#Nayanmar saints

[shinymoonbird]

Anaya Nayanar, also known as Anaya and Anayar, is a Nayanar saint, venerated in the Hindu Shaivite sect. Anaya is considered to be the 14th of the 63 Nayanars. His playing of the Panchakshara (five-syllable mantra 🌟na, ma, śi, vā, ya🌟) on his flute so pleased the god, Shiva, that he took Anaya away to the eternal world.

🌟

The life of Anayar is described in the Thirutthondar Puranam (Periya Puranam) by Sekkizhar, which documents the Histories of the 63 Nayanmar. Anaya is described as a cowherd (ஆயர் or Aayar). Anayar was born and lived his life in Tirumangalam (Thirumangalam), currently in the Indian state of Tamil Nadu. Tirumangalam is a place of pilgrimage, famous for its Samavedeshvarar Temple, dedicated to Supreme Lord Shiva. Aanaayar used to tend cows. He used to take the cows for grazing in the pastures outside of the town. He used to protect the cattle from disease and beasts of prey. Anayar used to smear Sacred Ash on His body. In the meadows, He used to play the Panchakshara (Five-Letter) Mantra of Supreme Lord Shiva on his flute. Music was his way of worshipping Lord Shiva. A verse from Periya Puranam tells about how he crafted a flute from bamboo, as prescribed in the science of music (Gandharva Shastra).

🌟

One day at the onset of the monsoon, Anayar started playing the Holy Five Letter Word on His flute under the Konrai tree, which is sacred to Lord Shiva, in a garden of blossoming konrai trees. The Periya Puranam devotes several verses to describe the natural beauty of the location.

✨Aanaaya Naayanaar spread sweet melody all aound, playing on his flute with supreme skill, according to the prescribed technique. The basic note of the music - Panchaakshara - streamed sweetly like celestial nectar mixed with honey into the ears of the listeners. Entranced by this the herd of cows forgot to chew the cud, after cropping the tender shoots of grass; the little calves with mouths on the udders of the cows let the foaming milk drip down on the ground; the might-horned bulls and the wild animals like the deer came near, with the hairs of the body standing on end. The dancing peacocks stood still; the flocks of birds with their hearts filled with melody, kept quiet as in a swoon; the herdsmen left tasks incomplete. The 'Naagas', inhabitants of the underworld came out of their caverns; the celestial ladies gathered in the heavens and stood quite charmed; the other denizens of the outer space - the Gandharvas, Charanaas and the Kinnaras - too crowded the sky in their chariots. The heavenly damsels feeding their pet parrots on nectar under the shade of the Kalpaka tree, hurried to drink in the sweet music. Both the weak and the strong were caught in the same spell - the serpent with the venomous fangs leaned gently on the peacock; the unmoving lion and the huge tusker kept company; the deer with the grass in its mouth stood by the side of the tiger. ✨All nature too came under this spell - the wind ceased to blow and the blossoming branches of the trees stirred not; the streams and brooks meshing down the mountain stopped dead in their tracks; the clouds lay quiet and shed no drops of rain; the lightning did not flash and there was not a ripple in the wide seas. ✨Thus all things - movable and immovable - lay ensnared in the mesh of the nectarine music that flowed from the sweet-red lips of Aanaaya Naayanaar touching his flute. ✨Ah, the sweet music welling up from the gushing love of the player for the feet of his Lord, which filled earth and heaven then filled the ears of the indwelling Lord dancing in the Golden Hall, hard to reach for all those lacking in real Love.

✨Next, the Lord, with His consort, the very soul of compassion - He from whom all sound and music arise - the three-eyed Supreme being - appeared in the heavens, seated on His Bull-Mount. ✨His crowding hosts kept utterly quiet, so as not to disturb the music of the Panchakshara which the dancing Lord relished so much! ✨The Lord then declared: "Come unto Me, in the same pose as you now are, to enable the righteous devotees to savour your music ever" ✨This Naayanaar willingly complied! ✨The celestials rained flowers on earth; the sages chanted the Vedic hymns, while the flute continued with melody. ✨The Lord and His devotee then entered the Golden Hall at Chidambaram.

🌟

Note: Rasikas may recall in this context the techniques of music portrayed in Silappadhikaram and the effect of Sri Krishna playing on His flute graphically described by Sage Suka, Periyaazhvaar and Arunagirinathar.

A rasika is a term for an aesthete of Indian classical music. The term is derived from the Sanskrit word 'rasa', meaning full of passion, elegant, and with discrimination. Connoisseur - An expert able to appreciate a field; especially in the fine arts.

🌟

[theindiandanceclass]

The Connection Between Bharatanatyam and Other Art Forms

Bharatanatyam, one of the oldest and most revered classical dance forms of India, is not just an art of movement; it is a confluence of various artistic expressions. This dance form, which originated in the temples of Tamil Nadu, embodies a rich tapestry of music, literature, theater, and visual art. Let's explore the intricate connections between Bharatanatyam classes near me and other art forms, showcasing how they enhance and complement each other.

