சித்சபேசாய மங்கலம் (CHITSABESAAYA MANGALAM) -part 2

Previous parts:
https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-1.html

Astronomical Significance of आर्द्रा (ārdrā)

Astrologically speaking, आर्द्रा नक्षत्र (ārdrā nakṣatra) belonging to the मिथुन राशि (mithuna rāśi – Gemini sign), corresponds to the Betelgeuse (Alpha Orionis - α Ori) is the 9th brightest star in the night sky. Interestingly, it is part of the sacred Orion Belt constellation. Technically this Orion Belt constitutes two major constellations viz. the triple stars of the मार्गशीर्ष (mārgaśīrṣa - orion) & आर्द्रा (ārdrā - betelgeuse). The former is symbolized as the धनु  (dhanu -  bow) used by latter, symbolized as the मार्गिक (mārgika – hunter). Both are spiritually very significant constellations. In fact, Orion Belt is astronomically located on the विषुवद्वृत्त/नाडिवृत्त (viṣuvadvṛtta / nāḍivṛtta -celestial equator) which is an imaginary line horizontally cutting through the ब्रह्माण्ड (brahmāṇḍa - celestial sphere) into two equal halves viz. northern & southern hemispheres, similar to the भुरेख (bhurekha - terrestrial equator). The क्रान्तिवृत्त (krāntivṛtta – ecliptic) touches the eastern and western halves on the विषुवद्वृत्त/नाडिवृत्त (viṣuvadvṛtta / nāḍivṛtta - celestial equator) at the उधय लग्न (udhaya lagna - ascendant) & मध्य लग्न (madhya lagna- meridian  cusp) respectively.   

The अयन (ayana - solstice) are two the points on the ecliptic plane intersecting the circumference of the celestial sphere called उदगयन / उतररायन (udagayana / utararāyana – northern declination / Summer Solstice) in June when the सूर्य (sūrya - sun) is over the Tropic of Cancer, where the tilt of भुवन (bhuvana - earth)s access is closest to the सूर्य (sūrya - sun) and दक्षिणायन (dakṣiṇāyana - souther declination / Winter Solstice) when the tilt is farthest from the Sun, which would be above the Tropic of Capricorn sometime in December. Etymologically speaking, the word solstice is derived from the Latin words sol meaning Sun and sister that means ‘to stand still’. 

Interestingly, the Orion belt has deep occult astro-spiritual significance across many religious cultures even cutting across ancient global civilizations viz. Chinese, Indian, Greek, Roman, Egyptian, Zoroastrian etc. For example, Holy Christmas, celebrated as the birth date of Jesus Christ on December 25^th every year is related to the three stars in the Orion’s Belt during the दक्षिणायन (dakṣiṇāyana - souther declination / Winter Solstice). It is widely believed that these three stars guided the three Royal Magi astrologers (also called as the three kings or wise men who brought the three treasures) who came from east searching for Lord Jesus Christ to Bethlehem. Tracing the Orion Belt, they were able to discover Sirius, the Christmas star, esoterically related to Christmas.

 Again, according esoteric astrology, Sirius along with आर्द्रा नक्षत्र (ārdrā nakṣatra -  Betelgeuse star) & Procyon form the sacred Winter Triangle which symbolizes the Holy Trinity. Similarly, in Egyptian mythology Orion Belt is closely related to their God Horus, who is also said to be born around December 25^th. His birth again was traced by three Kings who were guided by the Orion Belt.  Again, another myth, Orion is also related to Egyptian God Osiris, the primordial father of rebirth and afterlife. Moreover, according to Giza-Orion correlation theory proposed by many subject matter experts, there is a close mathematical correlation between the 3 famous Egyptian pyramids at Giza and alignment of the three stars in the Orion Belt. Moreover, in ancient Greek mythology, Gods like Attis & Dionysus, and in Persian (Zoroastrian) mythology Mithra also have a similar legend associated with Orion Belt

And finally talking about Ancient Hindu Vedic mythology, the मार्गशीर्ष (mārgaśīrṣa - Orion) belt is closely related with प्रजापति / ब्रह्म (prajāpati/brahma) while आर्द्रा (ārdrā - Betelgeuse) is associated with Lord रुद्र शिव (rudra śiva).  We have already seen (earlier post) that according to Hinduism the spiritual significance of the மார்கழி / मार्गशिर (maargazhi / mārgaśira - mid nov to mid dec) month in my earlier post (refer link below)

http://shankarsanthammorthy.blogspot.in/2017/12/om-suvaamiye-saranam-aiyappaa.html?m=1

We shall now specifically look at the significance of आर्द्रा (ārdrā - Betelgeuse) associated with this month viz.   மார்கழி  ஆருத்திரா  நட்சத்திரம் (maargazhi aarudra natchathiram). According to a popular legend narrated in the ऐत्रेय ब्राह्मण (aitreya brāhmaṇa), belonging to the ऋग् वेद संहित (ṛg veda saṁhita), रुद्र शिव (rudra śiva), the terrifying hunter/archer God, with righteous indignation who punishes any violation of moral धर्म (dharma – righteousness) even if it committed by प्रजापति (prajāpati) another God – thereby establishing righteousness impartially. A similar legend is associated later in the महा पुराण (mahā purāṇa) where दक्ष प्रजापति / ब्रह्म (dakṣa prajāpati/brahma)’s head is chopped by रुद्र शिव (rudra śiva) for the former’s misdeeds. This fact is testified in the following verses from the sacred ऋग् वेद मन् (ṛg veda mantra).

तेषं वयं रुद्रं यज्ञसाधं वङ्कुं। कविमवसे नि ह्नयामहे।

आरे अस्मद् द्वैयं हेळो अस्यतु। सुमतिमिद् बयम्स्या वृणीमहे

(

teṣaṁ vayaṁ rudraṁ yajñasādhaṁ vaṅkuṁ| kavimavase ni hnayāmahe|

āre asmad dvaiyaṁ heḻo asyatu| sumatimid bayamsyā vṛṇīmahe|

The Luminous Rudra who performs yagna (kills) the crooked.

Him we incessantly we invoke for protection

He throws far away those who show anger (or disregard) for the Gods.

We pray for his grace.

)

ऋग् वेद मन् (ṛg veda mantra) (1.114.4)

In fact, according to शिव महा पुराण (śiva mahā purāṇa) it was on this day of திருவாதிரை  நட்சத்திரம் /    आरुद्र नक्षत्र (thiruvaathirai natchaththiram / ārudra nakṣatra - Betelgeuse asterism) during the month of மார்கழி / मार्गशिर (maargazhi / mārgaśira - mid nov to mid dec), परब्रह्म (parabrahma – supreme divinity) theologized here as Lord रुद्र शिव (rudra śiva) manifested Himself as the cosmic स्वयंभु अग्नि लिङ्ग (svayaṁbhu agni liṅga – natural fire pillar) in order to resolve the ego conflicts between the सगुण ब्रह्म देवत (saguṇa brahma devata) viz. ब्रह्म (brahma) & विष्णू (viṣṇū) and re-establish the transcendence and omnipotence of the Absolute.

Thus, this day மார்கழி ஆருத்திரா நட்சத்திரம்  (maargazhi aarudra natchathiram) is considered the birth star of रुद्र शिव (rudra śiva) and hence, as the name ஆருத்ரா தரிசனம் (aarudhraa dharisanam) indicates, this event is closely associated with the former i.e. रुद्र शिव (rudra śiva) and is considered a very sacred event, as testified in the following verse from शिव महा पुराण (śiva mahā purāṇa)

यत्पुनः स्तम्भरूपेण स्वाविरासमहं पुरा।

स कालो मार्गशीर्ष तु स्यादाद्रतृशर्म्भकौ॥

आद्रार्यां मार्गशीर्षे तु यः पश्येन्मामुमासखम्।

मद्वेरमपि वा लिङ्गं स गृहादपि मे पित्रयः॥

अलं दर्शनमात्रेण फलं तस्मिन्दिने शुभे।

अभ्यर्चनं चेदधिकं फलं वाचामगोचरम्॥

(

yatpunaḥ stambharūpeṇa svāvirāsamahaṁ purā|

sa kālo mārgaśīrṣa tu syādādratṛśarmbhakau||

ādrāryāṁ mārgaśīrṣe tu yaḥ paśyenmāmumāsakham|

madveramapi vā liṅgaṁ sa gṛhādapi me pitrayaḥ||

alaṁ darśanamātreṇa phalaṁ tasmindine śubhe|

abhyarcanaṁ cedadhikaṁ phalaṁ vācāmagocaram||

O boys, I had earlier appeared in the form of a pillair,, it was in the month of mārgaśīrṣa, and the constellation was ādrā.

In the month of Mārgaśīrṣa, during ādrā., whosoever has an audience with me (Umapathi) or the one who adores my image or Shiva-linga , he becomes dearer to me than Karthikeya even

On that auspicious day one achieves sufficient of merit even by looking at me, but in case Lord Shiva is appropriately worshipped during that day then the reward for the same is beyond the description from the epeech.

   Translation byShanti Lal Nagar

)  शिव महा पुराण (śiva mahā purāṇa) (2.9.15-17)

Astrologically रुद्र शिव (rudra śiva) is the अधिकार देवत (adhikāra devata – presiding deity) associated with आरुद्र नक्षत्र (ārudra nakṣatra - Betelgeuse asterism). Etymologically, रुद्र (rudra) is associated with “redness’ and interestingly ,even according to modern astronomy the Betelgeuse star is considered to be a massive RED-SUPERGIANT star

Moreover, according to NASA’s observations this supergiant star is likely on its way of a spectacular supernova explosion. Incidentally, according to Hindu theology, रुद्र (rudra) is the संहार देवत (saṁhāra devata – god of destruction/dissolution).  In fact, श्री सायनाचार्य (śrī sāyanācārya) in his famous भाष्य (bhāṣya - commentary) on ऋग् वेद मन् (ṛg veda mantra) (1.114)

रुत् संसारख्यम् दुःखम् तद् द्रावयति

अपागमयति विनाश्यति इति रुद्रः।

(

rut saṁsārakhyam duḥkham tad drāvayati

apāgamayati vināśyati iti rudraḥ|

'rut' means the suffering called the world.

