded and 0.5 metres (1 ft 8 in) thick. It consists of upapitham and adhishthanam,
respectively 140 cm and 360 cm thick.

Mandapa
The two mandapa, namely maha-mandapa and mukha-mandapa, are square plan structures
axially aligned between the sanctum and the Nandi mandapa. The maha-mandapa has six pillars
on each side. This too has artwork. The Vitankar and Rajaraja I bronze are here, but these were
added much later. The maha-mandapa is flanked by two giant stone dvarapalas. It is linked to
the mukha-mandapa by stairs. The entrance of the mukha-mandapa also has dvarapalas. With the
mandapa are eight small shrines for dikpalas, or guardian deities of each direction such
as Agni, Indra, Varuna, Kubera and others. These were installed during the rule of Chola king
Rajendra I.

Inscriptions indicate that this area also had other iconography from major Hindu traditions
during the Chola era, but these are now missing. The original eight shrines included those
for Surya (the sun god), Saptamatrikas (seven mothers), Ganesha,
Kartikeya, Jyeshtha, Chandra (the moon god), Chandeshvara and Bhairava. Similarly, in the
western wall cella was a massive granite Ganesha built during Rajaraja I era, but who is now
found in the tiruch-churru-maligai (southern veranda). Of the Shaktism tradition's seven
mothers, only Varahi survives in a broken form. Her remnants are now found in a small modern
era brick "Varahi shrine" in the southern side of the courtyard. The original version of the others
along with their original Chola shrines are missing.

Murals

A mural of Rajaraja I and his guru. /Nayaka dynasty ceiling mural in the Nandi shrine.

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It is said that the Brihadisvara Temple was erected in only seven years. Its precincts are
surrounded with cloisters covering an area of 120m by 240m and are also surrounded outside
with heavy brick walls for an area of 350m square including a large tank (reservoir).

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The temple has an underneath layer of Chola frescoes on the sanctum walls along the
circumambulatory pathway. These frescoes which cover floor to ceiling, were discovered in
1931 by S. K. Govindasami of the Anamalai University. The painters used natural pigments and
infused it into the wet limestone layer as it was setting in. The Chola frescoes were largely of
Shaivism themes. These were restored in the 2000s. The total Chola fresco area is about 670
square metres (7,200 sq ft), of which about 112 square metres (1,210 sq ft) had been uncovered
as of 2010 in a method that preserves both paintings, a technique developed by Archaeological
Survey of India.[41] The frescoes narrate Hindu mythology. According to Balasubrahmanyam,
most frescoes are related to Shiva, but the 11th century Chola frescoes also show Vishnu, Durga
and others, as well as scenes of Chola royalty, courtly and common life.

GOPURAM: On the same axis stand Gopurams (temple gateways) of the early phase at the
eastern center of the cloister and the brick wall. They are the sole entrance spots to the temple
precincts.

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Though they are embellished with sculptures, they look much lower than later Gopurams of huge
temples in south India, as the height of the Vimana is great in contrast. The second Gopura on
the line of the cloisters is 24m in both width and height, lower than the first Gopura, but its
sculptures are larger, with a pair of Dvarapalas (guardian figures) on both sides of the doorway.

In the cloisters surrounding the precincts is a line of Lingas (phalluses), symbol of Shiva, and
wall paintings from the Nayaka period on the rear walls delight the eye of pilgrims. This
Brihadisvara Temple made of granite and brick is the greatest work of the Dravidian (northern)
style in its grand scale and high degree of perfection, alongside of the great temple in
Gangaikondacholapuram. The development of stone temples in the southern Indian style, having
started at the small temples at Mahabalipuram, reached their summit here. It became the model
of the temples to be built in south India and Southeast Asia in the period of the Chola Dynasty.

Murals in the ceiling of Nandi mandapa, Brihadeeswara temple. BELOW

Ceiling of the Nandi Mandapa

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Same ceiling enlarged view

However, after the end of the Chola Dynasty in the 13th century, temple style would change
dramatically. Huge Vimanas would not be built anymore, rather temple precincts would be
expanded, surrounding the temple in fold upon fold, and constructing only Gopurams in a
colossal scale on the four sides. The outer Gopurams would be erected higher, and would
eventually attain more than 60m. The relationship of height between the main shrine and its gates

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would be completely reversed. From this point too, the Brihadisvara Temple in Thanjavur is the
best representative of orthodox south Indian temple architecture.
Mystery: The later constructions, additions and modifications to the temple curtailed the amount
of natural light inside the temple. The frescoes were thus photographed in a limited way and
interpreted. According to Sriraman, a complete imaging with better photographic equipment
suggests that these historic interpretations were incorrect. For example, a fresco that was
previously interpreted as Dakshinamurti Shiva is actually a secular scene of a
royal guru meditating under a banyan tree. On the tree are shown peacocks, birds, monkeys,
squirrels and owls, plus a cobra. The animals and birds are shown as worried of the cobra, the
one's closer to the snake are shown to be more worried.[41] Other parts of the panel similarly
show a court listening to a saint. Other show women in different dresses in different
dance mudra.

Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged
because of the soot that had deposited on them once upon a time. Owing to the continuous
exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum
over a period of centuries certain parts of the Chola paintings on the circumambulatory passage
walls had been badly damaged. The Archaeological Survey of India, for the first time in the
world, used its unique de-stucco process to restore 16 Nayak paintings, which were
superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been
mounted on fibre glass boards, displayed at a separate pavilion.[

Tamil Inscriptions in Thanjavur Brahadeeshwara Temple written 1000 years ago

Excerpts of Rajaraja's inscription from Brihadeeswara Temple in Thanjavur (first line in

every image)

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The Brihadishwara Temple has Tamil and Sanskrit inscriptions from the 11th century.

The temple walls have numerous inscriptions in Tamil and Grantha scripts. Many of these begin
with customary Sanskrit and Tamil language historical introduction to the king who authorized
it, and predominant number of them discuss gifts to the temple or temple personnel, in some
cases residents of the city. The temple complex has sixty four inscriptions of Rajaraja Chola I,
twenty nine inscriptions of Rajendra Chola I, one each of Vikrama Chola, Kulottunga I and
Rajendradeva (Rajendra Chola II), three of a probable Pandyan king, two of Vijayanagara rulers
namely, Achyutappa Nayaka and Mallapa Nayaka.

Temple personnel
An inscription on the north wall of enclosure, dated 1011 CE, gives a detailed accounts of people
employed and supported by the temple. The inscription gives their wages, roles and names. It
includes over 600 names including those of priests, lamp lighters, washermen, tailors, jewelers,
potters, carpenters, sacred parasol bearers, dance gurus, dancing girls, singers, male and female
musicians, superintendents of performance artists, accountants among others. Their wages was in
parcels of land, so their temple employment was likely part-time.[47][45]
The temple employed devadasis who were dancers and singers of devotional hymns. Among its
numerous inscriptions are frequent gifts that state, "to provide for worship, for food to assembly
of sannyasis (monks or ascetics) and for repairs". According to George Michell, the Thanjavur
temple was a major charity institution in its history. It provides free meal for pilgrims, devotees
and wayfarers on a daily basis. On the days of Hindu festivals, these meals were elaborate and
when brahmins were particularly invited and fed.[47][45]

1,000-year-old Thanjavur Brihadeeshwara Temple - view at sunrise./Dancers gathered at

Brihadishwara Temple to commemorate it.
Built in the year 1010 CE by Raja Raja Chola in Thanjavur, the temple is popularly known as the
Big Temple. It turned 1000 years old in September 2010. To celebrate the 1000th year of the
grand structure, the state government and the town held many cultural events. It was to recall the
275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a
gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the
59.82-metre tall tower above the sanctum.

Bharathanatyam Yajna
To mark the occasion, the state government organised a Bharathanatyam Yajna, classical dance
show under noted dancer Padma Subramaniam. It was jointly organised by the Association of
Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur. To mark
the 1000th anniversary of the building, 1000 dancers from New Delhi, Mumbai, Pune, Tamil
Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia and the US danced in concert to

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the recorded 11 verses of divine music Thiruvisaippa (ninth volume of Thirumurai) composed by
Karuvur deva (the guru of Raja Raja Chola). The small town turned into a cultural hub for two
days beginning 26 September 2010 as street performers and dancers performed throughout the
town.
Commemorative stamps and coins
On 26 September 2010 (Big Temple's fifth day of millennium celebrations), as a recognition of
Big Temple's contribution to the country's cultural, architectural, epigraphical history, a
special ₹ 5 postage stamp featuring the 216-feet tall giant Raja Gopuram was released by India
Post.

The Reserve Bank of India commemorated the event by releasing a ₹ 5 coin with the model of
temple embossed on it. A Raja, Cabinet Minister of Communications and Information
Technology released the esteemed Brihadeeswarar temple special stamp, the first of which was
received by G K Vasan, Cabinet Minister of Shipping.
Mumbai Mint issued Rs 1000 Commemorative Coin with the same picture as on the Rs 5 coin. It
was the first 1000 Rupees coin to be released in the Republic of India coinage. This coin was a
Non Circulative Legal Tender (NCLT).
On 1 April 1954, the Reserve Bank of India released a ₹ 1000 currency note featuring a
panoramic view of the Brihadeeswar temple marking its cultural heritage and significance. In
1975, the then government led by Prime Minister Indira Gandhi demonetised all ₹ 1,000
currency notes in an effort to curtail black money. These notes are now popular among
collectors.

In 2010, the then Tamil Nadu chief minister, M Karunanidhi renamed Semmai Rice, a type of
high productivity paddy variant, as Raja Rajan-1000 to mark the millennial year of the
constructor of the temple, Rajaraja Chola].[57]
The temple "testifies the brilliant achievements of the Chola in architecture, sculpture, painting
and bronze casting."[58] The temple finds mention in many of the contemporary works of the
period like Muvar Ula and Kalingathuparani. According to Chatterjee, the Dravidian
architecture attained its supreme form of expression in the temple and it successor,
the Brihadeeswarar Temple, Gangaikonda Cholapuram.[59] The temple has been declared as a
heritage monument by the Government of India and administered by the Archaeological Survey
of India as a protected monument. The temple is one of the most visited tourist attractions
in Tamil Nadu.

The temple was declared as a World Heritage Site by UNESCO, along with the Brihadeeswara
Temple at Gangaikondacholapuram and Airavatesvara temple at Darasuram that are referred as
the Great Living Chola Temples.[6] These three temples have similarities, but each has unique
design and sculptural elements.[60] All of the three temples were built by the Cholas between the
10th and 12th centuries CE and they have continued to be supported and used by Hindus. The
temples are classified as "Great Living" as the temples are active in cultural, pilgrimage and
worship practises in modern times.

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Cultural events

Temple festival procession, 2015

The Brihadishvara temple at Thanjavur is the site of annual dance festivals around February,
around the Mahashivratri. Major classical Indian dance form artists, as well as regional teams,
perform their repertoire at this Brahan Natyanjali festival over 10 days.[62]
Car festival
The Temple car was rolled out on its trial run from opposite to Sri Ramar temple on 20 April
2015 witnessed by a large number of people. Nine days later, the maiden procession of the
temple car was held. This was the first such procession in this temple held in the past hundred
years, according to news reports.
Novels
Kalki Krishnamurthy, a renowned Tamil novelist, has written a historical novel named Ponniyin
Selvan, based on the life of Raja Raja Chola I. Balakumaran, another Tamil author has written a
novel named Udaiyar themed on the life of Raja Raja Chola I and the construction of the temple.
The temple is currently administered and managed by Babaji Bhonsle, the head of
the Thanjavur Maratha royal family. He serves as the hereditary trustee of the palace
Devasthanam which continues to manage 88 Chola temples including the Brihadeeswara
temple. Tamil groups have been unsuccessfully petitioning the Tamil Nadu government to
revoke these rights as he is not of Chola or Tamil lineage. According to one of the protesters,
who also happens to be the coordinator of the Big Temple Rights Retrieval Committee, Babaji
Bhonsle is also not the legal heir of the Maratha kings of Thanjavur.

The temple features many sculptures, reliefs and murals:

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Brihadisvara Temple, Thanjavur, Tamil Nadu, India/An elephant relief on the Brihadisvara
Temple, Thanjavur

Shiva with a begging bowl as a saddhu (monk, Bhikshatana)

Ardhanarishvara (half Shiva, half Parvati) symbolizing that the male and female principles
are inseparable

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Ganesha is depicted both in the main temple and a separate shrine./Separate Ganesha shrine
with temple corridor in the back.

Subrahmanyar shrine in the north part of the courtyard. Also called Murugan, Kartikeya or
Skanda.

Gaja-lakshmi mural, another Vaishnavism themed artwork./Vishnu sculpture at the Shaivism

temple.

A yoga and meditation relief; the temple portrays numerous secular and saint scenes.

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Kalpavrisksha mythology with kama depiction (gopuram)./Nandi shrine/Sculpture

Vimana outer wall detail

133
Relief detail

134
 Early hours at Tanjore Periya Koil

Legand : Arulmozhivarman, a Tamil emperor who was popular as Rajaraja Chola I laid
out the foundations of Brihadeeswarar Temple during 1002 CE. It was first among
other great building projects by Tamil Chola. Main purpose of building this temple was
to grace throne of Chola Empire with compliance of one command Rajaraja Chola I
receive in a dream. Grandeur and scale is in Chola tradition. A symmetrical and axial
geometry rules layout of this temple. Temples from same period and two following
centuries are expressions of Tamils Chola power, artistic expertise and wealth.
Emergence of these types of features, such as multifaceted columns along with
projecting signals of square capitals signifies arrival of Chola style, which was new at
that time. Brihadeeswarar Temple’s build was like one royal temple for displaying
emperor’s vision for relationship and power to universal order.

This temple was one site of primary royal ceremonies, such as anointing emperor and
to link emperor with Shiva, its deity and deity’s daily rituals was a mirror of those by
king. It is one architectural exemplar, which showcases true form of Dravida kind of
architecture in temples and is a representative of ideology of Chola Empire and

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Southern India’s Tamil civilization. Brihadeeswarar Temple “testifies to Chola’s
brilliant achievements in architecture, painting, bronze casting and sculpture.”

A wish for establishing such a huge temple as per saying of people occurred to then
king Raja Raja, who was staying as one emperor in Sri Lanka. Brihadeeswarar Temple
is first among all buildings, which make use of granite fully and it finished within five
years from 1004 AD to 1009 AD.

Rajaraja the Great builder of the Brihadisvara Temple at the Chola

capital Thanjavur
Rajaraja I, born Arulmoli Varman, often described as Rajaraja the Great, was a Chola emperor
(reigned c. 985–1014) chiefly remembered for reinstating the Chola power and ensuring its
supremacy in south India and Indian Ocean.
His extensive empire included the Pandya country (southern Tamil Nadu), the Chera
country (Malabar Coast and western Tamil Nadu) and northern Sri Lanka. He also acquired
the Lakshadweep and Maldive Islands in the Indian Ocean. Campaigns against the Western
Gangas (southern Karnataka) and Chalukyas extended the Chola influence as far as
the Tungabhadra River. On the eastern coast he battled with the Chalukyas for the possession of
Vengi (the Godavari districts).
Rajaraja, an able administrator, also built the great Brihadisvara Temple at the Chola
capital Thanjavur. The temple is regarded as the foremost of all temples in the medieval south
Indian architectural style. During his reign, the texts of the Tamil
poets Appar, Sambandar and Sundarar were collected and edited into one compilation
called Thirumurai. He initiated a massive project of land survey and assessment in 1000 CE
which led to the reorganisation of the country into individual units known as valanadus. Rajaraja
died in 1014 CE and was succeeded by his son Rajendra Chola
According to the Thiruvalangadu copper-plate inscription, Rajaraja's original name was Arulmoḷi
(also transliterated as Arulmozhi) Varman, literally "blessed tongued". He was born around 947
CE in the Aipassi month, on the day of Sadhayam star. He was a son of the Chola king Parantaka
II (alias Sundara) and queen Vanavan Mahadevi. He had an elder brother - Aditya II and an elder
sister - Kundavai.
Rajaraja's ascension ended a period of rival claims to the throne, following the death of his
grandfather Parantaka I. After Parantaka I, his son Gandaraditya ascended the throne. When
Gandaraditya died, his son Uttama was a minor, so the throne passed on to Parantaka I's younger
son Arinjaya. Arinjaya died soon, and was succeeded by his son Parantaka II. It was decided that
the throne would pass on to Uttama after Parantaka II: this decision was most probably that of
Parantaka II, although the Thiruvalangadu inscription of Rajaraja's son Rajendra I claims that it
was made by Rajaraja.
Rajaraja's elder brother died before him, and after the death of Uttama, Rajaraja ascended the
throne in June–July 985. Known as Arumoḷi Varman until this point, he adopted the name
Rajaraja, which literally means "King among Kings".[18] He also called himself Shivapada

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Shekhara (IAST: Śivapada Śekhara), literally, "the one who places his crown at the feet
of Shiva".

Chola empire during the reign of Rajaraja I

Military Expeditions: Rajaraja inherited a kingdom whose boundaries were limited to the
traditional Chola territory centred around Thanjavur-Tiruchirappalli region. At the time of his
ascension, the Chola kingdom was relatively small, and was still recovering from
the Rashtrakuta invasions in the preceding years. Rajaraja turned it into an efficiently-
administered empire which possessed a powerful army and a strong navy. During his reign, the
northern kingdom of Vengi became a Chola protectorate, and the Chola influence on the eastern
coast extended as far as Kalinga in the north.
A number of regiments are mentioned in the Thanjavur inscriptions. These regiments were
divided into elephant troops, cavalry and infantry and each of these regiments had its own
autonomy and was free to endow benefactions or build temples.
Initial campaigns against neighbours
It is known that Rajaraja celebrated a major victory at Kandalur Salai (south Kerala) in c. 988
CE. This battle is remembered with the famous phrase "Kandalur Salai Kalamarutta". The
engagement seemed to be an effort of the Chola navy or a combined effort of the navy and the
army. The salai originally belonged to the Ay chief, a vassal of the Pandya king at Madurai, in
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the mid-860s. Involvement of either Chera or Pandya warriors in this battle remain uncertain.
The conquest of Vizhinjam by the general of Rajaraja (mentioned in the Thiruvalangadu Plates)
is sometimes equated with this battle. Rajaraja's inscriptions start to appear in Kanyakumari
district in the 990s and in Trivandrum district in early 1000s.[9]
According to Thiruvalangadu Plates, just after killing the "Andhra Bhima", Rajaraja conquered
"the Parasurama kingdom" (c. 1002-03 CE), probably identical with Kerala. The multiple
references to the conquest of "Kudamalainadu" or "Malainadu" may also be a reference to the
conquest of Kerala (see below, Kudamalainadu is generally identified with CoorgTiruppalanam
and Tiruvenkatu (999 and 1000 CE) inscriptions mention the gift of an idol by king from the
booty obtained in Malainadu and the treasures taken from the Chera king.
The Senur inscription (1005 CE) of Rajaraja states that he destroyed the Pandya capital Madurai;
conquered the "haughty kings" of Kollam (Venatu), Kolla-desham (Musika),
and Kodungallur (Chera); and that the "kings of the sea" waited on him. The 1014 CE Thanjavur
inscriptions credit him with victories over the Chera and the Pandya in "Malainadu. Some of
these victories in Malainadu were perhaps won by prince Rajendra Chola for his father.
After defeating the Pandyas, Rajaraja adopted the title Pandya Kulashani ("Thunderbolt to the
Race of the Pandyas"), and the Pandya country came to be known as "Rajaraja Mandalam" or
"Rajaraja Pandinadu". While describing the Rajaraja's campaign in trisanku kastha (the south),
the Thiruvalangadu Grant of Rajendra I states that he seized certain
Amarabhujanga. Identification of this prince (Pandya prince?, a general of the Pandya
king?, Kongu Chera prince remains unresolved Kongu Desa Rajakkal, a chronicle of the Kongu
Nadu region, suggests that this general later shifted his allegiance to Rajaraja, and performed the
Chola king's kanakabhisheka ceremony.
After consolidating his rule in the south, Rajaraja assumed the title Mummudi Chola ("the Chola
who Wears Three Crowns"), a reference to his control over the three Tamil kingdoms of the
Cholas, the Pandyas, and the Cheras.
Conquest of Sri Lanka
In 993, Rajaraja invaded Sri Lanka, which is called Ila-mandalam in the Chola records. This
invasion most probably happened during the reign of Mahinda V of Anuradhapura, who
according to the Chulavamsa chronicle, had fled to Rohana (Ruhuna) in south-eastern Sri Lanka
because of a military uprising. The Chola army sacked Anuradhapura, and captured the northern
half of Sri Lanka. The Cholas established a provincial capital at the military outpost
of Polonnaruwa, naming it Jananatha Mangalam after a title of Rajaraja. The Chola official Tali
Kumaran erected a Shiva temple called Rajarajeshvara ("Lord of Rajaraja") in the town of
Mahatittha (modern Mantota), which was renamed Rajaraja-pura.
Comparing Rajaraja's campaign to the invasion of Lanka by the legendary hero Rama, the
Thiruvalangadu inscription states.
Rama built with the aid of monkeys, a causeway across the sea, and then with great difficulties
defeated the king of Lanka by means of sharp edged arrows. But Rama was excelled by this King
whose powerful army crossed the ocean by ships and burnt up the King of Lanka.

Thiruvalangadu copper plates

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In 1017, Rajaraja's son Rajendra I completed the Chola conquest of Sri Lanka. The Cholas
controlled Sri Lanka until 1070, when Vijayabahu I defeated and expelled them.
Chalukyan conflict
In 998 CE, Rajaraja captured the regions of Gangapadi, Nolambapadi and Tadigaipadi (present
day Karnataka). Raja Chola extinguished the Nolambas, who were the feudatories of Ganga
while conquering and annexing Nolambapadi The conquered provinces were originally
feudatories of the Rashtrakutas. In 973 CE, the Rashtrakutas were defeated by the Western
Chalukyas leading to direct conflict with Cholas. An inscription of Irivabedanga
Satyashraya from Dharwar describes him as a vassal of the Western Chalukyas and
acknowledges the Chola onslaught. In the same inscription, he accuses Rajendra of having
arrived with a force of 955,000 and of having gone on rampage in Donuwara thereby blurring the
moralities of war as laid out in the Dharmasastras. Historians like James Heitzman and Wolfgang
Schenkluhn conclude that this confrontation displayed the degree of animosity on a personal
level between the rulers of the Chola and the Chalukya kingdoms drawing a parallel between the
enmity between the Chalukyas of Badami and the Pallavas of Kanchi.
By 1004 AD, the Gangavadi province was conquered by Rajaraja The Changalvas who

Statue of Rajaraja, Tamil Nadu, 20th century

The invasion of the kingdom of Kalinga occurred after the conquest of Vengi.
Conquest of Kudamalainadu/Malainadu
There are multiple references to the conquest of "Kudamalainadu" or "Malainadu" and the
capture of the fort of "Udagai" by king Rajaraja (from c. 1000 onwards). The word
Kudagumalai-nadu is substituted in place of Kudamalainadu in some of the inscriptions found in
Karnataka and this region has been generally identified with Coorg (Kudagu).
It is said that the king conquered Malainadu for the sake of messengers in one day after crossing
18 mountain passes (Vikrama Chola Ula) Kulottunga Chola Ula makes reference to Rajaraja

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cutting off 18 heads and setting fire to Udagai. Kalingathupparani mentions the institution of
Chadaya Nalvizha in Udiyar Mandalam, the capture of Udagai, and the plunder of several
elephants from there.[9] Tiruppalanam inscription (999 CE) mentions the gift of an idol by king
from the booty obtained in Malainadu.
Naval expedition
One of the last conquests of Rajaraja was the naval conquest of the islands of Maldives ("the
Ancient Islands of the Sea Numbering 1200"). The naval campaign was a demonstration of the
Chola naval power in the Indian Ocean.
The Cholas controlled the area around of Bay of Bengal with Nagapattinam as the main port.
The Chola Navy also had played a major role in the invasion of Sri Lanka. The success of
Rajaraja allowed his son Rajendra Chola to lead the Chola invasion of Srivijaya, carrying out
naval raids in South-East Asia and briefly occupying Kadaram.
Rajaraja indulged in a lot of queens some of whom were Dantisakti Vitanki aka Lokamadevi,
Vanavan Madevi aka Thiripuvāna Mādēviyār, Panchavan Madeviyar, Chola Mahadevi,
Trailokya Mahadevi, Lata Mahadevi, Prithvi Mahadevi, Meenavan Mahadevi, Viranarayani and
Villavan Mahadevi. He had at least three daughters. He had a son Rajendra with Thiripuvāna
Mādēviyār. He had his first daughter Kundavai with Ulaga Madeviyar. Kundavai
married Chalukya prince Vimaladithan. He had two other daughters named Mathevadigal and
Ģangamādevi or Arumozhi Chandramalli. Rajaraja died in 1014 CE in the Tamil month of Maka
and was succeeded by Rajendra Chola I

Mural depicting Rajaraja and his guru Karuvuruvar found in the Brihadisvara temple, Tamil Nadu, 11th
century.

Before the reign of Rajaraja I, parts of the Chola territory were ruled by hereditary lords and
princes who were in a loose alliance with the Chola rulers.[64] Rajaraja initiated a project of land
survey and assessment in 1000 CE which led to the reorganization of the empire into units
known as valanadus. From the reign of Rajaraja I until the reign of Vikrama Chola in 1133 CE,
the hereditary lords and local princes were either replaced or turned into dependent

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officials. This led to the king exercising a closer control over the different parts of the
empire. Rajaraja strengthened the local self-government and installed a system of audit and
control by which the village assemblies and other public bodies were held to account while
retaining their autonomy. To promote trade, he sent the first Chola mission to China.
His elder sister Kundavai assisted him in administration and management of temples.
Rajendra Chola I was made a co-regent during the last years of Rajaraja's rule. He was the
supreme commander of the northern and north-western dominions. During the reign of Raja
Chola, there was an expansion of the administrative structure leading to the increase in the
number of offices and officials in the Chola records than during earlier periods.[12] Villavan
Muvendavelan, one of the top officials of Rajaraja figures in many of his inscriptions. [70] The
other names of officials found in the inscriptions are the Bana prince Narasimhavarman, a
general Senapathi Krishnan Raman, the Samanta chief Vallavaraiyan Vandiyadevan, the revenue
official Irayiravan Pallavarayan and Kuruvan Ulagalandan, who organised the country-wide land
surveys.
Rajaraja was a follower of Shaivism but he was tolerant towards other faiths and had several
temples for Vishnu constructed and encouraged the construction of the Buddhist Chudamani
Vihara at the request of the Srivijaya king Sri Maravijayatungavarman. Rajaraja dedicated the
proceeds of the revenue from the village of Anaimangalam towards the upkeep of this Vihara.

Art & Architecture of Rajaraja I

Consecretion: On the 275th day of his 25th year as king (1010 CE) Raja Raja Chola handed
over a gold-plated Kalasam (copper pot or finial) to crown the vimana (dome) as the final
consecration of the temple. Brihadeeswarar Temple was the nerve center of the Chola Empire
and attracted musicians, scholars, craftsman and merchants. It particularly served as a platform
for dancers who excelled in the traditional dance form of Sadir, which is now known as Bharatha
Natyam.

The Chola reign declined and they were ousted by the Pandyas who were in turn thrown over by
the Vijayanagara Empire. In 1535, the Vijayanagara king installed a Nayak king and the clan,
called Tanjore Nayaks, reigned till the mid-17th century. In 1674, the Marathas conquered
Tanjore. Later, like the rest of the country, Thanjavur too fell into British hands.

The inscriptions and frescoes on the walls of Brihadeeswarar Temple record the rise and fall of
the city's fortunes. Shiva’s representation is as a gigantic stone lingam. This is covered by a
vimanam that extends to 216 feet. It is built with stones that are bonded and notched without any
mortar. The topmost stone, an engineering marvel, weighs about eighty tons.

