Guest guest Posted May 26, 2009 Report Share Posted May 26, 2009 Dear All, The following is from a blog at: http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html Love and regards,Sreenadh=========================================Saturday, February 2, 2008 CHIDAMBARA RAHASYAM The secrets behind Chidambaram Nataraja Temple 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. Recently, I read something which took me nearer the truth in this pursuit of this secret of secrets. As usual, I am sharing here all that I learned upto now . Most of the statements are in numbered format and given as short as possible. Chidambaram Lord Shiva dances here in Chidambaram. Before we speak of the Dance , we will explore the stage that is Chidambaram. A temple is called `Kovil' in Tamil. It literally means( Ko- il) the abode of the Lord. Whenever the mere name `kovil' is mentioned, it specially means Chidambaram which is split as Chit( gnana or wisdom) + Ambaram ( akasa or space) . Structure of a typical Siva Temple A classical Siva temple as per Agama rules will have five prakaras or circuits each separated by walls one within the other. The outer prakaras will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakara houses the sanctum sanctorum ( karuvarai in Tamil). In it sits Shiva, the supreme Lord. Symbolism behind the structure of a Shiva Temple 1. The temple is so constructed as to resemble the human body with all its subtleties. 2. The five walls encircling one another are the kosas ( sheaths) of human existence . a. The outermost is the Annamaya kosa , symbolizing the material body. b. The second is Pranamaya kosa , symbolizing the sheath of vital force or prana. c. The third is Manomaya kosa, symbolizing the sheath of the thoughts, the mana d. The fouth is the Vignyana maya kosa, symbolizing, the sheath of the intellect e. The fifth and innermost is the Ananda maya kosa, symbolizing the sheath of Bliss. 3. The sanctum which is in the prakara symbolizing the Ananda Maya Kosa sheath , houses the lord, seated as the Jiva within us. It is to be noted that the sanctum is an unlit space, just as if within the heart closed on all sides. 4. The entry Gopuras are likened to the feet, as resembling a person who is lying on the back with the toe up. 5. The flag post depicts the sushumna nadi which raises from the Mooladhar (base of the spine ) to the sahasrar ( vertex in the head). 6. Some temples will have three prakarams. There they represent the stoola, sukshma and karana sareeras (bodies) of a human being Some temples have only one and they represent all the five. Chidambaram temple and its symbolism: Saint Thirumoolar, whose legend is intricately woven with Chidambaram, says in his thirumanthiram திரà¯à®®à®¨à¯à®¤à®¿à®°à®®à¯à®®à®¾à®©à¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠சிவலிஙà¯à®•à®®à¯à®®à®¾à®©à¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠சிதமà¯à®ªà®°à®®à¯à®®à®¾à®©à¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠சதாசிவமà¯à®®à®¾à®©à¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠திரà¯à®•à¯à®•à¯‚தà¯à®¤à¯‡transliterated into English, it reads mAnudarAkkai vadivu sivalingam mAnudarAkkai vadivu chidambaram mAnudarAkkai vadivu sadAsivam mAnudarAkkai vadivu thirukkoothe Meaning: "Sivalingam is of the form of the human body; So is Chidambaram ; So is Sadasivam ; And so is his divine dance". The temple has the above five prakaras resembling the sheaths.Nataraja gives dharshan from the sanctum called Chit Sabha with a golden roof. The roof has 26,000 golden tiles (see picture), denoting the number of breaths of a person in a day. These tiles are fixed to the wooden roof with the help of 72,000 nails depicting the number of nadis (the invisible ducts carrying energy to various parts of the body)As the heart is to the left of the body, the sanctum in Chidambaram is also aligned slightly leftward.On top of the Chit sabha roof, we find nine kalasas (made of copper) depicting the nine shaktis (powers)The roof has 64 cross wooden reapers denoting the 64 arts.The artha mandapa has six pillars denoting the six shastrasThe mantapa next to the artha mantapa has eighteen pillars symbolizing the eighteen puranas.There are five steps leading to the Chit sabha from the Kanaka sabha depicting the five lettered Panchakshara mantra ( Na ma chi vA ya)The Chit sabha roof is supported by four pillars symbolic of the four Vedas. Symbolism of Nataraja Swamy 1. Nataraja's dance is said to indicate the five divine acts which are a. Creation . Nataraja dances with a small drum called damarukam in one of his right hands. Easwra is nada brahmam. He is the origin of all sounds (nadam).This is the seed (vindu) from which the tree of the Universe emanated. b. Protection (Operation)- In another of the right hands, he shows the `Abhaya Mudra', meaning he is the kind protector . c. Destruction; He has fire in one of his left hands , symbolizing destruction. When everything is destroyed by fire, only the ash will remain which the Lord has smeared on his body. d. The foot which is planted shows the act of hiding e. The raised foot shows the act of bestowing Nataraja swamy has the Vigraha ( icon) of Devi Sivakama Sundari to his left . This symbolizes Ardhanareeswara , ` the Lord who has the female as his left half'. To his right there is a screen. When the deeparadhana – showing lamps takes place to the swamy and to the left side , the screen is removed and we see five vertical long hangings of golden vilva leaves. We see nothing behind it. Sivakami shows the Saguna Brahman (the God with a form) that is Nataraja . The Saguna Brahman leads us to the Nirguna Brahman (the God without