He drives away ('drdvayati'), removes, destroys that:

therefore he is named Rudra;

) ऋग् वेद  सायन भाष्य (ṛg veda sāyana bhāṣya) (1.114)

But of course, संहार (saṁhāra – destruction) is only one among the ஐம்பெருந்தொழில்  / पञ्चमहा कृत्य (aimperunthozhil / pañcamahā kṛtya – five-fold cosmic act) of रुद्र शिव (rudra śiva) who is none other than the परमेश्वर (parameśvara). Again, to quote श्वेताश्वतर उपनिषद् (śvetāśvatara upaniṣad)

य एको जालवानौशत ईशनीभिः सर्वाल्लोकानीशत इशनीभिः।

य एवैक उद्भवे सम्बवे च य एतद् विद्रुरमृतास्ते भवन्ति॥

एको हि रुद्रो न द्वितीयाय तस्थुर्य इमौल्लिकानीशत ईशानीभिः।

प्रत्यङ् ज्नांस्त्ष्टाति सञ्चान्त काले संसृजय विश्वा भुवनानि गोपाः॥

(

ya eko jālavānauśata īśanībhiḥ sarvāllokānīśata iśanībhiḥ|

ya evaika udbhave sambave ca ya etad vidruramṛtāste bhavanti||

eko hi rudro na dvitīyāya tasthurya imaulliokānīśata īśānībhiḥ|

pratyaṅ jnāṁstṣṭāti sañcānta kale saṁsṛjaya viśvā bhuvanāni gopāḥ||

The non-dual One, who being the possessor of the Net (Maya), rules through His (divine) powers, rules over all the worlds through His powers of rulership, who is verily alone when in association with the divine powers and when manifested, - those who know this become immortal

-translation by Swami Gambhirananda

) श्वेताश्वतर उपनिषद् (śvetāśvatara upaniṣad)

Moreover, at the same time, रुद्र शिव (rudra śiva) is also the परम शिव (parama śiva – most benevolent) God as அன்பே  சிவம் (anbE sivam – Siva is Love) and is the most blissful deity, as reiterated in the श्वेताश्वतर उपनिषद् (śvetāśvatara upaniṣad)

य ते रुद्र तनुरधोराऽपापकाशिनी।

तया नस्तनुवा शन्तमया गिरिशन्ताभिचाकाशीहि॥

(

ya te rudra tanuradhorā'pāpakāśinī|

tayā nastanuvā śantamayā giriśantābhicākāśīhi||

O Rudra, through that holy form which You have which is not terrifying, and which reveals virtue, through that most joyous form of Yours, O Girishanta, please look at us.

-translation by Swami Gambhirananda

) श्वेताश्वतर उपनिषद् (śvetāśvatara upaniṣad)

Thus, the seemingly contradictory aspects of रुद्र (rudra - ferocious) & शिव (śiva - bliss) are essentially the two sides (poles) of the same Divinity रुद्र शिव (rudra śiva – ferocious bliss).  Again, from an astrological point of view, even the etymological meaning of the आर्द्रा नक्षत्र (ārdrā nakṣatra) is derived from the root आर्द्र (ārdra – green/moist/soft). However, ironically its अधिकार देवत (adhikāra devata – presiding deity) is Lord श्री रुद्र देव (śrī rudra deva) and as already mentioned, the name means “रुद्र (rudra – ferocious / red)”.

The most artistic representation of this supreme truth, however is the sacred iconography of परमनान्द ताण्डव (paramanānda tāṇḍava – ferocious/frantic dance of supreme bliss) performed by ஸ்ரீ  நடராஜர் (srI nataraajar) at தில்லை  சிதம்பரம் (thillai chidambaram). Yes, according to नाट्य शास्त्र (nāṭya śāstra – science of dance), the ताण्डव नृत्य (tāṇḍava nṛtya) is a special form of dance expressing the emotions of साहसिकता / रौद्र (sāhasikatā / raudra – ferocity/violence). However, at the same time the आनन्द  नृत्य (ānanda nṛtya) depicts the emotions of  आनन्द  / शिव  (ānanda / śiva – happiness or bliss).  Structurally, upper part of the icon represents the आनन्द (ānanda - blissful) aspect of the குத்து (kUththu – dance), whereas the lower part of the icon wherein His right foot forcefully crushes अपस्मार पुरुष / முயலகன் (apasmāra puruṣa / muyalagan) symbolizes its ताण्डव (tāṇḍava – frantic / wild) aspect. 
Moreover, the most artistic expression of the philosophy behind the ஐம்பெருந்தொழில் / पञ्चमहा कृत्य (aimperunthozhil / pañcamahā kṛtya – five-fold cosmic act) is depicted by this iconography of ஸ்ரீ  நடராஜமூர்த்தி  தத்துவம் (srI nataraajamUrthi thaththuvam – philosophy underlying “king of dance” iconography).

The close correspondence between the आनन्द ताण्डव(ānanda tāṇḍava – blissful dance) of நடராஜ  மூர்த்தி(nadaraaja mUrththi) and the esoteric aspects of चिताकाश (citākāśa – gnostic vacuum) is highlighted in the छान्दोग्य उपनिषद् (chāndogya upaniṣad) as part of the पञ्चाग्नि विद्या (pañcāgni vidyā)  where it is stated thus

अथ हाग्नयः समूदिरे तप्तो ब्रह्मचारी कुशलं नः पर्यचारीद्धन्तास्मै प्रब्रवामेति तस्मै होचुः प्राणो ब्रह्म कं ब्रह्म खं ब्रह्मेति॥

 अथ हाग्नयः समूदिरे तप्तो ब्रह्मचारी कुशलं नः पर्यचारीद्धन्तास्मै प्रब्रवामेति तस्मै होचुः प्राणो ब्रह्म कं ब्रह्म खं ब्रह्मेति॥  

स होवाच विजानाभ्यहं यत्रप्राणो ब्रह्म कं च तु खं च न विजानामिति ते होचुर्यद्वा कं तदेव खं यदेव खं तदेव कमिति प्राणं च सास्मै तदाकाशं चोचुः॥

(

atha hāgnayaḥ samūdire tapto brahmacārī kuśalaṁ naḥ paryacārīddhantāsmai prabravāmeti tasmai hocuḥ prāṇo brahma kaṁ brahma khaṁ brahmeti||

atha hāgnayaḥ samūdire tapto brahmacārī kuśalaṁ naḥ paryacārīddhantāsmai prabravāmeti tasmai hocuḥ prāṇo brahma kaṁ brahma khaṁ brahmeti||  

sa hovāca vijānābhyahaṁ yatraprāṇo brahma kaṁ ca tu khaṁ ca na vijānāmiti te hocuryadvā kaṁ tadeva khaṁ yadeva khaṁ tadeva kamiti prāṇaṁ ca sāsmai tadākāśaṁ cocuḥ||

Then, the fires said among themselves: ‘ This celibate ascetic has undergone the austerities and has tended us very well. Well, let us instruct him; and they said to him: ‘Prana (vital air) ka is Brahman, kha is brahman’

Upakosala said to them: ‘ I understand that prana is Brahman, but I do not understand ka and kha’. Then they taught to him Prana as also the Akasha that is related to it

 -translation by V. Panoli

) छान्दोग्य उपनिषद् (chāndogya upaniṣad) (4.10.4,5)

As part of his commentary on the above concept, श्री आदि शंकराचर्य भग्वत् पाद (śrī ādi śaṁkarācarya bhagvat pāda) further elucidates the concept thus

तमेव मुक्तवन्तं ब्रह्माचारिणं ते हाग्नय ऊचुः। यद्वाव यदेव वयं कमवोचाम तदेव खमकाशमिति। एवं खेन विशेष्माणं कं विषयेन्द्रियसंयोगजात्सुखान्निवर्तितं स्यान्नीलेनव विशेष्यमाणमुत्पलं रक्तादिभ्यः। यदेव कमित्याकाशमवोचाम तदेव च कं सुखमिति जानिहि। एव च सुखेन विशेष्यमाणं ख भौतिकादचेतनात्खान्निवतितं स्यन्नीलोतप्लव्देदव। सुखमाकाशस्थनेतरल्लौकिकम्। आकाशम् च सुखाश्रयं नेतरद्भौतिकामित्यर्थः।

(

tameva muktavantaṁ brahmācāriṇaṁ te hāgnaya ūcuḥ| yadvāva yadeva vayaṁ kamavocāma tadeva khamakāśamiti| evaṁ khena viśeṣmāṇaṁ kaṁ viṣayendriyasaṁyogajātsukhānnivartitaṁ syānnīlenava viśeṣyamāṇamutpalaṁ raktādibhyaḥ| yadeva kamityākāśamavocāma tadeva ca kaṁ sukhamiti jānihi| eva ca sukhena viśeṣyamāṇaṁ kha bhautikādacetanātkhānnivatitaṁ syannīlotaplavdedava| sukhamākāśasthanetarallaukikam| ākāśam ca sukhāśrayaṁ netaradbhautikāmityarthaḥ|

To the Brahmachaari who spoke thus, the fires said: ‘what is referred as ka, even that is kha i.e., Akasha. Thus Ka (Joy), is qualified by Kha (Akasha), will become free from the joy resulting from the contact with the sensory objects , just as the lotus qualified by blue becomes distinct from those qualified by red. etc. What is referred to as Kha in the sense of Akasha, know you that as ka (joy). Thus Kha that is qualified by 'joy' shall be precluded from kha that is material and non-intelligent, like a blue lotus (as stated above). The joy (bliss) residing in the Akasha is Brahman and not any other worldly happiness. The idea is that the Akasha which is  the substratum of Bliss is Brahman, and not the material Akasha 

-Translation by V. Panoli

)छान्दोग्य उपनिषद् शंकर भाष्य (chāndogya upaniṣad śaṁkara bhāṣya) (4.10.4)

In other words, the कं (kaṁ) symbolizing the sacred आनन्द (ānanda - bliss) has close correspondence with the concept of खं (khaṁ) symbolizing आकाश (ākāśa - space / vacuum) and both of them, in turn, corresponds to ब्रह्म (brahma - god).  This synergy is what is very beautifully depicted in the आनन्द ताण्डव(ānanda tāṇḍava – blissful dance) iconography of நடராஜ  மூர்த்தி(nadaraaja mUrththi).   