Rajaraja embarked on a mission to recover the hymns after hearing short excerpts
of Thevaram in his court. He sought the help of Nambi Andar Nambi. It is believed that by
divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten
by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram.
The brahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja intervened by
consecrating the images of the saint-poets through the streets of Chidambaram.Rajaraja thus
became known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai. In his

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work Nambiyandar Nambi Puranam alias Tirumurai Kanda Puranam, Nambi identifies his
patron as Rasarasamannan-Abhayakula-sekharan, that is king Rajaraja, the best of the race of
Abhaya. Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja,
the images of the Nayanar saints were also placed inside the temple. Nambi arranged the hymns
of three saint poets Sambandar, Appar and Sundarar as the first seven books,
Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28 hymns of nine other
saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40 hymns by 12 other
poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the labours of the 63
nayanar saints and added his own hymns as the 11th book.[78] The first seven books were later
called as Tevaram, and the whole Saiva canon, to which was added, as the 12th
book, Sekkizhar's Periya Puranam (1135) is wholly known as Tirumurai, the holy book. Thus
Saiva literature which covers about 600 years of religious, philosophical and literary
development
Brihadisvara Temple

In 1010 CE, Rajaraja built the Brihadisvara Temple in Thanjavur dedicated to Lord Shiva. The
temple and the capital acted as a center of both religious and economic activity. It is also known
as Periya Kovil, RajaRajeswara Temple and Rajarajeswaram. It is one of the largest temples in
India and is an example of Dravidian architecture during the Chola period.[82] The temple turned
1000 years old in 2010. The temple is part of
Coins: Before the reign of Rajaraja the Chola coins had on the obverse the tiger emblem and the
fish and bow emblems of the Pandya and Chera Dynasties and on the reverse the name of the
King. But during the reign of Rajaraja appeared a new type of coins. The new coins had on the
obverse the figure of the standing king and on the reverse the seated goddess. The coins spread
over a great part of South India and were also copied by the kings of Sri Lanka.

A typical lithic inscription of the Chola period

Due to Rajaraja's desire to record his military achievements, he recorded the important events of
his life in stones. An inscription in Tamil from Mulbagal in Karnataka shows his
accomplishments as early as the 19th year. An excerpt from such a Meikeerthi, an inscription
recording great accomplishments, follows:
Hail! Prosperity! In the 21st year of (the reign of) the illustrious Ko-Raja-Rajakesarivarman,
alias the illustrious Rajaraja-deva, who, -while both the goddess of fortune and the great
goddess of the earth, who had become his exclusive property, gave him pleasure,-was pleased to
destroy the ships at Kandalur and conquered by his army, which was victorious in great battles,

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Vengai-nadu, Ganga-padi, Nulamba-padi, Tadigai-padi, Kudamalai-nadu, Kollam, Kalingam
and Ira-mandalam, which is famed in the eight directions; who,-while his beauty was increasing,
and while he was resplendent (to such an extent) that he was always worthy to be worshipped,-
deprived the Seriyas of their splendour,-and (in words) in the twenty-first year of Soran
Arumori, who possesses the river Ponni, whose waters are full of waves.

Rajaraja recorded all the grants made to the Thanjavur temple and his achievements. He also
preserved the records of his predecessors. An inscription of his reign found at Tirumalavadi
records an order of the king to the effect that the central shrine of the Vaidyanatha temple at the
place should be rebuilt and that, before pulling down the walls, the inscriptions engraved on
them should be copied in a book. The records were subsequently re-engraved on the walls from
the book after the rebuilding was finished.
Another inscription from Gramardhanathesvara temple in South Arcot district dated in the
seventh year of the king refers to the fifteenth year of his predecessor that is Uttama Choladeva
described therein as the son of Sembiyan-Madeviyar.

 Rajaraja Cholan, a 1973 Tamil film starring Sivaji Ganesan

 Ponniyin Selvan by Kalki revolves around the life of Rajaraja, the mysteries surrounding the
assassination of Aditya Karikalan and the subsequent accession of Uttama to the Chola
throne
 Nandipurathu Nayagi by Vembu Vikiraman revolves around the ascension of Uttama Chola
to the throne and Rajaraja's naval expedition
 Rajaraja Cholan by Kathal Ramanathan
 Kandalur Vasantha Kumaran Kathai by Sujatha which deal with the situations leading
Rajaraja to invade Kandalur
 Rajakesari and Cherar Kottai by Gokul Seshadri deal with the Kandalur invasion and its
after-effects
 Bharat Ek Khoj, a 1988 historical drama in its episodes 22 and 23 portrays Raj Raja Chola.
 Kaviri Mainthan, a 2007 novel by Anusha Venkatesh

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 PART II
The Larger Ones

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 CHAPTER VII
Virat hridaya padma sthalam
Chidambaram Sri Thillai Nataraja Temple

India has many places where people worship the Divine.India has more than 2 million Hindu
temples recorded during the 2001 census, whose number has substantially increased by now.

Nataraja and Shivakamasaundari with devotees

In Chidambaram we find the original temple of Nataraja the Dancing Shiva, Lord of Cosmic
Dance. In Chidambaram Shiva dances the Cosmic dance of Creation and Destruction
as Nataraja, King of Dance. The dance of the atoms, stars and galaxies.

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It can lay claim to many unique features. The Trimurti or Trinity of Hinduism, Brahma the
Creator, Vishnu the Preserver and Shiva the Destroyer are all worshipped within one complex.
Shiva, who is the presiding deity of this temple, is worshipped here in three aspects: as form; as
formless form; and as formless. Besides being one of the largest temples in India, it is one of the
very few temples practicing the Vedic tradition and rituals, where all other temples follow the
Agamic doctrine of worship. The Vedic doctrine centers on the performance of the Yagna or fire
sacrifice. This doctrine has been preserved by a community of hereditary priests is an unbroken,
oral tradition. Called Deekshithars, they have been the guardians of the temple and its traditions
since prehistoric times.
At the time of the Chariot Festival the main murti or image of the shrine, the Nataraja himself, is
taken out for the procession, whereas in other temples special festival murtis are taken in
procession, while the main murti remains in the temple sanctum.
This temple is open to all, without discrimination. The temple instructs visitors not to photograph
or film any deities
hidambaram temple embodies the following characteristics :
1) This temple is located at the Center Point of world 's Magnetic Equator.
2) Of the "Pancha bootha" i.e. 5 temples, Chidambaram denotes the Skies. Kalahasthi denotes
Wind. Kanchi Ekambareswar denotes land. All these 3 temples are located in a straight line at 79
degrees 41 minutes Longitude. This can be verified using Google. An amazing fact &
astronomical miracle !
3) Chidambaram temple is based on the Human having 9 Entrances denoting 9 Entrances or
Openings of the body.
4) Temple roof is made of 21600 gold sheets which denotes the 21600 breaths taken by a human
being every day (15 x 60 x 24 = 21600)
5) These 21600 gold sheets are fixed on the Gopuram using 72000 gold nails which denote the
total no. of Nadis (Nerves) in the human body. These transfer energy to certain body parts that
are invisible.
6) Thirumoolar states that man represents the shape of Shivalingam, which represents
Chidambaram which represents Sadashivam which represents HIS dance !

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7) "Ponnambalam " is placed slightly tilted towards the left. This represents our Heart. To reach
this, we need to climb 5 steps called "Panchatshara padi "
"Si, Va, Ya, Na, Ma " are the 5 Panchatshara mantras.
There are 4 pillars holding the Kanagasabha representing the 4 Vedas.
8) Ponnambalam has 28 pillars denoting the 28 "Ahamas "as well as the 28 methods to worship
Lord Shiva. These 28 pillars support 64 +64 Roof Beams which denote the 64 Arts. The cross
beams represent the Blood Vessels running across the Human body.
9) 9 Kalasas on the Golden Roof represent the 9 types of Sakthi or Energies.
The 6 pillars at the Artha Mantapa represent the 6 types of Sashtras.
The 18 pillars in the adjacant Mantapa represents 18 Puranams.
10) The dance of Lord Nataraja is described as Cosmic Dance by Western Scientists.
Chidambaram Natarajar
Nataraja idol is known as the Saguna Brahman (the God with a form). To his right there is a
screen. When you perform special puja, the Dikshitar (traditional priest) raises the curtain near to
Nataraja. There will be a dark cloth and we see five vertical long hangings of golden vilva
leaves. We see nothing behind it. This is known as the Nirguna Brahman (the God without
form). This is told as ‘Chidambara Rahasyam’ by the Dikshitar.
There is a a mantapa (pillared hall) called Chitrakoota just in the front of Garbhagriha (the
innermost sanctum). This is dedicated to Maha Vishnu (Narayana) who gives us darshan in his
fully reclining Yoga Nidra pose on the snake bed. If you stand on a small lotus sculpted on the
floor slab in front of Narayana, and turn your face to the right side, you can see Nataraja. So the
temple is a unique combination of Narayana and Nataraja.
It is Fritjof Capra who 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.
The existence of the Nirguna Brahman as empty space (or Akaasa=the sky) reflects the divine
nature as vacant space. The word Chidambaram is derived from chit, meaning “consciousness”
and ambaram, meaning “sky” (from aakasam or aakayam) or space. Some ancient Hindu
scriptures say that the sky of consciousness is the ultimate aim a human should attain.
Many people explain the secret of Chidambaram in different ways:

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“The God that is sought outside is the same as the consciousness that we have within – and that
remains a secret to the ignorant.”
“We start our spiritual journey in the very beginning with idol worshiping because we need an
object to offer and do our prayers. Hence GOD in the form of Nataraja in Chidambaram and
when we proceed further with our journey in spirituality we realise GOD’s present in entire of
the universe.”
“We get the enlightened wisdom that GOD manifest everywhere… And there is nothing other
than god in the whole cosmic”
“In Chidambaram GOD himself gives us realization that he is with form and he also as
formless.”
“When the curtain of “maya” (approximate meaning is illusion) is removed one can see his real
self. And the seeing of oneself removing the curtain of maya is viewing the secret.”
“Once we uncover the dark cloth of ignorance covering the consciousness then we can realize
the paramatma (cosmic) who is formless”
And some people say that it represents the nasthik (atheist) philosophy that is there is no god.
According to legend, “Chidambara Ragasiyam” will never be revealed as it is to everybody. The
earnest seekers will be blessed with realization that will take him/her to deeper silence.
Now my personal experience: I have not seen any secret. But as I stood there, I experienced
“nothingness”. Apart from the psychological value that we attribute and assign to people and
things, what is there in life? Just nothingness! The sound and fury that we produce from the day
one of our birth would eventually end up in the eternal silence. This awareness will make us
empty. At peace!. What more you need? It is the consciousness unlimited.

History Of Natraja Temple

The early history of the temple lies hidden in the mists of time. It reached its present form under
the patronage of the kings of the Chola dynasty in the 11th, 12th and 13th centuries. From the
aerial view we can see the total surface area of the temple covers 13 hectares or 35 acres. Placing
it among the largest temples in the whole of India. It is designed with five concentric Prakaras, or
circumambulatory temple courtyards. These are associated with the Five Elements. The
innermost Prakara is not visible. It lies within the sanctum with the golden roof, and can only be

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entered by the Deekshithars. The architecture and the rituals of this temple reflect its history and
doctrine.
Where we now find this beautiful and ancient temple, was once an impenetrable forest of Tillai
trees, which is a kind of mangrove. This forest gave Chidambaram its firs and most ancient
name, Tillai. Within this sprawling forest was a lotus pond, and at the southern bank of this pond
existed a Svayambhu Linga. A linga is a representation of Lord Shiva which unites both the
concepts of Form as well as of Formless in itself. In modern terms this formless-form might be
called an abstraction.
Svayambhu means ‘self existent', signifying that the linga was not made by human beings, but
came into existence by itself, from nature. To this lotus pond in the Tillai forest came two saints,
named Vyagrapada and Patanjali. They came from very different backgrounds and from very
different directions, but they came for the same reason: to witness Shiva's Cosmic Dance. It had
been foretold to them that if they would worship the linga on the bank of the lotus pond in the
forest, Lord Shiva would come to perform His Dance.
Eventually this great event took place. Nataraja came to perform His Dance on a Thursday, when
the moon was in the asterism Pushan, in the Tamil month of Tai, long before the Christian era.
This dance is called the Ananda Tandava or Dance of Bliss. The saints achieved liberation, and
on their special request Shiva promised to perform His Dance for all time at that place. For the
full narration of the myth the reader is referred to chapter III.
The story of the origin of the worship of Shiva Nataraja in Chidambaram is told in the
Chidambaram Mahatmyam. The Sacred History of Chidambaram, which is part of the Skanda
Purana, one of the 18 great Puranas or collections of mythology. From one of the saints,
Vyagrapada, which means Tiger Footed, Chidambaram received its second name, Puliyur,
meaning ‘City of the Tiger'.
Its third name, Chidambaram, refers to the philosophy and doctrine of the temple. Cit means
consciousness or wisdom. Ambaram signifies ether in Sanskrit, but in Tamil the ambalam means
hall. The name unifies two aspects of the doctrine. Meaning both Hall of Wisdom, as well as the
place of the Ether of Consciousness.
The edifice which now includes within its garbhagriha or sanctum this Svayambhu linga form of
Shiva, situated on the southern bank of the sacred pound, is called Mulasthana. This Sanskrit
term means ‘place of origin' or ‘root place'. It can be found in the third courtyard, within the

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Nataraja temple proper. Facing east, it is a conventional temple with a garbha-griha or sanctum
containing the linga, and an ardha-mandapa, a hall in front of the sanctum.
In this ardha-mandapam we find the images of the two saints, Vyagrapada and Patanjali. They
stand with their hands folded, worshipping. A sanctum placed at an angle to the linga shrine,
facing south, houses the consort of Shiva, the goddess Uma-Parvati. On the western wall of the
shrine we find a relief sculptured of the Kalpa Vriksha or Wishing Tree of Paradise. This shrine
achieved its present form probably under the middle and later Cholas in the 11th and 12th
century.
The main edifices of the temple are the five Sabhas or Halls: the Cit Sabha, Kanaka Sabha, Deva
Sabha, Nritta Sabha, and the Raja Sabha.
At the centre of the temple is situated the sanctum sanctorum or holy of holiest, called the Cit
Sabha or Cit Ambalam. This means the ‘Hall of Wisdom'. It is the main shrine where Lord Shiva
Nataraja accompanied by his consort Parvati performs His Cosmic Dance, the Ananda Tandava
or Dance of Bliss.
The world is the embodiment of the Virat Purusha, the colossal human form. Chidambaram is
the centre of this form, the place of the heart, where Shiva performs the Cosmic Dance.
The Chidambaram temple is laid out as a Purusha. For this reason the devotees may approach the
central shrine from two sides. As blood flows to and from the heart. The nine stupas topping the
golden roof represent the nine orifices of the human body, and also symbolize the nine Matrikas
or goddesses. The roof is made of 21.600 tiles, representing inhalations and exhalations of
breath. The links and side joints symbolize the connecting veins.
The five main steps at the entrance to the shrine stand between the devotees and the image of
Shiva, covered in silver. They are the five seed words or syllables of the mantra.
By chanting these syllables, the devotee can cross the ocean of bondage and attain to the Lord.
The granite plinth of the shrine is called Parvadam, because it does duty for Mount Kailasa in
providing a support for Lord Shiva. On all special occasions puja or worship is performed to this
plinth.
The name, Hall of Consciousness or Hall of Wisdom, refers to the quality of wisdom which
pervades the atmosphere, bestowed upon the worshippers by the Dance of the Lord. His boon is
the experience of the Cosmic Dance.

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A unique feature is that the structure of the actual Sabha is made of wood, which has so far not
been botanically classified. It is rectangular in form and here Shiva is worshipped in his three
aspects:
1. As Form Nataraja the murti or image of Shiva
2. As Formless-Form The crystal linga called Chandramaulishvara
3. As Formless The yantra which is the Akasha Linga
From the platform opposite the Sabha one can see the image of the Dancing Shiva, situated in the
middle of the Sabha. Shiva is facing south, unlike most other Hindu deities. This signifies he is
the Conqueror of Death, dispelling the fear of death for the humanity.
The Crystal Linga called Chandramaulishvara is Shiva as Formless-Form. This Crystal Linga
was formed from the essence of the crescent moon in Shiva's matted hair, for the purpose of
daily worship. This murti is taken from its keeping place at the feet of the Nataraja six times a
day, and abhishekam of holy ablution is performed to him in the hall called Kanaka Sabha in
front of the Cit Sabha.

Immediately to the proper right of the Nataraja is the Chidambaram Rahasyam, the ‘mystery' of
Chidambaram. Here, behind a silk curtain which is black on the outside and red on the inside, is
the Akasha Linga, in the form of a yantra. An abstract geometrical design, on which the deity is
invoked. Behind the curtain, before the yantra, hang a few strands of golden vilva leaves. This
signifies the act of creation. One moment nothing exists, the next instant the All has been
brought into existence. At regular timings the curtain is removed to allow the devotees to
worship the Akasha. he Ether which is the vehicle of the Absolute and Consciousness.
The Cit Sabha houses one more unique form of Shiva. This is the Ratna Sabha Pati, the Ruby
Lord of the Sabha: a replica of the Nataraja murti in ruby form. This murti appeared out of the
fire of the sacrifice in response to the devotion of the Deekshithars.
Once a day, as part of the 10.00 o'clock morning puja ritual, after the abhishekam of the Crystal
Linga, abhishekam is also performed to the Ruby Shiva. As conclusion of this ceremony the
Ruby Nataraja is placed on the edge of the Parvadam of the Kanaka Sabha and Mangala Arati is
offered. This is the burning of camphor on a special plate which is shown both in front and
behind the Ruby Nataraja. This brings out the special quality of translucence of this murti,
creating a mystical spectacle for the onlookers.

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Nobody knows when the worship of Nataraja was established here, or when the Cit Sabha was
build. The original wooden structure is doubtless the oldest structure in the temple complex, as
the shrine of the Mulasthana Linga is a later construction under the Chola Kings. The Sabha has
no features that could help to date it. It is unique and no other structure is known like it anywhere
else in Indian architecture. Analysis by the C 14 method would be unreliable because it is known
to have been regularly renovated during the centuries. But the origins of the temple of Shiva
Nataraja in Chidambaram definitely lie back in prehistoric times.
According to the mythology the temple was first constructed by a king called Shveta Varman.
This king was healed of leprosy by bathing in the sacred pond in the Tillai forest and witnessed
the Cosmic Dance. The first gilding of the roof of the Cit Sabha and the instituting of the temple
and the formal worship of the Nataraja are all attributed to this King.
The first historical references can be found in the Skanda Purana, especially in the Suta Samhita
part. Here Shanmukha, the six-faced son of Shiva and Parvati, is described as worshipping his
parents in Chidambaram, before going to do battle with a demon called Surapadma. This text can
be dated to the second century BCE.
The Cit Sabha, Shiva's dance and Chidambaram are also prominently mentioned in the
Tirumantiram of Tirumular, an important religious and philosophical text in ancient Tamil,
dating from the beginning of the Christian era. A few centuries later the temple and its Lord are
often mentioned by poets of the Tevaram, especially Appar and Sambandar (7th century) and by
Manikavasakar (8th century).
The first historical kings to claim having gilded the roof of the Cit Sabha are the Chola Aditya I
(871-907) and his son Parantaka I (907-955). By this time the temple had already become
important. The place where kings were crowned, and where they came
to worship and receive counsel. How the gilding of the roof was done is a knowledge that was
sadly lost with time. But it is without doubt one of the great technical achievements of ancient
times.
Immediately in front of the Cit Sabha is the Kanaka Sabha, or golden hall. Its roof is made of
copper, although Kanaka means gold. This is the gold of spiritual treasure: to experience Shiva's
dance from so near.
In this Sabha are most of the daily rituals of worship for Nataraja performed. The Yagna of the
morning rituals. The rituals with lamps and ritual objects. And the abhishekam of the Crystal

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Linga and Ruby Nataraja. The public can enter certain areas of the
Kanaka Sabha for worship of the Nataraja and the Akasha Linga at specified hours of the day.
It is a controversy whether this Sabha was originally constructed together with the Cit Sabha, or
some time later.
The Nritta Sabha is the shrine in the form of a ratha or chariot, pulled by two stone horses. It is
situated opposite the Cit Sabha, in the third courtyard. It is the place of the dance contest
between Nataraja and the goddess Kali.
Shiva conquered the goddess, who would not calm down after she destroyed a powerful demon,
by lifting his right leg straight up towards the sky. This dance is called the Urdhva Tandava.
Then and there Kali suddenly remembered who she really was, the peaceful Parvati, consort of
Shiva, and she was able to leave her furious mood and returned to her peaceful self. This scene is
depicted in the sanctum inside the Sabha. We see Shiva performing his Urdhva Tandava, his leg
lifted straight above his head, Kali calmed down in one corner, both accompanied by Vishnu
playing the talam, the
instrument which is used to accompany dance.
The chariot form of the Sabha commemorates Shiva as Tripurasamhara murti, the Destroyer of
the Three Demon Cities. Several divine powers joined together to create Shiva's chariot. Thus
the sun and moon became the wheels, the Vedas the horses etc.
After destroying the Three Cities he descended from his chariot, having landed opposite the Cit
Sabha, and ascended into the Sabha to commence His Dance. From this the Nritta Sabha is also
called Edir Amabalam or opposite hall.
This Sabha has several distinguishing features aside from its shape and its function. Its columns
are unique to the chariot hall. They are square, and although carved from the hardest granite they
are covered with exquisite miniature relief's, depicting dancers,
musicians and all kinds of mythological figures.
One other feature sets this edifice apart from any other hall within the temple complex and from
all other temple halls in India. This Sabha is mysteriously connected to the Sphinx. Just under the
floor surface of the raised platform which is the body of the Sabha is a belt or pattika,
surrounding the whole Sabha. Here we see lions and sphinxes alternating in pairs, girdling the
Sabha.

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Also the pillars of the two pavilions on the western side of the Sabha are supported by four
sphinxes which function as caryatids.
The Nritta Sabha is considered by tradition the second oldest building in the complex, without
any real indication of its age. It is reported in inscriptions as having been renovated by the Chola
King Kulottunga I in the 11th century.
The Deva Sabha can be found in the third prakara or courtyard. The festival deities are kept
during the year, and worship is performed for them daily. This is done inside the Sabha, and is
not open to the public. The age and history of this Sabha is also hidden in the mists of time.
There is some evidence the Deva Sabha was once used as an audience hall by visiting kings of
the different governing dynasties of the Cholas, Pandyas and others during the several phases of
history. No other information is
available.
The Raja Sabha is the Thousand Pillar Hall in the second courtyard. It is the architectural
representation of the Sahasradara, or Crown Chakra. Which is the seventh spiritual energy point
in the astral body. The Nataraja and the goddess Sivakamasundari, his consort, dance here on the
9th and 10th day of the Chariot Festival.
About this Sabha too, we have very little historical information. It is first mentioned as the place
where the medieval poet Sekkilar premiered his great work on the lives of the 63 Nayanmars or
Saiva saints, the Periya Purana, before the Chola king Kulottunga II or III, in the 12th century.
Its base is encircled by relief's of dancers and musicians, as it were participating in a procession.
The most imposing feature of chidambaram natraja temple, which can be seen soaring above the
plain from miles away, are the four temple gateways or gopurams, located in the second wall of
enclosure at the cardinal points. They are considered among the earliest examples of
such structures and are in their present form dated to the 12th and 13th century. Scholars
disagree about the dates of individual gopurams, or about which one was build first. Some
consider the west gopuram as oldest, some the east gopuram.
In between the sculptures decorating the inside of the west gopuram we find a musician playing a
standing double drum. This could point to an early date for this gopuram.
On the outside of the granite bases of the gopurams are found sculptures of many important as
well as less well known deities in niches in a particular order. The inside walls of passages
through all the four gopurams are decorated with the 108 karanas, the dance movements of

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Shiva, from the Natya Shastra, the world's most ancient treatise on dance, drama and theatre.
Besides in Chidambaram these karanas are depicted in only four other temples, all in Tamil
Nadu.
The four gopurams, together with the golden dome of the central shrine are the five towers which
represent the five faces of Shiva, with the Cit Sabha symbolizing the masterful face.
In the innermost courtyard, at a right angle with the golden Sabha, we find the shrine of Vishnu,
as Govinda Raja. Reclining on the Cosmic Snake, he is in the yogic state of consciousness,
enjoying the vision of Shiva's dance. The coexistence of the worship
of both Vishnu and Shiva within one temple is unique. The worship of Vishnu was established in
the earliest times and was originally performed by the Deekshithars themselves. In the later
medieval period, with a shifting political situation under pressure of Muslim invasions, there was
possibly a discontinuation of the worship for a
long period, after which it re-instated by the king Achyuta Raya (1539) of the Vijayanangara
empire. The worship of Vishnu Govinda Raja has since then been in the hands of Vaishnava
priests, and was no longer performed by the Deekshithars.
Within the inner courtyard, to the east of the Sabha, we find a small shrine which houses the
murtis of both the Creator god Brahma, of the Hindy Trinity, and Chandikeshvara, a deified
saint. The presence of Brahma (a deity almost never worshipped) establishes the worship of all
three deities of the Hindu Trinity with-in the
one complex.
The temple of goddess Shivakamasundari, consort of Shiva, is situated on the west side of the
Shivaganga tank. A flight of steps leads down into its courtyard. The goddess
is worshipped here as the Jñana Shakti: the energy and power of wisdom. On the frontal portion
of the pillared hall, on the ceiling of the right and left wings, the finest eye-capturing fresco
paintings of approximately a thousand years old, illustrate the Leelas or Sacred Deeds of Shiva.
The galleries surrounding the temple are decorated with a procession of dancers and musicians,
sculptured in relief. This temple was possibly build in the 11th century under the Chola king
Kulottunga I.
The Shiva Ganga is the sacred water place or tank. It is famous for healing the ancient king Sveta
Varman of his skin disease. His skin became golden after which he was called Hiranya Varman.

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In this tank we find a stone representation of the Linga of Tiruvanaikaval, which represents the
Element Water. In the dry season it becomes visible as the water level in the tank is reduced.
The Pandya Nayaka temple is dedicated to Murugan, the second son of Shivan and Parvati. This
shrine is also shaped as a chariot, pulled by horses and elephants. This temple was according to
tradition build by a king of the Pandya dynasty from Madurai, which superceded the rule of the
Cholas in the 13th century. His name was Sundarar Pandya, and the temple is named after him.
In the middle of the 18th century this temple was renovated with the support of Dutch merchants,
who had a trading post in nearby Porto Nuovo. According to an inscription on copper plates they
donated a share of their profit for this purpose.
Sage Vasishta, revered as leader of Rishis had a relative Madyandinar by name. He had a son
named Maadyandinar (the first name is short in sound, the next longer – spelling differs). Sage
Vasishta advised that the boy should worship the Swayambulinga in Thillai Vanam forests for
gaining complete spiritual wisdom. Son Maadyandinar reached this place. He was sad that he
lost his puja time in picking up flowers after sunrise and these flowers were not pure as the
honey in the same are taken away by the bees. He appealed to Lord Shiva saying that he was
unable to pick the flowers in darkness due to lack of light and the flowers become unfit if picked
after sunrise. Lord granted him hands and legs as that of a tiger to climb the tree and a bright
vision to the eyes functioning well even in utter darkness. Lord also said that he would be
known henceforth as Vyakrapada as had the legs as a tiger. Vyakrapada was

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too happy with the boon and name and continued his worship in Thillai.

Thillai Nataraja Kovil (or Temple, in English) situated in Chidambaram in Tamil Nadu is
dedicated to Lord Shiva, who is worshiped in the form of Nataraja in dancing posture. The
Presiding Deity of the temple is Thirumoolanathar (Lord Shiva) and the Goddess of the temple is

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Umayambikai (Goddess Parvathi).The unique feature of the temple is the bejeweled image of
Nataraja. Lord Shiva is depicted as the Lord of dance radiating universal power. It is one of the
temples where Shiva is represented as an anthropomorphic idol, rather than a Lingam. The
worship of Lord Shiva in the form of Lingam is associated with the five elements water, fire,
wind, earth and ether. Lord Shiva is worshiped in the form of Murthi (idol) in Chidambaram and
is considered as one of the Pancha Bootha Sthalas.The dance stage of the temple is called as
Chittrambalam and the holy tree is considered as the Thillai (Exocoeria agallocha) tree. The holy
water source of the temple is Sivagangai and the hymns of the temple is Thevaram, sung by Sri
Manickavachagar.