1. Music

Carnatic Music:

Bharatanatyam is deeply intertwined with Carnatic music, the classical music tradition of South India. The rhythm (tala) and melody (raga) of Carnatic music form the backbone of Bharatanatyam performances.

Tala System: The complex rhythmic patterns in Bharatanatyam are derived from the tala system of Carnatic music. indian classical dance classes near me Dancers must master these rhythms to synchronize their footwork with the beats.

Ragas: Different ragas evoke various emotions and moods, influencing the dancer's expressions (abhinaya). For example, a raga like Shankarabharanam might be used for joyous themes, while Bhairavi is often chosen for devotional pieces.

Vocal and Instrumental Music:

The lyrics of the songs, whether in Sanskrit, Tamil, Telugu, or Kannada, guide the narrative of the dance. Instruments like the mridangam, veena, flute, and violin accompany the performance, creating a rich auditory experience that complements the visual beauty of the dance.

2. Literature

Epics and Mythology:

bharatnatyam classes draws heavily from Indian epics like the Ramayana and Mahabharata, as well as from Puranic texts. The stories of gods and goddesses, heroes and heroines, form the basis of many dance compositions.

Sanskrit and Tamil Poetry: The works of poets like Kalidasa, Jayadeva, and Tamil saints like Alwars and Nayanmars provide a treasure trove of narratives for Bharatanatyam. The poems are often set to music and enacted through dance.

Bhakti Literature:

Devotional literature, particularly the Bhakti movement poetry, plays a significant role in classical indian dance classes near me. The compositions of saints like Meerabai, Surdas, and Andal are frequently performed, reflecting themes of devotion and surrender.

3. Theater

Natya Shastra:

Bharatanatyam is fundamentally connected to the ancient treatise Natya Shastra, attributed to Sage Bharata. This comprehensive work on dramaturgy lays down the principles of dance, drama, and music, forming the theoretical foundation of Bharatanatyam.

Rasa and Bhava: The concepts of rasa (emotional flavor) and bhava (expression) from Natya Shastra are central to Bharatanatyam. The indian dance class uses facial expressions, hand gestures (mudras), and body movements to evoke different rasas in the audience.

Kathakali and Kuchipudi:

Bharatanatyam shares similarities with other Indian classical dance forms like Kathakali and Kuchipudi, which also integrate dance and drama. The storytelling techniques, use of elaborate costumes, and expressive makeup in these forms influence Bharatanatyam performances.

4. Visual Arts

Sculpture and Architecture:

The poses and postures in Bharatanatyam often resemble the intricate carvings found in Indian temple architecture, particularly in South Indian temples.

Nataraja: The iconic depiction of Lord Shiva as Nataraja, the cosmic dancer, is a profound influence. The graceful posture, balanced on one leg with the other leg lifted, and the dynamic use of hands and expressions in bharatanatyam dance classes near me are inspired by this sculpture.

Painting and Costumes:

Traditional Indian paintings, such as Tanjore and Mysore paintings, depict scenes from mythology and classical dance. The elaborate costumes and jewelry worn by Bharatanatyam dancers are often inspired by the attire seen in these paintings.

5. Modern Collaborations

Contemporary Dance:

Modern Bharatanatyam practitioners often collaborate with contemporary dance forms, creating fusion performances that bring together the classical and the modern. This blend introduces new themes and innovative choreography while retaining the essence of Bharatanatyam.

International Art Forms:

Bharatanatyam has also found resonance with global art forms like ballet and modern dance. International collaborations have led to unique productions that explore universal themes through a cross-cultural lens.

Conclusion

The connection between online bharatanatyam classes and other art forms is a testament to its richness and versatility. By weaving together music, literature, theater, and visual arts, Bharatanatyam creates a holistic and immersive artistic experience. This interconnectedness not only enhances the dance form but also ensures its relevance and adaptability in a rapidly changing world.

[madamlaydebug]

Spirituality is not a ritual. It is the science of merging with Existence. From time immemorial, the first thing that all world religion did was to create a space for the divine to become a part of life. A temple is a space to reconnect with the cosmic energy and be restful in it. That was the core purpose of all world religions. And when the connection deepened, it became a blissful space within oneself. Religion was a clear stepping stone to spirituality.

The greatest saints of India who had the power of willing the cosmos to lovingly respond, achieved this power through spirituality.

There was a man by name Muruganar who was an ardent devotee of Shiva. Every day before break of dawn he would bathe in the cool waters of the river, gather flowers from trees, fields, the river and creepers and make garlands for the Shiva deity in the temple. He would walk to the temple everyday taking care while walking not to disturb the flowers in their setting in the garland! After offering them to the deity he would chant sacred verses for long hours.

It is said that he attained enlightenment through just this innocent worship. Today he is worshipped as one of the 63 saints called Nayanmars who attained enlightenment through innocent devotion to god.

Spirituality is an opening to express innocence in its purest form. Innocence itself is an offering to god. Innocence itself is the greatest prayer to god.

Religion is by itself not any belief as it is made out to be. Every religion is the result of the spiritual experience of the great master who founded it. What they experienced, they gave as a religion to humanity, through which humanity can get the same experience. There was no other intent. If this is understood, any person can practice any religion. That is the beauty of all original religion.