Interestingly, the motif of Siva’s Dance, is not only known for its deep metaphysical significance, but is also very widely acknowledged among the scientific community including stalwarts like Carl Sagan, Fritjof Capra etc., for its underlying scientific basis. In fact, the prestigious European Centre for Nuclear Research (CERN), for instance has installed an instance of this sacred icon, in its campus, thereby acknowledging its scientific message

In fact, according to Ananda K. Coomaraswamy, the eminent scholar and subject matter expert on Indian Arts, in his famous essay titled “The Dance of Siva”, glorifies this iconography thus “How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of”.

   Thus, this also day is celebrated as the महा अवतार दिन (mahā avatāra dina – grand manifestation day) of  ஸ்ரீ நடராஜர்( sri nataraajar - lord of the cosmic dance) – the dancing form of रुद्र शिव (rudra śiva). ஸ்ரீ  உமாபதி  சிவாச்சாரியார் (sri umaapathi sivaachariyaar) in his magnum opus கோயிற்புராணம் (kOyiRpuraaNam) very categorically states the significance of this event

மார்கழி திரை நாளின் முனிவெரெல்லாம்
வந்துதடம் படிந்து பொது வணங்கி வாழ்த்திப்
பார்துமா தொழுதகன்றார் முன்சென்று
பன்னமுனி மன்னவனீர் பயிற்றுமிந்தச்
சீர்தருமா தினமென்னத் தில்லை வாழும்
திருவடியன் தணரெந்த திருநாளென்று
சார்தருமா நவத்தீர்த்த நித்தங்கொண்டு

தஞ்சனமஞ்சன விழதவுதகுவித்தார்கள்

(

maargazhi thirainaaLin munivarellaam

vandhuthadam padindhapodhu vanangi vaazhththip

paarthagumaa thozhuthanRaar munnamenRu

pannamuni mannavanIr payiRRumindhach

sIrtharumaa dhinamennath thillai vaazhum

thiruvudaiyan dhaNarendhai thirunaaLenRu

saartharumaa navathIrththa nIththangkoNdu

thanjanamanjana vizhavuthaguviththaargaL.

).

-கோயிற்புராணம் (kOyurpuraaNam)

According to orthodox legends, it is widely believed that such ताण्डव (tāṇḍava - dance) was originally witnessed by His Divine Consort பார்வதி (paarvathi) and also the ऋषि (ṛṣi - sages) along with their पत्नी (patnī - wives) in the sacred forests दारुवन (dāruvana – pine forest), as explained in the திருப்பத்தூர்  புராணம் (thirupaththUr puraaNam)

இருடிகட்கா எழில் மன்றில் ஆசாரிய நடம் பையின்ற நாதன்

(

irudikatkaa ezhil manRil aachaariya natam paiyinRa naadhan

The Lord who performed the Dance of Wonder for the sake of the repentant sages of Daruka

) திருப்பத்தூர் புராணம்  (thirupaththUr puraaNam)

The following narration by Kamil V Zvelebil concisely summarizes the episode thus, “In the forest of Dāruvana, “heretic” sages practiced their austerities and sacrifices without truly loving and serving Shiva. Therefore, Shiva in the guise of a young handsome ascetic went there, accompanied by Vishnu whom he ordered to adopt the form of a beautiful courtesan and seduce the rishis – which Vishnu did most successfully, Shiva as the handsome young mendicant, aroused the passion of the wives of the sages, and seduced them one by one. The two gods were then followed by the Rishis and their wives, each apart, and when they met in the midst of the forest, the sages saw their naked impassioned wives and were shocked. They went into cancel and found out that the two seducers were none else than Shiva and Vishnu; and full of hatred against Shiva as the instigator of the plot, the sough to kill him. They prepared a sacrifice out of which emerged first a huge tiger; but Shiva destroyed the beast and wrapped the skin around his waist. Then a trident emerged to kill the god; but Shiva grasped it firmly in his hand. Then a furious antelope emerged to gore him; but Shiva took it in his left arm.Then a great numner of snakes were created to attack him; but he took them into his hair as ornaments. Subsequently a host of demons followed; but he ordered them to be his servants. Next a horrid grinning skull appeared; but Shiva set it into his crown of hair. Then the rshis created a drum (damru, tuti) which they hurled with a deafening sound against the god, but he caught it and held it firmly in one of his hands. Finally, they produced a demoniac dwarf as the embodiment of evil, called Muyalaka alias Apsāmarapuruṣa, ‘The man without memory’, and a scorching flame in addition, but Siva took the fire into his hand, and stepped on the back of the dwarf breaking his neck. And then he began to dance, and the whole universe trembled, because it was vigorous heroic tandava dance. After the dance, the sages, totally converted, fell at the god’s feet, but Shiva left the forest and returned to mount Kailaasha”. This story is elaborately explained in the चितंबर महात्म्य (citambaramahātmya) and also by the revered saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his கோயிற்புராணம்  (koyiRpuraaNam), both of which are considered to be the most authentic स्थल पुराण (sthala purāṇa – temple legend) of சிதம்பரம் தில்லை நடராஜர் கோயில் (chidhambaram thillai nataraajar kOyil). When आदिशेष (ādiśeṣa) heard of the glory of this dance, he also wanted to experience the same and thus prayed to his beloved lord महा विष्णु (mahā viṣṇu) who directed him to go to the sacred city of º¢¾õÀÃõ (chidambaram) and pray to lord Shiva and by महऋषि पतङ्जलि (mahaṛṣi patañjali) & महऋषि व्याघ्रपाद (mahaṛṣi vyaghrapāda) at the holy city of சிதம்பரம் (chidambaram).  The revered Saiva saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his masterpiece कुञ्चिताङ्घ्रि स्तव (kuñcittāñghri stava) eulogizes this event thus,

ब्रह्माण्डं यस्य धेहं रविहदिशि पदो वक्त्तवृन्दान्युदिच्यां

तद्वैराजान्तरङ्गे विलसति ह्र्दयाम्भोरुहं दक्षिणाग्रे।

मध्ये सम्मेलनाख्ये मुनिवरमनसा भाविते यन्त्रराजे

यश्शाक्त्या नृत्यतोशः...

(

brahmāṇḍaṁ yasya dhehaṁ ravihadiśi pado vakttavṛndānyudicyāṁ

tadvairājāntaraṅge vilasati hrdayāmbhoruhaṁ dakṣiṇāgre|

madhye sammelanākhye munivaramanasā bhāvite yantrarāje

yaśśāktyā nṛtyatośaḥ…

I worship the lord Nataraja who dances with His uplifted left leg in the company of His inseparable Shakti in the centre of the excellent yantra called 'Sammelana', and as visualized by the best ancient sages (like Patanjali, and Vyagrapada)…

) कुञ्चिताङ्घ्रि स्तव (kuñcittāñghri stava) (1)

Similarly, श्री रामबद्रदीक्षित(śrī rāmabadradīkṣita) provides the following account in his famous text called  "पतञ्जलिचरित (patañjalicarita - story of patanjali)"  further testifies thus:


मण्डल भ्रमिशु कीर्नजाह्नवीशिकरसनपितचक्रवालकम् बाहुवेग पवनावपूरितक्रन्ददन्तरदिगद्रिकन्दरम् उद्धृतैकचरनाम्बुजप्रभासृज्यमुनपरवेशविग्रहम् उत्पलदरसहोदराम्बिकालोचनान्तवलनैक गोचरम् शाम्बरियवनिकाम् अताक्शिपन् सप्रपञ्चमयनर्तनम् शिवः द्राग्  अदर्शयत गोणिकासुतम्  व्याहरपादम् इतरान् ऋषि अपि तेन ते स्वयम् इदम् जगन् मृशा जानते स्म परमार्थतः पुनः ब्रह्म तत् परम् अनादि सत्चिदानन्द लक्षनम् अनन्तम् अद्वयम्
(
maṇḍala bhramiśu kīrnajāhnavīśikarasanapitacakravālakam bāhuvega pavanāvapūritakrandadantaradigadrikandaram uddhṛtaikacaranāmbujaprabhāsṛjyamunaparaveśavigraham utpaladarasahodarāmbikālocanāntavalanaika gocaram śāmbariyavanikām atākśipan saprapañcamayanartanam śivaḥ drāg    adarśayata goṇikāsutam  vyāharapādam itarān ṛṣi api tena te svayam idam jagan mṛśā jānate sma paramārthataḥ punaḥ brahma tat param anādi satcidānanda lakṣanam anantam advayam.
)

Sri Sivaramamurthi in his famous book - Nataraja in Art, Thought and Literature, explains the above verses thus: "As Siva dances with the Universe as his theme, he almost tets fall the curtain of illusion, mystifying the Samnaea's, when soon he reveals the truth to Patanjali, Vyaharapada and other Rishis. 'This is the illusion of the world as you  see it. here, and you will now know the eternal truth of the Supreme Brahman immanent, beginning-less, eternal , sentient and blissful, unending and monastic." . 