Location:
Thillai Nataraja Kovil is located in the town Chidambaram in Cuddalore district in the state
Tamil Nadu, India. It is situated 78 km south to Pondicherry and 250 km from Chennai, the
capital of Tamil Nadu. It is situated on the main railway route between Chennai and Trichy about
halfway between these two cities. The place derived its name from the surrounding Thillai
forest. These trees are not seen in Chidambaram now but can be seen at Pichavaram, east of
Chidambaram in the backwaters. The temple is one of the pancha bootha sthalas where God is
worshiped in one of his manifestations – Sky or Aagayam. Other Pancha Bootha sthalas are
Ekambareswarar temple at Kanchipuram (God is worshiped as Earth), Jambukeswarar temple at
Thiruvanaikaval, in Tiruchirapalli (God is worshiped as Water), Annamalaiyar Temple at
Tiruvannamalai (God representing Fire) and Kalahasti temple at Srikalahasthi (where the God is
worshiped as Wind).

History:
Thillai Nataraja Kovil is considered as the primary temple for all the Saivites. The term “Kovil”
itself refers to this temple for Saivites, whereas “Kovil” refers to Srirangam temple for
Vaishnavites. The early structure of the temple was constructed and maintained by Perumtaccan
of the respected clan of Vishwakarmas. The golden roof of the Chitambalam was laid by the
Chola king, Parantaka I. In those flourishing times, kings Rajaraja Chola I and Kulothunga Chola
I made significant donations to the temple. Gold and wealth to the temple were donated by

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Kundavai II, the daughter of Rajaraja Chola while Vikrama Chola made donations for the
conduct of the daily rituals. The temple has been renovated several times since the reign of
Pallavas and Cholas. Several parts of the temple were rebuilt by Aragalur Udaya Iraratevan
Ponparappinan, in 1213 AD. Donations to the temple were made later by various kings during
various periods of time, including the Maharaja of Pudukottai, Sethupathy and the British. The
emerald jewel donated by Sethupathy still adorns the deity.

Architecture:
The place where the temple stands is the claimed center of the earth’s magnetic equator. This
shows the tremendous engineering, geographical and astrological knowledge of the ancient
architecturers. The temple has nine gateways among which four of them have gopurams in the
East, West, North and South. The eastern gopuram/pagoda has all the 108 dance postures of
Bharathanatiyam. The south gopuram Sokkaseeyan Thirunilai Ezhugopuram was constructed by
Pandya king. This is evident from the sculpted fishes (flag of Pandya king) in the ceiling. The
smallest gopuram is the western gopuram that was constructed in 1150; but there is no evidence
available to know the construction of this gopuram. However, there are sculptures depicting the
Goddess fighting with buffalodemon. The North Gopuram was constructed around 1300 AD
with the brick portion constructed by the Vijayanagara king Krishnadevaraya in the 16th century.
The East Gopuram, was claimed to have been constructed by the Pallava King, Koperunsingan
II.
Roof laid with 21,600 golden tiles with the word SIVAYANAMA inscribed on them. The roof
of Ponnambalam is held by a set of 64 beams representing the 64 forms of art. It is also held by
several cross beams representing the infinite blood vessels. The roof has been laid with 21,600
golden tiles with the word SIVAYANAMA inscribed on them representing 21,600 breaths,
which represents the number of breaths taken in a 24 hour period.. The golden tiles are fixed
using 72,000 golden nails that represents the number of nadis existing in the human body. The
roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The
temple contains five sabhas – Kanaka Sabha, Chit Sabha, Nritya Sabha, Raja Sabha and Deva
Sabha. The main deity, Lord Shiva is enshrined in Chit Sabha, with black screen covering
behind Akasa Lingam. The Kanaka Sabha is located in front of Chit Sabha. The daily rituals are
conducted here. Nritya Sabha or Natya sabha – It is the hall, where Lord Shiva is said to have

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danced along with Goddess Kali (an incarnation with ferocious energy) to prove his Supremacy.
Raja Sabha or 1000 pillared hall – It represents the yogic chakra of 1000petalled lotus. Deva
Sabhai – The hall houses pancha moorthis (five idols) of Lord Ganesha, Lord Muruga, Lord
Somaskanda, Lord’s consort Sivananda nayaki and Lord Chandikeswarar. There is also a
Govindaraja shrine dedicated to Lord Vishnu and it is one of the 108 holy temples of Lord
Vishnu. The Chidambaram temple is surrounded by several water bodies in and around the
temple complex. The name of the connected tanks are Sivaganga tank, Paramanandha koobham,
Kuyya theertham, Pulimadu, Vyagrapatha Theertham, Anantha Theertham, Nagaseri Tank,
Brahma Theertham, Shivapiyai Tank and Thiruparkadal.

Legends:
The story of Chidambaram starts with the legend of Lord Shiva moving to Thillai Vanam
(Thillai – tree; Vanam means forest). There were a group of Rishis or sages in this forest
believing that they can control the Supreme Power through mantras (chants), rituals and magical
spells. To refute, Lord Shiva disguises as a mendicant and Lord Vishnu disguises as Mohini, the
consort of the mendicant and tests the fidelity of the wives of few sages who were proud of their
chastity. Being a smart and beautiful mendicant, Lord Shiva enchants the wives of the sages.
Enraged by this, the sages performs pooja and invoke serpents on Lord Shiva. He inturn captures
all the snakes and adorns them as ornaments around his matted locks, neck and waist. Then, the
sages invokes a ferocious tiger from the holy fire and target it on the divine couple. Lord Shiva
uses his nail to tear the skin of the tiger and wears it around his waist. After facing the defeat
twice, the sages invokes a powerful demon – Muyalakan – a symbol of complete arrogance and
ignorance. The Lord wearing on a gentle smile, steps on the demons back and makes him
immovable. This is the point where he starts his Anandha Thandavam – an eternal blissful dance,
and discloses who they really are. The sages surrender themselves and admit that Supremacy
cannot be controlled by any other power.

Dikshithars:

Thillai Nataraja Kovil is being maintained by the endogamous group of Shaivite Brahmins
called Dikshithars, who also work as priests in the temple. It is said that these people were

160
brought from Mt. Kailash by Saint Patanjali specifically for performing daily rituals in the
temple. There were 3000 Dikshithars initially. Upon the request of Lord Brahma for performing
pooja (ritual function), they made a Vedic sacrifice in heaven. After returning back from pooja,
there were only 2999 Dikshithars. As they were wondering, they heard an oracle saying that the
3000th Dikshithar was Lord Shiva himself.

Sadhguru Says about this Chidambaram temple: : In South India, five temples were built for
each of the five elements – Earth, Water, Fire, Air and Space. These are the Pancha Bhuta
Sthalas. Geographically, they are all within the Deccan Plateau – four in Tamil Nadu and one in
Andhra Pradesh. The temple for water is in Thiruvanaikaval, fire is Thiruvannamalai, Kalahasti
is air and Kanchipuram is earth. The temple for space is in Chidambaram.
The Chidambaram temple is an incredible space. The newer part of the temple is around a
thousand years old but no one knows how old the older part of the temple is. People say it is
3,500 years or more. This is how Indian culture has been. Even in ancient times, just look at the
kind of temples they built. Whether you see the Rameshwaram Temple, the Chidambaram
Temple, or the Madurai Temple, these are all colossal establishments and they were created a
thousand years ago. At that time, almost every human being except the king lived in shacks.
There was no machinery, trucks or cranes, but they worked for a couple of generations on these
temples with a single-minded purpose. These people dedicated their whole life, they lived and
died to create these temples because it meant so much to them.

Nataraja - The Lord of Dance

At the Chidambaram temple, there is the Nataraja, Shiva as the Lord of Dance. Natesha or
Nataraja is one of the most significant forms of Shiva. When I visited CERN in Switzerland,
which is the physics laboratory on the planet, where all the atom-smashing takes place, I saw that
there is a Nataraja statue in front of the entrance, because they identified that there is nothing in
human culture which is closer to what they are doing right now.
The Nataraja form essentially comes from Southern India, particularly from Tamil Nadu. It
represents the exuberance of creation, the dance of creation which self-created itself from
the eternal stillness. Nataraja standing in Chidambaram is very symbolic because what you call
as Chidambaram is just absolute stillness. That is what is enshrined in the form of this temple.

161
The classical arts are to bring this absolute stillness into a human being. Without stillness, true
art cannot come.

Space
One thing about Chidambaram is the Nataraja, but the main deity is an empty space. This temple
was consecrated by Patanjali himself. Patanjali is known as the “Father of Modern Yoga.” He
did not invent yoga. Yoga was already there in various forms which he assimilated into a system.
The Yoga Sutras were written by him. If you look at Patanjali, as an enlightened being he can’t
be more enlightened than someone else. There is no such thing. Realization is realization. But
Patanjali as a man and above all as an intellect, the breadth of his understanding of life is so big
that you cannot believe that this is possible in one human being. He is absolutely incredible and
almost “not human.”

Sadhguru: In South India, five temples were built for each of the five elements – Earth, Water,
Fire, Air and Space. These are the Pancha Bhuta Sthalas. Geographically, they are all within the
Deccan Plateau – four in Tamil Nadu and one in Andhra Pradesh. The temple for water is in
Thiruvanaikaval, fire is Thiruvannamalai, Kalahasti is air and Kanchipuram is earth. The temple
for space is in Chidambaram.

The Chidambaram temple is an incredible space. The newer part of the temple is around a
thousand years old but no one knows how old the older part of the temple is. People say it is
3,500 years or more. This is how Indian culture has been. Even in ancient times, just look at the
kind of temples they built. Whether you see the Rameshwaram Temple, the Chidambaram
Temple, or the Madurai Temple, these are all colossal establishments and they were created a
thousand years ago. At that time, almost every human being except the king lived in shacks.
There was no machinery, trucks or cranes, but they worked for a couple of generations on these
temples with a single-minded purpose. These people dedicated their whole life, they lived and
died to create these temples because it meant so much to them.

162
Nataraja - The Lord of Dance
At the Chidambaram temple, there is the Nataraja, Shiva as the Lord of Dance. Natesha or
Nataraja is one of the most significant forms of Shiva. When I visited CERN in Switzerland,
which is the physics laboratory on the planet, where all the atom-smashing takes place, I saw that
there is a Nataraja statue in front of the entrance, because they identified that there is nothing in
human culture which is closer to what they are doing right now.
The Nataraja form essentially comes from Southern India, particularly from Tamil Nadu. It
represents the exuberance of creation, the dance of creation which self-created itself from
the eternal stillness. Nataraja standing in Chidambaram is very symbolic because what you call
as Chidambaram is just absolute stillness. That is what is enshrined in the form of this temple.
The classical arts are to bring this absolute stillness into a human being. Without stillness, true
art cannot come.

Arudra Darshan
One well-known aspect at Chidambaram is the Arudra Darshan in the Tamil month of Margazhi.
Rudra means a roarer, or someone who is very effervescent - more than effervescent, a roar.
Arudra means stable; not the roaring kind but absolutely stable. Rudra also suggests movement
and creation. Arudra suggests a certain inertia.

Reviving Chidambaram

Just the buildings of the Chidambaram temple cover around thirty-five acres. They are built
completely of stone and are magnificent. Apart from this, hundreds of acres of lands were
attached to it, alongwith jewelry to maintain the vast temple. But during the British era, they took
over many temples because of the enormous amount of wealth attached to them and all the
jewelry has completely disappeared today. They say that a huge amount of the British funding
for World War II came from Indian temples. Lands were also taken over and distributed, so the
temple has become poor and unmanageable now.

Today there are around 360 families who are conducting the rituals and are also the beneficiaries
of the temple. But they are unable to maintain it so many things are going away. All the

163
vegetable dye paintings on the ceiling, which are a thousand years old are almost sixty percent
gone. The plaster has fallen off and there is nobody for upkeep. And unknowingly, they have put
up concrete structures here and there in this hundred percent stone temple because of which the
aesthetics and the dynamics of the temple are badly disturbed.

When Patanjali built the temple, he didn’t build things for fancy. He only did what is absolutely
needed, and it is an incredible space. That space needs to be protected and nurtured and made
available to the whole of humanity. We want to do that. It will cost plenty to restore the temple
and also clear up the surroundings because all kinds of bazaars have mushroomed which are bad
for the space. We want to just see if we can do something about that and put up proper shopping
and hotels, but this is still an idea. We are looking for some corporate support in India. If that
happens I want to restore that because whether your house is 10,000 square feet or just 1000
square feet is not going to make an ultimate difference in your life, but being around
a consecrated space is going to make a phenomenal difference in your life. With this
understanding, in Indian culture, they built human habitations like this: if there are 25 houses,
there must be one temple. Whether you go there or not, whether you pray or not, whether you
know the mantra or not is not the point. You must be in a consecrated space every moment of
your life.

Patanjali consecrated this temple with a certain science behind the whole thing because he is not
a devotee, he is a scientist and he set up proper ways of how to conduct the temple. He prepared
a group of people who have to maintain a certain level of sadhana and discipline and a method of
daily ritual in the temple. Those families multiplied and they continued to keep the temple. Even
today, they are generally maintaining the codes and the ritual part that he set forth as to how the
temple should be maintained.

Arudra Darshan
One well-known aspect at Chidambaram is the Arudra Darshan in the Tamil month of Margazhi.
Rudra means a roarer, or someone who is very effervescent - more than effervescent, a roar.
Arudra means stable; not the roaring kind but absolutely stable. Rudra also suggests movement
and creation. Arudra suggests a certain inertia.

164
Reviving Chidambaram
Just the buildings of the Chidambaram temple cover around thirty-five acres. They are built
completely of stone and are magnificent. Apart from this, hundreds of acres of lands were
attached to it, alongwith jewelry to maintain the vast temple. But during the British era, they took
over many temples because of the enormous amount of wealth attached to them and all the
jewelry has completely disappeared today. They say that a huge amount of the British funding
for World War II came from Indian temples. Lands were also taken over and distributed, so the
temple has become poor and unmanageable now.

Today there are around 360 families who are conducting the rituals and are also the beneficiaries
of the temple. But they are unable to maintain it so many things are going away. All the
vegetable dye paintings on the ceiling, which are a thousand years old are almost sixty percent
gone. The plaster has fallen off and there is nobody for upkeep. And unknowingly, they have put
up concrete structures here and there in this hundred percent stone temple because of which the
aesthetics and the dynamics of the temple are badly disturbed.
When Patanjali built the temple, he didn’t build things for fancy. He only did what is absolutely
needed, and it is an incredible space. That space needs to be protected and nurtured and made
available to the whole of humanity. We want to do that. It will cost plenty to restore the temple
and also clear up the surroundings because all kinds of bazaars have mushroomed which are bad
for the space. We want to just see if we can do something about that and put up proper shopping
and hotels, but this is still an idea. We are looking for some corporate support in India. If that
happens I want to restore that because whether your house is 10,000 square feet or just 1000
square feet is not going to make an ultimate difference in your life, but being around
a consecrated space is going to make a phenomenal difference in your life. With this
understanding, in Indian culture, they built human habitations like this: if there are 25 houses,
there must be one temple. Whether you go there or not, whether you pray or not, whether you
know the mantra or not is not the point. You must be in a consecrated space every moment of
your life.
An enormous amount of knowledge about this dimension of life was perpetuated particularly in
this culture, and this was held as the most important thing. Because it doesn’t matter what you

165
are eating, how you are or how long you live, at some point, a need will come that you want to
get in touch with the source of Creation. If that possibility is not created across the planet and is
not available to every human being who seeks, then society has failed to provide true wellbeing
for a human being.

Chidambaram is one of the many temple towns in the state which is named after the grooves,
clusters or forests dominated by a particular variety of a tree or shrub and the same variety of tree
or shrub sheltering the presiding deity. The town used to be called Thillai, following
Thillaivanam, derived from the mangrove of Tillai trees (Exocoeria agallocha) that grow here
and the nearby Pichavaram wetlands.
The site became the capital of Cholas in the 10th century, and they renamed it to Chidambaram
and built the current temple for their family deity of Nataraja Shiva. The
word Chidambaram comes from the Tamil word Chitrambalam (also spelled Chithambalam)
meaning "wisdom atmosphere". The roots are citt or chitthu means "consciousness or wisdom",
while and ampalam means "atmosphere". This composite word comes from its association with
Shiva Nataraja, the cosmic dancer and the cultural atmosphere for arts.The word Chidambaram
is translated by James Lochtefeld as "clothed in thought". The present temple was built in the
10th century when Chidambaram was the capital of the Chola dynasty, making it one of the
oldest surviving active temple complexes in South India. After its 10th-century consecration by
the Cholas who considered Nataraja as their family deity, the temple has been damaged,
repaired, renovated and expanded through the 2nd millennium. Most of the temple's surviving
plan, architecture and structure is from the late 12th and early 13th centuries, with later additions
in similar style. While Shiva as Nataraja is the primary deity of the temple, it reverentially
presents major themes from Shaktism, Vaishnavism, and other traditions of Hinduism. The
Chidambaram temple complex, for example, has the earliest known Amman or Devi temple in
South India, a pre-13th-century Surya shrine with chariot, shrines
for Ganesha, Murugan and Vishnu, one of the earliest known Shiva Ganga sacred pool, large
mandapas for the convenience of pilgrims (choultry, ambalam or sabha) and other monuments.
Shiva himself is presented as the Nataraja performing the Ananda Tandava ("Dance of Delight")
in the golden hall of the shrine Pon Ambalam.The temple is one of the five elemental lingas in
the Shaivism pilgrimage tradition, and considered the subtlest of all Shiva temples (Kovil) in

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Hinduism. It is also a site for performance arts, including the annual Natyanjali dance festival
on Maha Shivaratri

The town and temple name appears in medieval Hindu texts by various additional names such
as Kovil (lit. "the temple"), Pundarikapuram, Vyagrapuram, Sirrampuram, Puliyur and
Chitrakuta. Additional names for Chidambaram in Pallava era and North Indian texts include
Kanagasabainathar, Ponnambalam, Brahmastpuri and BrahmapuriNataraja Temple, also referred
to as the Chidambaram Nataraja temple or Thillai Nataraja temple, is a Hindu temple dedicated
to Nataraja – Shiva as the lord of dance – in Chidambaram, Tamil Nadu, India. The temple has
mythical roots and a Shiva shrine existed at the site when the town was known as
Thillai. Chidambaram, the name of the city and the temple literally means "atmosphere of
wisdom" or "clothed in thought", the temple architecture symbolizes the connection between the
arts and spirituality, creative activity and the divine. The temple wall carvings display all the 108
karanas from the Natya Shastra by Bharata Muni, and these postures form a foundation
of Bharatanatyam, a classical Indian dance. The temple is located at the Center point of world's
Magnetic Equator.

Location: The Nataraja temple in Chidambaram is located in the southeastern Indian state of
Tamil Nadu. It is about 5 kilometres (3.1 mi) north of the Kollidam River (Kaveri), 15
kilometres (9.3 mi) west from the coast of Bay of Bengal, and 220 kilometres (140 mi) south
of Chennai. The closest major airport is about 60 kilometres (37 mi) north in Pondicherry
(IATA: PNY). The National Highway 32 (old numbering: NH-45A) passes through
Chidambaram. The Tamil Nadu State Transport Corporation and private companies operate
services connecting it to major cities in the state.The site is linked to the Indian Railways with
daily express trains to South Indian cities

Chidambaram is a temple town, with the Nataraja complex spread over 40 acres (0.16 km2)
within a nearly square courtyard in the center. Its side roads are aligned to the east–west, north–
south axis. It has double walls around its periphery with gardens. It has had entrance gateways on
all four sides.

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Nataraja – Shiva as the cosmic dancer, inspired the 10th-century Chola kings to rebuild the
Chidambaram temple with stone and gold. A silver Nataraja, not Shivalinga, is the
principal icon in this temple.

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The Nataraja temple has ancient roots, likely following the temple architecture tradition that is
found all over South India from at least the 5th century. Textual evidence, such as those of the
Sangam tradition, suggest a temple existed here along with Madurai in ancient times,[7] but the
town is not named Chidambaram in these pre-5th-century texts.[26] The earliest mention of
"dancing god of Chidambaram" as Shiva is found in 6th- and early-7th-century texts by Appar
and Sambadar. The Suta Samhita embedded inside Sri Kanda Puranam and variously dated
between 7th and 10th century mentions the Chidambaram dance. The surviving Nataraja temple
has a structure that is traceable to the early Chola dynasty. Chidambaram was the early capital of
this dynasty, and Shiva Nataraja was their family deity. The Chidambaram temple town
remained important to the Cholas, albeit with increasing competition from other temple towns
when Rajaraja Chola I moved the capital to Thanjavur, built a new city and the
massive Brihadeeswarar Temple dedicated to Shiva in early 11th century, which is now a world
heritage site.

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Nataraja Shiva and his "dance of bliss" is an ancient Hindu art concept. It is found in various
texts such as Tatva Nidhi which describes seven types of dance and their spiritual
symbolism, Kashyapa Silpa which describes 18 dance forms with iconographic details and
design instructions, as well as Bharata's ancient treatise on performance arts Natya
Shastra which describes 108 dance postures among other things. Reliefs and sculptures of
Nataraja have been found across the Indian subcontinent, some dating to 6th century and earlier
such as in Aihole and Badami cave temples.
The Chidambaram temple built on this heritage, yet creatively evolved the idea into forms not
found elsewhere. The earliest historically verifiable Shiva temple at Chidambaram is traceable in
inscriptions that date to the rule of Aditya Chola I in the early 10th century, and far more during
the rule of the 10th-century Chola king Parantaka I. For them, the dancing Shiva was the kula-
nayaka (family guide or deity) and Chidambaram was the capital they built.[33] These inscriptions
and texts from this period suggest that the significance of the Agama texts and Shaiva Bhakti
movement was strengthening within the Chola leadership and thought.
The copper plate inscriptions of Parantaka I (c. 907-955 CE) describe him as the "bee at the lotus
feet of Shiva" who built the golden house for Shiva, with Chit-sabha, Hema-sabha, Hiranya-
sabha and Kanaka-sabha (all mandapam, pillared pilgrim rest places). He is referred to as "Pon
veinda Perumal", which means "one who covered with gold" the Chit-sabha of Chidambaram.
Both Aditya I and his Chola successor Parantaka I were active supporters of arts and temple
building. They converted many older brick and wooden temples into more lasting temples from
cut stone as the building blocks in dozens of places across South India.
Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns of the
63 Nayanmars after hearing short excerpts of the Tevaram in his court.[36] He sought the help
of Nambiyandar Nambi, who was a priest in a temple. It is believed that by divine intervention
Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a
chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram.
The brahmanas (Dikshitars) in the temple are supposed to have disagreed with the king by
saying that the works were too divine, and that only by the arrival of the "Naalvar"(The four
saints)-Appar, Sundarar, Tirugnanasambandar and Manickavasagar would they allow for the
chambers to be opened. Rajaraja, however, created idols of them and prepared for them to be

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brought to the temple through a procession. but Rajaraja is said to have prevailed. Rajaraja thus
became to be known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai.
In another version of the story, Rajaraja is said to have experienced a dream from
lord Shiva telling Rajaraja that the hymns in Thillai Nataraja Temple, Chidambaram are in a state
of destruction and to recover the remaining hymns from the chambers.
The brahmanas (Dikshitars) in the temple, however, are supposed to have disagreed with the
king by saying that the works were too divine to be accessed, and that only by the arrival of the
63 Nayanmars would they allow for the chambers to be opened. Rajaraja, devising a plan,
consecrated idols of each of them and prepared for them to be brought into the temple through a
procession. It is said that the 63 idols are still present in the Thillai Nataraja Temple. When the
vault was opened, Rajaraja is said to have found the room infested with white ants, and that the
hymns were salvaged as much as possible.
The temple, according to inscriptions found in South India and Southeast Asia, was also historic
recipient of a precious jewel from the king of Angkor who built the Angkor Wat through Chola
king Kulothunga, who submitted it to the temple in 1114 CE. Kulothunga I and his son expanded
the Chidambaram Nataraja temple expanse sixfold.

Chidambaram temple thrived during the Chola dynasty rule through mid 13th century, along
with the later Shiva-based Thanjavur and Gangaikondacholapuram capitals, as well as Vishnu-
based Srirangam temple towns. Its facilities infrastructure was expanded. Naralokaviran, the
general of king Kulothunga Chola I was responsible for building the steps that lead to Sivaganga
water pool, a goddess shrine, a shrine for child saint Thirugnana Sambanthar, temple gardens and
a pilgrim road network in and around Chidambaram. He constructed a hall for recitation
of Tevaram hymns and engraved the hymns in copper plates. The thousand pillar choultry, with
friezes narrating Hindu texts, was built in late 12th century. Between the second half of the 12th
century and the early 13th century, the Chola kings added colorful and high gopura stone
gateways as easily identifiable landmarks, starting with the western gopura. Thereafter, about
mid 13th century, the Pandya dynasty ended the Chola dynasty. The Hindu Pandyas were liberal
supporters of Chidambaram temple, along with other Shiva and Vishnu temples, just like the
Chola. Sundara Pandya added the huge eastern gopura at Chidambaram, beginning the colossal
gateway tradition. Most of the structure and plans currently seen in the Chidambaram complex,

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including the mandapas with their pillar carvings, the various shrines with polished granite
sculptures, the sacred water pool and the early gopurams are from the 12th and 13th century,
attributed to the late Chola and early Pandya kings.[43]
Invasions

Corridors of the temple

Subrahmanya shrine in ruins, early 19th century/A Mandapam in 1869.One of the temple's
pillared halls before demolition in late 19th century.
In the north, the Indian subcontinent had been conquered by the Delhi Sultanate. Muslim armies
had begun raiding central India for plunder by the late 13th century. In 1311, the Ala ud Din
Khilji's Muslim general Malik Kafur and his Delhi Sultanate forces went deeper into the Indian
peninsula for loot and to establish annual tribute paying Muslim governors. The records left by
the court historians of the Delhi Sultanate state that Malik Kafur raided Chidambaram,
Srirangam and other Tamil towms, destroyed the temples, and the Chidambaram Shiva temple
was one of the sources of gold and jewels booty he brought back to Delhi.
The temple towns of Tamil Nadu were again targeted for loot in the 1320s. However, when the
news of another invasion spread in Tamil lands, the community removed them into the Western
Ghats or buried numerous sculptures and treasures in the land and concealed chambers
underneath temples sites before the Muslim armies reached them. A large number of these were

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rediscovered in archaeological excavations at the site in and after 1979, including those in
Chidambaram. According to Nagaswamy, those who buried the temple artworks followed the
Hindu Agama texts such as Marici Samhita and Vimanarcanakalpa that recommend ritually
burying precious metal murtis as a means of protection when war and robbery is imminent. Over
200 such items have been recovered, including relevant hordes of copper plate inscriptions.
The Islamic invasion in the 14th century, states George Michell – a professor and art historian of
Indian architecture, brought an abrupt end to the patronage of Chidambaram and other temple
towns. The Delhi Sultan appointed a Muslim governor, who seceded within the few years from
the Delhi Sultanate and began the Madurai Sultanate. This Sultanate sought tribute from the
temple towns, instead of supporting them. The Muslim Madurai Sultanate was relatively short-
lived, with Hindu Vijayanagara Empire removing it in the late 14th century. The Vijayanagara
rulers restored, repaired and expanded the temple through the 16th century, along with many
other regional temples. These kings themselves went on pilgrimage to Chidambaram, and gifted
resources to strengthen its walls and infrastructure.

An 1847 sketch of gopuram with ruined pillars, published by James Fergusson

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The destruction of Vijayanagara Empire in the late 16th century by an alliance of Sultanates,
followed within a few decades by entrance of Portuguese, French and British colonial interests
brought geopolitical uncertainties to Chidambaram and other temple towns. The Portuguese were
already a major Coromandel Coast trading group by the early 17th century, a region to which
Chidambaram belonged. The Portuguese began building forts, garrison and churches in
Coromandel Coast region after the demise of Vijayanagara, triggering the intervention of the
French and the British. By the mid-17th century, the temple complex was within the patronage of
Nayakas, who repaired the temple and repainted the frescoes on mandapa ceilings. According to
Michell, these restorations likely occurred about 1643 CE during the reign of Shrirangadeva
Raya III.
According to British reports, Chidambaram temple town had to bear the "brunt of several severe
onslaughts" between the French and the British colonial forces several times particularly in the
18th century.