The same is true when you are around a master. Be in a mood of innocent surrender. When you are innocent and prayerful, the master’s silence penetrates your being. The religion of silence is the greatest religion. It is the religion of the great masters and disciples. That is true spirituality also - SRI BHAGAVAN

[rajbrotherstravels]

Sri Kalahasti Temple

It is one of the most famous Shiva temples in South India and attracts a large number of devotees.The temple is known for its unique architecture and its association with the elements of nature, making it a significant pilgrimage site for Hindus. The Sri Kalahasti Temple was built in the 12th century during the Chola dynasty.The legend of Sri Kalahasti Temple, where a spider, snake, and elephant worshipped the Lord and attained mukti, is very similar to the legend of the Jambukeshwaram temple in Tiruvanaikkaval, Tamil Nadu.With its intricately carved gopurams and pillared halls, the Sri Kalahasti Temple is renowned for its Dravidian style of architecture.The hills are closely associated with a legend about a tribal hunter and an ardent Shiva devotee, Kannappa.In commemoration of this legend, the hill was named after Kannappa, and he is immortalized as one of the 63 Saivite saints (63 Nayanmars).Inspired by this legend, the priest shared the story with others, spreading the message of Kannappa's devotion and Lord Shiva's compassion throughout the community. The news of the bleeding eye spread like wildfire, and people from all walks of life came to witness this miraculous event.Among the crowd was a renowned doctor who examined the eye and declared it to be a medical anomaly with no scientific explanation. Every day, the temple conducts multiple puja ceremonies to honor Lord Shiva.It is included in the one-day Tirupati tour package from Chennai.The Tirupati tour package from Chennai not only includes a visit to the Venkateswara Temple but also offers devotees the chance to explore other significant temples in the region.

[nvsrworld]

November 29th.2022:SIRAPPULI NAYANAR DAY!

November 29th.2022:SIRAPPULI NAYANAR DAY!

Indian Saint 36 In all religions in the world, we have messengers of God to guide the peopleIn Hinduism we have quite a few known as Nayanmars and AlwarsSixty four Nayanmars* and twelve Alwars dedicated to spread their beliefs.One such nayanars of Shaivism-followers of Lord Shiva-whose day is today. Sirappuli Nayanar, a Nayanar saint, venerated greatly in Shaivism.Counted as the thirty-fifth in…

[icantthinkofacoolblognamesposts]

Karaikkal Ammaiyar is one of the greatest figures of early Tamil literature, a Bhakti poet and saint who probably lived during the 6th century AD. She was one of the three women amongst the 63 Nayanmars, a group of saints devoted to the Hindu god Shiva. “Ammaiyae” literally means mother. Today, somewhat unfortunately, it is not her poetry that is popular, but the story of her life as told in her hagiography by Cekkilar, a male court minister of the twelfth century. Two Tamil feature films have been made about Karaikkal Ammaiyar’s life in 1943 and 1973, an evidence of her continued popularity in the region.

According to Cekkilar’s story Karaikkal Ammaiyar was born at Karaikal, South India. She was the beautiful daughter of a wealthy merchant, named Punitavati, a devotee of Lord Shiva since childhood. She continued to remain devoted to Shiva after marriage. One morning, her husband sent two mangoes to the house. She gave one of the mangoes away to a hungry Shaiva mendicant because she had not prepared any food yet. She served the remaining mango to her husband as a dessert who asked for the second one.

She was worried and prayed to Lord Shiva. By miracle, another mango appeared in her hands which she served to her husband. The sweetness of the mango was incomparable, prompting him to ask where did she get it from. She reluctantly told him the truth but he did not believe her. He challenged her to get another mango in the same manner. Even though another mango appeared, it disappeared as soon as he touched it. He decided that she was a local goddess, left her and married another women and began worshipping her.

This story was written more than 500 years after the saint’s lifetime. Karaikkal Ammaiyar’s poetry simply does not provide details of the personal history of the saint found in the narrative. But it is quite clear that the role of a saint-goddess and a wife were considered incompatible, even though it is not explicitly stated why. The reason can however be inferred, a wife’s unmediated access to God disturbs the hierarchical nature of the husband-wife relationship. The fulfillment of the domestic duties of a wife was certainly considered very important, a slight breach is enough for her to call upon a miracle. It is the husband’s mango she gives away. She has no right over household goods and so she has to come up with another mango secretly.  

According to the story Karaikkal Ammaiyar utters her first poem after her husband accepts her as a Goddess. She then wishes to shed her beauty to attain the form of the ghouls who venerate Shiva’s sacred feet. She begins a pilgrimage to Mount Kailasha where Lord Shiva lives. As she passes, people remark on her strange form with both admiration and fear, to which she responded, “If God recognizes me, why would I need a form recognizable to men in all directions who remain mired in ignorance?” Here is how she describes herself in one of her compositions:

One female ghoul has shriveled breasts bulging veins hollowed eyes bared teeth a bloated belly copper-colored hair fangs knobby ankles and elongated shanks;

Even though Kariakal Ammaiyar’s story is deeply rooted in patriarchal norms, she does not take the form of a benevolent, beautiful, domesticated Goddess (like that of  Lakshmi). What is fascinating is that she absolutely defies all patriarchal norms of beauty, taking a fearful and reverential image. Even though the rejection of beauty is done in favour of religion, it is radical amid a tradition that often associates beauty with virtue. She rejects a body that is socially validated, ‘a form recognizable to men’, a form that is associated with mediation and commodification. She places no value in beauty or appearance as long as God can recognize her.  The story offers an implied critique of a social world that has no space for a religiously devoted women who has to live as an antisocial being.