form or the God who has formlessness as his form). This is told as `Chidambara Rahasyam' by the Dikshitars , who are the traditional pujaris in the temple. Shiva's dance is called the cosmic dance by many scholars. In Chidambaram, this dance is called `Ananda Tandava' Lord Maha Vishnu also saw the Divine dance. In a nearby mantapa called Chitrakoota, Maha Vishnu, gives us dharshan in his fully reclining Yoga Nidra pose on the snake bed. If one stands on a small lotus sculpted on the floor slab in front of Narayana, one can at the same time see Nataraja in his right side. Sages Patanjali and Thirumoolar also saw Nataraja's dance in Chidambaram. Their figures are embossed on the Silver doors of the Chit Sabha. I think you enjoyed reading the above. Nataraja Rahasyam is said to have come to Tamilnadu from the Indus – Saraswati civilization. The Saiva Agamas, which teach tantric Saivism, reveal much more than the above. Next time you visit Chidambaram, remember all this, and worship Nataraja who will grant you release from the pains of the worldly life and show you the path of Gnana. (The pictures have been collected from the net)free website counters Posted by Venkatasubramanian at 7:55 AM 11 comments: M.R said... EXCELLANT WORK February 3, 2008 6:59 AM Kishore patnaik said... "Kishore patnaik" hidambaram is a lofty set of Cosmological Secrets. It is no wonderthat the phrase " Chidambara Rahasyam" is popular all over South Indiato signify a deeply kept secret.It is Fritjof Capra who has tried to capture this essence ofcosmological presentation that has been made in the Nataraj ofChidambaram.http://timesofindia.indiatimes.com/articleshow/1857054667.cms"Fritjof Capra catapulted Nataraja into a modern-day scientific iconwhen he euphorically stated in his cult book of 1974 The Tao ofPhysics that ''the dancing Shiva is the dancing universe, theceaseless flow of energy going through an infinite variety of patternsthat melt into one another''."Only recently, I came across two other cosmological aspects of thisGreat Temple, which shares these secrets with Egypt.The Chidambaram connected to Egyptian cosmological influences in thefollowing aspects:1.Their sphinx has been represented by us as purusha mriga .2.The mystery of Orion is present in both pyramids & chidambaramhttp://www.geocities.com/rdeekshithar/pagina1.htmlHowever, it is not new that Temples of India are a Scripturalrepresentations of Cosmological effervescence. For eg., I came acrossvery recently in a book about the concept of Tarakka, that the ancientmonuments being reflections of Stars.It took lots of time for me to search for this paper on the net butsomehow I could get it.http://www.grahamhancock.com/forum/DBhattacharya1.phpI invite comments from every one, Kishore patnaik February 3, 2008 8:20 AM prakash said... great work...but i do have one comment and one doubt...first my comment............isnt the secret that the half seen which is the left side ,in the form of a lady.....this means that our ancestors and the gr8 scholars wwanted us to know the truth that the ONLY visible GOD in the universe is a LADY and that is mostly OUR MOTHERS....(On A Lighter Note: so much so that this defeats the colloquial theory that by meaning chidambaram rules it actully the lady in the house reins..)my doubt now..the golden covering of the temple was done very recently and long after the temple was constructed..so many of your explanantions are in reference with this..so how do you explain when the inside inscriptions that is the ones below the gold covering are one and the same first and what if they differ.........is it just an explanation of justification and conveinience.... February 4, 2008 9:28 AM Venkatasubramanian said... A very good questionThe golden tiling was done by King ParAntaka Cholan, father of Raja raja Cholan in about 1000 AD. But, the temple existed before that. The Agamic masters of the chola period must have refined the work by adding these subtleties. There is another fact. The saiva Agamas based worship and construction generally followed in other Shiva temples is not followed in Chidambaram. The procedure used was given by Patanjali himself , it is said. Thirumoolar, whose history remains a mystery, is said to have lived between BC 6000 and BC 3000 ( he lived for 3000 years singing one song per year). and also at 6 th century Ad. He has in detail explained about Chidambaram. Our ancestors chose to prefer anonimity, and self oblivion and we still grasp for light on our past.Though not an answer in toto to your question, this is an effort in that direction.Venkat February 6, 2008 6:18 AM Dhriti said... Om Nama ShivayaGreat post detailing the intricies of Chidambaram. I have referenced this on my blog at http://dhriti.wordpress.com/2008/02/07/chidambara-rahasyam/-Dhriti February 7, 2008 4:53 PM parameswaran said... parameswaran saidI have visited the great temple many timesnow I have got the explantion to understant the great temple BETTERThanksParameswaran February 12, 2008 6:39 PM Venkatasubramanian said... Jai Sri RamA reply from Sri Ram, was sent to me through Sri Parameswaran. I thought it fit to provide the info as it is. My reply will be posted separately.