Legend
The Chidambaram temple legend is contained in the 12th-century text Chidambara-mahatmya.
The central episode states that Shiva visits sages in the mythical Pine Forest in the form of a
beggar accompanied by Mohini, none other than Vishnu in the avatar of a beautiful woman.
Mohini triggers lustful interest of the sages, while Shiva performs Tandava dance that triggers
the carnal interest of the wives of these sages. The sages ultimately realise how superficial their
austerities have been. The episode becomes widely known. Two sages named Patanjali (also
called Sesha-bodied in the south for his connection to Vishnu) and Vyaghrapada (also called
Tiger-footed sage) want to see the repeat performance of this "dance of bliss" in the Thaillai
forest, Chidambaram. They set up a Shivalinga, pray, meditate and wait. Their asceticism
impresses Shiva who appeared before them in Chidambaram and performed "the dance" against
"the wall, in the blessed hall of consciousness". This is how this temple started, according to the
mahatmya embedded in the Tamil Sthalapurana. According to Kulke, the late medieval
text Chidambaramahatmya may reflect a process of Sanskritisation, where these North Indian
named sages with Vedic links became incorporated into regional temple mythology.
According to another Hindu legend, Mahalingaswamy at Thiruvidaimarudur is the centre of all
Shiva temples in the region and the Saptha Vigraha moorthis (seven prime consorts in

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all Shiva temples) are located at seven cardinal points around the temple, located in various parts
of the state. The seven deities are Nataraja in Chidambaram Nataraja Temple
at Chidambaram, Chandikeswarar temple at Tirucheingalur, Vinayagar in Vellai Vinayagar
Temple at Thiruvalanchuzhi, Muruga in Swamimalai Murugan
Temple at Swamimalai, Bhairava in Sattainathar Temple at Sirkali, Navagraha in Sooriyanar
Temple at Suryanar Kovil and Dakshinamoorthy in Apatsahayesvarar Temple,
Alangudi at Alangudi, Valaingaman taluk.
Nava Puliyur Temples
This is one of the Nava Puliyur Temples worshipped by Patanjali and Vyaghrapada. The
following temples are called as Nava Puliyur Temples.
 Perumpatrapuliyur
 Thirupathiripuliyur
 Erukathampuliyur
 Omampuliyur
 Sirupuliyur
 Atthippuliyur
 Thaplampuliyur
 Perumpuliyur
 Kanattampuliyur

Golden Roof, Nataraja Temple in Chidambaram-Nataraja temple plan. 1: East gopura; 2:

South gopura; 3: West gopura; 4: North gopura; 5: 1000 pillar hall (choultry); 6:
Shivaganga pool; 7: Devi temple; 8: Shiva Sanctum + Chit Sabha + Kanaka Sabha; 9:
Vishnu shrine.
Architecture

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The temple as it stands had a pre-Chola existence and the architecture is Dravidian with the
Sanctum Sanctorum closely resembling Kerala or Malabar style structures. Indeed, the royal
charters mention the rebuilding of the Sanctum using architects from Kerala.[61] However the
golden roof is a striking example of Vesara architecture with its apsidal shape. Two small
structures called the Chit Sabha and Kanak Sabha form the crux of the vast architectural
complex.[62] The temple is spread over a 40-acre (16 ha) area, within layers of concentric
courtyards. The inner sanctum, its connecting mandapams and pillared halls near it are all either
squares or stacked squares or both. The complex has nine gopurams, several water storage
structures of which the Shivaganga sacred pool is the largest with a rectangular plan. The temple
complex is dedicated to Nataraja Shiva and theological ideas associated with Shaivism concepts
in Hinduism. However, the temple also includes shrines for Devi, Vishnu, Subrahmanyar,
Ganesha, Nandi and others including an Amman shrine, a Surya shrine complete with Chariot
wheels. The plan has numerous gathering halls called sabha, two major choultry called the 100
pillared and 1,000 pillared halls, inscriptions and frescoes narrating Hindu legends about gods,
goddesses, saints and scholars.

Significance of the architecture

The Significance and The Secret of Chidambaram
Pancha Bhuta Sthalas are the five temples in South India, built for each of the five elements –
Earth, Water, Fire, Air and Space. Geographically, they are all within the Deccan Plateau – four
in Tamil Nadu and one in Andhra Pradesh. The temple for
1. water is in Thiruvanaikaval
2. fire is in Thiruvannamalai
3. air is in Kalahasti
4. earth is in Kanchipuram
5. space is in Chidambaram

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Chidambaram is one of the most ancient, historic and culturally significant shrine in India. It is
associated with Nataraja or Shiva, doing the Cosmic Dance of Bliss expressing the rhythm and
harmony of life. It represents the exuberance of creation, which self-created itself from the
eternal stillness. The Cosmic Dance is a symbolic representation of the five-fold activities of
God - Creation, Preservation, Destruction, Veiling (Maya) and Blessing. Shiva, in the form of
Bhikshatana, enacted this dance after His victory over the married ascetics of Daruka Vanam.
Chidambaram is one of the five dance Halls of Shiva (Kanaka sabhai). The other four are
Madurai (Velli sabhai), Tiruvalankadu (Ratna sabhai), Tirunelveli (Tamra sabhai) and Kutralam
(Chitra sabhai).
The word Chidambaram may be derived from chit, meaning "consciousness", and ambaram,
meaning "sky"; it refers to the chidaakasam, the sky of consciousness. Another theory is that it is
derived from chit + ambalam. Ambalam means a "stage" for performing arts. The chidakasam is
the state of supreme bliss or aananda and Lord Natarajar is the symbolic representation of the
supreme bliss.
The Five Sabhas

There are 5 sabhas halls:

1. the Chit sabhai, which is the sanctum sanctorum housing Lord Nataraja and his
consort Goddess Shivakama Sundari. The Chit Sabha and Kanaka Sabha are at the core
of the Nataraja temple.
2. the Kanaka sabhai – in front of the Chitsabhai, where the daily rituals are
conducted

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 3. the Nrithya sabhai or Natya sabhai, to the south of the temple's flag mast (or kodi
maram / dwaja sthambam) where the Lord is said to have danced with Goddess Kali and
established His supremacy
4. the Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of
thousand pillared lotus or Sahasraram (a 'chakra' at the crown of the head, represented as
a 1000-petalled lotus, a seat where the soul unites with God.
5. the Deva sabhai, which houses the Pancha moorthis (namely the deities of Lord
Ganesh - the remover of hurdles, Lord Somaskanda, a form where the Lord is in a seated
posture with his grace and consort, the Lord's consort Sivananda nayaki, the Lord
Muruga and the deity of Chandikeswarar).
Chidambara Rahasyam: The Secret of Space
We experience the Element Space as empty, but when properly understood, it is full.
Akasha/ether means to be bright, shining, visible. The Taittiriya Upanishad states “akasha sharira
Brahma”, which means that the ether is the embodiment of the eternal spirit, and from the
Akasha, other gross elements, Air, Fire, Water and Earth, take shape. Thus, the seemingly empty
space is not empty, but is everything.
The Akasha Linga is invoked through a yantra. A curtain, black on the outside (ignorance/maya)
and red on the inside (jñana, wisdom/realization) covers the space. It is held aside by the
officiating Deekshithar to reveal the strings of golden vilva leaves signifying that once the veil of
maya is lifted, one will be blessed with the Grace of the Lord.
Significance of The Temple Design
The layout and architecture of the temple is replete with philosophical meanings. The temple
architecture is closely linked with the human body. According to the Hindu conceptualization,
universe is in the form of Virat Purusha and Chidambaram temple is considered His heart. The
temple has 9 gateways signifying the 9 orifices (namely 2 eyes, 2 nostrils, 2 ears, mouth, rectum,
genitals) in the human body.
Just as the human heart is not at its centre, the Nataraja statue is also slightly shifted to the side.
One can notice this if you view the statue from within the two horns of the Nandikeshvara
(Shiva’s vehicle). Also, one can notice that the entrance paths to the sanctum sanctorum are not
straight as is the case in most of the temples. Instead, entrance paths are through the sides

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representing the fact that human blood circulates only through the sides of the heart and not
straight.
The five pillars of the Chit Sabha indicates the five senses. The Ponnambalam or the Sanctum
sanctorum is held by 28 pillars – representing the 28 agamas 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 21600 golden tiles
with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles
are fixed using 72000 golden nails which represents the no. of nadis exists in human body. The
roof is topped by a set of nine sacred pots or kalasas.
The idol of Nataraja is enshrined in the Chit sabha. This gold-roofed stage in the sanctum
sanctorum of the Chidambaram temple houses the Lord in three forms:
1. the "form" - the anthromorphological form as an appearance of Lord Nataraja,
called the Sakala thirumeni.
2. the "semi-form" – the semi-anthropomorphological form as the Crystal linga of
Chandramouleswarar, the Sakala nishkala thirumeni. The Aakasa Lingam is an
embodiment of formless Space.
3. the "formless" – as the Space in Chidambara Rahasyam, an empty space within
the sanctum sanctorum, the Nishkala thirumeni, emphasizing that there is everything in
nothing. This shrine remains curtained. This is considered to cover the Akasa Lingam,
which is invisible, and only a Prabha or circular arch and a Vel (spear) with a golden
Bilva mala vilva (Aegle Marmelos) leaves are worshipped. The five silver-plated steps
leading to the shrine represent the Panchakshara mantram - Na ma si va ya. The doors
carry embossed images of the saints Vyagrapada and Patanjali. Both these saints had
been blessed with the sight of the cosmic dance of Shiva. Lord Vishnu also is said to have
witnessed this scene.
In front of the garbha griha is the Kanaka Sabha (Ponnambalam) and the sanctum is adorned by a
gold-plated roof. Devi Sivakama Sundari is enshrined by the side of the sanctum.
The famous Raja Sabha is in the Thousand-pillared Hall. Saivite poet Sekkizhar first recited his
Periya Puranam in this hall. Chola and Pandya kings used to hold victory celebrations here. The
Nritta Sabha shows the Urdhwa Thandavam of the Lord. Its gopurams are covered with
sculptures illustrating the 108 postures of Natya Shastra.

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The Deva Sabha was used by the then administrators to hold meetings and festivals.
Interestingly, Chidambaram is the Geo Magnetic Centre of the Earth/Universe. The temple is the
site of the Original Cosmic Lingam and the shrine is supposed to be located at the Lotus heart of
the Virat Purusha (Virat Hridaya Padma Sthalam). The Heart-lotus is the still centre out of
which emerges the primal dance of creation in the form of Siva's dance of bliss. The sushumna
nadi passes directly through Tillai, with the ida and pingala nadi passing through north and south
of Chidambaram. Chidambaram, Kanchipuram and Sri Kalahasti lie in a straight line at 79* 41
East Longitude.

The temple sanctum contains a silver sculpture of Shiva in his Ānanda-tāṇḍava Nataraja
aspect. It signifies:
 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.

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 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.

Courtyards
The Nataraja Temple complex is embedded inside four prakarams (prakramas, courtyards).
Each of the courtyard has walls that were defensively fortified after the 14th-century plunder and
destruction.

Courtyard, Nataraja Temple, Chidambaram

The outermost wall around the fourth courtyard has four simple, insignificant gateways. The
walls and gateways of the fourth courtyard were added in the 16th century by Vijayanagara
rulers after they had defeated the Madurai Sultanate, and this outermost layer was heavily
fortified by the Nayakas in the 17th century. These face the four large gopurams that are
gateways into the third courtyard. These gopurams are also landmarks from afar. Inside the third
courtyard, near the northern gopuram, is the Shivaganga tank, the thousand pillar mandapam, the
Subrahmanyar (Murugan, Kartikeya) shrine and the shrine for Parvati (as Shivakama Sundari).
The other three gateways are closer to the sanctum. The four gopurams pilgrims and visitors to

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enter the temple from all four cardinal directions. The complex is interconnected through a maze
of pathways.
The courtyard walls and gateways are made from cut stones with some brick structure added in.
The gardens and palm groves are in the fourth courtyard, outside the walls of the third courtyard
walls with the four large gopurams. These were restored or added in by the Vijayanagara rulers
in the 16th century.

Shrines

The temple complex has many shrines, most related to Shaivism but elements of Vaishnavism
and Shaktism are included. The innermost structures such as the sanctum and the shrines all have
square plans, but the gateways do not align except the innermost two courtyards.

Shaivism
The sanctum of the temple is set inside the innermost 1st prakara which is a square with about 44
metres (144 ft) side. This prakara is offset towards the west inside the 2nd prakara, which is also
a square with about 105 metres (344 ft) side. The Shiva sanctum is unusual as it does not have a
Shivalinga, rather it has the Chit Sabha (consciousness gathering, also called chit ambalam) with
an image of Shiva Nataraja. This introspective empty space has a curtained space that is 3.5
meter long and 1.5 meter wide. It is called the rahasya (secret) in Hindu texts. It consists of two
layers, one red, the other black. According to George Michell, this is a symbolism in Hinduism
of "enlightenment inside, illusion outside". It is replaced on the tenth day of the main
festivals. The Chidambaram Rahasya is the "formless" representation of Shiva as the
metaphysical Brahman in Hinduism, sometimes explained as akasha linga and divine being
same as Self (Atman) that is everywhere, in everything, eternally.
Facing the Chit Sabha is the Kanaka Sabha (also called pon ambalam), or the gathering of
dancers. These two sanctum spaces are connected by five silver gilded steps called
the panchakshara. The ceiling of the Chit Sabha is made of wooden pillars coated with gold,
while copper coats the Kanaka Sabha is copper colored.

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Durga in the Shivakamasundari shrine, in her Mahishasuramardini form killing the
buffalo demon below her foot.

Shaktism
The main Devi shrine in the Nataraja temple complex is offset towards the north of the sanctum
inside the third prakara, and found to the west of the Shivaganga pool. It is called the
Shivakamasundari shrine, dedicated to Parvati. The temple faces east and has an embedded
square plan, though the stacked squares created a long rectangular space. The shrine has its own
walls and an entrance gateway (gopura). Inside is the dedicated mandapas and brightly colored
frescoes likely from the 17th-century Vijayanagara period.[83] These narrate the story of Shiva
and Vishnu together challenging the "learned sages, ascetics and their wives" in the forest, by
appearing in the form of a beautiful beggar that dances (bhikshatanamurti) and a beautiful girl
that seduces (Mohini) respectively. Another set of frescoes are secular depicting temple
festivities and daily life of people, while a stretch narrates the story of Hindu saints named
Manikkavachakar and Mukunda.
The shrine had artwork narrating the Devi Mahatmya, a classic Sanskrit text of Shaktism
tradition. However, in 1972, these were removed given their dilapidated state. These were
replaced with a different story. Other parts of the paintings and shrine also show great damage.
The sanctum of the Shivakamasundari shrine is dedicated to Devi, where she is Shiva's
knowledge (jnana shakti), desire (iccha sakti), action (kriya sakti) and compassion (karuna
sakti). The oldest Shivakamasundari sculpture at the site representing these aspects of the
goddess has been dated to the king Parantaka I period, about 950 CE.

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Vaishnavism
The Nataraja temple complex incorporates Vaishnava themes and images like many Hindu
temples in South India. A Vishnu shrine, for example, is found inside the sanctum of the temple
in its southwest corner. According to George Michell and others, Chola kings revered Shiva with
Tyagaraja and Nataraja their family deity, yet their urban Shaiva centers "echo a very strong
substratum of Vaishnava traditions". This historic inclusiveness is reflected in Chidambaram
with Vishnu Govindaraja in the same sanctum home by the side of Nataraja. After the turmoil of
the 14th century when the temple was attacked and looted, there was period when some priests
sought to restore only Shaiva iconography according to extant Portuguese Jesuit records.
However, the Vijayanagara rulers insisted on the re-consecration of all historic traditions. The
temple inscriptions confirm that Vishnu was included along with Shiva in the temple's earliest
version, and was reinstalled when the temple was reopened by the Vijayanagara kings.
Some texts from the time of king Kulottunga II give conflicting reports, wherein the Shaiva texts
state that the king removed the Vishnu image while Vaishnava texts state that they took it away
and installed it in Tirupati, sometime about 1135 CE. The scholar Vedanta Desika re-established
the co-consecration in 1370 CE, about the time Vijayanagara Empire conquered Chidambaram
and northern Tamil lands from the Madurai Sultanate. The current shrine, states Michell, is from
1539 financed by king Achyutaraya and it features a reclining figure of Vishnu.
The Govindaraja shrine is one of the 108 holy temples of Vishnu called divyadesam, revered by
the 7th-to-9th-century saint poets of Vaishnava tradition, Alwars.. Kulashekhara Alwar mentions
this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. The
shrine has close connections with the Govindaraja temple in Tirupati dating back to
saint Ramanuja of the 11th and 12th centuries.

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The circumambulation paths in shrines, the mandapa's moulded plinth and the pilgrim hall pillars
of the Nataraja temple are carved with reliefs showing dancers and musicians.
Others
The Nataraja temple has a pre-13th-century Surya shrine. The image is unusual as it depicts a
three headed Surya same as Brahma, Shiva and Vishnu, with eight hands holding iconographic
items of these deities, along with two lotuses in a pair of hands in front, accompanied by two
small female figures possibly Usha and Pratyusha, standing on a chariot drawn by seven horses
and Aruna as charioteer. The temple also has a significant shrine for Ganesha in the southwest
corner and a Subrahmanyar shrine in the northwest corner of the third courtyard.

Halls: sabha
The temple has many halls called sabha (lit. "community gathering", also
called ambalams or sabhai) inside the complex. Two of these are the Chit Sabha and the Kanaka
Sabha inside the sanctum area of the Nataraja shrine, described earlier. The other halls are:

1. Nritta sabha
Nrithya sabha (also called Nritta Sabha, Natya sabha, or "Hall of Dance") is a "so-called 56-
pillared" hall. It is in the south section of the second courtyard that circumambulates the Nataraja
sanctum of the complex. This second courtyard is near the temple's flag mast (kodi
maram or dwaja sthambam). The 13th-century Nritta Sabha is traditionally considered as the
place where Shiva and Kali originally entered into a dance competition.[99] Shiva won with
the urdhva-tandava pose that raised his right leg straight up, a posture that Kali refused because
she was a woman. The hall is rectangular consisting of three stacked squares, a 15-meter-sided
square that is the main hall, which is connected to 4 meters by 8 meters rectangular mukha-
mandapa to its north. The hall now has 50 pillars, but evidence suggests that it may have had 56
or more pillars earlier. These pillars are intricately carved from top to bottom. The lower levels
have dancers in Natya Shastra mudras accompanied with expressive musicians as if both are
enjoying creating the music and the dance. The pillars also have embedded narratives of legends
from Hindu texts, such as of Durga fighting the buffalo demon, as well as humorous dwarfs
frolicking. Below the kapota, the structures show reliefs of seated people, many

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in namaste posture, some with a beard and yogi like appearance representing saints and rishis.
Nearly 200 of these are still visible, rest appear to have been damaged or eroded over time.
The Nritta Sabha platform's base is carved as a chariot, with horses and wheels, as if it is rising
out the ground. Historic texts state that the wheels were exquisitely carved and visible in the past,
each about 1.25 meter diameter with 28 spokes and 33 medallions, the chariot had 1.55-meter-
high (5.1 ft) ornamented horses, on the wheel was a seated rishi as if he was guiding the
movement. Only remnants of this structure remains now. The northern niche of the hall is carved
with 14 figures in addition to Shiva as Kanakamurti. The Shiva image had been damaged and is
now restored. The 14 figures include Surya (sun god), Chandra (moon god) and 12 rishis of
which Narada and Tumburu with Vina can be identified, the others have been too damaged to
identify but are likely Vedic rishis. Near them are women in seductive postures, some nudes,
likely the wives of the rishis. Next to the northern niche with Shiva are two smaller niches, one
for Patanjali seated on coiled serpent and another for bald headed Vyaghrapada, the two mythical
Chidambaram saints. The western wall also has a niche with a large Shiva image in his
Vrisabhantika form. Once again rishis are with him, this time in namaste posture. A few figures
are dressed royally like warriors and these may be representation of the Chola kings.
The hall's center is an open square, with an ornate inverted lotus ceiling decoration. Around this
lotus are 108 coffers, each with two human figures in namaste posture, all oriented to be along
the north–south axis likely to suggest the direction to performance artists who would perform
live and aligning themselves to the chit sabha in the sanctum.

Carved pillars in a temple hall. The damaged 1,000 pillar hall.

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 2. Raja sabha: 1,000 pillar hall
Raja sabha or the 1000-pillared hall is to the east of the Shivaganga pool, in the northeast part of
the third courtyard. A pillared pathway from the eastern gopuram leads to it. It was a choultry for
pilgrims with a convenient access to the pool. The hall's lower mouldings have dance mudras
and medieval era musical instruments being played by musicians. The pillars have reliefs. It is
now kept closed, except for festivals.
3. Shatasila sabha: 100 pillar hall
This is northwest of the sanctum, south of the Devi shrine. It is badly damaged and closed to
public.
Deva sabha
4. Deva Sabhai is on the eastern side of the second courtyard. It is called Perampalam,
literally "Great Hall" in the inscriptions, which suggests that it is an early structure and
was historically important. According to Nanda and Michell, this may be the hall where
Shaiva bhakti saints Nayanars came and sang hymns. It may also have hosted royal visits
during the Chola era times.
The Deva sabha (divine gathering hall) houses the temple's revered collection of historic bronze
sculptures and modern era frescoes. One of the paintings show Parvati seated in a chair,
watching the Nrtta sabha hall.

Temple Tanks

The Chidambaram temple is well endowed with several water bodies within and around the
temple complex.
 Sivaganga 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 Chitsabha 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.

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 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
Shivapriyai temple tank 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 Shivapriyai tank.Even though the history of
the temple goes back to the Prabhandas and Tevaram, that is the Pallava period, the earliest
known inscriptions are only that of Rajendra Chola and Kulothunga I followed by Vikrama
Chola and other later rulers. The Nataraja temple inscriptions are notable for mentioning a
library of manuscripts in temple premises. Two inscriptions dated to the early 13th century
mention re-organization of old temple library. According to Hartmut Scharfe, the older

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 library mentioned may date to early 12th century. The inscriptions, states Scharfe, recite that
the temple employed twenty librarians, of which eight copied old manuscripts to create new
editions, two verified the copy matched the original and four managed the proper storage of
the manuscripts.
There are many Chola inscriptions in the temple, both in Tamil and Sanskrit.These are attributed
to 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).[109] 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.
Temple Car

The temple car of Natraja used during festival processions./An 1820 painting of Nataraja in a
temple chariot.
The Chidambaram temple car is used for processions twice a year, where it is drawn by several
thousand devotees during the festivals.
Bhakti movement
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

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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.
Forms of 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,
aniconic 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.
Natyanjali Festival in the temple
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 (Chaturdashi) 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

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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.
Administration
The temple is administered by an exclusive group of Brahmins who are learned in the Vedas
and Yagnas (sacrifices) called Dikshitars. The entire community of Diskhitars live
in Chidambaram and also serve as the hereditary trustees of the temple. They are also
called Thillai Muvayiravar or the Three Thousand of Thillai Every Dikshitar once he is married
becomes as of right a trustee and archaka of the temple. A practice unique to the community is
that the priests wear the tuft of hair in front of the head similar to the Nambuthiri Brahmans
of Kerala.
Towers: gopurams

The temple has nine major gopuram gateways connecting the various courtyards. Four of these
are huge and colorful, visible from afar, a symbolic and convenient landmark for pilgrims. These
gateway towers or gopurams each have 7 storeys facing the East, South, West and North. The
first edition of the four gopuram superstructures were likely built between 1150 and 1300 CE.
The earliest was likely the western gopuram, which is also the smaller of the four. This is
generally dated to about 1150 CE. The eastern gopura was likely completed by about 1200 CE,
southern gopura by the mid-13th century, while the northern was added in the late 13th century.
The four high gopurams were destroyed, rebuilt, repaired, enlarged and redecorated several times
after the 13th century. This has made the gopurams difficult to place chronologically, yet useful
in scholarly studies of the history of the Nataraja temple
All gopuras are built of precisely cut large stone blocks all the way to the main cornice. Upon
this is a stone, brick and plaster structure with layers of pavilions. Above these talas (storeys) is
a Dravidian style barrel vaulted roof, crowned with thirteen kalasa finials. All four are

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approximately similar in size and 14:10:3 ratio, about 42.7 metres (140 ft) high, 30.5 metres
(100 ft) wide and 9.1 metres (30 ft) deep
Towers (Gopurams)
The temple has nine major gopuram gateways connecting the various courtyards. Four of these
are huge and colorful, visible from afar, a symbolic and convenient landmark for pilgrims. The
temple has 9 gateways and four of these have towering pagodas or gopurams each with 7 levels
in the East, South, West and North. The first edition of the four gopuram superstructures were
likely built between 1150 and 1300 CE. The earliest was likely the western gopuram, which is
also the smaller of the four. This is generally dated to about 1150 CE. The eastern gopura was
likely completed by about 1200 CE, southern gopura by mid-13th century, while the northern was
added in late 13th century.

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The four high gopurams were destroyed, rebuilt, repaired, enlarged and redecorated several times
after the 13th century. This has made the gopurams difficult to place chronologically, yet useful
in scholarly studies of the history of the Nataraja temple. All gopuras are built of precisely cut
large stone blocks all the way to the main cornice. Upon this is a stone, brick and plaster
structure with layers of pavilions. Above these talas (storeys) is a Dravidian style barrel vaulted
roof, crowned with thirteen kalasa finials. All four are approximately similar in size and 14:10:3
ratio, about 42.7 metres (140 ft.) high, 30.5 metres (100 ft.) wide and 9.1 metres (30 ft.) deep.

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There are no representations of Nataraja on the temple towers, as this image is reserved for the
innermost shrine alone. The inside walls of passages through all the four gopurams are decorated
with the 108 Karanas, the dance movements of Shiva, from the Natya Shastra, the world's most
ancient treatise on dance, drama and theatre. Besides in Chidambaram these Karanas are
depicted in only four other temples, all in Tamil Nadu. The four gopurams, together with the
golden dome of the central shrine are the five towers which represent the five faces of Shiva,
with the Cit Sabha symbolizing the masterful face.

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Each gopuram is colorful and unique in its own ways. They narrate stories from various Hindu
texts, showing religious and secular scenes from the various Hindu traditions. This art is
presented in each gopuram with anthropomorphic figure panels and about fifty niches with stone
sculptures in every gopuram. The scenes include multiple panels about the legend of Shiva-
Parvati wedding with Brahma, Vishnu, Saraswathi and Lakshmi attending, dancing Ganesha,
Shiva in his various aspects, Durga in the middle of her war with a demon, Skanda ready for war,
seated Nandi, musicians, dancers, farmers, merchants, sadhu in namaste posture, dancing

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Dvarapalas near the vertical center line and others. The artists and architects who built these
gopura may have had a rationale in the relative sequence and position of the artwork with respect
to each other and on various levels, but this is unclear and a subject of disagreement among
scholars.

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Western Gopuram:
The earliest and smallest of the four is West gopuram constructed around 1150 and there is no
reliable evidence on the construction. The earliest built western gopuram is the only one with
inscriptions below each artwork that identifies what it is. The artwork on it includes Durga
fighting the evil, shape shifting buffalo demon and Skanda sitting on peacock and dressed up for
war. Other artwork found on the eastern gopuram include Surya, Ganapati, Vishnu, Sridevi
(Lakshmi), Tripurasundari, Brahma, Saraswathi, Varuna, Durga, Agni, several rishis, Yamuna
goddess, Kama and Rati, Budha, the Vedic sages such as Narada and Agastya, Patanjali,
Somaskanda legend, Ardhanarishvara (half Shiva, half Parvati), Harihara (half Vishnu, half
Shiva), several forms of dancing Shiva and others.
Southern Gopuram:
The South gopuram is called as 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

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with one fish, in case it was incomplete). Other artwork found on the southern gopuram include
Chandesha, Ganapati, Vishnu, Sridevi (Lakshmi), several Devis, Brahma, Saraswathi, Surya,
Chandra, Durga, Indra, Agni, several rishis, Ganga and Yamuna goddesses, Kama and Rati,
Budha, the Vedic sages such as Narada, Patanjali, Somaskanda legend, Ardhanarishvara (half
Shiva, half Parvati), Harihara (half Vishnu, half Shiva), several forms of dancing and standing
Shiva such as Pashupata, Kiratarjuna and Lingobhava, as well as others.
Eastern Gopuram:
The eastern gopuram features the 108 reliefs of Natya Shastra dance postures (22 cm each in a
separate niche) and faces the sanctum. The eastern gopuram is credited to king Kopperunjingan
II (1243-1279 A.D.). As per epigraphical records and was repaired by Subbammal, the mother-
in-law of the famous philanthropist Pachaiappa Mudaliar (1754-1794 A.D.). 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
maintains 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.
Northern Gopuram:
The North Gopuram was initiated around 1300 A.D. with the brick portion constructed by
the Vijayanagara king Krishnadevaraya (1509-1530 A.D.) in the 16th century. The eastern and
northern gopura also depicts the wide range of narratives as the southern and western gopuram.
Artwork on the gopuram

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Sculpture in a wall at Nataraja Temple in Chidambaram, Tamil Nadu
Each gopuram is colorful and unique in its own ways. They narrate stories from various Hindu
texts, showing religious and secular scenes from the various Hindu traditions. This art is
presented in each gopuram with anthropomorphic figure panels and about fifty niches with stone
sculptures in every gopuram. The scenes include multiple panels about the legend of Shiva-
Parvati wedding with Brahma, Vishnu, Saraswati and Lakshmi attending, dancing Ganesha,
Shiva in his various aspects, Durga in the middle of her war with a demon, Skanda ready for war,
seated Nandi, musicians, dancers, farmers, merchants, sadhu in namaste posture, dancing
dvarapalas near the vertical center line and others. The artists and architects who built these
gopura may have had a rationale in the relative sequence and position of the artwork with respect
to each other and on various levels, but this is unclear and a subject of disagreement among
scholars.