This incompatibility between wifehood and religious virtuosity is not unique to Karaikkal Ammaiyar. For instance, Andal from Tamil Vaishnavism of the ninth century and Mirabai of northern Indian bhakti traditions of the sixteenth century both reject mortal marriage and instead wed themselves to God. The Bhakti tradition provided a mode of living other than traditional wifehood and motherhood to women. They did not join an alternative order or become nuns. Their mere existence and popularity becomes a threat to patriarchal authority.

References

Chosen Moments: Mediation and Direct Experience in the Life of the Classical Tamil Saint Kāraikkāl Ammaiyār by Karen Pechilis

[netbreakingnews9]

Basava Purana

Basava Purana is a Sanskrit text narrating the life and activities of Basava, founder of the Virashaiva movement and the lives and activities of the sixty three Shaivite saints, Nayanmars, in Puranic  (legendary) style. Basava Purana is also called Nandikesvara Vijaya or Vrishabhendra Vijaya. Though Basava lived in the second half of the 12th century CE, the Punara was composed after the time of…

[supersingh-sbs]

#Bharat #ancientindia Nellaiappar Temple is a Hindu temple dedicated to the deity Shiva, located in Tirunelveli, a city in the South Indian state of Tamil Nadu. Shiva is worshipped as Nellaiappar (also called Venuvananathar) represented by the lingam and his consort Parvati is depicted as Kanthimathi Amman. The temple is located on the northern banks of Thamirabarani River in Tirunelveli district. The presiding deity is revered in the 7th century Tamil Saiva canonical work, the Tevaram, written by Tamil saint poets known as the nayanmars and classified as Paadal Petra Sthalam. 🙏🏽🕉 (at Kew Gardens) https://www.instagram.com/p/CNH5eArjpmkVOwHDv9oEpKdszsiCCbuMpL5Q_80/?igshid=yi4n64c19s4l

[badulescuradu14]

Karaikal Ammaiyar

Punithavati was a great devotee of Lord Shiva belonging to the merchant community in Karaikal (Tamilnadu). She belonged to the 6th century AD, and is one of the 63 great Shaivite saints known as Nayanmars. She spent her time in glorifying the Lord and serving His devotees, especially those who came visiting the town. A […]Karaikal Ammaiyar

[shinymoonbird]

🕉️  MUSICAL 63 NAYANMARS  🕉️

 # 1. AANAAYAR - Musical Periya Puranam of Kesava Mudaliar 🕉️

🌟 Ram MohanK In Arunachala - @RamMohanABvideos  🌟

🌟 In search of Sri Ramana and Arunachala Grace 🌟

🕉️

Periya Puranam - The Lives of the Sixty-Three Saivite Saints

The Periya Puranam in Tamil and Siva-bhakta Vilasam in Sanskrit are great devotional and spiritual classics which attract many aspirants, right from the 12th century Basavanna of karnataka and saints like Ramalinga vallalar and Bhagavan Ramana Maharishi of recent times.  Countless spiritual seekers are inspired by these scriptures.

In the past 1000 years, apart from numerous prose works on the lives of the 63 Saints based on the Periya Puranam, many poets have also composed melodious poems.

Of these, Kesava Mudaliar’s simple composition covering the core incidents of the 63 Saints’ lives, is being presented in these videos. An English gist of the poems is also added to convey the meaning of the poems. The Tamil verses from Kesava Mudaliyar's original print (published in 1865) is also reproduced as it is in the videos.

All songs have been rendered in their original musical notes (Raagam & Taalam), with great devotion and dedication by Ms.Mylai Divya Sundar of Chennai.  

It is intended to post 2 or 3 videos per week (a video for each of the 63 Saints). Therefore, the whole project may last a few months (with in-between breaks for other videos that may come up). 

Finally and most importantly, these video are the dedicated hard work of a co-bhakta of Bhagavan Ramana, who compiled all the ingredients of the videos AND of Ms. Mylai Divya Sundar for her devoted renditions. I have only put the skin, so to speak, over the real flesh and bones! Hope viewers will derive immense devotional benefit from this Series.

# 1. AANAAYA NAAYANAAR

Audio: Aanaayar from Tiru Thondar Puranam rendered by Ms. Mylai Divya Sundar.

🌟

Aanayar, a siva bhakta tended his cows feeding them with Panchak-shari* playing on his flute. Once he saw a bunch of Kondrai flowers that reminded him of the Lord Parama-siva. He played his flute with due melody and Nature itself melted with that music, Parama-siva and Parvathy too melted and fell in his net of devotion.

Aanayar was blessed by Lord Siva praised by Kesava**, to play the music in Kailas.