++++++++++++++++++++++++++I read with interest the information on Çidambaram as explained by `Venkat'. He starts by saying that he would explain the rahasya, but has never done that at the end. I still could not understand what he refers to rahasya at the end. I saw a comment by one `Parameswaran' at the end of the blog and I thought it could be you and based on that guess, I believe you are interested in this topic and therefore, I am offering some explanation on Çidambaram, some according and endorsing Venkat and some disputing Venkat. For a lucid commentary on the Ananda Tandava the best resource to consult will be the texts by Dr Ananda K(entish) Coomaraswamy, a geologist—art historian—Indologist. He has provided the best commentary, in my opinion. Çidambara Basically Çidambaram is known in ancient Tamil references (e.g., Sangam period literature) as Tillaivanam, referring to the forest (= vanam) of Tillai tree, which is a mangrove species (Excoecaria agallocha). This particular taxon tillai, because of proximity to the coast, grows abundantly in this region and according to mythic references, a siddapurusa by name Pulippaani Sithar (Vyagra-paada--Samskrit) lived in this area, who worshipped the Lord of Çidambaram. At least during the time of Pulippaani Sithar, this place was known as Tillaivanam only. The name Çidambaram (as explained by Venkat: Çith+ambaram) came into existence much later, although we are unsure the exact time. But during the time of the 63 Nayaanmaars (= Saiva samaya leaders), this name Çidambaram existed, because in Tevaaram references to the term Çidambaram occur plentifully. And this period is certainly about the time of Mahendra Varma Pallava (6th century AD), because Mahendra Varma was converted into Saiva faith from Jain faith by the action of Tirunavukkarasar (= Appar). Of course, much contribution was made by the Çola King Raja Raja (11th century AD) and his accomplished sister Kundavai Naacchiar in contributing substantially to the repair of the ramparts of the temple of Çidambaram and also in retrieving Tevaaram -- the contribution of the naalvar, viz., Appar (Tirunavukkarasar), Tirugnanasambandar, Sundarar, and Manikkavasakar from the cellars of Çidambaram temple. According the Saiva faith, Siva exists as five bhutas (the sky, water, land (=soil), fire, and air) and Siva is worshipped representing each of these bhutas: e.g., Tiru-aanai-k-ka (near Sri Rangam) represents Siva as air/wind. In a similar context, in Çidambaram, Siva exists as the sky (the vast empty space; we ecologists refer to this as the atmosphere, which has several layers including a vacant space [recall what the late PRK researched on, while at IIT (Powaii), on the atmospheric vacuum]. Therefore, the priests at Çidambaram explain the existence of the Lord as akaasa (the sky; empty space), when devotees seek an explanation for the rahasya. The rahasya according to them is the very existence of Lord as vacant space, an element only the enlightened can relate to, understand, and appreciate; for the less enlightened, it will be a hard phenomenon to relate to Siva as vacant space. However, some historians challenge this theory. According to them, the name Çidambaram (until then, Tillaivanam), came into existence with the movement (migration) of certain group of people from somewhere in far north of India, to whom Venkat refers as the people from Saraswati civilization (similar to the Indus Valley Civilization). This means, those people came approximately from the present Delhi —Kanpur-Illahabad belt. However, I recall reading that the migrants were from Kashmir (the Kashmiri Brahmins – Pandits), who were Siva worshippers and because of the extensive Jain faith domination in the far north of India at that time, (4th--6th centuries). No convincing explanation exists as to why and how these Pandits (the migrants from Kashmir/Delhi-Kanpur-Illahabad belt) selected this area. Were they attracted by the serenity of Tillaivanam or did the Kollidam river attract them? Not clear at this stage. What is clear is that the temple, which these migrants (= foreigners) created was different to those temples that were existing already in southern India in several ways: 1. They never referred to their temple (temple of the Lord of Çidambaram) as Ko-il (here I dispute Venkat). Çidambara temple is always referred as ambalam (a chaste Tamil word that exists in contemporary Malayalam); because of the golden roof, the temple is wholly referred as Pon-ambalam (because of the golden-roofed dance hall, it is Kanaka-sabhai). 2. In all the then prevalent southern-Indian Siva temples, the principal deity (= the moolavar) is always in the form of linga, whereas in the Çidambaram temple alone, the moolavar and the utsavar are one and the same pançaloha idol; during veedi-ula, the same idol is taken out in procession and the garba-griha remains empty (vacant). 3. The Brahmins, who own the hereditary trusteeship of this temple, are referred in Tevaaram as `tillai-vaazh-andanar-moovaayiravar' specifically, which makes them special in context of the remainder of the community in southern India of that time. Given that Tirugnanasambandar (son of Sivapaada-hirudayar, Sirkazhi) was also a Brahmin (andanar) by birth, why the Brahmins of Çidambaram alone came to be referred as `tillai-vaazh-andanar-moovaayiravar' remains an unanswered question. But what is obvious is that they were unique, which could mean someone different from the locals. [An ordinary analogy could be in Madras context any northern Indian migrant is a maarvaadi, whereas the person in reality could be from Gujarat and need not be from Maarvaar at all!] I have not explained the rahasya yet; but all the above circumlocutions are necessary to set the context for explaining the rahasya (according to a few historians). Please recall that I indicated at the beginning of this commentary that the modern priests will show to a cellar (from where the Çola King Raja Raja retrieved the Tevaaram palm-leaf notes) and refer to it as the empty space –- the metaphysical symbolism of akaasa (emptiness). Some of