The artwork on gopuram showing Parvati-

Shiva Kalyanasundara wedding legend. Near the newly weds are Saraswati, Lakshmi,
Vishnu and others.
The earliest built western gopuram is the only one with inscriptions below each artwork that
identifies what it is. The artwork on it includes Durga fighting the evil, shape shifting buffalo
demon and Skanda sitting on peacock and dressed up for war. Other artwork found on the
eastern gopuram include Surya, Ganapati, Vishnu, Sridevi (Lakshmi), Tripurasundari, Brahma,
Saraswati, Varuna, Durga, Agni, several rishis, Yamuna goddess, Kama and Rati, Budha, the
Vedic sages such as Narada and Agastya, Pantanjali, Somaskanda legend, Ardhanarishvara (half
Shiva, half Parvati), Harihara (half Vishnu, half Shiva), several forms of dancing Shiva and
others.

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The surviving 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). Other artwork found on the southern gopuram
include Chandesha, Ganapati, Vishnu, Sridevi (Lakshmi), several Devis, Brahma, Saraswati,
Surya, Chandra, Durga, Indra, Agni, several rishis, Ganga and Yamuna goddesses, Kama and
Rati, Budha, the Vedic sages such as Narada, Pantanjali, Somaskanda legend, Ardhanarishvara
(half Shiva, half Parvati), Harihara (half Vishnu, half Shiva), several forms of dancing and
standing Shiva such as Pashupata, Kiratarjuna and Lingobhava, as well as others.
The eastern gopura wall shows all 108 dance postures from the Natya Shastra. The other gopuras
also have dance images.
The eastern gopuram features the 108 reliefs of Natya Shastra dance postures (22 cm each in a
separate niche) and faces the sanctum. The eastern gopuram is credited to king Koperunsingan II
(1243-1279 A.D.) as per epigraphical records and was repaired with support from a woman
named Subbammal in the late 18th century.

The northern gopuram was repaired and finished by

the Vijayanagara king Krishnadevaraya (1509-1530 A.D.) in the 16th century. The eastern and
northern gopura also depicts the wide range of narratives as the southern and western gopuram.
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.
Paintings: In Thillai Ambalam surrounded by Thillai Forest, Thillai Tree is Sthala Virutsam
(Sacred Tree of the Temple). The temple and the property around it spreads to 43 acres. There
are many art works. The premises house Nataraja. Famous historical art works, several-hundred-
years old are in the 1000-pillar Mandapam (Hall), Sri Sivakami Sundari Sanctum, and Nandi
Mandapabehind Nataraja’s sanctum (= Cit-Sabah = Hall of Consciousness). A year before the
Kumbabishekam (consecration), renovation of the Canopy Paintings behind Nataraja Sanctum
took place. Sixteen paintings over 1000 years old depicting the ancient history of Chidambaram

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are among the rare paintings. These paintings originally drawn with Herbal colors were
deteriorating. On the recommendation of Dikshithars, under the guidance of the most famous
antique painter Silpi’s pupil Painter Padmavasan, pictures and portraits were drawn with new
brightness and grandness. Mr. Padmavasan stayed in Temple grounds in Chidambaram Koil for
many months, bought Kerala herbal colors and redrew on Singapore Canvas Fabric the ancient
16 paintings in living colors to last for many hundred thousands of r

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https://myindiastories.com/Chidambaram-Temple-Paintings-Renovations.html

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These framed paintings on fireproof plates were overlaid on the original drawings. Artist
Padmavasan without compromising on the ancient grandeur of the drawings, drew paintings with
natural colors with wonderful results. Annamalai University Professor Rajasomasekara
Dikshithar serving as the head priest spoke to the reporter about this. “The temple drawings were
the ancient Fresco art. The paints and the colors were all natural. For example, the green color is
obtained from flora.”

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The drawings were over 1000 years old. They were drawn between 3rd to 8th century. It can be
asserted with certainty these drawings were prior to 12th century.
The time of Fresco drawings as proof of the art of painting attest to the establishment of the
temple.Around the Nataraja anctum, there are about over 100 drawings. They are thematic
drawings based on an idea or a story. Many temples have drawings with natural colors of events
from Ramayana. Chittanna gateway has drawings depicting Jain religious ideas. Likewise, there
are drawings depicting the rise of Chidambaram, the story of Manickavasakar, Saiva Samaya
Kuravar, Saiva worship and practice.
The drawings in Nandi Mandapam behind Sri Nataraja Sanctum were in ruins.Renovation of
paintings were done in time for the Kudamuzakku festival in May 2015 for Re.150,000.

Drawing the sacred forms of deities and temple depictions were entrusted to the famous
Spiritual Artist Padmavasan. Staying in the temple premises for about a year, he brought his
service to fruition eminently. Without sacrificing their uniqueness and intrinsic beauty, he drew
them with natural colors. All the drawings without deviating from their old charm came again
into the visual perception of the devotees. In Sri Sivakama Sundari Amman shrine, the beautiful
drawings are in a state of ruination. Consecration is expected soon in that temple. We formed a
committee to discuss the renovation of drawings. Preparations are in progress. Raja Somasekara

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Dikshithar observed, “Soon Amman Sannidhi drawings will get a new life.” He described some
of the Pauranic events depicted in the drawings.

Vyākkirapātham = Maththiyanthanar gets tiger foot.Chidambara Puṛāna declares

Adhimula Nathar Lingam’s sacred body was the residing deity in that place before Lord
Nataraja. Māththiyanthinar the devotee of Siva was collecting flowers in Nandavanam as
‘Pushpa Kainkaryam’ (flower-collecting as divine service) for daily puja. Every deed has its own
Dharma. Likewise, Pushpa Kainkariyam has its Dharma.
We by ourselves should collect flowers by our hands, that too thinking of the Bhagavan. The
religious duty or obligation is purity in collection and laying of the flowers on the deity.
Maththiyanthinar wanted to pluck the flowers by reaching
the upper branches before the honeybees step (land) on them to imbibe the honey. The flowers
visited and sucked by the bees are said to have been contaminated with their saliva. Purity is lost.
The right time to pluck flowers is early in the morning in Brahma Muhurtam (4:30-6AM) before
the bees come in swarms to imbibe the sap. Maththiyanthanar supplicated to Siva to offer him a
suitable body to climb the tree in the dark and pluck the flowers. Siva immersed in the devotion
of his Bhakta made up his mind to confer on him the grace.Siva conferred on Maththiyanthinar
the tiger feet to climb the trees, sharp eyes of the tiger to see the distant flowers and an acute

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sense of smell as in a tiger to follow the scent of the flowers. These sensory attributes of a tiger
in Mathithiyanthinar gave him the eponymous name, ‘Vyākkira pāthar (Tiger-foot).
The Inner Abider (Siva) in the human form of Pitchadanar went to Deva-Taruka-Vanam,
subdued the Rishis (forest-dwelling sages), caused removal of their arrogance and self-conceit
and impressed on them that soulful love and devotion only could lead them to Bhagavan. All
these events were depicted in paintings here. In the month of Margazi, Thiruvathiri Dharsana
festival on the 8th day (January 9, 2017) will be celebrated; the devotees can see Bhagavan
Nataraja going on a procession as Pitchadanar.Let us go to the Chidambaram Koil, the treasure
of paintings and drawings, obtain Dharsan of Ananda Tandava Murthy and attain supreme bliss
in this auspicious month. Devotees of Siva assert Koil means Chidambaram.In Siva temples,
ivalingam is the primary deity. But in Chidambaram,
Nataraja is the fixed Deity (மூலைர்). Chidambaram has the distinction because it is the only
temple where Mūlavar (Fixed) becomes the processional deity (Uṛtsavar) twice in a year. Of the
five Elemental Temples, the Sky Temple is Chidambaram. This temple offers Mukti
(Liberation), upon Dharsan. Standing on Sannidhi’s Heart Lotus (location in temple to see the
deity) a devotee can see both deities at one time, left eye seeing Vishnu Perumal and right seeing
Siva. This arrangement is seen nowhere else.
Nataraja’s right side presents a screen. On the rocky wall behind the screen, a Vilva garland
hangs. A devotee can obtain Dharsan of two congruous discs Sri and Siva on the wall. Sri is
Ambal or Sakti and Siva is the Inner Abider (இவைைன்). Above them are

puṉuku and javvātu (புனுகு, ஜை் ைாது) Civet perfumes applied a long time ago, still seen
now.
Five Assembly Halls grace this temple:
1. Chit sabhā conferring Dharsan by Mūlavar,
2. Kanaka sabhā for ritual ablutions,
3. Deva sabhā conferring Dharsan from Siva family deities,
4. Raja sabhā comprising 1000 pillars Hall, and
5. Nṛitya sabhā where Nataraja and Kali presented competitive dances.
Besides the Great Halls, Chidambaram Koil has entities based on the Pentad: five deities, five-
syllable steps, five processional paths…

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If the Earth is shaped as Virāṭa Puruṣa, every organ of His has a temple. His heart lies in
Chidambaram. That is why in the Golden Hall (பபான்னம் பலம் ), Nataraja abides on the
left side.
Chidambaram is the only temple without a money collection receptacle (உண்டி). Likewise,
there is no queue. The temple serves morning and evening meals for 1000 persons every day.
Eminence, excellence, superiority, greatness…: That is Sakasrabojan, 1000 meals.
Daily one Dikshithar performs according to injunctions ritual ablution of Chandramaulīsvarar
(Spatika Lingam = Crystal Lingam) in the Golden Hall six times a day. He goes to the Hall with
purity of body, mind and soul early in the morning to perform three morning ablutions of the
deity and does not drink or eat for that duration. He should not leave the premises for any
reason. After midday meals, three ritual ablutions take place in the evening with applicable
injunctions. The Dikshithars consider it as lifelong auspicious and privileged destiny and
perform the rituals.
The jewels gifted by Tippu Sultan and Ramanathapuram Raja are kept in safe and used on
special occasions.பெை் ைாய் , 25 மார்ெ் 2008 (12:04 IST) Sakthi Vikatan
What is the importance of the Sacred Tree inside the temple.Sthala Virutsam (Shrine Tree)
means the deity self-created himself or herself in that a place adjacent to a tree. The native tree in

that place was responsible for the appearance of Svambhu deity (self-existent deity), who
remained in place unknown and undiscovered by people. A letdown (of milk) by kār-ām-pacu
made it possible for the discovery of Svayabhu Linga (self-existent natural Lingam). The nearby
tree is the Sthala Virutsam (Shrine tree).
காராம் பசு kār-ām-pacu. கரு-வம + ஆம் + பசு. [M. kārāmbašu.] Cow with black

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tongue and nipple;
If a person circumambulates the tree, he will obtain the full benefits of going around the
Grbhagraham (Inner sanctuary). Only a few of the Vedic scholars can access the inner shrine.
But anyone can go around the Shrine Tree.

A temple in Uththirakosha Mangai has an old Jujube tree (Zizyphus jujube). KAvappuli-Kandar
meditated (under the tree), received vision of Siva and obtained a boon from him.
இலந்வத¹ ilantai , n. [K. elaci, M. ilanda.] Jujube-tree, m. tr., Zizyphus jujuba;
In many temples, there is a platform near the sacred tree.It is the traditional belief that Siddhars
(mystics or perfected ones) sit on it. The deity’s śakti or power augments several folds because
of the Siddhars.

Because of their Tapas (austere penance) the temple’s strength improves. They perform penance
under the sacred tree.Virudhachalam Viruththakirīśvarar Temple’s sacred tree is Indian
mesquite. The temple’s Vivasuththu Muni sits on the platform under the tree. Circumambulation
of him is good enough.Indian mesquite, m. tr., Prosopis spicigera.

Geo-Magnetic Location: Chidambaram ,Kanchipuram and Sri Kalahasti lie in a straight line at
79* 41 East Longitude.
Curious as these happen to be among the Panchabhuta Sthalas, Places of Five Elements, Earth,
Water, Fire, Air and Ether.

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The temple for water is in Thiruvanaikaval, fire is in Thiruvannamalai , air is in Kalahasti, earth
is in Kanchipuram and The temple for space/sky is in Chidambaram.Earth is nestled between
Sky/Ether/Space, Aakasa( Chidambaram) and Air,Vayu(Kalahasti).Earth is surrounded by Space
and Air.

Equatorial Geophysical Research Laboratory (EGRL), the regional centre of IIG, is at

Thirunelveli because,
‘ Situated close to the magnetic equator (the dip angle being 1.75oN) (8.7oN, 77.8oE
geographic) over an area of more than 35 acres near the village, Krishnapuram, the Centre was
intended to house multi-disciplinary experiments for the measurements of electric and magnetic
fields originating in the near-Earth environment.’Now the coordinates of Thirunelveli is 8.73°N
77.7°E, 2 * dfference from Chidambaram at 79* 41 East Longitude.
It is said that Chidambaram ,Tamil Nadu India is the Geo Magnetic Centre of the Earth/Universe
and / center of Geo magnetic equator. Of the branches of Physics we know very little about
Magnetism.Magnetic field study is evolving and most of them are at a theoretical stage. As there
are references to Chidambaram being the center of the Earth’s?Universe’s Magnetic Field I
researched.

Chidambaram
Temple aerial View.

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It is also stated that Lord Nataraja ‘s big toe is the Centre Point of World ‘s Magnetic
Equator.Chidambaram ,Kanchipuram and Sri Kalahasti lie in a straight line at 79* 41 East
Longitude.Curious as these happen to be among the Panchabhuta Sthalas, Places of Five
Elements, Earth, Water, Fire, Air and Ether.

The temple for water is in Thiruvanaikaval, fire is in Thiruvannamalai , air is in Kalahasti , earth
is in Kanchipuram and The temple for space/sky is in Chidambaram.Earth is nestled between
Sky/Ether/Space, Aakasa( Chidambaram) and Air,Vayu(Kalahasti).Earth is surrounded by Space
and Air. As Vishnu’s Nabhi, Navel of Vishnu has been validated as the Center of Our
Galaxy.The Southern Cross and Canopus tally with Trishanku Swarga and Agasthya Star
respectively. Hence I did not want to dismiss the point that Chidambaram being the Centre of
earth’s /universe’s Magnetic field.

US/UK world Magnetic Chart Epoch 2010

A magnetic field is the magnetic effect of electric currents and magnetic materials. The
magnetic field at any given point is specified by both a direction and a magnitude (or strength);
as such it is a vector field.[nb 1] The term is used for two distinct but closely related fields denoted
by the symbols B and H, where H is measured in units of amperes per meter (symbol: A·m−1 or
A/m) in the SI. B is measured in teslas (symbol:T) and newtons per meter per ampere (symbol:
N·m−1·A−1 or N/(m·A)) in the SI. B is most commonly defined in terms of the Lorentz force it
exerts on moving electric charges.

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Magnetic fields can be produced by moving electric charges and the intrinsic magnetic moments
of elementary particles associated with a fundamental quantum property, their spin.[1][2] In
special relativity, electric and magnetic fields are two interrelated aspects of a single object,
called the electromagnetic tensor; the split of this tensor into electric and magnetic fields depends
on the relative velocity of the observer and charge. In quantum physics, the electromagnetic field
is quantized and electromagnetic interactions result from the exchange of
photons…(http://en.wikipedia.org/wiki/Magnetic_field)
Magnetic Equator.
Magnetic dip results from the tendency of a magnet to align itself with lines of force. As the
Earth’s magnetic lines of force are not parallel to the surface, the north end of a compass needle
will point downward in the northern hemisphere (positive dip) or upward in the southern
hemisphere (negative dip). The range of dip is from −90 degrees (at the South Magnetic Pole) to
+90 degrees (at the North Magnetic Pole). Contour lines along which the dip measured at the
Earth’s surface is equal are referred to as isoclinic lines. The locus of the points having zero dip
is called the magnetic equator or aclinic line.’
And Shiva personifies Motion and Rhythm as expressed in His Cosmic Dance.
Can there be any link?
I found that Equatorial Geophysical Research Laboratory (EGRL), the regional centre of IIG, is
at Thirunelveli because,
‘ Situated close to the magnetic equator (the dip angle being 1.75oN) (8.7oN, 77.8oE
geographic) over an area of more than 35 acres near the village, Krishnapuram, the Centre was
intended to house multi-disciplinary experiments for the measurements of electric and magnetic
fields originating in the near-Earth environment.’
Now the coordinates of Thirunelveli is 8.73°N 77.7°E, 2 * dfference from Chidambaram at 79*
41 East Longitude.
I surmise that there is some truth in the statement that Chidambaram being the Centre of
Magnetic Field.
This needs verification.
To who assert Magnetic Fields do not have Equator..
I am reproducing a study on this subject.
Note that there is an an Anamoly in SE Asia .

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One might remeber that the present location of the South and for that matter the Indian Sub
Continent was further down south about 255 Millin years ago.
And the present Chidambaram might have been located there.
I am investigating.
‘Southeastern Asia region. This means the magnetic field is unexpectedly strong there compared
to the magnetic fields measured over the rest of the earth’s surface. The following diagram
shows these anomalies. Blue indicates weaker magnetic field strength; the darkest blue regions
identify the SAA. Orange indicates stronger magnetic field strength; the maximum field strength
along the magnetic equator lies in the greenish area over SE Asia—this is the area of the SE
Asian anomaly.
Chidambaram Geomagnetic Centre of Earth Universe? Study
BY RAMANAN50POSTED ON6 APR 2015http://en.wikipedia.org/wiki/Magnetic_dip
http://bhavanajagat.com/tag/chidambara-rahasyam/http://iigm.res.in/index.php/centres-
observatories/190-egrl
https://ramanisblog.in/2015/04/06/chidambaram-geomagnetic-centre-of-earth-universe-study/

Others say that the Chidambaram temple is not the center point of earth magnetic field. It is
located where the magnetic equator passed please note it is not geographical equator and also at
11 degree latitude. Both these factors assist the spiritual journey those who seek for it. Its
location on earth is the important factors. I will tell you how and why.
1. It is located where the magnetic equator passes which means magnetic dip is zero at
this loaction. Please note two things - magnetic equator circles all around the globe so
it not the only place where the magnetic dip is zero and secondly the magnetic equator
passes through Chidambaram when it was bulit, it has shifted over the course of time.
The answer to how it assist the spiritual journey - Earth magnetic field is the last thing
pulling down our physical dimension after we free ourself from all other stuffs (take it
spiritually) so Chidamabaram is the ideal loaction where the magnetic influence on
your body is negligible.
2. It is also loacted at 11 degree latitude. Spinning Earth has outward force called
centrifugal force. At 11 degree this centrifugal force is directly upward . So this will

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 help to channelise our energies upward which in turn assits (only) our spiritual
awakening.
These are the significance of loaction of Nataraja Temple at Chidambaram. You can also see
numerous architectural marvels inside the temple which is covered in other questions.
But what is awe-inspiring is how our ancestors know about this thousands of years ago. It is said
they have attained such kind of knowledge and wisdom through yoga and medication but still it
is mind-boggling.

CHIDAMBARAM TEMPLE SECRET‐ CENTER OF MAGNETIC FIELD OF EARTH

LORD SHIVA’S ESSENCE IN THIS IMAGE IS DESCRIBED AS “ARDHANARISHWARA”,

HALF‐MALE AND HALF‐FEMALE, A PERFECT UNION OF MATTER, ENERGY, AND THE
ENERGY CONTROLLER

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 – THE GREAT
MYSTERY OF CHIDAMBARAM. LORD NATARAJA DESTROYS MAN’S IGNORANCE TO
RELEASE MAN FROM THE INFLUENCE OF COSMIC ILLUSION.

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SPIRITUALITY SCIENCE – ESSENCE AND EXISTENCE: IN BOTH CHRISTIAN AND
INDIAN TRADITIONS, EARTH IS THOUGHT TO BE THE CENTER OF THE UNIVERSE. IN
INDIA, CHIDAMBARAM IS THE CENTER OF THE UNIVERSE. THE PLACE IS VIEWED AS
THE CENTRE OF GEOMAGNETIC EQUATOR OF PLANET EARTH. THE GREEN
HORIZONTAL LINE REPRESENTS THE GEOMAGNETIC EQUATOR.

After 8 years of R & D, Western scientists have proved that at Lord Nataraja 's big toe is the
Centre Point of World 's Magnetic Equator.
Our ancient Tamil Scholar Thirumoolar has proved this Five thousand
years ago! His treatise THIRUMANDIRAM is a wonderful Scientific guide for the whole
world.

To understand his studies, it may need a 100 years for us.

Chidambaram, in Southern India’s state of Tamil Nadu, is also known as Thillai, since the place
was originally a forest of the thillai shrubs. It is an important pilgrim center, a major shrine of

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Lord Shiva and as the famous Nataraja Temple. In fact, Chidambaram offers a combination of
the three aspects of Shiva worship – the form Lord Nataraja (dance), the form and the
formlessness (linga) and the formless omnipresence.The temple has influenced worship,
architecture, sculpture and performance art for over two millennium. Now, that is an old temple.
The ancient temple is located in the center of the town and covers 40 acres with four sevenstory
gopurams ( those huge gateways facing North, South East and West) each with around fifty stone
sculptures. There are also five sabhas or courts. The presiding deity of the temple is formless,
represented by air, one of the five elements of the universe. The temple is dedicated to Lord
Nataraja, and is unique as it one of the rare temples where Shiva is represented by an idol rather
than the customary lingam. (I’d been introduced to lingams earlier, they are black phallic looking
statues.) This temple also has exquisite carvings of Bharathanatya dance postures, the Classical
Dance of Tamil Nadu. At Chidambaram, the dancer dominates, not the linga.
Temple dancer The eastern tower of the temple rises to a height of 134 feet with 108
Bharathanatyam dance poses as well as on Western tower. The Northern tower rises to a height
of 140 feet and is the tallest. This temple is also noted for its Gold Plated roof that adorns the
sanctum sanctorum, or called the kanakasabha. NonHindus are not allowed inside the sanctum
sanctorum. The temple as it stands is mainly from the 12th and 13th centuries, with later
additions in similar style. It was believed to have been originally constructed during the early
Chola period (900’s AD).( From
https://techera99.blogspot.com/2016/11/chidambaram-temple-secret-center-of.html)

Chidambaram temple embodies the following characteristics :

1) This temple is located at the Center Point of world 's Magnetic Equator.
2) Of the "Pancha bootha" i.e. 5 temples, Chidambaram denotes the Skies. Kalahasthi denotes
Wind. Kanchi Ekambareswar denotes land. All these 3 temples are located in a straight line at 79
degrees 41 minutes Longitude. This can be verified using Google. An amazing fact &
astronomical miracle !
3) Chidambaram temple is based on the Human Body having 9 Entrances denoting 9 Entrances
or Openings of the body.
4) Temple roof is made of 21600 gold sheets which denotes the 21600 breaths taken by a human

216
being every day (15 x 60 x 24 = 21600)
5) These 21600 gold sheets are fixed on the Gopuram using 72000 gold nails which denote the
total no. of Nadis (Nerves) in the human body. These transfer energy to certain body parts that
are invisible.
6) Thirumoolar states that man represents the shape of Shivalingam, which represents
Chidambaram which represents Sadashivam which represents HIS dance !
7) "Ponnambalam " is placed slightly tilted towards the left. This represents our Heart. To reach
this, we need to climb 5 steps called "Panchatshara padi " "Si, Va, Ya, Na, Ma " are the 5
Panchatshara mantras.
There are 4 pillars holding the Kanagasabha representing the 4 Vedas.
8) Ponnambalam has 28 pillars denoting the 28 "Ahamas "as well as the 28 methods to worship
Lord Shiva. These 28 pillars support 64 +64 Roof Beams which denote the 64 Arts. The cross
beams represent the Blood Vessels running across the Human body.
9) 9 Kalasas on the Golden Roof represent the 9 types of Sakthi or Energies.
The 6 pillars at the Artha Mantapa represent the 6 types of Sashtras.
The 18 pillars in the adjacant Mantapa represents 18 Puranams.
10) The dance of Lord Nataraja is described as Cosmic Dance by Western Scientists.
Whatever Science is propounding now has been stated by Hinduism thousands of years ago
Greatness Of Temple:

Lord Shiva is in three forms in Chidambaram, as visible idol form, formless as Akasha or space
and form and formless as a Spatika Linga. What is Chidambara Rahasyam – secret: There is
small entrance near Lord Sabanayaka in the Chit Saba. The screen is removed and an arati is
offered. There is nothing in a form inside. But there hangs a golden Vilwa garland without a
Murthi. The secret is that Lord is here as Akasha which has no beginning or an end. This can be
understood only by experience. Of the Panchabhoodha Sthals, Chidambaram belongs to Akasha.
Chit + Ambaram= Chidambaram. Chit means wisdom. Ambaram means broad open space not
measurable. “We have nothing with us” is the lesson from this philosophy. The reputation of
Chidambaram is still greater, because it is here that the hymns of three great Saivite Saints were
discovered. They sang thousands of hymns in many Shiva Sthals they visited. Where were they
for the use of the devotees? Tirunarayur Nambiandar Nambi and king Tirumurai Kanda

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Chozhan fell at the feet of Lord Polla Pillayar – Vinayaka to guide them in the matter. With the
blessings of Lord Vinayaka, they came to know that all these great spiritual literatures with the
signatures of the respective authors are hidden in this temple. They rushed to Chidambaram and
worshipped the authors with respectful festivals. They found the palm leaves covered by anthill
and mostly consumed by insects. Yet they picked up the available full leaves and saved them.
All these invaluable spiritual literatures would have been totally lost but for the painstaking and
devout labour of Nambiandar Nambigal and Tirumurai Kanda Chozhan.

Chidambaram Lord Nataraja probably is the first social reformer. Nandanar, a dalit farm
worker was a staunch Shiva devotee. He desired to have the darshan of Lord but could not
secure a holiday from his upper caste boss who said that as a low born he was not entitled for the
privilege. Nandanar did not lose hope. Naalai Pohalam – Let me go tomorrow – was his hope.
After many tomorrows, he finally reached Chidambaram but could not enter the temple due to
his community problem. He tried to have the glimpse of Lord, but Nandhi the bull vehicle of
Lord Shiva blocked the view. Lord asked Nandhi to move and enabled Nandanar to have his
darshan. Nandanar attained salvation here and merged with Lord to the shock and surprise of the
upper class. It is said that the four Saivite Saints entered the temple through the four entrances of
the temple, Manickavasagar through the east, Gnanasambandar from south, Appar from west and
Sundarar from the north. ApparTirunavukkarasar did his Angapradakshina in the car strees
(Ratha Veedhi) of Chidambaram. Saint Manickavasagar cured the dumb daughter of the
Buddhist king of Lanka with the blessings of Lord in the temple. There are five Sabhas in the
temple – Chittrambalam, Ponnambalam, Perambalam, Niruddha Sabha and Rajatha Sabha.

Twin Darshans: The shrines of Lord Shiva and Lord Vishnu are so structured that the
devotee can have twin darshan from one spot in the temple. This is a temple where Brahmma,
Vishnu and Rudra grace the devotees together. Saint Arunagirinathar had praised Lord Muruga
of this temple in ten of his Tirupugazh hymns. Many believe that Lord Nataraja is the presiding
deity of this temple. The presiding deity is Adhimoola Nathar in the Linga form. Sages
Patanjali and Vyakrapada wished that people of this earth too should have the chance to view
and enjoy the great dance of Lord Shiva performed at Mount Kailash. They came to earth and
sat in penance on Adhimoolanathar for the purpose. Responding to their selfless penance for the

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common people, Lord Shiva along with Tri Sahasra Muniswaras – 3000 sages came to this place
and granted His dance darshan in Thai month (JanuaryFebruary) on Poosam Star day at 12.00
a.m. These 3000 Muniswaras then came to known as Thillai Moovayiravar. Chidambaram is a
holy place that ensures total salvation to the souls. For salvation, one should have his/her birth at
Tiruvarur or live in Kanchi or think of Tiruvannamalai or die in Kasi. If one worships Lords
Tirumoolanathar and Nataraja at Chidambaram at least once in life time, salvation is reserved for
the soul.