🌟

The Panchakshari* Mantra (or the "five-syllable" mantra  referring to the five syllables of na, ma, śi, vā, and ya. It is associated with Shiva's mantra, Om Namah Shivaya, which also contains these syllables.

Kesava** - the name of the author of the poem is mentioned, at the end of all poems.

🌟

[famousplacesinindia]

#AdiKumbeswararTemple, #Kumbakonam is a Hindu temple dedicated to the deity Shiva, located in the town of Kumbakonam in #Thanjavur District #TamilNadu, India. Shiva is worshiped as Adi Kumbeswarar, and is represented by the lingam. His consort Parvati is depicted as Mangalambigai Amman. The presiding deity is revered in the 7th century Tamil Saiva canonical work, the Tevaram, written by Tamil saint poets known as the Nayanmars and classified as Paadal Petra Sthalam. (at Adi Kumbeswarar Temple, Kumbakonam) https://www.instagram.com/p/CICWeuyh8iZ/?igshid=570ukqn0k4f0

[shivanatarajablog]

Research on Shiva pt III

The evolution of Shiva Nataraja / Understanding his origins.

There is a lot of uncertainty concerning the birth of Shiva Nataraja and the meaning of the statue, though Coomaraswamy’s essay on ‘The Dance of Shiva’ is incredibly influential and now provides a basis for reading the object’s iconography. However, there are doubts to whether he was always understood as a cosmic, blissful figure. 

In the Hymns of the Savitie saint Nayanmar (7th - 8th century CE ) there is reference to a site now called Chidambaram.  There was a temple dedicated to Shiva called Cirrambalam meaning ‘Little Hall’. 

It is still a very famous site, known for having Shiva in his Nataraja form as opposed to just his linga form. Nataraja in Chidambaram remains the most sacred of his presentations. Every morning he is awakened, bathed, offered meals, and throughout the day is entertained and delighted via dance and music. He is put to sleep in the evening. The icon literally embodies the deity’s living presence, and thus must not be photographed.The bronze there is no older than the 13th c. CE. 

The town of Chidambaram was originally known as Tillai and Puliyur. The names reference legendary dangers which supposedly surrounded this town, namely the poisionous tillai trees and a fierce tiger which roamed the precinct (Puliyur meaning ‘town of the tiger’. 

Multiple deiteis are worshipped in this temple, such as Vishnu and Tillai. Vishnu and Krishna share the most sacred space with Shiva, the chid sabbha, and both have shrines. There is a shrine beside the chid sabbha’s west hall which is dedicated to Brahma or Chandesha (a deified follower). The chid sabbha also holds the shivakamasundrari , Shiva’s wife, and the mukhalinga, a composite image of Shiva’s face and his linga, meant to evoke Brahma’s 5th head that Shiva cut off when taking the form of Bhairava (his destructive form). 

There is a second structure, a mirror image to the chid-sabbha, the kanaka-sabha, where Shiva is worshipped as a crystal linga. Outside this room, there is a dance hall called the nritta-sabha, which houses images of Tillai and Shiva dancing with his leg straight in the air, in the urdhva-janu pose. There is another shrine with his linga. There is then a room with a stepped tank called the shivaganga - representing the heavenly river Ganga (the Ganges river), and Shiva, who helped bring her to earth. Facing that structure, there is a room dedicated to Shiva’s wife. 

Thus, even within this temple, the paradoxical aspects of Shiva are represented; similar ones which are contained even within his Nataraja form. His salvific aspects are highlighted; by showing Ganga in his matted hair as he breaks her fall, but so are his anger and destructive aspects - when he cuts off Brahma’s head and when he holds the fire of destruction as he dances. 

Some suggest the the Sanskritisation of the word Cirrambalam to Chidambaram led to Nataraja being understood as a cosmic dancer, as chid- means consciousness, and ambaram means cosmos. In this hall he was symbolically depicted as akasa lingam (space pillar). The genesis of the Nataraja cult at Chidambaram may serve to explain the growth in popularity of this symbol. In the 10th century, the priests of the temple reframe the identity of the place to create a pan-indic space, so as to spread the popularity of the Shiva cult. Sanskritisation occured all throughout medieval India; new names weer given to towns and also to icons. Every temple also tried to adopt a history and a myth. Chidambaram adopted the preexisting Myth of the Pine Forest (described in earlier research), so as to suit their icon. 

Another myth to emerge was that two sages, Patanjali and Vyaghrapada after knowing of the performance of this dance, yearn to see it. They resided in Tillai. Shiva Nataraja agrees to perform the cosmic dance there and only there, thus marking Chidambaram as the core of the psychic universe. However, at the time, there was a goddess resident there, Tillai Amman. She resents Shiva’s decision and challenges him to a dance competition. Shiva wins by raising his leg above his hip in the urdhva janu pose. As a woman, and as a virginal goddess, she cannot perform this move without compromising her modesty. She is thus defeated and cedes the temple to Shiva. She is now represented in the same temple, in the form of his wife and in eternal admiration of his dance. 