The सगुण ब्रह्मन् (saguṇa brahman – Personal God) is manifested in dual modes viz. आत्म रूप  (ātma rūpa – subtle/ spiritual form) and பூத உருவம் / भूतरूप (bhUtha uruvam / bhūtarūpa – physical form). विग्रह (vigraha - idol) consecrated in a temple, basically represents the latter form. Again, as explained by அருள் நந்தி சிவனார் (aruL nandhi sivanaar) in his சிவ ஞான சித்தியர் (siva gnaana sidhdhiyar), such विग्रह (vigraha - idol), takes one or more of any of these three structural forms viz. निष्कलं/ அருவம் (niṣkalaṁ / aruvam - formless/ abstract), शकल निष्कलं /அருவுருவம் (śakala niṣkalaṁ / aruvuruvam – formless/non anthropomorphic form) &  शकल / உருவம் (śakala / uruvam – anthropomorphic form)

உருமேனி தரித்து கொண்டது என்றலும் உரு இறந்த

அருமேனி அதுவும் கண்டோம் அரு-உரு ஆனபோது

திருமேனி உபயம் பெற்றோம் செப்பிய மூன்றும் நந்தம்

கழுமேனி கழிக்க வந்த கருணையின் வடிவு காணே

(

urumEni thariththu koNdadhu enRalum uru iRandha

arumEni adhuvum kaNdOm aru-uru aanabhOdhu

thirumEni ubhayam peRROm seppiya mUnRum nandham

kazhumEni kazhikka vandha karuNaiyin vadivu kaaNE

Siva has a body-form, which He assumes on His own accord. Forms are twofold: Gross Form and Subtle Form.

Siva who transcends the body-form sports Formless Body. In consideration of these two forms, we know that he has Form-Formles Form (Rupa-Arupa).  Thus Siva has three Forms.  He is of the Form of Compassion and having subtracted the (Maya-born) body, liberated the soul.

Translated  by V.Krishnaraj

)  சிவஞான்சித்தியார்  (siva gnaana sidhdhiyaar) (75)

Again, in Saivism, these structural forms exists in நவந்தரு நிலைகள் (navantharu nilaigaL – ninefold states) as testified by saint திருமூலர்  (thirumUlar) in the following verses

மலர்ந்த அயன் மால் உருதிரன் மகேசன்

பலந்தரும் ஐமுகன் பரவிந்து நாதம்

நலந்தரும் சக்தி சிவன் வடிவாகிப்

பலந்தரு லிங்கம் பரானந்தி யாமே.

(

malarndha ayan maal uruthiran makEsan

palantharum aimugan paravindhu naadham

nalantharum sakthi sivan vadivaagip

palantharu lingam paraanandhi yaamE.

Brahma, Vishnu, Rudra, Mahesha,

The five-faced SadaSiva, Bindh and Nada, Shakti and Shiva – all these are Linga His Blessings grants.

He is but Nandi, that is Para Supreme.

-Translation by B. Natarajan

) திருமந்திரம்  (thirumanthiram (1776)

Again, in the famous वातुलशुद्धागम (vātulaśuddhāgama) the निष्कल शिव (niṣkala śiva – seedless shiva) is referred as परशिव (paraśiva – abstract shiva), शकल निष्कल शिव  śakalaniṣkala śiva –formless form shiva) as सदाशिव (sadāśiva) and the शकल शिव (śakala śiva)  as महेश  / महेश्वर शिव (maheśa maheśvara śiva) respectively.  The following verses from the text testifies the same

शिवः सदाशिवश् चैत महेशः त्रितिधः स्मृतः।

शिनतत्त्नं महासेन निष्कलं नेति कीर्तितं॥

सकलं निष्कलं चैव सधाशिवमिति स्मृतं।

महेशं सकलं विद्यात् त्रिविद्यं तद्भ वेदयया॥

(

śivaḥ sadāśivaś caita maheśaḥ tritidhaḥ smṛtaḥ|

śinatattnaṁ mahāsena niṣkalaṁ neti kīrtitaṁ||

sakalaṁ niṣkalaṁ caiva sadhāśivamiti smṛtaṁ|

maheśaṁ sakalaṁ vidyāt trividyaṁ tadbha vedayayā||

) वातुलशुद्धागम (vātulaśuddhāgama)

Similarly, in the sacred texts like पूर्वकामिकागम (pūrvakāmikāgama), these three are called अव्यक्तं (avyaktaṁ - unclear / unmanifest), व्यक्ताव्यक्तं (vyaktāvyaktaṁ - clear-unclear) & व्यक्तं (vyaktaṁ - clear) respectively. Interestingly, the temple at சிதம்பரம் (chitambaram), portrays all these three forms in the same temple viz. अकाश तत्त्व (ākāśa tattva – vacuum principle), स्फ्टिकलिङ्ग (sphaṭika liṅga) & நடராஜர் (nadaraajar) respectively. The table summarizes these forms

உருவ  வகைகள் (uruva vagaigaL - structural forms)	நவந்தரு நிலைகள் (navantharu nilaigaL – ninefold states)	உருவ  வகைகள் (uruva vagaigaL - structural forms) at சிதம்பரம் (Chitambaram)
अव्यक्  / निष्कलं / அருவம் (avyakta  / niṣkalaṁ / aruvam - formless/ abstract)	1.       நாதம் (naadham) 2.       விந்து (vindhu) 3.       சக்தி (sakthi) 4.       சிவம் (sivam)	अकाश तत्त्व (ākāśa tattva – vacuum principle)
व्यक्ताव्यक्त  / शकल निष्कलं / அருவுருவம் (vyaktāvyakta  / śakalaniṣkalaṁ /aruvuruvam – formless/non anthromorphic form) &	5.       சிவலிங்கம் (sivalingam)	स्फटिक लिङ्ग (sphaṭika liṅga)
व्यक्त  / शकल / உருவம் (vyakta  / śakala / uruvam – anthromorphic form)	6.       பிரமன் (biraman) 7.       திருமால் (thirumaal) 8.       உருதிரன் (uruthiran) 9.       மகேஸ்வரன் (magEsvaran)	நடராஜர் (nadaraajar)

 நவந்தரு நிலைகள் (navantharu nilaigaL – ninefold states)

This is also why, தில்லை சிதம்பர நடராஜர் கோயில் (thillai chidambaram natarajar kOyil) is given the highest importance even among all the தேவார பாடல் பெற்ற சதலங்கள் (dhEvaara paadal peRRa sathalangaL). In fact, according to orthodox convention the very term கோயில் (KOyil - temple) is used as a synonym for தில்லை சிதம்பர நடராஜர் கோயில் (thillai chidambaram natarajar kOyil) by default. The prominence given to this shrine can be understood from the following verses from சிதம்பர செய்யுட் கோவை (sidhambara seiyut kOvai) written by the revered saint தவத்திரு குமரகுருபர அடிகளார் (thavaththiru kumaragurubara adigaLaar)

தீர்தமென்பது சிவ கங்கையே

ஏத்தருந்தலம் எழிர் புலியூரே

மூர்த்தி அம்பலக் கூத்தன துருவே

(

thIrthamenbadhu siva gangaiyE

Eththarunthalam ezhir puliyUrE

mUrththi ambalak kUththana thuruvE

) சிதம்பர செய்யுட் கோவை (sidhambara seiyut kOvai)

Similarly, திருஅருட்பிரகாச இரமாலிங்க வள்ளலார் (thiruarutpirakaasa iramaalinga vaLLalaar) also in his mystic ecstasy, goes to the extent of singing thus,

நடராச பாட்டே நறும்பாட்டு

ஞாலத்தார் பாட்டெல்லாம் வெறும் பாட்டு

சிதம்பர பாட்டே திருப்பாட்டு

ஜீவர்கள் பாட்டெல்லாம் தெருப்பாட்டு

(

nadaraasa paattE naRumpaattu

gnaalaththaar paattellaaM veRum paattu

sidhambara paattE thiruppaattu

jIvargaL paattellaam theruppaattu

) திருஅருட்பா (thiru arutpaa)

Again, the noble child saint poet திருஞானசம்பந்தர் (thiruGnaanasambandhar) very categorically declares that he does not desire anything in this world more than the Holy Feet of Lord தில்லை நடராஜர் (thillai nataraajar)

வரு மாந்தளிர் மாதோர் பாகமான்

திருமாந்தில்லையுள் சிற்றம்பல மேயே

கருமான் உரியாடைக் கறை சேர் கண்டதெம்

பெருமான் கழலல்லால் பேணாதுள்ளமே

(

varu maanthaLir maadhOr baagamaan

thirumaanthillaiyuL siRRambala mEyE

karumaan uriyaadaik kaRai sEr kaNdadhem

perumaan kazhalallaal pENaadhuLLamE.

)  சம்பந்தர் தேவாரம் (sambandhar dhEvaaram)

In the beautiful பதிகம் (padhikam - verses) called பெரிய திருத்தாண்டகம் (periya thiruththaaNdagam), the noble saint திரு நாவுகரசர் (thiru naavukarasar), very categorically declares, பெரும்பற்றுபுலியூரானைப் பேசாத நாளெல்லாம் பிறவா நாளே (perumpaRRupuliyUraanaip pEsaadha naaLellaam piRavaa naaLE- Unlived indeed are the days unspent in praise of Lord  Perumppatrapuliyur). The beginning verses of the same is quoted here

அரியானை அந்தனர் தம் சிந்தையானை

அருபறையின் அகத்தானை அணுவை யாக்குன்

தெரியாத தத்துவனை தேனைப் பாலைத்

திகழ் ஒளியைத் தேவர்கள் தம் கோனை மற்றைக்

கரியானை நான்முகனைக் கனலைக் காற்றைக்

கனைக்கடலைக் குலவரையை கலந்து நின்ற

பெரியானை பெரும்பற்றுபுலியூரானைப்

பேசாத நாளெல்லாம் பிறவா நாளே..

(

ariyaanai andhanar tham sindhaiyaanai

arupaRaiyin agaththaanai aNuvai yaakkun

theriyaadha thaththuvanai thEnaip paalaith

thigazh oLiyaidh dhEvargaL tham kOnai maRRaik

kariyaanai naanmuganaik kanalaik kaaRRaik

kanaikkadalaik kulavaraiyai kalandhu ninRa

periyaanai perumpaRRupuliyUraanaip

pEsaadha naaLellaam piRavaa naaLE.