Despite strong opposition to Nandanar to enter the temple due to community reasons, he
entered the temple with all honours and merged with the Lord. His bhaktidevotion was too deep
and true that transcended all blockades of caste discriminations. Every one in the world,
irrespective of race, colour, country, language, religion throng he temple for Lord Nataraja
darshan and also participate in pulling the carrath. Lord Brahmma organized a yajna and invited
the 3000 Muniswaras to join in the pujas. They simply replied that no great soulful gain could
be achieved by attending the yajna than the darshan of Nataraja at Thillai Chidambaram. Lord
advised them to go and attend the yajna and promised to appear there at the end of the yajna.
That form of His appearance in the Brahmma Loka is praised as Rathna Sabapathy. This idol is
under the Nataraja idol. Every day, between 10.00 a.m and 11.00 a.m. Arati is shown to Lord
Rathna Sabapathi, both at front and back. There is a similarity in the design of Nataraja shrine
and the human body, it is said. The 21,600 golden tiles engraved with the Na Ma Shi Va Ya
mantra represent the number of times one breathes each day. The 72,000 nails used in the
Ponnambalam represent the number of nerves of the human body. The 9 entrances represent the
nine conveniences in the body activating our movements. Five steps to Ponnambalam represent
the five letters of Na Ma Shi Va Ya Mantra. Wooden supports numbering 64 represent 64 arts,
96 windows the 96 philosophies, the pillars the 4 Vedas, 6 Sastras and Panchaboodas. Sri
Chakra installed by Acharya Adi Sankara is in the Ambica shrine. The Arthajama puja in the
temple has its own significance when, it is believed that all other Gods assemble here for
worship. Great Saivite poet Sekkizhar released His magnum Opus Periapuranam in this temple.
Saint Arunagiriar had praised Lord

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 CHAPTER VIII
CHIDAMBARAM TEMPLE TAMIL NADU,INDIA
Interesting design Facts over and above those earlier written about

Chidambaram is also referred to in various works such as Thillai (after the Thillai forest
of yore in which the temple is located),Perumpatrapuliyur or Vyagrapuram (in honour of
Saint Vyagrapathar).The Temple is supposed to be located at the "Lotus heart of the
Universe": Virat hridaya padma sthalam.On the spot where the Lord displayed his dance
of bliss, the nanda Thaandavam - a spot exactly south of the "Thirumoolataaneswar
Temple".

The Lord is also hence referred to as the Sabhanayakar, meaning the Lord of the Stage.It
is an ancient and historic temple dedicated to Lord Shiva Nataraja and Lord Govindaraja
Perumal.One of the few temples where both the Shaivite and Vaishnavite deities are
enshrined in one place.This gold-roofed stage is the sanctum sanctorum of the
Chidambaram temple and houses the Lord in three forms:

1. the "form" - the anthromorphological form as an appearance of Lord Nataraja, called

the Sakala thirumeni.

2. the "semi-form" the semi-anthropomorphological form as the Crystal linga of

Chandramouleswarar, the Sakala nishkala thirumeni.
the "formless" as the Space in Chidambara Rahasyam, an empty space within the
sanctum sanctorum, the Nishkala thirume.

3. Brihadeshwarar Temple is also noted for its gold plated roof that adorn the sanctum
sanctorum otherwise called as kanakasabha.

Lord natarajar,according to Hindu mythology is the cosmic dancer.

He is also called as "Lord of Dances".

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 4. Chidambaram Temple is having exquisite carvings giving importance to
Bharahanatya postures,gestures,mudhras etc thus giving concrete evidences and
throw light on the classical dance of tamilnadu.

ABOUT

Chidambara Temple is located in the heart of the temple town of Chidambaram,Cuddalore

distrcit,Tamil Nadu.Chidambaram temple is a Hindu temple dedicated to Lord Shiva.The
primary diety of chidambaram temple was Nataraja (Thillai Koothan - Shiva).

Natyanjali is the famous festivel in the Chidambaram temple.Chidambaram temple is also be

called as Chidambaram Thillai Natarajar-Koothan Koil.Chidambaram Temple is one of the five
holiest Shiva temples, each representing one of the five natural elements; Chidambaram
represents akasha.

Chidambaram temple is an ancient and historic temple dedicated to Lord Shiva Nataraja and
Lord Govindaraja Perumal.It refers to the stage of consiuosness where the lord dances.The
sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock.

The Sangam classics refer to Viduvelvidugu Perumtaccan, respected clan of traditional

Vishwakarmas, as being the chief architect of the temple renovation.

It depicts the Lord Shiva as the Lord of the dance Bharatanatyam.The presiding diety of the
temple is represented by air,one of the five elements of the universe and is known as Akasa
Lingam.
 Do pray your Ishta Devata before pilgrimage to Temple.
 Do contact Temple Devasthanam information centre for enquiry, temple information and for
Pooja details etc.
 Do reserve your travel and accommodation at Temple well in advance.
 Do bath and wear clean clothes before you enter the temple.

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Nataraja Temple (built 9th-12th centuries onward)

The Shri Shiva Nataraja temple, also called Shri Sabhanayaka temple, Chidambaram, India.
Notes by Raja Deekshitar

The temple of Shiva Nataraja (Shri Sabhanayaka) of Chidambaramis one of the great temple
complexes of South India. Chidambaram is situated some 250 km south of Chennai, about 10 km
from the Bay of Bengal. The temple is the heart of the town with the complex measuring 18
hectares in total. The temple is a living religious institution, and it is therefore still developing.

The complex has a rectangular shape and is orientated on the cardinal directions. It is structured
as five concentric courtyards or prakaras, four of which are accessible to the public, the fifth
being only accessible to the priests as it lies within the walls of the main sanctum. The prakaras
are separated by approximately 10 meter high granite walls. The two outermost walls have four
entrance ways in each of the sides. But whereas the gateways and gopurams of other South
Indian temples are orientated aligned into a cross, here the gopurams are placed in an
asymmetrical pattern.

The fifth prakara, between the outer (fourth) wall and the third wall of enclosure, is in use for
gardens. The four gopurams, pyramidal shaped temple gateways, are situated in the fourth
prakara wall. Within this wall we find the main temple as well as the sacred tirtha or water place,
and many subsidiary shrines and buildings.

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Although the earliest historical references to the temple go back to the 6th century CE, there is
now nothing within the complex that can be dated to before the 12th century with any certainty,
except for the main sanctum, the Cit Sabha (Hall of Consciousness). This wooden structure on a
granite base, covered with a gilded roof, is unique. Very unlike the garbhagriha (womb-house),
the square sanctum sanctorum of other Hindu temples. It is rectangular and with a roof that is
shaped with an unusual slant. Within the wooden walls lies the first prakara, a U shaped
circumambulatory passage constructed of granite. This passage encloses the actual sanctum
which houses the Shiva Nataraja Murti, the presiding deity of the temple, as well as several other
divinities.

In front of the Cit Sabha we find the Kanaka Sabha (Golden Hall). This is a structure with a
granite base, slightly lower than the base of the Cit Sabha, wooden doors and a copper covered
wooden roof supported by granite pillars. Here many of the rituals of worship are performed, but
at certain times devotees are allowed to have close darshan (viewing of, audience with) of the
Nataraja in the sanctum from here. These two sabhas are at the centre of the central courtyard
which is enclosed by a cloistered veranda. Around this veranda there are several shrines. A
shrine to Govindaraja, the reclining form of Vishnu and one dedicated to Brahma-
Chandikeshvara are also situated in this courtyard.

From this courtyard two entrances, on the East and on the South side, lead to the third prakara.
Here we find the third sabha of the complex, the Nritta Sabha (Hall of Dance) a shrine in the
form of a ratha or chariot; the Deva Sabha (Hall of Deities); a shrine for Mahalaksmi; the
Mulasthana shrine, where Shiva is worshipped as Linga; a Kalyana Mandapa used for festivals;
and a Yaga Shala where Vedic fire rituals are performed. Long hallways of high pillars capped
by granite slabs turn this prakara into a cool shaded space reminiscent of a cathedral. This
prakara has gates on the East and the West side to the fourth prakara. Flights of steps connect the
two spaces, as the inner courtyards are as much as three meters lower then the surrounding
courtyard, which has a pavement on street level.

In the fourth prakara we find the Raja Sabha (Royal Hall), also called 1000 Pillar Hall; a
Hundred Pillars Hall; the Mukkuruni Vinayaka temple; the Sivakamasundari (Amman or
Goddess) temple; the Pandya Nayaka or Subrahmanya temple; a shrine dedicated to nine Lingas,

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worshipped by the nine planets or Navagraha; a small Ganesha shrine; and a shrine dedicated to
Sundaresvara and Minakshi, the presiding deities of the temple in Madurai.

From the fourth prakara four gopuras or temple gateways lead to the fifth prakara. The wall has a
fifth passage next to the East gopuram, which is used for the festival processions.

Of the buildings found in the fourth prakara the Nava Linga shrine and the Mukkuruni Vinayaka
shrine are ancient shrines but have undergone renovation in the later 19th century and no longer
represent ancient architecture. The pillared passages of the third prakara also belong to this
period of building, as does the cloister around the central courtyard. The Mulasthana shrine
possibly belongs to the same period, or to the 18th century.

The Sivakamasundari temple, the Raja Sabha, the 100 Pillars Hall and the cloister and steps
surrounding the Shivaganga tirtha (sacred water place) are generally attributed to the time of the
later Cholas, (late 11th to 12th century CE) on the basis of epigraphical evidence. This agrees in
general with the architecture as we can see it today. The small (1 pillar mandapam) Ganesha
temple by the side of the 100 Pillars Hall also was build around this time.

The Nritta Sabha is also a building from the later Cholas. The kings of this period build many of
this kind of ratha (chariot) shaped halls. The Deva Sabha is known to have been covered by a
copper roof in the same period, but its architecture has not been analysed. Both shrines existed in
some form before this time, as is known from tradition and historical sources.

The Govindaraja shrine in its present form was (re)estabished under the kings of Vijayanagara.

Three of the four towers or gopurams recieved their present form during the last phase of the
Chola empire in the 13th century. The North gopuram was either build or renovated by
Krishnadevaraya, a king of Vijayanagara, in the 16th century. The gopurams have a rectangular
granite base, with granite representations of various deities in the niches. While the seven
tapering upper storeys are made of bricks and decorated with lime-work. The eastern gopuram
maintains the original abstract structure of embedded miniature shrines while the other three
have representations of deities and mythological scenes.

Although the Nataraja temple of Chidambaram is one of the most intensively studied and
described temples of South India, much of its history remains undiscovered.

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Plan view

Redrawn and adapted by Timothy M. Ciccone following plan in Chistopher Tadgell's The
History of Architecture in India. See full credit below.

A) Inner enclosure with primary D) Thousand Pillar G) Ganesha

shrine Hall shrine

B) Second Enclosure E) Tank

C) Third enclosure with Gopurams F) Amman shrine

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Location-Chidambaram’s Golden Roof

The Chit Sabha with the Golden Roof

The temple of the Dancing Shiva in Chidambaram is an ancient tirtha of great spiritual power
and wonder. Among the many wonders is one that is both exceptional in its spiritual as well as
its scientific value. That is the Golden Roof of the Chit Sabha. The Nataraja, Dancing Shiva, is
the presiding deity here. He dances his Cosmic Dance, not in a garbhagriha, as the holiest shrine
in a Hindu temple is called. But in the Hall of Wisdom, the Chit Sabha.The Chit Sabha is build
from wood, and it has a very special roof. This roof is made completely from gold. In very
ancient times it gilded by the early Chola kings. Nobody really knows when it was first given
this golden roof. What we know for sure from the historical record is that the first kings that
claim in writing to have gilded the roof of the Chit Sabha in Chidambaram are Aditya Chola I
(c.870 – c.907 CE) and his son Parantaka Chola (907–950).

Both Aditya and his son Parantaka Chola were valiant kings who expanded their small land.
Originally submissive to both Pallavas and Pandyas they first won independence. And next
expanded towards the north, the south, and also along the Caveru river towards the west. From
their conquest they brought home the gold and used this to gild the roof of the Chit Sabha, where
Nataraja dances the Ananda Tandava.The shape of this roof is unique. It is not square and it is
not a pyramid, as we find with other temples. It slopes with a special tilt, ending with a slight
upward curve. It is made of 21600 golden platelets, each inscribed with the Panchakshara, the
sacred sound formula dedicated to Shiva. The “Om Nama Shivaya”. They are positioned one
over the other in the way of a traditional slate or wooden church roof, or fish-scales. And held
together with 72000 golden nails.

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The platelets are symbolic of the breath or asu of a human being. According to yoga we make
21600 breaths in a day. The power of the breath, the prana is spread through the human body
through 72000 nadi or veins.

Often the question is asked what the value or the weight of the Golden Roof is. But the real value
is not in what it represents in monetary or material worth. Its real value, which is priceless, is the
secret and hidden meaning that it conveys.

Science:

Tamil Scholar Thirumoolar has proved this Five thousand years ago! His treatise
Thirumandiram is a wonderful Scientific guide for the whole world.To understand his
studies, it may need a 100 years for us.
Chidambaram temple embodies the following characteristics :
1) This temple is located at the Center Point of world 's Magnetic Equator.
2) Of the "Pancha bootha" i.e. 5 temples, Chidambaram denotes the Skies. Kalahasthi
denotes Wind. Kanchi Ekambareswar denotes land. All these 3 temples are located in a
straight line at 79 degrees 41 minutes Longitude
3) Chidambaram temple is based on the Human having 9 Entrances denoting 9 Entrances or
Openings of the body.
4) Temple roof is made of 21600 gold sheets which denotes the 21600 breaths taken by a
human being every day (15 x 60 x 24 = 21600)
5) These 21600 gold sheets are fixed on the Gopuram using 72000 gold nails which denote
the total no. of Nadis (Nerves) in the human body. These transfer energy to certain body
parts that are invisible.
6) Thirumoolar states that man represents the shape of Shivalingam, which represents
Chidambaram which represents Sadashivam which represents HIS dance !
7) "Ponnambalam " is placed slightly tilted towards the left. This represents our Heart. To
reach this, we need to climb 5 steps called "Panchatshara padi "
"Si, Va, Ya, Na, Ma " are the 5 Panchatshara mantras.

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There are 4 pillars holding the Kanagasabha representing the 4 Vedas.
8) Ponnambalam has 28 pillars denoting the 28 "Ahamas "as well as the 28 methods to
worship Lord Shiva. These 28 pillars support 64 +64 Roof Beams which denote the 64 Arts.
The cross beams represent the Blood Vessels running across the Human body.
9) 9 Kalasas on the Golden Roof represent the 9 types of Sakthi or Energies.
The 6 pillars at the Artha Mantapa represent the 6 types of Sashtras.
The 18 pillars in the adjacant Mantapa represents 18 Puranams.
10) The dance of Lord Nataraja is described as Cosmic Dance by Western Scientists.
Chidambaram Natarajar
Nataraja idol is known as the Saguna Brahman (the God with a form). To his right there is a
screen. When you perform special puja, the Dikshitar (traditional priest) raises the curtain

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near to Nataraja. There will be a dark cloth and we see five vertical long hangings of golden
vilva leaves. We see nothing behind it. This is known as the Nirguna Brahman (the God
without form). This is told as ‘Chidambara Rahasyam’ by the Dikshitar.
There is a a mantapa (pillared hall) called Chitrakoota just in the front of Garbhagriha (the
innermost sanctum). This is dedicated to Maha Vishnu (Narayana) who gives us darshan in
his fully reclining Yoga Nidra pose on the snake bed. If you stand on a small lotus sculpted
on the floor slab in front of Narayana, and turn your face to the right side, you can see
Nataraja. So the temple is a unique combination of Narayana and Nataraja.
It is Fritjof Capra who 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.
The existence of the Nirguna Brahman as empty space (or Akaasa=the sky) reflects the divine nature as
vacant space. The word Chidambaram is derived from chit, meaning “consciousness” and ambaram,
meaning “sky” (from aakasam or aakayam) or space. Some ancient Hindu scriptures say that the sky of
consciousness is the ultimate aim a human should attain.
Many people explain the secret of Chidambaram in different ways:
“The God that is sought outside is the same as the consciousness that we have within – and that remains a
secret to the ignorant.”
“We start our spiritual journey in the very beginning with idol worshiping because we need an object to
offer and do our prayers. Hence GOD in the form of Nataraja in Chidambaram and when we proceed
further with our journey in spirituality we realise GOD’s present in entire of the universe.”
“We get the enlightened wisdom that GOD manifest everywhere… And there is nothing other than god in
the whole cosmic”
“In Chidambaram GOD himself gives us realization that he is with form and he also as formless.”
“When the curtain of “maya” (approximate meaning is illusion) is removed one can see his real self. And
the seeing of oneself removing the curtain of maya is viewing the secret.”
“Once we uncover the dark cloth of ignorance covering the consciousness then we can realize the
paramatma (cosmic) who is formless”
And some people say that it represents the nasthik (atheist) philosophy that is there is no god.
According to legend, “Chidambara Ragasiyam” will never be revealed as it is to everybody. The earnest
seekers will be blessed with realization that will take him/her to deeper silence.

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Now my personal experience: I have not seen any secret. But as I stood there, I experienced
“nothingness”. Apart from the psychological value that we attribute and assign to people and things, what
is there in life? Just nothingness! The sound and fury that we produce from the day one of our birth would
eventually end up in the eternal silence. This awareness will make us empty. At peace!. What more you
need? It is the consciousness unlimited.

Ancient Hindu Temples stand on a straight line Chidambaram Natrajana Temple, Kanchipuram
Ekambareswarar Temple, Srikalahasti Temples are aligned Exactly in a straight line Positions. By
Mystery Of India8 Share on Facebook Tweet on Twitter In Hinduism, Lord Shiva is regarded as the
representation of the Supreme Being. He is known as the third element in the Hindu Trinity (Trimurti),
the other two members being Lord Brahma – the creator and Lord Vishnu – the protector. He controls the
5 elements of nature named as the Pancha Bhoota – Earth, Water, Fire, Air and Space. Pancha Bhoota
Stalams In South India, five temples were built for each representing the manifestation of the five prime
elements of nature. Known as Pancha Bhoota Stalam, these temples are dedicated to Lord Shiva. Five
elements of nature, in these temples, are believed to be manifested in the form of five Lingams, the
divinity of Lord Shiva. Each lingam of Shiva is known by the name of element represented by them.
‘Pancha’ indicates Five, ‘Bhoota’ means elements and ‘Stala’ means place. All these temples are located
in South India with four of these temples in Tamil Nadu and one in present-day Andhra Pradesh. These
set of five temples are considered to be of great importance in south India. The temple for water is in
Thiruvanaikaval, fire is in Thiruvannamalai , air is in Kalahasti , earth is in Kanchipuram and The temple

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for space/sky is in Chidambaram. Geographic specialty The five temples were built according to the yogic
sciences, and are placed in a certain geographic alignment with each other, so that the entire region
reverberated with the possibility they offered. Three of the five Pancha Bhoota Stalam temples stand on a
straight line exactly at 79 degree 41 minutes East longitude. Chidambaram Natrajana Temple,
Kanchipuram Ekambareswarar Temple, Srikalahasti Temples are aligned Exactly in a straight line
Positions. All 3 temples are constructed at least 1000 years ago. No satellite technology was available at
that time but very accurate placements. Truly an engineering, astrological and geographical wonder. Of
the other two temples, Thiruvanaikkaval 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 Thiruvannamalai is around midway (1.5 degree to
the south and 0.5 degree to the west). The five grand temples associated with the five basic elements are:
Earth – (Prithivi) – Kanchipuram – Ekambareswarar Temple (12.847604, 79.699798) Water – (Neer) –
Thiruvanaikaval – Jambukeswara Temple (10.853383, 78.705455) Fire – (Agni) – Tiruvannamalai –
Annamalaiyar Temple (12.231942, 79.067694) Wind – (Vayu) – Chitoor – Srikalahasti
Temple (13.749802, 79.698410) Sky – (Akasha) – Chidambaram – Chidambaram Nataraja
Temple (11.399596, 79.693559) A flickering lamp in the SriKalahasti temple shows the play of wind, the
water spring in the innermost sanctum of the Tiruvanaikka temple shows the temple’s relationship to the
element water, the annual Kartikai Deepam festival at Tiruvannamalai where a giant lamp is lighted atop
the Annamalai hill shows the Annamalaiyaar’s manifestation as fire, the swayambhu lingam of sand at
Kanchipuram signifies the deitie’s association with the earth while the formless space at Chidambaram
shows the association of the Supreme being with formlessness or nothingness.
Read more at: http://www.mysteryofindia.com/2015/12/ancient-hindu-temples-straight-
line.html

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 CHIDAMBARA RAHASYAM Secrets of the Temple
Chidambara Ragasiyam is a Hindu belief that there is a secret message conveyed through the
embossed figure near the shrine of Shiva in the Chidambaram Temple. Since ancient times, it is
believed that this is the place where Shiva and his consort Parvati are present, but invisible to
most people.
Chidambara Ragasiyam/Rahasyam (Tamil for “secret of Chidambaram”) is a Hindu belief that
there is a secret message conveyed through the embossed figure near the shrine of Shiva in
Chidambaram temple.
Since ancient times, it is believed that this is the place where Lord Shiva and Parvathi are present
but are invisible to the naked eyes of normal people. In the Chidambaram temple of Lord
Nataraja, Chidambara Ragasiyam is hidden by a curtain (Maya). Darshan of Chidambara
Ragasiyam is possible only when priests open the curtain (or Maya) for special poojas. People
who are privileged to have a darshan of Chidambara Ragasiyam can merely see golden vilva
leaves (Aegle Marmelos) signifying the presence of Lord Shiva and Parvathi in front of them. It
is also believed that devout saints can see the Gods in their physical form, but no such cases have
been officially reported.
The phrase “Chidambara Ragasiyam” really means something different. The phrase literally
means a secret associated with Chidambaram – the place. Behind this is a real meaning to a
secret. As described above there is a particular curtain kind of curtain which when removed
enables us viewing the secret. The real significance of doing so is that when the curtain which is
“Maya” is removed one can see his real self. And the seeing of oneself removing the curtain of
Maya is viewing the secret. According to legend, “Chidambara Ragasiyam” will never be
revealed as it is the secret relating to a particular person who sees it removing the screen of
“Maya”. In the temple, when the poojas are performed and the screen is removed, one will be
able to see the secret only when he applies this to his mind and soul.

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Myth or Mystery?
The myth of Chidambaram Rahasyam (secret) is that there is a place in the temple which is
hidden and which you can visit to see the secret and that once you visit that hidden place, you
learn there is actually nothing, it is just an empty space. This gave rise to interpretations of what
the secret was:
1. There is no god.
2. There is no idol in the secret place hence god is formless.
Who is right? But the fact is we all look for different things. For people who believe God is an
idol and look at no idol then the secret is “no god”. For those who believe that God is not an idol
and the “secret” does not show an idol then we can say that God is formless and not to be
worshipped as an idol. For me, who does not believe there is a secret it is that there is no secret
and life is as it is. And maybe the secret is that we all look for what we want. And it goes on and
there could be other interpretations.
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 especially means
Chidambaram which is split as Chit ( gyana or wisdom) + Ambaram ( akasa or space).

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In South India, five temples were built for each of the five elements – Earth, Water, Fire, Air,
and Space. These are the Pancha Bhuta Sthalas. Geographically, they are all within the Deccan
Plateau – four in Tamil Nadu and one in Andhra Pradesh. The temple for water is in
Thiruvanaikaval, fire is Thiruvannamalai, Kalahasti is air and Kanchipuram is earth. The temple
for space is in Chidambaram.
What is the Rahasyam all about?
Among scholars and saints, the phrase “Chidambara Rahasya” has a more profound
philosophical interpretation. The curtain unveils empty space. Emptiness is the truth being
conveyed and Shiva Himself manifests Shakti in the form of conscious Emptiness, which bears
this entire creation. Emptiness is pervaded by Time, Shiva. And the Mahakala Shiva, who is the
lord of the universe, and who is, even though, the inherent consciousness of the conscious
Emptiness, is pervaded by it. Conscious Matter is the result of copulation of Shiva and Shakti, or
in other words, Time and Emptiness. Conscious matter forms the body of this visible creation. Its
creator is Emptiness, which though bears all movements of the matter, remains beyond and
unaffected by it. The essence of matter and emptiness is the lord of the universe Mahakala Shiva,
who pervades everything and yet remains beyond everything.
To realize this thought, one has to unveil the “curtain of Maya”. We are often encapsulated in
our world of illusion and are obscured to the absolute reality. According to legend,
“Chidambaram Rahasya” will never be revealed as it is the secret relating to an individual and it
is left to them to realize its true meaning.
According to different interpretations: Siva & Sakthi are everywhere, why we have search
behind the curtain, have you ever thought about this, please. You can ask, how the curtain can be
the secret, right? and your mind tells that the curtain was always there? right? then it also tells
how a curtain can be the secret right? But the truth is, the Curtain that is being removed is the
hidden secret. The curtain represents the human MIND. The moment mind is dropped you will
see Siva. Now your mind asks for one more question, right? How to drop the mind? To whom
this question “How to drop the mind?” arise? The answer will be ‘to me’. Then ask yourself who
is that ‘me’ that is ‘Who am I”?. This is the method Ramana Maharishi suggests. His teaching is
not new. This technique is said to be one among the 112 techniques given by Siva himself. Those
who practice any one of these techniques will see (experience) the universe. It is not mandatory
that you have to use the ‘Who am I” technique.

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Nataraja and the Chidambara Rahasya
Nataraja, the dancing form of Lord Shiva, is a very beautiful symbol of the union of nature and
the Divine. Nataraja holds fire in one hand, representing the fire element. A Damaru in his other
hand depicts the space element. Many forces in the universe are represented by a shape similar to
that of a Damaru, like a chromosome, or shapes of galaxies and so on. Time also is said to have a
conical representation. ∞ is the symbol (shape of the Damru) and represents infinity.
Shiva’s hair is open and flying representing the air element. One foot on ground symbolizes
Prithvi (earth element), another in the air. One hand is the symbolic Abhaya hasta offering
protection and the other points to his feet symbolizing surrender. With one foot already in the air,
he has already taken a step towards the devotee. He says “You are dear to me” even before
beginning.
Even in the Bhagavad Geeta, Lord Krishna says to Arjuna – “You are very dear to me”. When
you know that you are dear to someone, there is trust and love arises in the heart.
Shiva is dancing. Life should be like this. If both feet are stuck in the ground then you cannot
dance. Even to walk you need to take one foot up.
The entire creation is full of bliss
The entire creation is dancing in bliss
The entire creation is longing for bliss
Nataraja represents the Ananda Tattva (bliss) that the whole world is longing for. Every atom in
the world is filled with the potential for action yet it is at peace. Shiva, the principle of infinite
peace and bliss is not inert. It is peaceful, yet dancing.
Underneath his feet, there is Apasmaar (the demon symbolizing desires). He is standing with his
foot on top of desires. If desire eats us up then we are in trouble. Only when we rise above
desires and we are dancing on it, then it is a dance of joy and bliss. This is not just an
imagination. This is the truth. This energy awakens within us and we rise in dance. This is true.
The Divine energy pervading the entire creation is eternally dancing.
When I visited Chidambaram Temple as a boy of twelve during a school tour , my teacher told
me about Chidambara Rahasyam (secret of Chidambaram). Who will not be fascinated by that
dancing Lord, Nataraja ? Since then, I have read many articles about this Secret . Each referred
to one but no two was the same. I always thought that there must be a bigger secret than all I
have heard.

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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).

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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.