This assimilates Shiva Nataraja’s dance not to a dance of death, but one of triumph.  It is theorised that the popularisation of this icon and myth was due to the Chola dynasty Kings trying to assimilate themselves to him and his victorious aspects, as they tried to expand their rule all throughout India. Nataraja served as a god of conquest, brandishing the priests’ failed weapons similarly to how Kings exhibited looted goods from their enemies.

During the festival of Margayi Tiruvadirai, the winter solstice, Nataraja was taken out on a chariot for a procession from the Chidamabaram temple. The timing was related to the ardra, a star Betelgeuse in Orion.  

[lordshivasdevotee]

The four great saints, or Nayanmars, whose lives are given below are known in Tamil literature as the “Fathers of the Faith.” Each of them followed a different path in his approach to God. They are popularly known as Sundarar, Appar, Sambandar, and Manikkavachagar. Sundarar followed the sakhya marga, or path of friendship. Appar followed the dasa marga, or path of the servant. Sambandar followed the satputra marga, or path of the good son, and Manikkavachagar followed the jnana marga, or path of knowledge. Go With Lord Shiva 💞 https://www.instagram.com/p/B9_u9vlJC4K/?igshid=6d2rd4255o8a

[nvsrworld]

28thMay 2022: KAZHARCHANGA NAYANAR DAY

28thMay 2022: KAZHARCHANGA NAYANAR DAY

Here is a SATURDAY STORY on an important INDIAN SAINT! India that is Bharath our holy and sacred Motherland of which TAMIL NADU is a part, can boast of Saints ALWARS and NAYANMARS! Out of SIXTY FOUR nayanmars including great Thiruvalluvar , KAZHARSINGA NAYANAR 53rd of the 64 is a great TAMIL SAINT. Nayanar 53: Kazharsinga (Kalarcinka) The ninth verse in Thiruthondathogai begins with the phrase…

[poojavivek-blog]

Offering of fresh fragrant flowers at the lotus feet of the deities and garlanding the idols or the picture of the deities form the main part of the prayer of the Hindus. Several saints like Alwars, Nayanmars and Baktha Daasas like Thyagaraja, Purnandaradasa have sung and enjoyed the greatness of offering flowers to God chanting their Divya namas. Hindus wherever they may be, want to live with their culture. In order to facilitate the Hindus living in the USA to perform all their religious prayers and to celebrate all happy occasions like weddings, anniversary, engagement etc. Vivek Flowers is your one-stop shop for fulfilling your worshiping needs by bringing you pooja essentials including fresh flower garlands and idols of deities online with many other products.

[shithole-world]

The Imperial Cholas

The Imperial Cholas of South India hold the record for being the longest ruling dynasty in Indian history, and is undoubtedly one of the grandest empires that the country has ever seen. Historically their rule goes long back into the pre-Christian era, and while there is no exact date of their origin, the dynasty finds a mention in the 13th Ashokan edict (dated 3rd century BCE). Their rule came to end in the 13th century when their arch rival, the Pandyas, assumed control.

Besides the mention on the Ashokan pillar, the Cholas also find mention in the ‘Periplus of the Erythraean Sea (1st c. CE).  The 5th century text ‘Mahavamsa’ (Buddhist literature) also talks of frequent wars between the Cholas and Ceylonese in the 1st c. BCE. 

The mighty Chola Empire reached its zenith during the 11th to 13th century, when its

The well, known as ‘jalamaya-stambha,’ or a  ‘liquid pillar of victory’ was built by Rajendra I after defeating the Pala king Mahipala. 

territories stretched across Kerala, Tamil Nadu, Andhra Pradesh, and Andamans; while holding sway over the islands of Maldives, Indonesia, Sri lanka, Lakshadweep, parts of Burma, Srivijaya (Sumatra &Java), and the islands in the Eastern Archipelago. Under the rule of their famous king, Rajendra Chola, a victorious Chola army marched to east India up to the banks of the river Ganges in Pataliputra, and defeated king Mahipala of the Pala dynasty.  

Besides being mighty warriors and seafarers, the Cholas were also great builders who commissioned many beautiful temples across their kingdom. Keeping alive the Pallava traditions, these monuments stand as a symbol of the power and ingenuity of Cholas and their craftsmen. Some of the Chola era temples are now considered as among the finest examples of south Indian art and architecture.

  Map showing the extent of the Chola empire c. 1030 

Historically very little is known about the early Cholas, though there are references of the dynasty in the Sangam literature. Without much information, the early rulers such as Karikala, have now become a part of grand legendary tales. It was only around mid ninth century that Chola dynasty under king Vijayalaya came into historical limelight, and we see the start of the imperial Cholas that fanned out from Tanjore or Thanjavur. Starting with Vijayalaya, the Chola dynasty thereafter ushered in a grand revival of religion and literature in the southern part of India that continued unabated until the 10th c. CE. During the 10th century CE the Cholas went through a weak phase in their rule, when they saw some of their rulers killed in different wars, an assassination, and seizing of power by the Rashtrakuta ruler, Krishna III, who took over Tondai-mandalam.  Finally in 985 CE, Rajaraja I came to power and under him the Chola dynasty rose to heights never achieved before. Titled as Rajakesari Arumolivarman, Rajaraja I (985-1014 CE) is considered as the most powerful Chola king, and during the three decades of his rule the Cholas established themselves as a formidable and powerful empire. Rajaraja I remains unmatched in his war triumphs (across India and foreign nations), administrative skills, as a lover of of art and literature, and religious tolerance. Rajaraja I was succeeded by Rajendra I (1012-44 CE), who was as brilliant as his father. Based on the foundations made by his father, Rajendra I further raised the Chola empire to a level where the dynasty was seen as the most extensive, influential Hindu kingdom of that time.