He is the rare one; He abides in the Chinta of Thillai Brahmins; He is the core of the rare Vedas; He is the Atom; He is the tattva unknown to anyone; He is the honey, the milk, the self luminous light;

He is the king of the celestial Lords;

He is the Dark-one the four faced,

 The Fire, the Air, the roaring Ocean

And the world-supporting mountain.

He, the greatest is of Perumppatrapuliyur.

Unlived indeed are the days unspent in His praise.

-translation by T.N. Ramachandran

)அப்பர் தேவாரம் (appar dhEvaaram) (1.1)

Interestingly, in line with the Saivite beliefs discussed above, in the Vaishnavite theosophy as well, the term கோயில் (KOyil - temple) by default refers to திருவரங்கம் (thiruvarangam - Srirangam) - which is considered to be the foremost temples among the 108 divya desams (Divine Spaces). Just as the former, this temple has been highly glorified by திவ்ய பிரபந்த பாசுரங்கள் (dhivya pirabandha paasurangaL) composed by the ஆழ்வார்கள் (aazhvaargaL). For example, the revered  saint திருபானாழ்வார் (thirupaanaazhvaar) in his famous masterpiece அமலனாதிபிரான் (amalaadhipiraan), sings thus,

கொண்டல் வண்ணனைக் கோவாலனாய் வெண்ணெய்

உண்டவாயன் என் ஊள்ளம் கவர்ந்தானை

அண்டர்கோன் அணியரங்கன் என் அமுதினைக்

கண்ட கண்கள் மற்றொன்றினை காணாவே

(

koNdal vaNNanaik kOvaalanaai veNNei

uNdavaayan en ULLam kavarndhaanai

aNdarkOn aNiyarangan en amudhinaik

kaNda kaNgaL maRRonRinai kaaNaavE.

My eyes which have seen my nectar , Lord

RanganAthan , who has the colour of the clouds ,

whose mouth ate butter when He became a cowherd ,

who stole my heart , who is the ruler over all

the worlds and their residents--those eyes of mine

will not see anything else anymore after seeing Him

Translation by V. Sadagopan

) அமலனாதிபிரான் (amalaadhipiraan) (10)

Again, the famous verses by saint தொண்டரடிப்பொடி ஆழ்வார் (thoNdaradippodi aazhvaar) in his famous பாசுரம் (paasuram) called திருமாலை (thirumaalai – sacred garland) sings thus,

பச்சைமா மலை போல் மேனி பவளவாய் கமலச்செங்கண்

அச்சுதா! அமரர் எறே! ஆயர்தம் கொழுந்தே என்னும்

இச்சுவை தவிர யான் போய் இந்திர லோகம் ஆளும்

அச்சுவை பெறினும் வேண்டேன் அரங்கமா நகருளானே

(

pachchaimaa malai pOl mEni pavaLavaai kamalachchenkaN

achchudhaa! amarar eRE! aayartham kozhundhE ennum

ichchuvai thavira yaan pOi indhira lOkam aaLum

achchuvai peRinum vEndEn arangamaa nagaruLaanE.

) திருமாலை (thirumaalai – sacred garland) (2)

In fact, the term திருவரங்கம் (thiruvarangam), is derived from the terms திரு (thiru – god) & அரங்கம் (arangam - stage). Moreover, the chief presiding deity महा विश्णु (mahā viśṇu) is called அரங்கனாதன் (aranganaathan), which literally means “The Lord of the Stage”, exactly corresponding to the Saivite term சபாபதி (sabaapathi). While, at Srirangam, the static (potential) aspect of Divinity is highlighted by showcasing the God in sleeping position, at சிதம்பரம் (chidambaram) the focus is on the dynamic (kinetic) aspect of Divinity showcased as the கூத்தபிரான் (kUththapiraan - dancing god). Thus, fundamentally, in principle, both Vaishnavism and Saivism share a common theme with respect to the underlying philosophy of temples

Interestingly, the கோவிந்தராஜ பெருமாள் (govindharaaja perumaaL) at the திருசித்திரகூடம் திருகோயில் (thiru chiththirakUdam thirukkOyil) within the campus of தில்லை சிதம்பர நடராஜர் கோயில் (thillai chidambaram natarajar kOyil), also represents the சயன / கிடந்த கோலம் (sayana / kidandha kOlam – sleeping pose) of Lord महाविष्णु (mahāviṣṇu), similar to the அரங்கனாதன் (aranganaathan) at திருவரங்கம் (thiruvarangam). In fact, திருசித்திரகூடம் திருகோயில் (thiru chiththirakUdam thirukkOyil) is also one of among the 108 திவ்ய தேசங்கள் (thivya dhEsangaL) on which the திருமங்கை ஆழ்வார் (thirumangai aazhvaar), as well as, குலசேகராழ்வார் (kulasEkaraazhvaar) have both (independently) performed மங்கலாசசனம் (mangalaasaasanam) by composing around 32 திவ்ய பிரபந்த பாசுரங்கள் (dhivya pirabandha paasurangaL) glorifying the deity.      

According to orthodox legend it was திருசித்திரகூடம் (thiru chiththirakUdam), the competitive dance between the divine couple viz. परमशिव (paramaśiva) and his belowed consort शिवकामी (śivakāmī) was performed, while महाविष्णु (mahāviṣṇu) who was witnessing the same, as a presiding judge. Earlier, a similar competition between this couple was conducted at திருவால்ங்காடு (thiruvaalangaadu) where परमशिव (paramaśiva) had performed the ऊर्ध्व ताण्डव (ūrdhva tāṇḍava) on the இரத்தின சபை (irathna sabai – pearl hall) which was witnessed by Lord ब्रह्म (brahma). However, as ब्रह्म (brahma) said he was unable to decide who was a better dancer between the two, requested महाविष्णु (mahāviṣṇu) to provide the judgement. And accordingly, the competition was conducted once again, but now on the பொற்சபை (poRsabai – golden hall) at சிதம்பரம் (chidhambaram) as witnessed by கோவிந்தராஜ பெருமாள் (govindharaaja perumaaL).

This திருசித்திரகூடம் சன்னிதி (thiru chiththirakUdam sannidhi) is strategically located in the निरृति दिक् / நிருதி திசை (nirṛti dik / niruthi thisai) just in front of the சித்சபை (chit sabai), silently witnessing the परमानन्द ताण्डव (paramānanda tāṇḍava – dance of supreme bliss) performed by கூத்தபிரான் (kUththapiraan - dancing lord) also called as நடராஜ ராஜர் (natarajara raajar – emperor amongst royyal dancers). I strongly feel, these shrines were so designed (located) only to highlight the underlying हरि हर अभेद (hari-hara abheda – nondifference between Hari & Hara). In fact, it is here, the revered saint श्री अप्पय दीक्षित (śrī appayya dīkṣita) sings the famous हरिहर स्तुति (harihara stuti) only to drive home this message of theological harmony underlying these two देवत (devata - deities). Similarly, the honorable Tamil Siddha saint சிவவாக்கியர் (sivavaakkiyar) also very strongly reiterates this point by singing thus,

தில்லை நாயகன் அவன் திருவரங்கனும் அவன்

எல்லையான புவனமும் ஏகமுக்த்தியும் அவன்

பல்லு நாவும் உள்ளபேர் பகுந்துக்கூறி மகிழ்வார்

வல்லபங்கல் பேசுவார் வாய்புழுத்து மாய்வரே.

(

thillai naayagan avan thiruvaranganum avan

ellaiyaana buvanamum Egamukththiyum avan

pallu naavum uLLapEr pagundhukkURi magizhvaar

vallabangal pEsuvaar vaaipuzhuththu maaivarE.

) சிவவாக்கியர் பாடல்கள் (sivavaakkiyar paadalgaL)

Interstingly, similar examples highlighting the சைவ-வைணவ ஐக்கியம் (saivavaiNava aikkiyam) is a common theme in the conceptual design of many ancient शिवालय (śivālaya – Shiva temples) including the ancient சித்திரம் (siththiram – painting) on the தெற்க்கு சுவர் (theRkku suvar – south wall) of ஆடகேசுவர சபை (aadakEsuvara sabai – Lord of Dance Hall), depicting महाविष्णु (mahāviṣṇu) in His சயன / கிடந்த திரு கோலம் (sayana / kidandha thiru kOlam –sacred sleeping pose) in front of the தியாகேசர் (thiyaagEsar – Lord of Sacrifice) at the famous திருவாரூர் திருகோயில் (thiruvaarUr thirukOyil). Besides this, महाविष्णु (mahāviṣṇu) in His நின்ற திரு கோலம் (ninRa thiru kOlam –sacred standing pose), is also consecrated on the north-facing back wall of தியாகேசர் சன்னிதி (thiyaagEsar sannidhi – shrine of Lord of Sacrifice) in the same temple. Incidentally, the nature of திருகூத்து (thirukUththu – sacred dance) performed by the ஆட வல்லான் (aada vallaan – master of dances), this temple is considered as His अजप ताण्डव (ajapa tāṇḍava – dance of unstruck sound). Again, in the sacred city of திருவெண்காடு / स्वेदारण्य (thiruveNkaadu / svedāraṇya) popularly glorified as ஆதி சிதம்பரம் (aadhi chidhambaram) also has महाविष्णु (mahāviṣṇu) posed in His நின்ற திரு கோலம் (ninRa thiru kOlam –sacred standing pose) installed the निरृति दिक् / நிருதி திசை (nirṛti dik / niruthi thisai) of the நடராஜர் சன்னிதி (nataraajar sannidhi)

Thus, we can easily observe that in many பாடல் பெற்ற சிவாலயங்கள் (paadal peRRa sivaalayangaL) particularly those wherein நடராஜர் சன்னிதி (nataraajar sannidhi). is special, such concept of சைவ வைணவ ஐக்கியம் (saivavaiNava aikkiyam) has become an integral part of temple design. From a metaphysical point of view, this is because, in principle, the நடராஜர் தத்துவம் (nataraajar taththuvam – concept of nataraja) itself implies such a synergy. It beautifully depicts the synergy between the கூத்தன் (kUththan -  dancer) and His கூத்து (kUththu -  dance).  In metaphysical terms, the former represents the principle of eternal being, while the latter the eternal becoming. Both are two sides of the same coin – the passive and active principles conventionally theologized as शिव (śiva) & शक्ति (śakti) respectively. According to certain legends, the शक्ति तत्त्व (śakti tattva – kinetic principle) is mapped to the विष्णु तत्त्व (viṣṇu tattva) who had once taken the मोहिनी अवतार (mohinī avatāra – female incarnation), as observed earlier. I am only reminded of the following verses from பொன்வன்னத்து அந்தாதி (ponvannaththu anthaathi) sung by the mystic saint poet சேரமான் பெருமாள் நாயனார் (sEramaan perumaaL naayanaar).