1. The temple has the above five prakaras resembling the sheaths.
2. Nataraja gives dharshan from the sanctum called Chit Sabha with a golden roof.
3. The roof has 26,000 golden tiles (see picture), denoting the number of breaths of a person in a
day.
4. 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)
5. As the heart is to the left of the body, the sanctum in Chidambaram is also aligned slightly
leftward.
6. On top of the Chit sabha roof, we find nine kalasas (made of copper) depicting the nine shaktis
(powers)
7. The roof has 64 cross wooden reapers denoting the 64 arts.
8. The artha mandapa has six pillars denoting the six shastras
9. The mantapa next to the artha mantapa has eighteen pillars symbolizing the eighteen puranas.
10. There are five steps leading to the Chit sabha from the Kanaka sabha depicting the five
lettered Panchakshara mantra ( Na ma chi vA ya)
11. 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

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e. The raised foot shows the act of bestowing
2. 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.
3. Shiva’s dance is called the cosmic dance by many scholars. In Chidambaram, this dance is
called ‘Ananda Tandava’
4. 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.
5. Sages Patanjali and Thirumoolar also saw Nataraja’s dance in Chidambaram. Their figures are
embossed on the Silver doors of the Chit Sabha..

(source: http://defenceforumindia.com/forum/threads/chidambara-rahasyam-the-secrets-
behind-chidambaram-nataraja-temple.2113/)
(source: https://www.quora.com/What-is-Chidambara-Rahasyam)

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 CHAPTER IX
EMERGE SUBMERGE TEMPLE & GOD KARTIKEYAN

A Shivling Established by Lord Kartikeya Himself tht emerges and submerges each day

PART II

Introduction: According to the mythology, this Shiva Ling was installed by Lord Kartikeya himself. One
story says that, Lord Kartikeya (Shiva's Son) feels guilty after killing the demon Tarakasura. So, Lord
Vishnu consoled him saying that it was not wrong to kill a demon who lived by troubling the common
people. However, Lord Kartikeya wanted to absolve his sin of killing a great devotee of Shiva. Hence,
Lord Vishnu adviced him to install Shiva Lingas and pray for the forgiveness.

Mention in Skanda Purana What's the difference between emerge and submerge?
Emerge
You who has form and who is
Definition:
formless,
 (v. i.) To rise out of a fluid; to come forth from that in
you who are both being and non-
which anything has been plunged, enveloped, or
being,
concealed; to issue and appear; as, to emerge from the
who are the fragrance and the
water or the ocean; the sun emerges from behind the
blossom,

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who are the jewel and its lustre,
who are the seed of life and life itself,
who are the means and the existence
itself,
who are the supreme guru, come
and bestow your grace, O Guha
[Murugan]
—Kantaranuputi 51, Arunagirinathar
moon in an eclipse; to emerge from poverty or obscurity.
Submerge
Definition:
 (v. t.) To put under water; to plunge.
 (v. t.) To cover or overflow with water; to inundate; to flood;
to drown.
 (v. i.) To plunge into water or other fluid; to be buried or
covered, as by a fluid; to be merged; hence, to be completely
included.

New Delhi: There are many ancient and miraculous temples in India, which are known
worldwide for their specialties. You must have heard of many miracles associated with
Shiva. There is also a temple associated with Shiva's miracle in Gujarat. Let us tell you about it.
This unique temple of Shiva is on the Cambay coast of Gujarat. This miraculous temple sinks
into the sea twice a day (morning and evening) and then reappears. This temple is known as the
Pillarshwar Mahadev Temple. Learn here about this unique temple of Lord Shiva
Disappears in the sea twice a day The temple disappears automatically in
the waves of the sea and comes out again after some time. This happens only twice a day.
The sea does the consecration of the Shivalinga
This temple is on the edge of the sea, twice the tide comes. For this reason, the sea water comes
to the temple and anointed the Shivling twice and returns. During this time no one is allowed to
go there.
The temple is 150 years old and the pillar of the temple is about 150 years old and the Shivling
installed in the temple is 4 feet high.This unique temple is said to have been built by Kartikeya,
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son of Shiva himself. Kartikeya built this temple to apologize for his mistake when a great
devotee of Shiva is killed by him.

Skanda Purana, one of 18 Hindu puranas, has references to this temple. After slaying
Tarkasur, Tarakasur asked the Gods that how will be absolve himself of the sin of killing a
devotee of Lord Shiv. Lord Vishnu consoled him-‘Killing a wicked person, who nourishes
himself on the blood of innocent people, is not a sinful deed. But, still, if you feel guilty, the
best way to atone for your sin is establish Shiva lingas and worship them with deep
devotion.’
Kartikeya installed these Shivalingas at three different places with proper rituals in the
presence of Maa Parvati and all other Gods. Stambeshwar is one of the three shrines where
these Shiv lings were established.

Temples of Sri Murugan are however as below. They contain Idols to worship Murugan
Swami.

Kartikeya-Subrahmaniya temples are popular in hilly regions such as the Western Ghats. Above:
the 12th-century Maruthamalai Temple in Coimbatore./Marudhamalai temple Reflections

Murugan Temple of North America/

Within India-South India

Tamil Nadu

 Palani Murugan Temple

 Swamimalai Murugan Temple
 Thiruchendur Murugan Temple
 Thirupparamkunram Murugan Temple
 Thiruthani Murugan Temple
 Pazhamudircholai Murugan Temple
The above six temples are dedicated to Kartikeya as their primary deity. These six temples in
Tamil Nadu, together are referred to as Aru Padaiveedu (Tamil: Āṟupaṭai vīṭu), that are
mentioned in Thirumurugatrupadai, written by Nakkeerar and in Thirupugal, written by
Arunagirinathar.
Kerala

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There are many temples dedicated to Subramanya in Kerala such as:

 Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod[

 Subramanya Swamy temple in Payyanur
 Panmana Subramanya Swamy temple in Panmana
 Haripad Sree Subrahmanya Swamy temple
 Kilimarathukavu Subrahmanya Temple

Andhra Pradesh
Anantapur District Pampanuru Subramanyam Swamy temple Kothur, Kurnool District

 Skandagiri, Secunderabad
 Biccavolu
 Mopidevi[
 Mallam
Karnataka

 Kukke Subramanya Temple Kartikeya is worshipped as Subrahmanya where he is regarded

as Lord of the serpents.
 Ghati Subramanya
North India
Delhi

 Malai Mandir, a prominent temple complex[99]

Haryana

 Pehowa temple in Haryana

Punjab

 Achaleshwar Temple in Gurdaspur.

Chandigarh

 Sri Karthikeya Swami Temple

Himachal Pradesh

 Kartik Swami Temple in Manali

 Kartik Swami Temple in Chamba
Uttrakhand

 Karthik Swami temple above Rudraprayag

Madhya pradesh

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 Kartikeya Mandir, Gwalior. It opens for a single day once in a year.
Gujarat

 Sri Balamurugan Devasthanam in Ahmedabad

Maharashtra

 Kartik Swami Thirumal Murugan Temple

 Thiruchembur Murugan Temple, Chembur, Mumbai
West Bengal

 Sri Ganesh & Murugan Temples in Kolkatta

Outside India
Sri Lanka

 Kataragama (Kadirgamam) in the south

 Temple in Tirukovil in the east
 Shrine in Embekke in Kandy
 Nallur Kandaswamy temple in Jaffna.
Malaysia

 Batu Caves near Kuala Lumpur which has a 42.7-m-high statue of Murugan at the entrance,
the largest Lord Murugan statue in the world.
 Arulmigu Balathandayuthapani Temple, Penang
 Nattukkottai Chettiar Temple, Penang
 Sri Marathandavar Bala Dhandayuthapani Alayam
 Sri Kandaswamy Kovil, Brickfields
 Sannasimalai Temple in Malacca.
 Kallumalai Temple in Ipoh
Indonesia

 Langkat, Indonesia which has 16 meter high and standing outside of its temple named as Shri
Raja Rajeshwari Amman Kovil Temple. It has second largest Murugan statue in the world.
Singapore

 Sri Thendayuthapani Temple in Singapore is a major Hindu temple.

 Arulmigu Velmurugan Gnana Muneeswaran Temple, 50 Rivervale Cres Sengkang,
Singapore
 Sri Holy Tree Balasubramaniam Temple
 Sri Murugan Hill Temple, 931 Upper Bukit Timah Rd,

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USA

 Shiva Murugan Temple in Concord, Northern California

 Murugan Temple of North America in Maryland, Washington DC.
 Carolina Murugan Temple (planned) in Chatham County, North Carolina. To include “the
tallest statue of Lord Murugan in the world.”
Canada

 Kanthasamy Temple in Toronto, Ontario, Canada

 Murugan temple in Val-Morin, a suburb of the city of Montreal.
United Kingdom

 Highgate Hill Murugan temple in London

 Sri Murugan Temple in Manor park, London
 Shri Siva Murugan Temple in Leicester is a popular temple
 Skanda Vale in Carmarthenshire, Wales is an ashram and place of pilgrimage[121]
Australia

 Murugan temple in Parramatta (Mays Hill)

 Perth Bala Muruguan temple in Mandogalup
 Kundrathu Kumaran temple in Rockbank, Melbourne
New Zealand

 Thirumurugan Temple in Auckland

 Kurinji Kumaran Temple in Wellington[
Switzerland

 Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil is the largest Hindu
temple in Switzerland.
South Africa

 Clairwood Shree Siva Soobramoniar Temple

Fiji

 Sri Siva Subramaniya temple

The Vanishing Spectacle: Stambheshwar Mahadev Temple in Gujarat By Akshatha

Vinayak

Sometimes it is not just devotion which takes us to a temple. Not that we are not religious but
some unique events pull us towards it. Similarly, here is one temple of Shiva which goes through
an interesting spectacle on a daily basis. Stambeshwara Mahadev Temple in Gujarat is one of the

244
incredible places to visit in the state. It is unique because it submerges everyday and again
reappears. Yes, Stambheshwar Mahadev Temple is famously known as the Disappearing Shiva
Temple in India. Stambheshwar Mahadev Photo Courtesy: Nizil Shah One should visit this place
to see this extravaganza of nature. Stambheshwar Mahavdev is an ancient temple situated in the
town of Kavi Kamboi. The shrine is located between the shores of the Arabian Sea and the Bay
of Cambay in Gujarat. Everyday, this Shiva Temple gets submerged in water during high tide
hours and again reappears when the tide level comes down. Again it will be open for the public.
People from across the country come here to watch this amazing sight. Legend of Stambheshwar
Mahadev Submerged in Water How To Reach Kavi Kamboi Kavi Kamboi is around 75km from
Vadodara in Gujarat. Kavi Kamboi is well-connected by road from places like Vadodara,
Bharuch and Bhavnagar. It is better to take private cabs or vehicles to travel from Vadodara to
Stambeshwar Mahadev. By Train: Vadodara Railway Station is the nearest railway station to
Kavi Kamboi

Shiva's miraculous temple, disappears into the sea after seeing it twice a day, know what is
the secret
Stambheshwar mahadev temple: This unique temple of Lord Shiva is in Gujarat which is on the
central Cambay coast of Sagar. The special thing about this temple is that it comes back by
drowning in the sea twice a day.

stambheshwar mahadev temple

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Kartikeya (Sanskrit: कार्तिकेय, IAST: Kārttikeya), also known as Skanda, Kumara,
Murugan and Subrahmanya, is the Hindu god of war. He is the son of Parvati and Shiva,

brother of Ganesha, and a god whose life story has many versions in Hinduism.[8] An important
deity around South Asia since ancient times, Kartikeya is particularly popular and predominantly
worshipped in South India, Sri Lanka, Singapore and Malaysia as Murugan.
Kartikeya is an ancient god, traceable to the Vedic era. Archaeological evidence from 1st-
century CE and earlier,where he is found with Hindu god Agni (fire), suggest that he was a
significant deity in early Hinduism. He is found in many medieval temples all over India, such as
at the Ellora Caves and Elephanta Caves.
The iconography of Kartikeya varies significantly; he is typically represented as an ever-youthful
man, riding or near a peacock, dressed with weapons sometimes near a rooster. Most icons show
him with one head, but some show him with six heads reflecting the legend surrounding his
birth. He grows up quickly into a philosopher-warrior, destroys evil in the form of
demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva SiddhantaHe has
inspired many poet-saints, such as Arunagirinathar.

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Kartikeya is found as a primary deity in temples wherever communities of the Tamil people live
worldwide, particularly in Tamil Nadu state of India, Sri
Lanka, Mauritius, Indonesia, Malaysia, Singapore, South Africa and Réunion. Three of the six
richest and busiest temples in Tamil Nadu are dedicated to him.[7] The Kataragama
temple dedicated to him in Sri Lanka attracts Tamils, Sinhalese people and the Vedda people. He
is also found in other parts of India, sometimes as Skanda, but in a secondary role along with
Ganesha, Parvati and Shiva.

Kartikeya is known by numerous names in ancient and medieval texts of the Indian culture. Most
common among these are Murugan, Kumara, Skanda, and Subrahmanya. Others include
Aaiyyan, Cheyyon, Senthil, Vēlaṇ, Swaminatha ("ruler of the gods", from -natha king),
śaravaṇabhava ("born amongst the reeds"), Arumugam or ṣaṇmukha ("six-faced"), guha (cave-
teacher), Kadhirvelan, Kandhan, Vishakha and Mahasena. In ancient coins where the inscription
has survived along with his images, his names appear as Kumara, Brahmanya or
Brahmanyadeva. On some ancient Indo-Scythian coins, his names appear in Greek script as
Skanda, Kumara and Vishaka. In ancient statues, he appears as Mahasena, Skanda and Vishakha.
Skanda is derived from skanḍr-, which means "leaper or attacker".[17] In Kalidasa’s epic poem
Kumarasambhava (“The Birth of the War God”; 5th century CE), as in most versions of the
story, the gods wished for Skanda to be born in order to destroy the demon Taraka, who had been
granted a boon that he could be killed only by a son of Shiva. They sent Parvati to induce Shiva
to marry her. Shiva, however, was lost in meditation and was not attracted to Parvati until he was
struck by an arrow from the bow of Kama, the god of love, whom he immediately burned to
ashes. After many years of abstinence, Shiva’s seed was so strong that the gods, fearing the
result, sent Agni, the god of fire, to interrupt Shiva’s amorous play with Parvati. Agni received
the seed and dropped it into the Ganges, where Skanda was born. Kartikeya means "of the
Krittikas. This epithet is also linked to his birth. After he appears on the banks of the River
Ganges, he is seen by the six of the seven brightest stars cluster in the night sky
called Krittikas in Hindu texts (called Pleiades in Greek texts). These six mothers all want to take
care of him and nurse baby Kartikeya. Kartikeya ends the argument by growing five more heads
to have a total of six heads so he can look at all six mothers, and let them each nurse one. The six
Krittikas are Śiva, Sambhūti, Prīti, Sannati, Anasūya and Kṣamā.

The Epic era literature of ancient India recite numerous legends of Kartikeya, often with his
other names such as Skanda. For example, the Vana Parva of the Mahabharata dedicates
chapters 223 to 232 to the legends of Skanda, but depicts him as the son of Agni and
Svaha.[25] Similarly, Valmiki's Ramayana dedicates chapters 36 and 37 to Skanda, but describes
him as the child of god Agni and goddess Ganges.
The legends of Kartikeya vary significantly, sometimes within the same text. For example, while
the Vana Parva of the Mahabharata describes Skanda as the son of Agni, the Shalya Parva and
the Anushasana Parva of the same text presents Skanda's legend as the son of Maheshvara
(Shiva) and Parvati.
In Vana Parva, the circumstances behind Kartikeya's birth legend do not involve Shiva and
Parvati. Rather it is deity Agni who goes to a hermitage of seven married Rishis (sages) and

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meets their seven wives. He is sexually attracted to all seven, but none reciprocate. Svaha is
present there and she is attracted to Agni, but Agni is not. According to the legend, Svaha takes
the form of six of the wives, one by one, and sleeps with Agni.[65] She does not take the form of
Arundhati, Vasistha's wife, because of Arundhati's extraordinary virtuous powers. Svaha deposits
the semen of Agni into the reeds of River Ganges, where it develops and then is born as six
headed Skanda.
A totally different legend in the later books of the Mahabharata make Shiva and Parvati as the
parents. They were making love, but they are disturbed, and Shiva inadvertently spills his semen
on the ground.[6] Shiva's semen incubates in River Ganges, preserved by the heat of god Agni,
and this fetus is born as baby Kartikeya on the banks of Ganges.

Granite Karttikeya seated on a peacock from 12th-century Andhra Pradesh.//In Malaysia

Some legend state that he was the elder son of Shiva, others make him the younger brother of
Ganesha. This is implied by another legend connected to his birth. Devas have been beaten up by
Asuras led by Taraka, because Taraka had a boon from ascetic celibate yogi Shiva that only
Shiva's son can kill him. Devas learn about this boon, and plan how to get Shiva into a
relationship. So they bring Parvati into the picture, have her seduce yogi Shiva, and wed Parvati
so that Skanda can be born to kill Taraka.
According to Raman Varadara, Murugan or Kartikeya was originally a Tamil deity, who was
adopted by north Indians. He was the god of war in the Dravidian legends, and became so
elsewhere in the Indian subcontinent too. In contrast, G. S. Ghurye states that according to the
archeological and epigraphical evidence, the contemporary Murugan, Subrahmanya and
Kartikeya is a composite of two influences, one from south and one from north in the form of
Skanda and Mahasena. He as the warrior-philosopher god was the patron deity for many ancient
northern and western Hindu kingdoms, and of the Gupta Empire, according to Ghurye. After the
7th-century, Skanda's importance diminished while his brother Ganesha's importance rose in the
west and north, while in the south the legends of Murugan continued to grow. According to

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Norman Cutler, Kartikeya-Murugan-Skanda of South and North India coalesced over time, but
some aspects of the South Indian iconography and mythology for Murugan have remained
unique to Tamil Nadu.
Kartikeya's legends vary by region. For example, in the northern and western Indian traditions
Kartikeya or Skanda is the perpetual celibate bachelor who never marries, but in the Tamil
legends he has two consorts, Valli and Devasena. Many of the major events in Murugan's life
take place during his youth, and legends surrounding his birth are popular in Tamil Nadu. This
has encouraged the worship of Murugan as a child-God, very similar to the worship of the child
Krishna in north India. Kartikeya's youth, beauty and bravery was much celebrated in Sanskrit
works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic,
the Kumārasambhava.

Kartikeya with a Kushan devotee, 2nd century CE.(Right)

Guha (Kartikeya)
There is extensive Hindu symbolism and theology associated with Kartikeya. Regardless of the
variance among the legends, his birth is in difficult circumstances, he is born through a surrogate
after being left near a river. He is raised not by his natural mother but a host of mothers, but later
he is a part of his biological family. Kartikeya symbolizes a union of polarities. He is handsome
warrior and described as a celibate yogi. He uses his creative martial abilities to lead an army
against Taraka and other demons, and described as a philosopher-warrior. He is a uniter,

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championing the attributes of both Shaivism and Vaishnavism. His theology is most developed
in the Tamil texts,[11] and in the Shaiva Siddhanta tradition. He is described as dheivam (abstract
neuter divinity, nirguna Brahman), as kadavul (divinity in nature, in everything),
as Devan (masculine deity), and as iraivativam (concrete manifestation of the sacred, saguna
Brahman).
According to Fred Clothey, as Murugan (also referred to as Murugan, Cheyyon), he embodies
the "cultural and religious whole that comprises South Indian Shaivism". He is the philosopher
and exponent of Shaiva Siddhanta theology, as well as the patron deity of the Tamil language.
Ancient
There are ancient references which can be interpreted to be Kartikeya in the Vedic texts, in the
works of Pāṇini (~500 BCE), in the Mahabhasya of Patanjali and in Kautilya's Arthashastra. For
example, the term Kumara appears in hymn 5,2 of the Rig Veda. The Kumara of verse 5.2.1 can
be interpreted as Skanda, or just any "boy". However, the rest of the verses depict the "boy" as
bright-colored, hurling weapons and other motifs that later have been associated with Skanda.
The difficulty with interpreting these to be Skanda is that Indra, Agni and Rudra are also
depicted in similar terms and as warriors.

The Skanda-like motifs found in Rig Veda are found in other Vedic texts, such as section 6.1-3
of the Shatapatha Brahmana. In these, the mythology is very different for Kumara, as Agni is
described to be the Kumara whose mother is Ushas (goddess Dawn) and whose father is
Purusha. The section 10.1 of the Taittiriya Aranyaka mentions Sanmukha (six faced one), while
the Baudhayana Dharmasutra mentions a householder's rite of passage that involves prayers to
Skanda with his brother Ganapati (Ganesha) together. The chapter 7 of the Chandogya

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Upanishad (~800–600 BCE) equates Sanat-Kumara (eternal son) and Skanda, as he teaches
sage Narada to discover his own Atman (soul, self) as a means to the ultimate knowledge, true
peace and liberation.
According to Fred Clothey, the evidence suggests that Kartikeya mythology had become
widespread sometime around 200 BCE or after in north India.[29] The first clear evidence of
Kartikeya's importance emerges in the Hindu Epics such as the Ramayana and
the Mahabharata where his story is recited. In addition to textual evidence, his importance is
affirmed by the archeological, the epigraphical and the numismatic evidence of this period. For
example, he is found in numismatic evidence linked to the Yaudheyas, a confederation of
warriors in north India who are mentioned by ancient Pāṇini. They ruled an area consisting of
modern era Haryana, Punjab, Rajasthan and Uttar Pradesh (extending into Garhwal region,
Uttarakhand). They struck coins bearing the image of Skanda, and these coins are dated to be
from before Kushan Empire era started. During the Kushan dynasty era, that included much of
northwest Indian subcontinent, more coins featuring Kartikeya were minted. He is also found on
ancient Indo-Scythian coins, where his various names are minted in Greek script.

(Left) Coins of the Yaudheyas feature Kartikeya, and these are dated to 1st century
CE Haryana, Punjab, Rajasthan and Uttar Pradesh. (Right) Skanda Bodhisattva is
the Dharma protector in Mahayana Buddhism. Skanda's statue in Anhui province, China.

Kartikeya was revered in major cultural centers of ancient India. For example, he was a major
god for the Ikshvakus, an Andhra dynasty, as well as for the Gupta Empire.[33] In south India,
eight of the early Pallava dynasty rulers (300-550 CE) were named after Skanda or Kumara,
suggesting the significance of Kartikeya by then. Kalidasa's epic poem
the Kumārasambhava features Kartikeya.
In Tamil literature
The Tolkāppiyam, one of the most ancient texts of the Tamil literature, mentions cēyōṉ "the red
one", who is identified with Murugan, whose name is literally Murukaṉ "the youth"; the other
gods referred to in the Tolkāppiyam are Māyōṉ "the dark one" (identified
with Vishnu), Vēntaṉ "the sovereign" (identified with Indra) and Korravai "the victorious"

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(identified with Kali) and Varunan "the sea god" Extant Sangam literature works, dated between
the third century BCE and the fifth century CE glorified Murugan, "the red god seated on the
blue peacock, who is ever young and resplendent," as "the favoured god of the
Tamils."[36] Korravai is often identified as the mother of Murugan.
In the Tirumurukāṟtruuppaṭai, he is called Muruku and described as a god of beauty and youth,
with phrases such as "his body glows like the sun rising from the emerald sea". It describes him
with six faces each with a function, twelve arms, his victory over evil, and the temples dedicated
to him in the hilly regions.
Puranas
Kartikeya is mentioned in Shaiva Puranas. Of these, the Skanda Purana is the
largest Mahāpurāṇa, a genre of eighteen Hindu religious texts. The text contains over 81,000
verses, and is part of Shaivite literature, titled after Skanda, a son of Shiva and Parvati, who is
also known as Kartikeya and Murugan. While the text is named after Skanda, he does not feature
either more or less prominently in this text than in other Shiva-related Puranas. The text has been
an important historical record and influence on the Hindu traditions related to war-god
Skanda. The earliest text titled Skanda Purana likely existed by the 6th-century CE, but
the Skanda Purana that has survived into the modern era exists in many versions
Buddhism
Early texts
The earliest mention of this deity in Buddhist texts may be found in the Janavasabha Sutta of
the Pali Canon, where he is referred to as Sanankumāra. Here he is introduced as a deva of the
rank of Mahābrahmā and a disciple of the Buddha.
The Chinese translation of the Dīrgha Āgama features the same deity with the title
Brahmā[sanan]kumāra (梵童子). He is described as a manifestation of Mahābrahmārāja. He has
five hair coils (頭五角髻), a handsome face (顏貌端正) and emanates purple-golden light
(紫金色) that surpasses the light of the other devas.
Theravada
According to Richard Gombrich, Skanda has been an important deity in Theravada
Buddhism pantheon, in countries such as Sri Lanka and Thailand. The Nikaya
Samgraha describes Skanda Kumara as a guardian deity of the land, along with Upulvan
(Vishnu), Saman and Vibhisana. Similarly, the 16th-century Siamese text Jinakalamali mentions
him as a guardian god. There are Buddhist Sinhala shrines such as at Kataragama dedicated to
Skanda which have historically been officiated by Hindu priests, which attracted Buddhist
devotees and enjoyed royal support. Since the 1950s, states Brian Morris, the Kataragama shrine
of Skanda has attracted over half a million devotional pilgrims every year, most being Buddhists.
Mahayana

The Mahāparinirvāṇa Sūtra mentions Kumāra as one of the eighty gods (八十神) worshiped by
the common people.
The Ārya Kaṇikrodhavajrakumārabodhisattava Sādhanāvidhi
Sūtra (聖迦抳忿怒金剛童子菩薩成就儀軌經) (T 1796) features a section for the recitation of a

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mantra dedicated to the deity, where he is also paired with Iśvara. Yi Xing's Commentary of the
Mahāvairocana Tantra (大毘盧遮那成佛經疏) clarifies that Kumāra is the son of Iśvara.[50]
Sri Lanka
In Sri Lanka, the god Kataragama deviyo is a popular object of devotion among both Tamil
Hindus and Sinhalese Buddhists. While many regard him as a bodhisattva, he is also associated
with sensuality and retribution. Anthropologist Gananath Obeyesekere has suggested that the
deity's popularity among Buddhists is due to his power to grant emotional gratification, which is
in stark contrast to sensual restraint that characterizes Buddhist practice in Sri Lanka.
China

In Chinese Buddhism, Skanda (also sometimes known as Kumāra (鳩摩羅天)) has been
portrayed as Weituo (韋陀 or 韋馱), a young heavenly general, the guardian deity of local
monasteries and the protector of Buddhist dhamma. According to Henrik Sørensen, this
representation became common after the Tang period, and became well established in the late
Song period. Skanda was also adopted by Korean Buddhism, and he appears in its woodblock
prints and paintings.
Jainism
According to Asko Parpola, the Jain deity Naigamesa, who is also referred to as Hari-
Naigamesin, is depicted in early Jain texts as riding the peacock and as the leader of the divine
army, both symbols of Kartikeya.

The six-headed Kartikeya riding a peacock, by Raja Ravi Varma.

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Kartikeya(Kâtkâ Dyao) is worshiped with a bow and an arrow by the Hajongs of Northeastern
India.
Ancient coins of the Yaudheyas, dated to 1st and 2nd century CE, show Kartikeya as a warrior
with either one or six heads. Kushan coins show him with one head. In general, single head is far
more common regardless of which dynasty minted them. The earliest statues discovered in
Punjab and Kashmir show him with either one or six heads. The oldest sculptures such as those
found in Mathura show him with one head, while six head iconography is dated to post-Gupta
Empire era. All Kushan Empire era artwork show him with one head, even though there are
Kushan deities such as a goddess who is shown with multiple heads.
The Kushan Empire era statues of Kartikeya, dated to 1st and 2nd-century CE, have been found
at various sites in the Indian subcontinent, particularly at Mathura and Gandhara. They show him
as a warrior dressed in dhoti (sheet wrapped at waist, covering the legs), armour like a warrior,
spear in his right hand and a bird (rooster) in his left. There is some difference between his
ancient iconography in Mathura and Gandhara artwork. The Gandhara arts show him in more a
Scythian dress, likely reflecting the local dress culture prevalent in those times. Further, it is in
the oldest Gandharan statues where he is shown with a bird that looks like a chicken or
cock. According to Richard Mann, the bird may symbolize Kartikeya's agility and
maneuverability as a warrior god, and may be a Parthian influence. His iconography symbolizes
his attributes as a hunter, warrior and philosopher.
Kartikeya iconography shows him as a youthful god, dressed as a warrior, carrying the weapon
called Vel. It is a divine spear, often called sakti. He is sometimes depicted with many weapons
including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted
wielding the sakti or spear. His vahana (vehicle, mount) is a peacock. He has either one head or
six, depending on the region or artist.