The majestic Brihadewara temple was built by Rajaraja I. It was under his instructions that all transactions (including official ones) made towards the temple maintenance were recorded in great details. A first of its kind, this practice was carried on by his successors; thus, giving us a wonderfully preserved official record of all transactions, chronology, and a basic history of of each king’s rule.

By the turn of the 9th century Shaivism was the dominant religion of the Chola empire. Started by Parantaka I (an early Chola ruler), the Shaiva theology was further reinforced by Rajaraja I and Rajendra I. As a result we see the frenzied building of many Shiva temples in Dravida style architecture, and an attainment of lofty levels in paintings, bronzes, and sculptures, which were expressions of great devotion. The Chola centres of religion and learning were mostly centred around Thanjavur, Gangaikondacholapuram, and Darasuram. After a succession of many good rulers, the two last great Chola rulers were Rajadhiraja (1166-1180 CE), and Kulottunga III (1178-1218 CE). Kulottunga III made great efforts towards stemming the decay that had slowly started affecting the once great Chola empire. He was also a prolific builder, which is seen by his various additions to  the Chola monuments, as seen in the Kampaharesvara temple at Tribhuvanam, and also in other temples at Madurai, Kanchipuram, Tiruvidaimarudur, Chidambaram, and Darasuram.

Airavateswara temple at Darasuram

The Airavatesvara temple at Darasuram was built by Rajaraja II (1143-1173 CE.), and it stands third in line after the two Brihadisvara temples at Thanjavur and Gangaikondacholapuram, when compared to the grandeur of the vimanas of these three Imperial Chola structures.  Despite being smaller than the other two, Airavateswara temple has some sculptural masterpieces that makes it stand as an exemplification of the great heights achieved by the Cholas, in the field of art, sculpture, and architecture.

The vimana of the Airavatesvara temple is around 24 m high, and has five diminishing tiers giving it the pyramidal shape. On top of the last/fifth tier is the circular griva that shows koshtha or niches at four cardinal directions. There are couchant Nandis at the border, while the griva is surmounted by a domed shikhara and a metallic stupi.

Airavateswarar, the name of the temple is believed to have been derived from Airavata, Indra’s elephant, who had prayed in this temple. Airavata was a white elephant who had turned into black owing to a curse by rishi Durvasa. It is here after praying and bathing in the temple tank that Airavata regained his lost colour. According to another story, Yama (the god of death) was cursed by a rishi that made him suffer from a burning sensation.  He got rid of his curse by praying here and taking a bath in the temple tank, which is known as Yama Teertha.  

Plan of the Airavateswara temple complex. Photo from UNESCO

Airavateswara temple with the chariot designed agra mandapa in front. Photo from wiki

Airavateswara temple has a sanctum sans the circumambulatory path with a front hall or agra-mandapam. As per the pillar inscriptions in the mandapa, this hall is known as the svasti sri- rajagambhiran tirumandapam. This agra-mandapa is unique, as it had been designed as a chariot on wheels; specifically the Tripurantaka ratha, complete with wheels, spokes, and hubs (in relief), pulled by leaping horses. The mandapa pillars show ornamentation depicting stories from the epics. Another interesting feature of this temple are the labelled miniature panels that tell stories associated with the 63 Nayanmars (Shaiva saints), showing the Chola connect with Shaivism. There is a separate temple for the devi (Devanayaki amman shrine), which is dated little later than the main temple; thus, showing that the growing popularity of an Amman shrine as an integral part of a Dravidian temple was a development of a slightly later period.

View of the smaller intact gopura

As one enters the Airavatesvara temple, one sees a large gopura whose upper part stands completely destroyed. However, its grandeur can be imagined from the relatively smaller gopura that stands inside and remains completely preserved. It is believed that

The broken larger gopura

the temple once held seven such walled tiers that were subsequently destroyed during invasions by the Delhi Sultanate armies, led by Malik Kafur (1311 CE),  Khusrau Khan (1314 CE), and Muhammad bin Tughlaq (1327 CE), the remnants of which are still visible in bits and parts from the scattered ruins around (Howard, 2012, pp. 93-94). The prakara wall that runs around the temple has beautifully sculpted couchant bulls. Like the broken gopuram, the smaller one too show pillars in a row decorated with pretty ganas, apsaras, and other motifs. In front of  the smaller gopura is a bali-pitha showing beautiful carvings of lotus petals. In front of is a large nandi mandapam. The bali peetha is believed to have musical stairs, keeping in tune with the sculpted panels seen all over the temple that are adorned with miniature dancing figures. Music and dance form the basic theme of this temple’s ornamentation: a state of constant joy and entertainment.