இடமால் வலம் தான் இடப்பால் துழாய் வலப்பால் ஒண்கொன்றை

வடமால் இடந்துகில் தோல் வலம் ஆழி இடம் வலம்மான்

இடமால் கரிதால் வலஞ்சே திவனுக் கெழில்னலஞ்சேர்

குடமால் இடம்வலங்கொக்கரை யாம் எங்கல் கூத்தனுக்கே

(

iDamAl valam thAn iDappAl thuzAy valappAl oNkonRai

vadamaal idanthugil thOl valam aazi idam valammaan

idamaal karithaal valanjE thivanuk kezhilnalanjEr

kudamaal idamvalangokkarai yaam engal kUththanukkE.

Left is viShNu and right is Self, left-side thulasi and

right-side nice konRai, left is cloth and to the right is 

skin, disc to the left and deer in the right, left is

black and right is reddish for Him. Nice and charming,

kuDakkUththu on the left and kokkarai on the right for 

our Dancing Lord !

Translated  by Sri T.N. Ramachandran

) பொன்வன்னத்து அந்தாதி (ponvannaththu anthaathi) (1)

Interestingly, with respect to நடராஜர் தத்துவம் (nataraajar taththuvam – concept of nataraja) the roles between these two deities viz. शिव (śiva) &विश्णु (viśṇu) seems to be reversed. Here, unlike tradition convention, the former represents the dynamic role (who is eternally vibrant as a dancer), while the latter represents the passive role (who is silently witnessing in योग निष्ट (yoga niṣṭa – meditative trance). Probably the two deities decided to swap their roles!

The essential अभेद (abheda – non-difference) between शिव (śiva) & विश्णु (viśṇu) is also testified very emphatically in the sacred scriptures. In the श्री विष्णु सहस्रनाम (śrī viṣṇu sahasranāma), for example, शिव (śiva) is incorporated as one of the नाम (nāma - name) and thereby a गुण (guṇa - aspect) of विश्णु (viśṇu). His holiness, जगत्गुरु श्री आदि शंकराचार्य भगवत् पाद (jagatguru śrī ādi śaṁkarācārya bhagavat pāda) in his famous भाष्यम् (bhāṣyam - commentary) on the above scripture, elaborately deals with this concept by providing various शब्द प्रमाण (śabda pramāṇa - scriptural testimonies).  He, for instance, quotes from the कैवल्य उपणिशद् (kaivalya upaṇiśad) by arguing thus,

निस्त्रैगुणयतया शुद्धत्वात् शिवः ‘स ब्रह्मा स शिवः…’ इत्य बेधोपदेशात् शिवादिनामभिः हरिरेव स्तुयते।

(

nistraiguṇayatayā śuddhatvāt śivaḥ ‘sa brahmā sa śivaḥ…’  itya bedhopadeśāt śivādināmabhiḥ harireva stuyate|

He is the Good, being free of the three qualities.  Vishnu alone is praised by the name ‘Shiva’, and other names, there being no difference between Him and them. So says the shruti  (TA 10.11.12). ‘ He is Brahman, He is Siva’ 

-translation by R. Ananthakrishna Shashtri.

) विष्णु पुराण भाष्यम् (viṣṇu purāṇa bhāṣyam) (27)

He even goes to the extent of saying those sectarians who start-promoting differences between these deities is nothing short of blasphemy and hence will be severly punished for their sin. He quotes from the भविष्य पुराण (bhaviṣya purāṇa). 

The philosophical theme on हरिहर अभेद (harihara abheda) can be further extended to include all the three stakeholders in the dance viz. கூத்தன் (kUththan – dancer) theologized as शिव (śiva), the actual கூத்து (kUththu - dance) theologized as शक्ति (śakti) and the காண்பவன் / சாட்சி (kaaNbavan / saatchi - observer / witness) theologized as विष्णु (viṣṇu). Holistically speaking, all these three entities are part and parcel of the same absolute. I am only reminded of the following verses from அற்புத திருவந்தாதி (aRpudha thiruvandhaadhi) sung by the mystic saint poet, holy mother ¸¡¨Ã측ø «õ¨Á¡÷ (kaaraikaal ammaiyaar)

அறிவானுன் தானே அறிவிப்பன் தானே

அறிவாய் அறிகின்றான் தானே அறிகின்ற

மெய்பொருளுன் தானே விரிசுடர்பார் ஆகாயம்

அப்பொருளுன் தானே அவன்.

(

aRivaanun thaanE aRivippan thaanE

aRivaai aRiginRaan thaanE aRiginRa

meiporuLun thaanE virisudarpaar aagaayam

apporuLun thaanE avan

He s the knower; He is the Paraclete; He is the Buddhi

That understand; He indeed is the reality that is apperceived;

He is sun, (moon), earth, (water, fire, air) and ether; it is 

Indeed He who is all these.

Translated  by T.N. Ramachandran

) அற்புத திருவந்தாதி (aRpudha thiruvandhaadhi) (2.4.20)

Thus far, in the above paragraphs, how the நடராஜர் தத்துவம் (nataraajar taththuvam – concept of nataraja) beautifully synthesizes the parallel मद संप्रदायाः (mada saṁpradāyāḥ - religious traditions) viz. शैव (śaiva), वैष्णव (vaiṣṇava) & शाक्त (śākta) into its core philosophy. Moreover, by making the पञ्च महा कृत्य (pañca mahā kṛtya – five supreme functions) an integral part of its design, it has even more emphasized the underlying अभेद (abheda – non difference) between these theologies.

In fact, the iconography of the ஆனந்த தாண்டவம் (aanandha thaaNdavam) of lord நடராஜர் (nadaraajar) is considered as one of the best expressions of Human scientific and artistic genius as expressed by the eminent scholar Ananda Kentish Coomaraswamy, who declares “How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of…  Nataraja is the noblest symbolism of Supreme Power. He is a synthesis of Scence, Religion and Art.How amazing the range of thought and sympathy of those rishi-artists who first conceived such a type as this, affording an image of reality, a key to the complex tissue of life, a theory of nature, not merely satisfactory to a single clique or race, nor acceptable to the thinkers of one century only, but universal in its appeal to the philosopher, the lover, and the artist of all ages and all countries. How supremely great in power and grace this dancing image must appear to all those who have striven in plastic forms to give expression to their intuition of Life!

In these days of specialization, we are not accustomed to such a synthesis of thought; but for those who ‘saw‘ such images as this, there could have been no division of life and thought into water-tight compartments. Not do we always realize, when we criticise the merits of individual works, the full extent of the creative power which, to borrow a musical analogy, could discover a mode so expressive of fundamental rhythms and so profoundly significant and inevitable. Every part of such an image as this is directly expressive, not of any were superstition or dogma, but of evident facts. No artist of today, however great, could more exactly or more wisely create an image of that Energy which science must postulate behind all phenomena.” 

Let us take a closer look at the iconography of ¿¼Ã¡ƒ ã÷ò¾¢ (nadaraaja mUrththi) and try to understand its underlying esoteric meanings. By its very design, every भाग (bhāga – part) of its स्वरूप (svarūpa – natural form) reveals a metaphysical secret.

#	भाग (bhāga – part)	Description
1	மயில் இறகு (mayil thOgai – peacock feathers)	The மயில் இறகு (mayil thOgai – peacock feather) is not only an aesthetic symbol of elegance and beauty but in occult terms, as explained by Dr. Y Dakshinamurthi, it also symbolizes மேல்செல் உயிர் (meLsel – ascending soul) reflecting an ancient spiritual practice.
	கொக்கிறகு (kokkiRagu – egret feather)
	¦¸¡ý¨È ÁÄ÷ (konRai malar - Cassia Fistula / golden shower)
2	जटा (jaṭā – knot of matter hair)
3	यज्ञोपवित (yajñopavita – sacred thread)	It represents the कुण्डलिनी शक्ती (kuṇḍalinī śaktī)
4	गङ्ग (gaṅga – river goddess)	Flow of grace
5	पत्रकुण्डल (patrakuṇḍala - twisted golden palm leaf in the left ear-lobe )	There is a स्त्री कुण्डलम् (strī kuṇḍalam – feamle ring) on the left ear representing the शक्ति तत्त्व (śakti tattva – female principle) of अर्धनारीश्वर (ardhanārīśvara)
6	मकरकुण्डल (makarakuṇḍala – crockodile ear lobe on right ear)	This reperesents the शिव तत्त्व (śiva tattva – male principle) of अर्धनारीश्वर (ardhanārīśvara)
7	þÇõ À¢¨È / इन्दुदल (iLam piRai /  indudala – crescent moon)	The अर्धेन्दु (ardhendu - crescent moon) as on the पञ्चमि तिति (pañcami  titi – fifth lunar day), symbolizing the concept of  time.
8	अर्धचन्द्र हस्त मुद्रा (ardhacandra hasta mudrā – tongue of flame)	The upper left palm holds the தீயகல் (thIyagal – fire light)  representing प्रलयाग्नि (pralayāgni – fire of dissolution) in the shape of अर्धचन्द्र (archachandra – half moon)
9	डमरु हस्त (ḍamaru hasta – hand with drum)	The ÐÊ / डमरु (thudi / ḍamaru – drum)  symbolizes the नाद स्पन्दन / शब्द ब्रह्मन् (nāda spandana  / śabda brahman)
10	अभय हस्त मुद्रा (abhaya hasta mudrā – fear not symbol)	The lower front right arm holds the  अभय मुद्रा (abhaya hasta mudrā – fear not gesture)
11	गज  हस्त मुद्रा (gaja hasta mudrā – elephant hand pose)	Symbolizes Lord गनेश / विग्नेष्वर (ganeśa / vigneṣvara) – the removal of obstacles.
12	கமல பீடம் / पद्म पीठ (kamala pIdam / padma pīṭha – lotus pedestal)
13	உதர பந்தம் (udhara bandham)
14	புலியுரி (puliyuri)
15	திருவாசி சுடர்/ प्रभमण्डल (thiruvaasi sudar / prabhamaṇḍala – ring of flames)	The திருவாசி (thiruvaasi) represents the हिरण्यगर्ब (hiraṇyagarba – golden womb / cosmic egg) or the boundry condition wherein the sacred திருவிலையாடல் (thiruvilaiyaadal - divine game) of महा माया (mahā māyā – cosmic illusion) is enacted. प्रभमण्डल (prabhamaṇḍala – ring of flames) not only forms a ornamental decoration around நடராஜ மூர்த்தி (nataraaja mUrththi) but also symbolizes the ध्वनि / बीज मन्त्र (dhvani /  bīja mantra)