254
Skanda statue are found in Southeast Asia. Above: 6th–8th century Skanda from Prey Veng
Province, Cambodia. (RIGHT) Granite Karttikeya seated on a peacock from 12th-
century Andhra Pradesh.

The Epic era literature of ancient India recite numerous legends of Kartikeya, often with his
other names such as Skanda. For example, the Vana Parva of the Mahabharata dedicates
chapters 223 to 232 to the legends of Skanda, but depicts him as the son of Agni and
Svaha.[25] Similarly, Valmiki's Ramayana dedicates chapters 36 and 37 to Skanda, but describes
him as the child of god Agni and goddess Ganges.
The legends of Kartikeya vary significantly, sometimes within the same text. For example, while
the Vana Parva of the Mahabharata describes Skanda as the son of Agni, the Shalya Parva and
the Anushasana Parva of the same text presents Skanda's legend as the son of Maheshvara
(Shiva) and Parvati.
In Vana Parva, the circumstances behind Kartikeya's birth legend do not involve Shiva and
Parvati. Rather it is deity Agni who goes to a hermitage of seven married Rishis (sages) and
meets their seven wives. He is sexually attracted to all seven, but none reciprocate. Svaha is
present there and she is attracted to Agni, but Agni is not. According to the legend, Svaha takes
the form of six of the wives, one by one, and sleeps with Agni. She does not take the form of
Arundhati, Vasistha's wife, because of Arundhati's extraordinary virtuous powers. Svaha deposits
the semen of Agni into the reeds of River Ganges, where it develops and then is born as six
headed Skanda.
A totally different legend in the later books of the Mahabharata make Shiva and Parvati as the
parents. They were making love, but they are disturbed, and Shiva inadvertently spills his semen
on the ground. Shiva's semen incubates in River Ganges, preserved by the heat of god Agni, and
this fetus is born as baby Kartikeya on the banks of Ganges.

Some legend state that he was the elder son of Shiva, others make him the younger brother of
Ganesha. This is implied by another legend connected to his birth. Devas have been beaten up by
Asuras led by Taraka, because Taraka had a boon from ascetic celibate yogi Shiva that only
Shiva's son can kill him. Devas learn about this boon, and plan how to get Shiva into a
relationship. So they bring Parvati into the picture, have her seduce yogi Shiva, and wed Parvati
so that Skanda can be born to kill Taraka.
According to Raman Varadara, Murugan or Kartikeya was originally a Tamil deity, who was
adopted by north Indians. He was the god of war in the Dravidian legends, and became so
elsewhere in the Indian subcontinent too. In contrast, G. S. Ghurye states that according to the
archeological and epigraphical evidence, the contemporary Murugan, Subrahmanya and
Kartikeya is a composite of two influences, one from south and one from north in the form of
Skanda and Mahasena. He as the warrior-philosopher god was the patron deity for many ancient
northern and western Hindu kingdoms, and of the Gupta Empire, according to Ghurye. After the
7th-century, Skanda's importance diminished while his brother Ganesha's importance rose in the
west and north, while in the south the legends of Murugan continued to grow. According to
Norman Cutler, Kartikeya-Murugan-Skanda of South and North India coalesced over time, but

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some aspects of the South Indian iconography and mythology for Murugan have remained
unique to Tamil Nadu.
Kartikeya's legends vary by region. For example, in the northern and western Indian traditions
Kartikeya or Skanda is the perpetual celibate bachelor who never marries, but in the Tamil
legends he has two consorts, Valli and Devasena.[67] Many of the major events in Murugan's life
take place during his youth, and legends surrounding his birth are popular in Tamil Nadu. This
has encouraged the worship of Murugan as a child-God, very similar to the worship of the child
Krishna in north India. Kartikeya's youth, beauty and bravery was much celebrated in Sanskrit
works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic,
the Kumārasambhava.

Guha (Kartikeya)
You who has form and who is formless,
you who are both being and non-being,
who are the fragrance and the blossom,
who are the jewel and its lustre,
who are the seed of life and life itself,
who are the means and the existence itself,
who are the supreme guru, come
and bestow your grace, O Guha [Murugan]
—Kantaranuputi 51, Arunagirinathar
(Translator: Kamil Zvelebil)
There is extensive Hindu symbolism and theology associated with Kartikeya. Regardless of the
variance among the legends, his birth is in difficult circumstances, he is born through a surrogate
after being left near a river. He is raised not by his natural mother but a host of mothers, but later
he is a part of his biological family. Kartikeya symbolizes a union of polarities.
He is handsome warrior and described as a celibate yogi. He uses his creative martial abilities to
lead an army against Taraka and other demons, and described as a philosopher-warriorHe is a
uniter, championing the attributes of both Shaivism and Vaishnavism.
His theology is most developed in the Tamil texts,[11] and in the Shaiva Siddhanta tradition. He is
described as dheivam (abstract neuter divinity, nirguna Brahman), as kadavul (divinity in nature,
in everything), as Devan (masculine deity), and as iraivativam (concrete manifestation of the
sacred, saguna Brahman).

According to Fred Clothey, as Murugan (also referred to as Murugan, Cheyyon), he embodies

the "cultural and religious whole that comprises South Indian Shaivism".
He is the philosopher and exponent of Shaiva Siddhanta theology, as well as the patron deity of
the Tamil language.

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Worship within-Southern India
Kartikeya is a major deity among the Hindus of Tamil Nadu, Kerala, Karnataka, Andhra
Pradesh and Telangana.
Tamil Nadu
He is considered the God of Tamil language and he is mentioned a lot in Sangam
literature. The six abodes of Murugan are all in Tamil Nadu. Each of these temples has a unique
history and different reason to worship Lord Murugan.Thirupparamkunram Murugan Temple he
is worshiped as he (Lord Kartikeya) worshiped Lord Shiva. As per tradition, devotes who go to
the six abodes of Murugan tonsure their head in imitation of Palani deity.

 Thai Poosam during January – February month is celebrated as a 6-day festival. On Thai
Poosam day, Kavadis and Palkudams are taken by devotees in procession around
Chhedanagar. Special Abhishekams are performed to the Moolavar and Utsavar.
Annadhanam is provided to all devotees participating in the functions. In the night, Lord
Muruga is taken in procession accompanied by Nadaswaram, Veda Parayanam around
Chhedanagar.
 Vaikasi Visakam day, (during May –June month), Kavadis and Palkudams are taken by
devotees in procession around Chhedanagar.
 Skanda Sashti during October-November month is celebrated as a 6-day festival. Spiritual
discourses by learned scholars and/or music concerts by popular artists from South or from
Mumbai are organized.
Beyond India
1. Nepal
Kartikeya is worshipped as Kumar in Nepal both by Hindu and Buddhist Communities. The
Newah community celebrates Sithi Nakha: Festival dedicated to Sithi Kumar. Sithi
Nakha(Kumar Shashthi) is celebrated on this sixth day of the waxing moon, according to the
lunar calendar, in the Lunar month of Jestha. The festival is celebrated by cleaning water sources
like wells, ponds and stone spouts and ending it with a grand Newah feast of six different
varieties of Newarhi food including Wo or Waa (fried lintel bread) and Chatamari (Newah
pizza). The Festival is traditional Environment day as houses, courtyards, streets and allies are
cleaned during this day. It is believed that cleaning such water sources will bring in rain for good
cultivation of crops. It is also celebrated to welcome monsoon as this was the ideal time to set up
rice seedbeds. The most of Newah communities also mark the festival as the end of Dewaali, to
worship their family deities.
2. Malaysia
Kartikeya is revered by the Hindus in Malaysia and other South-East Asian countries such as
Singapore and Indonesia. Thaipusam is one of the important festivals celebrated. Sri
Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Kartikeya.
There are some other temples in Malaysia such as:

 Kallumalai Temple in Ipoh

 Arulmigu Balathandayuthapani Temple, Penang
 Sannayasi Andavar Temple in Cheng, Malacca

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 3. Sri Lanka
Karthikeya is worshipped by the Sinhalese as Kataragama deviyo also by Sri Lankan Tamils as
Muruhan, a guardian deity of Sri Lanka. Numerous temples exist throughout the island. He is a
favourite deity of the common folk everywhere and it is said he never hesitates to come to the aid
of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, he is worshipped at
the Kataragama temple, where he is known as Kathiravel or Kataragama deviyo. Local legend
holds that Murugan alighted in Kataragama and was smitten by Valli, one of the local girls. After
a courtship, they were married. This event is taken to signify that Murugan is accessible to all
who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple,
the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are
the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the
border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy
temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth
relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of
Skanda in the Sinhalese tradition. Almost all Buddhist temples house a shrine room for
Kataragama deviyo reflecting the significance of Murugan in Sinhala Buddhism.

The Sri Lankan Nallur Kandaswamy temple (Jaffna) is dedicated to Murugan (Kartikeya). (right) Hindus in Réunion

By the 16th century, the Kataragama temple had become synonymous with Skanda-Kumara who
was a guardian deity of Sinhala Buddhism. The town was popular as a place of pilgrimage for
Hindus from India and Sri Lanka by the 15th century. The popularity of the deity at the
Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in
the 16th century. There are number of legends both Buddhist and Hindu that attribute
supernatural events to the very locality.

10 Interesting facts about Lord Kartikeya – Lord Murugan (BY AA YUS H )

Lord Kartikeya, the son of Lord Shiva and Goddess Parvati is known by different names –
Swaminatha, Murugan, Muruga, Kumara, Skanda, Shanmukha, etc. Lord Murugan is also
popularly known as Subramaniam that is a common name in South India. He seems to have been

258
a popular war god who was also the elder brother of Lord Ganesh. However, excluding the likes
of Tamil Nadu and some other places in India, Skanda is not as popular as his brother in other
parts of India. Nevertheless, he is a highly decorated and powerful God with many divine
qualities.
Thus, here is 10 interesting facts about Lord Kartikeya (Muruga) which everyone should know.
Contents show

1. The Handsome God

Lord Kartikeya was said to be one of the most beautiful looking and handsome gods. He is often
described as exuding boyish charm and yet with a serious face, quite unlike his happy-go-lucky
chubby brother Ganesha. Often depicted as a calm and serene character, he had a face that
resembled the radiance of the full moon. Thus, many parents keep their son’s name as Kartikeya
hoping their son would become very handsome.

2. Born to Kill Tarakasura

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There was one Asura named Tarakasura who was given a boon by Lord Brahma that he would
only be killed by someone who is as strong as Lord Shiva. Son of Lord Shiva would only be as
strong as Lord Shiva. This is soon after Sati’s death, so Tarakasura takes it for granted that Shiva
was sad and depressed and would not at all get remarried. Hence, he would not have a son
without a wife.
However, it is believed that Lord Murugan manifested for the sole purpose of killing Tarakasura.
Tarakasura knew very well that Lord Shiva was an ascetic and he thought he would not marry or
have children. Hence, he would be invincible. However, Shiva was not a God who could let
injustice prevail.

3. The Shanmukha

Lord Shiva married Goddess Parvati. Lord Shiva took her to a cave and asked her to meditate.
As they both meditated, a ball of fire emerged out of their cosmic energies.
In the meantime, the other Gods being insecure from Tarakasura, sent Agni or the God of fire to
get hold of the ball of fire. But even Agni couldn’t bear the heat of the energy of Shiva and
Parvati. So, He handed over the ball to Goddess Ganga. When even Ganga couldn’t bear the
heat, She deposited the fireball into a lake in a forest of reeds.

Kartikeya is also known as Shanmukha or God with six faces. Lord Shiva’s hands his fiery seed
fire to Agni who can handle it till the radiance becomes Shiva’s offspring. Unable to bear the
heat, Agni gives the radiance to Ganga. Then Goddess Parvati took the form of this water body
as she alone could bear the energy of Shiva and Shakti. Finally, the fireball took the form of a
baby with six faces – Eesanam, Sathpurusham, Vamadevam, Agoram, Sathyojatham and
Adhomugam, and hence the name Shanmuga or Shadanan. Kartikeya was cared for by six
women symbolizing Pleiades (Kritika in Sanskrit) and thus got the name Kartikeya.

260
4. Vahana

The Vehicle he rides is a peacock called Paravani. Kartikeya, also known as Lord Murugan in
Southern India, is also mounted on a peacock. This peacock was originally an Asura called
Surapadma, while the rooster which was called the angel, Krichi. After provoking Lord Murugan
in combat, Surapadma repented at the moment his lance descended upon him. He took the form
of a tree and began to pray. The tree was cut in two. From one half, Murugan pulled a rooster,
which he made his emblem, and from the other, a peacock, which he made his mount.

5. Symbolism of his Idol

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If you look at the idol of Kartikeya, on one hand, He carries a spear. It is also called Vel. It is
not a trident. It is symbolic of the Kundalini Shakti.
In his other hand, he carries a small flag on which there is a rooster. In another version,
Tarakasur was defeated by Lord. So, Tarakasur (ego) became a chicken or rooster after being
defeated by Kartikeya. After having defeated Taraka (ego) in battle, Kartikeya spared his life and
asked him what boon he would desire. Taraka prayed to always be at the feet of the Lord, and so
Lord Kartikeya made him the emblem on his flag. This also means that the ego should always be
kept subdued. Ego is necessary for life but it should be kept subdued.

6. Swaminatha – The Guru of Shiva

Once Kartikeya asked Lord Brahma to explain the meaning of Om. Brahma explained to him but
he was not satisfied. Later on, when asked by Lord Shiva, he explained the whole episode to
him. Lord Shiva told that he must learn from Lord Brahma, as he is the supreme creator. To this
Kartikeya replied, ‘Then you tell me, what is the meaning of Om?’ Hearing this, Lord Shiva
smiled and said, ‘Even I don’t know.’ Kartikeya then said, ‘Then I will tell you because I know
the meaning of Om.’

Lord Shiva: ‘Then tell me the meaning since you know it’
Kartikeya: ‘I can’t tell you like this. You have to give me the place of the Guru. Only if you put
me on the pedestal of the Guru can I tell you’, said Kartikeya.
Lord Shiva: (Thinking to himself) ‘Guru means he has to be in a higher position or platform.
The teacher has to sit at a higher place and the student has to sit down and listen to him. But how
can I find a seat higher than him, for he is the highest and greatest of Gods?’
So then Lord Shiva lifted the young Kartikeya on to His shoulders. And then in the ear of Lord
Shiva, Lord Kartikeya explained the meaning of the Pranava Mantra (Om).

Kartikeya: ‘That the entire Creation is contained in Om. The Trinity – Lord Brahma, Vishnu,
and Shiva are contained in Om. This is the essence and also the secret of Om that Lord Kartikeya
narrated to Lord Shiva.’
Upon hearing this, Goddess Parvati (Mother of Lord Kartikeya, and an incarnation of the Mother
Divine) was elated and overcome with joy.

Goddess Parvati: ‘You have become a Guru (Swami) to my Lord (Natha)!’

Saying this she addressed her son as Swaminatha, and ever since Lord Kartikeya also came to
be known as Swaminatha.

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7. His Marriage

Amritavalli and Saundaravalli were two daughters of Lord Vishnu, born from his eyes. They
developed an undying love for Skanda and performed severe austerities to obtain him as a
husband. At Skanda’s instructions, Amritavalli incarnated as Devasena, a young girl under the
guardianship of Indra in Swarga. Saundaravalli took the form of Valli, a lass under the protection
of Nambiraja, a hunter near Kanchipuram. ‘Valli’ is a Tamil term for the Sanskrit ‘Lavali’, a
kind of a creeper. As she was found among the creepers as a baby, the hunter called her ‘Valli’.
After the war with Surapadma was over, the devas were overjoyed. Skanda acceded to Indra’s
prayer to accept Devasena as his consort.
The divine wedding was celebrated with great enthusiasm at Tirupparankundram near Madurai
in the presence of Parvati and Siva. Indra’s re-coronation in Amaravati in Swarga followed.
Devas regained their power and positions. Skanda took his home in Skandagiri. He then
proceeded to Tiruttani near Chennai, where Valli was looking after barley fields. After a series of
sportive love-pranks, in which his brother Vighneswara also lent a helping hand, he married her.
His preferred weapon is the Vel or spear hence the popular name Velayudhan – he whose
weapon is a spear.

8. Festivals Honouring Kartikey

Sharad Purnima, also known as Kumara Purnima, which is celebrated on the full moon day
after Vijayadashami, is one of the popular festivals dedicated to Kartikeya in Odisha. It is
believed that unmarried girls worship Kartikeya on this day to get grooms handsome as
Kartikeya.
Another major holiday dedicated to the worship of Lord Kartikeya is Thaipusam. It is believed
that on this day, Goddess Parvati presented a lance to Lord Murugan to vanquish the demon
army of Tarakasura and combat their evil deeds. Therefore, Thaipusam is a celebration of the
victory of good over evil.

263
In addition, Skanda Sashti is yet another regional festival celebrated mostly by Shaivite Hindus,
which is observed in honor of Lord Kartikeya on the sixth day of the bright fortnight of the
Tamil month of Aippasi (October – November). It is believed that Kartikeya, on this day,
annihilated the mythical demon Taraka. Celebrated in all Shaivite and Subramanya temples in
South India, Skanda Sashti commemorates the destruction of evil by the Supreme Being.
9. Dev Senapati – God of War

He is also called ‘Deva Senapati’ and ‘Yuddharanga’. Kartikeya, the god of war and general
of the army of the gods, is known for his extraordinary strength and skills. It is said that he was
perfection personified, extremely brave and intelligent and highly skillful in the art of war. He is
considered as the commander in chief of devas as he was mainly created to destroy demons that
symbolize negative human tendencies. Lord Kartikeya was born to kill Tarakasura, thus, he is a
born warrior.

10. Buddhism and Jainism

According to Richard Gombrich, Skanda has been an important deity in Theravada Buddhism
pantheon, in countries such as Sri Lanka and Thailand. The Nikaya Samgraha describes Skanda
Kumara as a guardian deity of the land, along with Upulvan (Vishnu), Saman and Vibhisana.

Similarly, the 16th-century Siamese text Jinakalamali mentions him as a guardian god. There are
Buddhist Sinhala shrines such as at Kataragama dedicated to Skanda which have historically
been officiated by Hindu priests, which attracted Buddhist devotees and enjoyed royal support.
Since the 1950s, Brian Morris states, the Kataragama shrine of Skanda has attracted over half a
million devotional pilgrims every year, most being Buddhists.

264
In Chinese Buddhism, Skanda has been portrayed as Weituo, a young heavenly general, the
guardian deity of local monasteries and the protector of the Buddhist dhamma. According to
Henrik Sørensen, this representation became common after the Tang period and became well
established in the late Song period. Skanda was also adopted by Korean Buddhism, and he
appears in its woodblock prints and paintings.
According to Asko Parpola, the Jain deity Naigamesa, who is also referred to as Hari-
Naigamesin, is depicted in early Jain texts as riding the peacock and as the leader of the divine
army, which are both symbols of Kartikeya.

__________________________________________________________________________

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 ABOUT THE AUTHOR DR UDAY DOKRAS

About the Author

The author has worked for 30 years in the human resources arena in India and abroad. He
was Group Vice -President of MZI Group in New Delhi and has anchored Human
Relations in Go Air and Hotel Holiday Inn;was General Manager-Health Human
Resources at the Lata Mangeshkar Hospital amd Medical college. Is currently Consultant
to Gorewada International Zoo,Nagpur and visiting Faculty at the Central Institute of
Business Management and Research, Nagpur.

In Sweden he anchored HR in Stadbolaget RENIA, SSSB and advisor to a multi

millionaire. He has studied in Nagpur, India where he obtained degrees of Bachelor of
Science, Bachelor of Arts(Managerial Economics) and Bachelor of Laws. He has done
his Graduate Studies in labour laws from Canada at the Queen's University, Kingston; a
MBA from USA, and Doctorate from Stockholm University, Sweden. Apart from that he
has done a Management Training Program in Singapore.

A scholar of the Swedish Institute, he has been an Edvard Cassel Fund and Wineroth
Fund Awardee.A scholar for the Swedish Institute for 5 years.
In 1984 he was involved with the Comparative Labour Law Project of the University of
California, Los Angeles, U.S.A. He was also visiting lecturer there. In 1985 he was
invited by the President of Seychelles to do a study of the efficacy of the labour laws of
Seychelles.

266
 Author of a book on a Swedish human resource law, his brief life sketch is part of the
English study text book of 7 th Class Students in Sweden -“Studying English.
SPOTLIGHT 7”- and 8th Class students in Iceland - “SPOTLIGHT 8- Lausnir.”

RESEARCH PAPERS-320 + in Researchgate and academia.edu & scribd

Followers(readers) 65,000 consolidated as on 26 th September,2020.

Authors-DR Uday DOKRAS

Dr. Uday Dokras

B.Sc., B.A. (Managerial Economics), LL.B., Nagpur University, India
Certificat'e en Droit, Queen’s University. Ontario, Canada,
MBA, CALSTATE,Los-Angeles, USA,
Ph.D. Stockholm University, Sweden,
Management and Efficacy Consultant, India

267
 Reviews of the Book PROJECT HUMAN RESOURCE MANAGEMENT

The authors highlight the benefits of paying attention to human resources and offer success and
failure factors guideline for a variety of potential practitioners and students in global project
marketplace.
Ms.Ylva Arnold, Head HR- Norstedts Publishers, Stockholm SWEDEN

268
From the Newspaper Times of India March
24, 2018

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Iceland Sweden both countries use the English Text SPOTLIGHT-one of the lessons in
which is about Dr Uday Dokras

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Prof. S.Deshpande,President of the Indian Instituye of Architects, New Delhi INDIA
releasing the book of Dr Dokras HINDU TEMPLES on the web in CARONA
gimes( May 2010)

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Some of my books

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 Unravelling the

SCIENTIFIC BORUBUDUR

Dr Uday Dokras-Srishti Dokras - Kinjal Shah

Indo Nordic Author’s Collective

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 Indo Nordic Gem research Institute

51 BOOKS BY DR UDAY DOKRAS

Published by
The Indo Swedish Author’s Collective Stockholm
The Indo Swedish Author’s Collective Finland

Dr. Uday Dokras

Tamil People as Traders and Voyagers

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 The Cambodian Trilogy

I.HINDU CAMBODIA

II.HYDROLOGY of ANGKOR
ANGKOR is known as a Hydraulic city- full or canals and river and
waterways. It is this water system they say that brought the downfall of this
intrinsic kingdom. But is that TRUE?

III.ENTER…… THE KINGDOM THAT

VANISHED- Angkor

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Building Materials of the Hindu Temple
Indo Nordic Author's collective, 2021
In depth study of how Building Materials of the Hindu Temple was used in
India,Indonesia and Cambodia and India

The Art & Architecture of THE GOLDEN TEMPLE

COMPLEX, AMRITSAR

Mathematics in Temple Designs

282
 Jain ART
Book on Jain Art and Iconography

Jain Temples- Part I -Complete Compendium-

Book I
A to Z of the architecture, Design,Cosmology,Philosophy of Jain temples in

Jain Temples II
DEVELOPMENT OF THE ARCHITECTURE OF JAIN TEMPLES AND THE
ACTUAL PHOTOGRAPHS(ORIGINAL) OF 3JAIN TEMPLES of Nagpur

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DWARKA- CELESTIAL MYSTERIES of the Lost
CITY of KRISHNA

TIRUPATI TEMPLE Book part I

TIRUPATI TemplePart II

Vahanas- the vehicles of Hindu Gods

Vahanas- the vehicles of Hindu Gods. Animals in Hinduism. demi Gods

284
SATYANARAYAN PUJA-The Complete Compendium
Satyanarayan Puja or 9 Graha Puja( a puja of 9 planets) has been
performed by most Hindus not only now but for 1,000’s of years.

MAHALAXMI Puja
Hindu Goddess MAHALAXMI Puja

ARCHITECTURE OF PALESTINE

Palestine my Love
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Palestine my Love is about the culture arts and crafts of palestine so we
recognize it as a entity that is fighting for recognition of not only its
legitimacy but also its cultural heritage

QUINTET (5) BOOKS ON MANDALA

Unravelling the MAZE of the MANDALA BOOK I

First part of a two book treatise on MANDALAS. This introductory phase
introduces mandalas

Maze of MANDALA BOOK II

Advanced Mandala routine for those who want to know more about
MANDALAS

Mandala BOOK III on Nakshatra

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BOOK IV MANDALA & ARCHITECTURE
The Use of Mandalas in Building Temples and Modern Buildings

Book V on Mandala of the Oriental Kingdoms

Islamic Architectureal Arts of of Imam Ali's 2

Shrines

Hindu Gods in Scandinavia

287
Did the Hindu Gods originate or live in Scandinavia once? Find out

Book on Divinity and Architecture

What is divinity? How has man tried to harness architecture to create magic
in space

Virat Hridaya Padma-sthalam CHIDAMBARAM

Temple -Celestial Mysteries
This book is about a mysterious and revered tempe built by the Chola
Kings of South India 2000 years ago

T2- Temple Tech. A Book

How are Hindu temples built and the technology that follows this craft.
From A to Z Complete Guide.

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Rendezvous with Sri RAM Portfolio of Temple Art
by Srishti Dokras, Architect Special section on
Hindu Foods by Karan Dokras, Product Guru

Best Foot Forward

The story of Footwear through the ages up to COVID times

Hindu Temple Panorama-Celestial Mysteries

A to Z of Temples. A total Panoramic View of design and architecture of
Hindu temples in 350 page...

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 DUOLOGY (2) on JAINISM
Ativir
ATIVIR means Very Brave and is the name given to Lord Mahavir the 24 th
Saint(TIRTHANKAR) Contains rare translations of the Dialogue of the
Mahavir with his disciples called GHANDHARVAVAD

Vardhaman-वर्िमान
IThis book is about Jainism- written by a non-

THE TRILOGY(3) on DEVRAJA The God kIngs of

Khemer

Book I DEVRAJ- The God Kings of Indo China-

Cambodia.
This is the first Book of a Trilogy that traces the growth of Hinduism in
South East Asia.

BOOK I I DEVRAJA- The Great Civilizations of

South East Asia -HINDU Era

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How Hinduism reached Cambodia and how the Hindu Kings called Devraj
Built these magnificent structures

Devraja BOOK II I Devraja and Raj Dharma God

King and Kingly Religion The HINDU Era of
Great Civilizations of Khemer
Book 2 of a Trilogy that traces the advent of Hinduism on South East Asian
and Indo-Chinese

Vayu- Man's taming of the winds

Man's conquest of nature spans a million years. How was wind tamed by
him. Here is the full story... more

VIMANA Ancient Conquests of Wind

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Ancient flying machines of Gods and Men(?) Were they true. Did they really
exist. 7000 years ago?

LIGHT HOUSES In words and pictures

BOOK Architecture of the Lighthouse of

Alexandria-BOOK
Indo Swedish Author's Collective, 2020
The lighthouse was built on an island off the coast of Alexandria called
Pharos. Its name, legend

Cosmology of lotus
Indo Nordic Author's Collective, 2020
The Lotus is the king of the flower world but few know it as a part of
creation. Find out the Cosmology.

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Celestial Mysteries of the Borobudur Temple
Borobudur remains a mystery even today. The largest Buddhist Stupa in
the world has many unanswered...
Win with this new DIET

Hindu tempel of India , Cambodia and Indonesia

Hindu Temples dot India, Cambodia and Indonesia

DISRUPTION-Book

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Book Architecture Creativity
Creativity and Architecture are linked and go hand in hand. This Book is a
culmination of 16 publications that have been put together as a book

Project HR Management
Indo Swedish Author's Collective
PROJECT HUMAN RESOURCE MANAGEMENT/'Dr UDAY DOKRAS The
project sphere has not been valued appropriately

Human Resource Engineering in Theme Parks.

by Dr. Uday Dokras and Mansse Bhandari
As theme parks evolve into facilitating for greater thrill seeking
audience,the role of human res... more

Health Human Resource Management

Management of Health care workers in hospitals and the human resource
practices to be followed in hospitals.

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WIN DIET Lose fat-Diet and Exercise Book ONLY BODY
SHAPING GUIDE YOU NEED

The Act on Co-determination at Work – an Efficacy study

Thesis of the Author for the degree of Doctor of Law
Stockholm University, SWEDEN 1990

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Scientific Angkor & Borobudur

Dr. Uday DOKRAS

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 SCIENTIFIC ANGKOR &
BOROBUDUR

Dr UDAY DOKRAS
INDO NORDIC AUTHOR’s COLLECTIVE

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