the historians refer to this cellar was the chamber where the migrant Pandits used to end their lives –- usually by fasting to death -- once the life purposes on this earth were done (= completed; achieved). Ending one's life (through either drowning in running waters or fasting to death or subjecting oneself to being eaten by wild animals) is permitted in Saiva faith (also accepted by the modern eclectic Hinduism), provided all responsibilities of that individuals have been completed. [Recall that, in recent times, Vinobha Bhave denied food and water, and thus starved to death.] Resorting to one of the identified three mechanisms to end one's life is not a sin, whereas ending one's life through other means (e.g., consuming poison or hanging oneself) is a sin, according to Hindu belief. This practice (i.e, ending one's life at the completion of all obvious purposes) was prevalent in Jain faith of that time, more than in Saiva faith of southern India . The northern-Indian migrants who came to Tillaivana were influenced by some of these Jain practices and they practiced it in Çidambaram temple (in the cellar that was directly under the Garba-griha). An oversimplified explanation for this is that they believed that a savam becomes sivam in such a context. In the then existing Saiva faith (e.g., in the 4th--12 century Tamizhagam), this was an unacceptable practice. Even today, when a funeral procession proceeds on the street or road that abuts on the entrance of a temple, the priests would shut the main door/gate of the temple till the funeral procession gets past.. Under such circumstance, the migrant Pandits, who followed a `bizarre' practice of dying within the temple precincts, kept it as a secret and retained it within their clan (the dikshitas of Çidambaram). The following comment has no obvious link either to Çidambaram or to the diskhitas. The Lingayats (the Virasaivaites; from the Carnatik, which implies parts of modern Karnataka and Central Andhra Pradesh) have similar (note `similar' only and not `same') practices. Will stop here; any questions, will be happy to reply AffectionateRam February 15, 2008 9:08 PM Shanmugam said... As a person who has visited Chidambaram temple number of times,on careful scrutiny and watch found the garlands are hanging from a big lingam which has thousand lingams ingrained in one.Due to some people ,the Chidambaram Lingam is not worshiped and why? This needs answer. If a fact finding committee is allowed then,the answer will be known January 11, 2009 7:53 AM anil said... An amazing piece of information indeed on the well-known chidambara rahasya by Shri Ram.I have never read such an astonishing account on the rahasya anywhere.May I convey the material trusting the veracity of it to my friends and people in satsanga?Would somebody corroborate the finding? March 13, 2009 5:10 AM malgudidays said... The essence of a temple is to practice satsanga and clarify the doubts in the day to day life i.e. swadharma palan. This is the sole reason for the manifestation (swayabhuvus) of the celestial abodes on this very earth. The temples, for your indormation, are the stepping stones in the tradition of bhakthi, but not of yukthi. The tradition of yukthi involves the philosophical texts. I can see, that you are relating two disjoint domains. Though the motives for both domains being the same i.e. of liberation, you cannot relate two different domains unless you know the paths in each domain and what is the analogy between them. Since, with all due respect to everyone, relating two domains demands having in depth understanding of at least one of the domains, one should is not qualified to comment or interpret. April 13, 2009 12:45 AM krsh said... An article that left me spellbound.I am afraid I do not possess enough words to appreciate your article and your work.Truly excellent.Thanks for the work. ========================================= Quote Link to comment Share on other sites More sharing options...
Guest guest Posted May 26, 2009 Report Share Posted May 26, 2009 Thank you for posting. This is just what I needed to read. --Radha , " Sreenadh " <sreesog wrote: > > Dear All, > The following is from a blog at: > http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html> > Love and regards, > Sreenadh > ========================================= > Saturday, February 2, 2008 CHIDAMBARA RAHASYAM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html> > The secrets behind Chidambaram Nataraja Temple > > > [bLOGGER_PHOTO_ID_5162412542737571522] > <http://2.bp.blogspot.com/_yhxoh42e1IM/R6SS2yHk3sI/AAAAAAAAA40/itF19tb4M\ > 1E/s1600-h/1b31frontlight.jpg> > > 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. > > > > 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 > <http://bharataagamas.blogspot.com/2007/12/agamas-that-helped-shape-bhar\ > at.html> rules will have five prakaras or circuits each separated by > walls one within the other. The outer prakaras will be open to the sky > except the innermost one. The innermost one will house the main deity as > well as other deities. There will be a massive wooden or stone flag post > exactly in line with the main deity. > > > > > > The innermost prakara houses the sanctum sanctorum ( karuvarai in > Tamil). In it sits Shiva, the supreme Lord. > > > > Symbolism behind the structure of a Shiva Temple > > > > 1. The temple is so constructed as to resemble the human body with all > its subtleties. > > 2. The five walls encircling one another are the kosas ( sheaths) of > human existence . > > a. The outermost is the Annamaya kosa , symbolizing the material body. > > b. The second is Pranamaya kosa , symbolizing the sheath of vital force > or prana. > > c. The third is Manomaya kosa, symbolizing the sheath of the thoughts, > the mana > > d. The fouth is the Vignyana maya kosa, symbolizing, the sheath of the > intellect > > e. The fifth and innermost is the Ananda maya kosa, symbolizing the > sheath of Bliss. > > 3. The sanctum which is in the prakara symbolizing the Ananda Maya > Kosa sheath , > > houses the lord, seated as the Jiva within us. It is to be noted that > the sanctum is an > > unlit space, just as if within the heart closed on all sides. > > 4. The entry Gopuras are likened to the feet, as resembling a person > who is lying on the > > back with the toe up. > > 5. The flag post depicts the sushumna nadi which raises from the > Mooladhar (base of the > > spine ) to the sahasrar ( vertex in the head). > > 6. Some temples will have three prakarams. There they represent the > stoola, sukshma > > and karana sareeras (bodies) of a human being Some temples have only > one and they > > represent all the five. > > > > > > Chidambaram temple and its symbolism: > > > > Saint Thirumoolar, whose legend is intricately woven with Chidambaram, > says in his thirumanthiram > > திரà¯à®®à®¨à¯à®¤à®¿à®°à®®à¯ > > மானà¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠> சிவலிஙà¯à®•à®®à¯ > மானà¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠> சிதமà¯à®ªà®°à®®à¯ > மானà¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠> சதாசிவம௠> மானà¯à®Ÿà®°à®¾à®•à¯à®•à¯ˆ வடிவ௠> திரà¯à®•à¯à®•à¯‚தà¯à®¤à¯‡ > > > transliterated into English, it reads > > > > > mAnudarAkkai vadivu sivalingam > > mAnudarAkkai vadivu chidambaram > > mAnudarAkkai vadivu sadAsivam > > mAnudarAkkai vadivu thirukkoothe > > > [bLOGGER_PHOTO_ID_5162413156917894866] > <http://1.bp.blogspot.com/_yhxoh42e1IM/R6STaiHk3tI/AAAAAAAAA48/Fl846H-lw\ > vM/s1600-h/chid2s.jpg> [bLOGGER_PHOTO_ID_5162413646544166626] > <http://3.bp.blogspot.com/_yhxoh42e1IM/R6ST3CHk3uI/AAAAAAAAA5E/ycnZ3mdGr\ > 3Q/s1600-h/chid3bs.jpg> > > > Meaning: " Sivalingam is of the form of the human body; So is > Chidambaram ; So is Sadasivam ; And so is his divine dance " . > > > > 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. > > [bLOGGER_PHOTO_ID_5162414101810700018] > <http://1.bp.blogspot.com/_yhxoh42e1IM/R6SURiHk3vI/AAAAAAAAA5M/v0P4Tu_na\ > M8/s1600-h/chidam1.JPG> > > 1. 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) > 2. As the heart is to the left of the body, the sanctum in > Chidambaram is also aligned slightly leftward. > 3. On top of the Chit sabha roof, we find nine kalasas (made of > copper) depicting the nine shaktis (powers) > 4. The roof has 64 cross wooden reapers denoting the 64 arts. > 5. The artha mandapa has six pillars denoting the six shastras > 6. The mantapa next to the artha mantapa has eighteen pillars > symbolizing the eighteen puranas. > 7. There are five steps leading to the Chit sabha from the Kanaka > sabha depicting the five lettered Panchakshara mantra ( Na ma chi vA ya) > 8. The Chit sabha roof is supported by four pillars symbolic > of the four Vedas. > > > > Symbolism of Nataraja Swamy > > > > 1. Nataraja's dance is said to indicate the five divine acts which > are > > a. Creation . Nataraja dances with a small drum called damarukam in one > of his > right hands. Easwra is nada brahmam. He is the origin of all sounds > (nadam).This is > the seed (vindu) from which the tree of the Universe emanated. > > > b. Protection (Operation)- In another of the right hands, he shows > the `Abhaya > Mudra', meaning he is the kind protector . > > c. Destruction; He has fire in one of his left hands , symbolizing > destruction. > When everything is destroyed by fire, only the ash will remain which the > Lord has > smeared on his body. > > d. The foot which is planted shows the act of hiding > > e. The raised foot shows the act of bestowing > > > > 1. 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. > > > > 1. Shiva's dance is called the cosmic dance by many > scholars. In Chidambaram, this dance is called `Ananda > Tandava' > > > > 1. 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. > > > > 1. Sages Patanjali and Thirumoolar also saw Nataraja's dance in > Chidambaram. Their figures are embossed on the Silver doors of the Chit > Sabha. > > > > I think you enjoyed reading the above. Nataraja Rahasyam is said to have > come to Tamilnadu from the Indus – Saraswati civilization. The Saiva > Agamas, which teach tantric Saivism, reveal much more than the above. > Next time you visit Chidambaram, remember all this, and worship Nataraja > who will grant you release from the pains of the worldly life and show > you the path of Gnana. > > > > (The pictures have been collected from the net) > > > > > [http://www.free-website-counters] <http://www.free-website-counters/> > [http://www.free-website-counters] <http://www.free-website-counters/> > [http://www.free-website-counters] > <http://www.free-website-counters.com/stats/index.aspx?id=27642> > > free website counters <http://www.free-website-counters/> > > Posted by Venkatasubramanian at 7:55 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html> > [icon-action] > <http://www.blogger.com/post-edit.g?blogID=4482206408030718751 & postID=52\ > 03249327825374763> 11 comments: M.R > <http://www.blogger.com/profile/04884376030033590142> said... > EXCELLANT WORK > February 3, 2008 6:59 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1202050740000#c6865756460942221374> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=6865756460942221374> Kishore patnaik > <http://www.blogger.com/profile/03455694160231237353> said... > " Kishore patnaik " > > hidambaram is a