Nandi mandapama and baali-peetha. The stairs of balli-peeth are musical stairs that are now locked and covered by an iron grill to save it from people walking on it.

The  mandapa, as it appears after one enters  through the gopura. The dhwaja stambh is in front, with four front pillars in the mandapa, and the two ganas -padma nidhi and sankha nidhi on two side koshthas or niches

The eight outer pillars of the agra mandapa have gaja-yalis with curled trunks and tails. The pillar capitals show an early bodhika style, which further evolved in the Vijayanagara era to form the lotus pattern. The four inner pillars show oblong and polygonal sections, and the rectangular parts of the pillars have panels that depict various stories from our epics, such as, burning of Manmatha,  Parvati performing penance, Shiva’s marriage, birth of Skanda/Kumara, Shiva’s fights with the asuras, etc. (photos below).

  A chariot wheel and a leaping horse on two sides of the agra mandapa show intricate carvings

Elephants are seen on the balustrades of the stairs leading to the agra mandapa

The entrance gopura balustrade show a beautiful makara with wide open jaws and a curled floriated tail. A yaksha/gana is seen in the act of coming out of its mouth, while one is seen riding the makara. 

The main mandapa pillars show ornamental creepers that form circular medallions inside which we see deities, natikas dancing in different poses, and musicians. This was the nritya mandapa. 

  Seen here are two sanctums: the main sanctum at a distance holding the lingam, and a second subsidiary shrine within the nritya-mandapa which holds the murti of Perinayaki Amman

In the mandapa after the nritya mandapa there are four niches holding a devi with lotus and kalasha (Ganga/ Annapurna/Bhuvaneshwari/Mohini), Nandikesvara with hands folded, saint Kannappa with his bow, and a seated Saraswati.

There is a prakara (wall) which goes around the paved courtyard around the temple and it consists of pillar-cloisters, with cells in between for deities. At the four corners these cloisters are made large and turned into mandapas.

On a balustrade of  the staircase leading to the prakara cloister stands the famed ‘Rishaba Kunjaram’ sculpture, where we see the conjoined heads  of a bull and an elephant but each having  separate  bodies.

On the southern wall of the pillared cloister there are one hundred and eight Saiva saints. These saints likely sang Devaram hymns in praise of Shiva in the temple. 

Inside one of the temple’s cloistered mandapa is a museum where sculptures are kept

Three faced Candesa

Dhanvantari

Martand Bhairava on a northern wall koshtha (niches). The outer face of the temple walls have the usual pilasters and niches. The second mandapa is entirely walled and closed,  while its outer walls have the usual pilasters and niches. The main deities in the koshthas are all made of black basalt, thus making them stand out separately from the lighter coloured granite which has been used for making rest of the structures.

Pranala leading the abhisekham water out of garbagriha. A gana sits at the base of the spout, while Brahma stands in the niche on top of the spout. The temple wall has many such smaller water outlets at regular intervals

Vishnu ammai or devi Durga

Lingodbhava

Bhairava

Vinadhari Dakshinamurti

Agastya muni

Kubera

An interesting shrine in this temple is that of Shiva as Sarabha- murti. The shrine is separately attached to the southern wall of the mandapa, and it represents a period in history when Shaivism was more popular than Vaishnavism, which is reflected through the symbolic murti of Sarabhesvara (Shiva) where he is shown subduing the fierce Narasimha (Vishnu). There is a line of thought that believes the cult worship of Sarabesvara might have originated from this temple. 

The temple has some exquisite panels of miniature sculptures, and some of them are just about the size of a human hand. These panels depict various interesting scenes from daily lives, like dance poses, yoga poses, a pregnant woman giving birth with the help of other women, war scenes, stories of the Saiva saints, etc 

Remnants of Nayaka era painting are seen on the outer walls, pillars, and ceilings of the temple 

  Airavatesvara temple is beautiful in its unique architecture and sculptures, and stands as a symbol of Chola pride and glory. It will take nearly two to three hours for a thorough look at all the sculptures both inside and outside. Beside it, in a separate enclosure is the Amman temple, which is a must visit too. The best time to visit this place during November to January when weather is relatively cooler. The best way to visit it is to take a taxi or a car from Tanjore. The temple sanctum remains closed from 12 pm to 4 pm and one must keep that in mind while visiting the temple.

References:

Ayyar, P.V. Jagadisa, 1993. South Indian Shrines.  Asian Educational Services, New Delhi.

Burton, S., 1978. South Indian Temples: An Analytical Reconsideration. Vikas Publishing House, Delhi. 

Howard, M., 2012. Transnationalism in Ancient and Medieval Societies. McFarland, North Carolina.

13th Major Rock Edict. Translation by E. Hultzsch (1857-1927). Published in India in 1925. Inscriptions of Asoka p.43

Airavateswara temple in Darasuram: A beautiful stone carved verse from the later Chola period The Imperial Cholas The Imperial Cholas of South India hold the record for being the longest ruling dynasty in Indian history, and is undoubtedly one of the grandest empires that the country has ever seen.