 Organs of Nataraja Murthi

The fact that the ஆனந்த தாண்டவம் (aanandha thaaNdavam – blissful dance) of Lord நடராஜர் (nadaraajar) symbolizes a cosmological dance is very categorically testified by saint திருமூலர்(thirumUlar) in the following verses

அண்டங்கள் ஏழினிக்கு அப்புறத்து அப்பால்

உண்டென்ற சத்தி சதசிவத்து உச்சிமேல்

கண்டம் கரியான் கருணை திருவுருக்

கொண்டு அங்கு உமைகாணக் கூத்து உகன் தானே.

பரமாண்டத்து ஊடே பராசக்தி பாதம்

பரமாண்டத்து ஊடே படரொளி ஈசன்

பரமாண்டத்து ஊடே படர்தரு நாதம்

பரமாண்டத்து ஊடே பரன் நடம் ஆடுமே

(

aNdangaL Ezhinikku appuRaththu appaal

uNdenRa saththi sadhasivaththu uchchimEl

gaNdam kariyaan karuNai thiruvuruk

koNdu angu umaikaaNak kUththu ugan dhaanE.

paramaaNdaththu UdE paraasakthi paadham

prmaaNdaththu UdE padaroLi Isan

paramaaNdaththu UdE padartharu naadham

paramaaNdaththu UdE paran nadam aadumE.

Beyond, beyond, the universes seven,

High above Sakti and Sadasiva,

The dark-throated Lord,

As compassion embodied,

Danced in rapture

For Uma there to witness.

At the crest of Cosmos of galaxies vast (Paramandam)

Are the Holy Feet of Parasakti;

At the crest of Cosmos

Is the radiant Light of Isa

Permeating the Cosmos

Is the expansive Nada;

There through the Cosmos vast

Does the Paran dance unceasing.

Translated  by Dr. B .Natarajan

)

திருமந்திரம் (thirumandhiram) (2732,2734)

We can separately deep dive into the cosmological significance of the iconography, separately sometime later, but for now I would like to quote here the naration of reverered scientist and author Fritjoff Capra, who beautifully sumarizes thus, “Indian artists of the tenth and twelfth centuries have represented Shiva’s cosmic dance in magnificent bronze sculptures of dancing figures with four arms whose superbly balanced and yet dynamic gestures express the rhythm and unity of Life. The various meanings of the dance are conveyed by the details of these figures in a complex pictorial allegory. The upper right hand of the god holds a drum to symbolize the primal sound of creation, the upper ieft bears a tongue of flame, the element of destruction. The balance of the two hands represents the dynamic balance of creation and destruction in the world, accentuated further by the Dancer’s calm and detached face in the centre of the two hands, in which the polarity of creation and destruction is dissolved and transcended. The second right hand is raised in the sign of ‘do not fear’, symbolizing maintainance, protection and peace, while the remaining left hand points down to the uplifted foot which symbolizes release from the spell of maya. The god is pictured as dancing on the body of a demon, the symbol of man’s ignorance which has to be conquered before liberation can be attained

Shiva’s dance-in the words of Coomaraswamy- is ‘the clearest image of the activity of Cod which any art or religion can boast of’. As the god is a personification of Brahman, his activity is that of Brahman’s myriad manifestations in the world. The dance of Shiva is the dancing universe; the ceaseless flow of energy going through an infinite variety of patterns that melt into one another. Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter. According to quantum field theory, all interactions between the constituents of matter take place through the emission and absorption of virtual particles. More than that, the dance of creation and destruction is the basis of the very existence of matter, since all material particles ‘self-interact’ by emitting and reabsorbing virtual particles. Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The patterns of this dance are an essential aspect of each particle’s nature and determine many of its properties. For example, the energy involved in the emission and absorption of virtual particles is equivalent to a certain amount of mass which contributes to the mass of the self-interacting particle. Different particles develop different patterns in their dance, requiring different amounts of energy, and hence have different masses. Virtual particles, finally, are not only an essential part of all particle interactions and of most of the particles’ properties, but are also created and destroyed by the vacuum. Thus, not only matter, but also the void, participates in the cosmic dance, creating and destroying energy patterns without end.

For the modern physicists, then, Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The bubble-chamber photographs of interacting particles, which bear testimony to the continual rhythm of creation and destruction in the universe, are visual images of the dance of Shiva equalling those of the Indian artists in beauty and profound significance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art, and modern physics. It is indeed, as Coomaraswamy has said, ‘poetry, but none the less science”.

Various literatures based on शैव आगम शास्त्र (śaiva āgama śāstra) including शिव पराक्रम (śiva parākrama), शिल्प शास्त्र (śilpa śāstra), मयमदम् (mayamadam), कारणागम (kāraṇāgama), शिल्प रत्न (śilpa ratna), சகளாதிகாரம் (sakalaadhikaaram) etc., have further extended these basic forms of विग्रह (vigraha - idol) to a wider number of variations in their திருகோலங்கள் (thirukOlangaL – Divine poses). The शिल्प शास्त्र (śilpa śāstra), சகளாதிகாரம் (sakalaadhikaaram) & मयमदम् (mayamadam) for example refer to षोदश मूर्ति (ṣodaśa mūrti - sixteen icons) while the कारणागम (kāraṇāgama) extends it to पञ्चविंसति मूर्ति (pañcaviṁsati mūrti – twenty five icons) and शिव पराक्रम (śiva parākrama) extends the list to அஷ்டாஷ்ட மூர்திகள் (ashtaashta mUrthigaL – sixty four icons)

The iconography of நடராஜர் (nataraajar) for example does not directly occur in the அஷ்டாஷ்ட மூர்திகள் (ashtaashta mUrthigaL – sixty four icons) listing from above table. However, it is mentioned in the listing of the कारणागम (kāraṇāgama). The next important point to understand is that some of these மூர்திகள் (mUrthigaL – icons) further take various forms. According to the शैव आगम शास्त्र (śaiva āgama śāstra) there are सप्त ताण्डव (sapta tāṇḍava – seven fold dances) performed by நடராஜர் (nataraajar)

#	ताण्डव (tāṇḍava - dance)	Associated शिवालय (śivālaya)
1	कालिका ताण्डव (kālikā tāṇḍava)	திருனெல்வேலி தாமிர சபை (thirunelvEli thaamira sabai)
2	गौरी ताण्डव (gaurī tāṇḍava)	திருபத்தூர் சிற்சபை (thirpaththUr siRsabai)
3	सन्ध्या ताण्डव (sandhyā tāṇḍava)	மதுரை வெள்ளி சபை (madhurai veLLi sabai)
4	संहार ताण्डव (saṁhāra tāṇḍava)	திருகடவூர் (thirukadavUr)
5	ऊर्द्व ताण्डव (ūrdva tāṇḍava)	திருவாலங்காடு ரத்தின சபை (thiruvaalangaadu raththina sabai)
6	त्रिपुर ताण्डव (tripura tāṇḍava)	திருகுற்றால சித் சபை  (thirukuRRaala chith sabai)
7	आनन्द ताण्डव (ānanda tāṇḍava)	தில்லை சிற்சபை (thillai ciRsabai)

Some scripture further extends this to द्वदश (dvadaśa – twelvefold) listing which includes the following आनन्द ताण्डव (ānanda tāṇḍava), सन्ध्या ताण्डव (sandhyā tāṇḍava), ऊर्द्व ताण्डव (ūrdva tāṇḍava), कालिका ताण्डव (kālikā tāṇḍava), त्रिपुर ताण्डव (tripura tāṇḍava), संहार ताण्डव (saṁhāra tāṇḍava), स्रिङ्गार ताण्डव (sriṅgāra tāṇḍava), प्रलय ताण्डव (pralaya tāṇḍava), भूत ताण्डव (bhūta tāṇḍava), शुद्ध ताण्डव (śuddha tāṇḍava), उग्र ताण्डव (ugra tāṇḍava), भुजङ्ग ताण्डव (bhujaṅga tāṇḍava).  But this is not exhaustive either as the ताण्डव लक्षन (tāṇḍava lakṣana – dance signs) defined in the ancient science of नाट्य शास्त्र (nāṭya śāstra) by the revered महृषि भरत मुनि (mahṛṣi bharata muni), the form of நடராஜர் (nataraajar), for example, has almost 108 different करन (karana - states) and interestingly all these are beautifully sculpted on both sides the கோபுர வாசல்கள் (gOpura vaasalgaL) at the various temples including

·         தில்லை நடரஜர் திருகோயில் சிதம்பரம் (thillai natarajar thirukOyil chidhambaram)

·         ப்ரிஹதீஸ்வரர் திருக்கோயில் தஞ்சாவூர் (brihadhIsvarar thirukkOyil thanjaavUr)

·         சாரங்கபானி திருக்கோயில் கும்பகோனம் (saarangapaani thirukkOyil kumbakOnam)

· அருணாசலேஷ்வரர் திருக்கோயில் திருவண்ணமலை aruNaachalEshvarar thirukkOyil thiruvaNNamalai)

Moreover, besides the above mentioned themes, the architectural components in a temple also symbolize various other esoteric truths. Take the case of the famous தில்லை நடராஜர் திருக்கோயில் (thillai nataraajar thirukkOyil) at சிதம்பரம் (chithambaram), it has many such esoteric secrets beautifully embedded within its exterior engineering and design as illustrated below 
There are பஞ்ச படிகள் (panja padigaL – five steps) leading from the கனக சபை / பொன்னம்பலம் (kanaga sabai / ponnambalam - golden hall) to the sanctum sanctorum of the temple viz.  சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall). These five steps together is called பஞ்சாக்ஷர படி  (panjaakshara padi) correspond to the पञ्चाक्षर मन्त्र (pañcākṣara mantra – five syllabled mantra)  - நம சிவாய (nama sivaaya).