lofty set of Cosmological Secrets. It is no wonder > that the phrase " Chidambara Rahasyam " is popular all over South India > to signify a deeply kept secret. > > It is Fritjof Capra who has tried to capture this essence of > cosmological presentation that has been made in the Nataraj of > Chidambaram. > > http://timesofindia.indiatimes.com/articleshow/1857054667.cms > " Fritjof Capra catapulted Nataraja into a modern-day scientific icon > when he euphorically stated in his cult book of 1974 The Tao of > Physics that ''the dancing Shiva is the dancing universe, the > ceaseless flow of energy going through an infinite variety of patterns > that melt into one another''. " > > Only recently, I came across two other cosmological aspects of this > Great Temple, which shares these secrets with Egypt. > > The Chidambaram connected to Egyptian cosmological influences in the > following aspects: > > 1.Their sphinx has been represented by us as purusha mriga . > 2.The mystery of Orion is present in both pyramids & chidambaram > > http://www.geocities.com/rdeekshithar/pagina1.html > > However, it is not new that Temples of India are a Scriptural > representations of Cosmological effervescence. For eg., I came across > very recently in a book about the concept of Tarakka, that the ancient > monuments being reflections of Stars. > > It took lots of time for me to search for this paper on the net but > somehow I could get it. > > http://www.grahamhancock.com/forum/DBhattacharya1.php > > I invite comments from every one, > > Kishore patnaik > February 3, 2008 8:20 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1202055600000#c635429106844386814> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=635429106844386814> prakash said... > great work... > but i do have one comment and one doubt... > first my comment............isnt the secret that the half seen which is > the left side ,in the form of a lady.....this means that our ancestors > and the gr8 scholars wwanted us to know the truth that the ONLY visible > GOD in the universe is a LADY and that is mostly OUR MOTHERS....(On A > Lighter Note: so much so that this defeats the colloquial theory that by > meaning chidambaram rules it actully the lady in the house reins..) > my doubt now..the golden covering of the temple was done very recently > and long after the temple was constructed..so many of your explanantions > are in reference with this..so how do you explain when the inside > inscriptions that is the ones below the gold covering are one and the > same first and what if they differ.........is it just an explanation of > justification and conveinience.... > February 4, 2008 9:28 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1202146080000#c444263047477780259> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=444263047477780259> Venkatasubramanian > <http://www.blogger.com/profile/13118766889489405275> said... > A very good question > The golden tiling was done by King ParAntaka Cholan, father of Raja raja > Cholan in about 1000 AD. But, the temple existed before that. The Agamic > masters of the chola period must have refined the work by adding these > subtleties. > > There is another fact. The saiva Agamas based worship and construction > generally followed in other Shiva temples is not followed in > Chidambaram. The procedure used was given by Patanjali himself , it is > said. > > Thirumoolar, whose history remains a mystery, is said to have lived > between BC 6000 and BC 3000 ( he lived for 3000 years singing one song > per year). and also at 6 th century Ad. He has in detail explained about > Chidambaram. > > Our ancestors chose to prefer anonimity, and self oblivion and we still > grasp for light on our past.Though not an answer in toto to your > question, this is an effort in that direction. > Venkat > February 6, 2008 6:18 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1202307480000#c3784312414631475852> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=3784312414631475852> Dhriti <http://dhriti.wordpress.com/> > said... > Om Nama Shivaya > > Great post detailing the intricies of Chidambaram. I have referenced > this on my blog at > http://dhriti.wordpress.com/2008/02/07/chidambara-rahasyam/ > > -Dhriti > February 7, 2008 4:53 PM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1202431980000#c2435921040596726964> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=2435921040596726964> parameswaran > <http://www.blogger.com/profile/16211452432914283411> said... > parameswaran said > I have visited the great temple many times > now I have got the explantion to understant the great temple BETTER > Thanks > Parameswaran > February 12, 2008 6:39 PM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1202870340000#c4022267761950856909> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=4022267761950856909> Venkatasubramanian > <http://www.blogger.com/profile/13118766889489405275> said... > Jai Sri Ram > A reply from Sri Ram, was sent to me through Sri Parameswaran. I thought > it fit to provide the info as it is. My reply will be posted separately. > ++++++++++++++++++++++++++ > > I read with interest the information on Çidambaram as explained by > `Venkat'. He starts by saying that he would explain the rahasya, > but has never done that at the end. I still could not understand what he > refers to rahasya at the end. > > > > I saw a comment by one `Parameswaran' at the end of the blog and > I thought it could be you and based on that guess, I believe you are > interested in this topic and therefore, I am offering some explanation > on Çidambaram, some according and endorsing Venkat and some disputing > Venkat. > > > > For a lucid commentary on the Ananda Tandava the best resource to > consult will be the texts by Dr Ananda K(entish) Coomaraswamy, a > geologist—art historian—Indologist. He has provided the best > commentary, in my opinion. > > > > Çidambara > > > > Basically Çidambaram is known in ancient Tamil references (e.g., > Sangam period literature) as Tillaivanam, referring to the forest (= > vanam) of Tillai tree, which is a mangrove species (Excoecaria > agallocha). This particular taxon tillai, because of proximity to the > coast, grows abundantly in this region and according to mythic > references, a siddapurusa by name Pulippaani Sithar > (Vyagra-paada--Samskrit) lived in this area, who worshipped the Lord of > Çidambaram. At least during the time of Pulippaani Sithar, this place > was known as Tillaivanam only. > > > > The name Çidambaram (as explained by Venkat: Çith+ambaram) came > into existence much later, although we are unsure the exact time. But > during the time of the 63 Nayaanmaars (= Saiva samaya leaders), this > name Çidambaram existed, because in Tevaaram references to the term > Çidambaram occur plentifully. And this period is certainly about the > time of Mahendra Varma Pallava (6th century AD), because Mahendra Varma > was converted into Saiva faith from Jain faith by the action of > Tirunavukkarasar (= Appar). Of course, much contribution was made by the > Çola King Raja Raja (11th century AD) and his accomplished sister > Kundavai Naacchiar in contributing substantially to the repair of the > ramparts of the temple of Çidambaram and also in retrieving Tevaaram > -- the contribution of the naalvar, viz., Appar (Tirunavukkarasar), > Tirugnanasambandar, Sundarar, and Manikkavasakar from the cellars of > Çidambaram temple. > > > > According the Saiva faith, Siva exists as five bhutas (the sky, water, > land (=soil), fire, and air) and Siva is worshipped representing each of > these bhutas: e.g., Tiru-aanai-k-ka (near Sri Rangam) represents Siva as > air/wind. In a similar context, in Çidambaram, Siva exists as the sky > (the vast empty space; we ecologists refer to this as the atmosphere, > which has several layers including a vacant space [recall what the late > PRK researched on, while at IIT (Powaii), on the atmospheric vacuum]. > > > > Therefore, the priests at Çidambaram explain the existence of the > Lord as akaasa (the sky; empty space), when devotees seek an explanation > for the rahasya. The rahasya according to them is the very existence of > Lord as vacant space, an element only the enlightened can relate to, > understand, and appreciate; for the less enlightened, it will be a hard > phenomenon to relate to Siva as vacant space. > > > > However, some historians challenge this theory. According to them, the > name Çidambaram (until then, Tillaivanam), came into existence with > the movement (migration) of certain group of people from somewhere in > far north of India, to whom Venkat refers as the people from Saraswati > civilization (similar to the Indus Valley Civilization). This means, > those people came approximately from the present Delhi > —Kanpur-Illahabad belt. However, I recall reading that the migrants > were from Kashmir (the Kashmiri Brahmins – Pandits), who were Siva > worshippers and because of the extensive Jain faith domination in the > far north of India at that time, (4th--6th centuries). No convincing > explanation exists as to why and how these Pandits (the migrants from > Kashmir/Delhi-Kanpur-Illahabad belt) selected this area. Were they > attracted by the serenity of Tillaivanam or did the Kollidam river > attract them? Not clear at this stage. > > > > What is clear is that the temple, which these migrants (= foreigners) > created was different to those temples that were existing already in > southern India in several ways: > > > > 1. They never referred to their temple (temple of the Lord of > Çidambaram) as Ko-il (here I dispute Venkat). Çidambara temple is > always referred as ambalam (a chaste Tamil word that exists in > contemporary Malayalam); because of the golden roof, the temple is > wholly referred as Pon-ambalam (because of the golden-roofed dance hall, > it is Kanaka-sabhai). > 2. In all the then prevalent southern-Indian Siva temples, the principal > deity (= the moolavar) is always in the form of linga, whereas in the > Çidambaram temple alone, the moolavar and the utsavar are one and the > same pançaloha idol; during veedi-ula, the same idol is taken out in > procession and the garba-griha remains empty (vacant). > 3. The Brahmins, who own the hereditary trusteeship of this temple, are > referred in Tevaaram as > `tillai-vaazh-andanar-moovaayiravar' specifically, which > makes them special in context of the remainder of the community in > southern India of that time. Given that Tirugnanasambandar (son of > Sivapaada-hirudayar, Sirkazhi) was also a Brahmin (andanar) by > birth, why the Brahmins of Çidambaram alone came to be referred as > `tillai-vaazh-andanar-moovaayiravar' remains an unanswered > question. But what is obvious is that they were unique, which could mean > someone different from the locals. [An ordinary analogy could be in > Madras context any northern Indian migrant is a maarvaadi, whereas the > person in reality could be from Gujarat and need not be from Maarvaar at > all!] > > > > I have not explained the rahasya yet; but all the above circumlocutions > are necessary to set the context for explaining the rahasya (according > to a few historians). > > > > Please recall that I indicated at the beginning of this commentary that > the modern priests will show to a cellar (from where the Çola King > Raja Raja retrieved the Tevaaram palm-leaf notes) and refer to it as the > empty space –- the metaphysical symbolism of akaasa (emptiness). > > > > Some of the historians refer to this cellar was the chamber where the > migrant Pandits used to end their lives –- usually by fasting to > death -- once the life purposes on this earth were done (= completed; > achieved). Ending one's life (through either drowning in running > waters or fasting to death or subjecting oneself to being eaten by wild > animals) is permitted in Saiva faith (also accepted by the modern > eclectic Hinduism), provided all responsibilities of that individuals > have been completed. [Recall that, in recent times, Vinobha Bhave denied > food and water, and thus starved to death.] Resorting to one of the > identified three mechanisms to end one's life is not a sin, whereas > ending one's life through other means (e.g., consuming poison or > hanging oneself) is a sin, according to Hindu belief. This practice > (i.e, ending one's life at the completion of all obvious purposes) > was prevalent in Jain faith of that time, more than in Saiva faith of > southern India . The northern-Indian migrants who came to Tillaivana > were influenced by some of these Jain practices and they practiced it in > Çidambaram temple (in the cellar that was directly under the > Garba-griha). An oversimplified explanation for this is that they > believed that a savam becomes sivam in such a context. In the then > existing Saiva faith (e.g., in the 4th--12 century Tamizhagam), this was > an unacceptable practice. Even today, when a funeral procession proceeds > on the street or road that abuts on the entrance of a temple, the > priests would shut the main door/gate of the temple till the funeral > procession gets past.. Under such circumstance, the migrant Pandits, who > followed a `bizarre' practice of dying within the temple > precincts, kept it as a secret and retained it within their clan (the > dikshitas of Çidambaram). > > > > The following comment has no obvious link either to Çidambaram or to > the diskhitas. The Lingayats (the Virasaivaites; from the Carnatik, > which implies parts of modern Karnataka and Central Andhra Pradesh) have > similar (note `similar' only and not `same') practices. > > > > Will stop here; any questions, will be happy to reply > > > > Affectionate > > Ram > February 15, 2008 9:08 PM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1203138480000#c6107849839661704223> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=6107849839661704223> Shanmugam > <http://www.blogger.com/profile/17109090742674944752> said... > As a person who has visited Chidambaram temple number of times,on > careful scrutiny and watch found the garlands are hanging from a big > lingam which has thousand lingams ingrained in one.Due to some people > ,the Chidambaram Lingam is not worshiped and why? This needs answer. If > a fact finding committee is allowed then,the answer will be known > January 11, 2009 7:53 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1231689180000#c5132390150751501168> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=5132390150751501168> anil > <http://www.blogger.com/profile/02536887549136664456> said... > An amazing piece of information indeed on the well-known chidambara > rahasya by Shri Ram.I have never read such an astonishing account on the > rahasya anywhere.May I convey the material trusting the veracity of it > to my friends and people in satsanga?Would somebody corroborate the > finding? > March 13, 2009 5:10 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1236946200000#c5471158507890412135> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=5471158507890412135> malgudidays > <http://www.blogger.com/profile/10847486283373165445> said... > The essence of a temple is to practice satsanga and clarify the doubts > in the day to day life i.e. swadharma palan. This is the sole reason for > the manifestation (swayabhuvus) of the celestial abodes on this very > earth. The temples, for your indormation, are the stepping stones in the > tradition of bhakthi, but not of yukthi. The tradition of yukthi > involves the philosophical texts. > > I can see, that you are relating two disjoint domains. Though the > motives for both domains being the same i.e. of liberation, you cannot > relate two different domains unless you know the paths in each domain > and what is the analogy between them. Since, with all due respect to > everyone, relating two domains demands having in depth understanding of > at least one of the domains, one should is not qualified to comment or > interpret. > April 13, 2009 12:45 AM > <http://bharataagamas.blogspot.com/2008/02/chidambara-rahasyam.html?show\ > Comment=1239608700000#c7349627239803593630> > <http://www.blogger.com/delete-comment.g?blogID=4482206408030718751 & post\ > ID=7349627239803593630> krsh > <http://www.blogger.com/profile/16969171463879977094> said... > An article that left me spellbound.I am afraid I do not possess enough > words to appreciate your article and your work.Truly excellent. > Thanks for the work. > > ========================================= > Quote Link to comment Share on other sites More sharing options...
Guest guest Posted May 27, 2009 Report Share Posted May 27, 2009 Dear Sreenadh ji, I have been wondering how the words "chidambara rahasya" for unsolved mysteries came about in the indian languages. Nice article. I must thank you for taking the time and trouble to post this one. Regs, Anita Quote Link to comment Share on other sites More sharing options...
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