·       There are நவ வாயில்கள் (nava vaaiyilgaL - nine gateways) to the சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) corresponding to the நவ துவாரங்கள் (nava dhuvaarangaL – nine openings) in the स्थूल शरीर (sthūla śarīra) of a जीवात्म (jīvātma – corporeal soul).

·         The கற்கள் (kaRkaL – stones / bricks) from the base to the top of the சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) corresponds to the माधुका शक्ति बीजाक्शर मन्त्र (mādhukā śakti bījākśara mantra)   

·         The கனக சபை / பொன்னம்பலம் / பொர்சபை (kanaga sabai / ponnambalam / porsabai – golden hall) is supported by 18 தூண்கள் (thUngal – pillars) corresponding to the 18 महा पुराण शास्त्र  (mahā purāṇa śāstra) compiled by वेद व्यास महऋषि (veda vyāsa mahaṛṣi).

·         The சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) contains Àïº À£¼í¸û (panja pIdangaL) located in front of the middle partition towards the south, corresponding to the पञ्च महा कृत्य (pañca mahā kṛtya – five sacred acts) viz. படைத்தல் (padaiththal – creation), காத்தல் (kaaththal - sustenance), அழித்தல் (azhiththal - destruction), மறைத்தல் (maRaiththal - encapsulation) & அருளல் (aruLal - grace). Thus, there is a பீடம் (pIdam –platform) for the respective lord of each of these acts. Thus, there is the ब्रह्म पीठ (brahma pīṭha), विष्णु पीठ (viṣṇu pīṭha), रुद्र पीठ (rudra pīṭha), महेश्वर पीठ (maheśvara pīṭha)  & finally सदाशिव पीठ (sadāśiva pīṭha).

• The ब्रह्म पीठ (brahma pīṭha) is the layer immediately after the பஞ்சாக்ஷர படி (panjaakshara padi). This contains a 96 windowed panel corresponding to the 96 ontological தத்துவங்கள் (thaththuvangaL - evolutes) making up the manifested cosmos, according to शैव सिद्धान्त दरशन (śaiva siddhānta daraśana)

यत्गोष्ट्याम् त्वारबाह्ये

रजतगिरिनिबम् पञ्जवर्ण स्वरूपम्

स्पाणम् द्वारबागम्

जयविजय मुखरेक्षितम् त्वाराबालैः।

तत्वानाम् शण्णवत्या सह

विदिमुकराः पञ्जदेवाश्च नित्यम्

यस्यन्तर्बान्ति दस्मिन्न विरदनटनम् कुञ्चिताङ्घ्रिं बजेहम्॥

(

yatgoṣṭyām tvārabāhye

rajatagirinibam pañjavarṇa svarūpam

spāṇam dvārabāgam

jayavijaya mukharekṣitam tvārābālaiḥ|

tatvānām śaṇṇavatyā saha

vidimukarāḥ pañjadevāśca nityam

yasyantarbānti dasminna viradanaṭanam kuñcitāṅghriṁ bajeham||

) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (5)

·         Immediately after which there is a platform around one feet wide called the विष्णु पीठ (viṣṇu pīṭha) containing ஐந்து தங்க தூண்கள் (aindhu thanga thUNgaL - five golden pillairs). The five main தள வரிசை கற்கள் (thaLa varisai kaRkaL –linear stones) in the கனக சபை / பொன்னம்பலம் / பொர்சபை (kanaga sabai / ponnambalam / porsabai – golden hall) represents the पञ्च महा भूत तत्त्व (pañca mahā bhūta tattva – five core material principles).  There is a பாவாடை / திரை (paavadai / thirai - curtain / screen) running across these pillars and this represents the अविद्या तत्त्व (avidyā tattva – nescience principle) hiding the अन्तर्यामि ब्रह्मन (antaryāmi brahmana - inner divininty) within our heart. The opening of the screen symbolizes the esoteric दहर विद्या(dahara vidyā - esoteric wisdom) or the revelation of the indwelling divinity.

• The रुद्र पीठ (rudra pīṭha) is the platform within the சிற்சபை / சிற்றம்பல சபை  (siRsabai / siRRambala sabai – small hall / gnostic hall) on which the கோயில் அர்ச்சகர்கள்  / தீட்சிதர்கள் (kOyil archagargal / dhIichithargaL - temple priests) perform the அர்ச்சனை (archanai). is designed in such a way that it is supported by 28 தூண்கள்  (thUngal – pillars) symbolizing the 28 சைவ ஆகம சாத்திரங்கள் (saivaagama saaththirangaL).

यत्सम्सत्पूर्वभागे तिसितिसि विलसत्

पूर्वभागानितान्तम् स्वान्थर्

कूदोत्तराम्सा शिवमुख

भवाङ्गसागमा कामिकात्या।

अष्टाविंसानु सङ्ग्ख्य त्रुकनगमय

स्थंभरूपाः स्तुवन्धि स्तुत्यम्तम्

नृत्तमूर्त्तिम् स्र्तिसत विनुतम् कुञ्चिताङ्घ्रिं बजेहम्॥

(

yatsamsatpūrvabhāge tisitisi vilasat

pūrvabhāgānitāntam svānthar

kūdottarāmsā śivamukha

bhavāṅgasāgamā kāmikātyā|

aṣṭāviṁsānu saṅgkhya trukanagamaya

sthaṁbharūpāḥ stuvandhi stutyamtam

nṛttamūrttim srtisata vinutam kuñcitāṅghriṁ bajeham||

) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (4)

·         महेश्वर पीठ (maheśvara pīṭha) is the central platform on which the main अर्चावतार मूर्ति (arcāvatāra mūrti – iconic incarnations) of (bronze image of) ஸ்ரீ நடராஜ பெருமான் (sri nataraaja perumaan – Lord Nataraja) and his beloved consort சிவகாமி அம்மையார் (sivagaami ammaiyaar) are consecrated. This bronze image of ஸ்ரீ நடராஜ பெருமான் (sri nataraaja perumaan – Lord Nataraja) depicts the शकल रूप (śakala rūpa – phenomenal / manifested form) of His आनन्द ताण्डव (ānanda tāṇḍava – frantic dance of bliss). There are two small steps leading to a small मण्डप (maṇḍapa - chamber) above this महेश्वर पीठ (maheśvara pīṭha) on the western side of which hosts small boxes containing icons of चन्द्रमौलीश्वर स्फटिक लिङ्ग मूर्ति (candramaulīśvara sphaṭika liṅga mūrti), இரதின சபாபதி நடராஜ மூர்த்தி (irathina sabaapathi nataraaja mUrththi. This स्फटिक लिङ्ग (sphaṭika liṅga – crystal Linga) represents the «Õ×ÕÅ ¾òÐÅõ (aruvuruva thaththuvam – formless form principle) of Divinity. Additionally, சிவ பாதுகை (siva paadhugai – Shiva’s feet) made of இரத்தினம் (iraththinam) & ஸ்ரீ முக லிங்கம் (srimuga lingam) are also consecrated on the महेश्वर पीठ (maheśvara pīṭha). There are நாண்கு தங்க தூண்கள் (naaNgu thanga thUNgaL – four golden pillars) corresponding to the चतुर् वेद संहित (catur veda saṁhita – four veda collections), supporting this महेश्वर पीठ (maheśvara pīṭha).

·         सदाशिव पीठ (sadāśiva pīṭha) is a platform on the north most side of the சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) on which the sacred चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum) representing the அருவ தத்துவம் / निश्कल तत्त्व् (aruva thaththuvam /  niśkala tattva – noumenal principal) of Divinity is revealed. It represents the esoteric secret of the चिताकाश स्पन्दन (citākāśa spandana - quantum jitters in conscious field) also called as the சிதம்பர நடனம் (chidhambara nadanam - vacuum consciousness dance).  The चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum) is physically represented using தங்க மாலை (thanga maalai - golden chain) containing (nine beads each of which is designed in the shape of the sacred) வில்வ இலை (vilva ilia - aegle marmelo leaf), embedded within the கலிமண் சுவர் (kaliman suvar - clay wall) on top of the सदाशिव पीठ (sadāśiva pīṭha). That is why, this platform is also called as சித்சபை (chithsabai – gnostic hall).

• Hidden behind the ஒளி நடனம் (oLi natanam – visual dance) of ஆனந்த திருக்கூத்து (aanandha thirukkUththu – dance of bliss) manifested as உருவ தத்துவம் / शकल तत्त्व (uruvaththaththuvam / śakala tattva – phenomenal principle) there underlies the subtler ஒலி நடனம் (oli natanam – sonic dance) manifesting the அருவ தத்துவம் / निश्कल तत्त्व् (aruva thaththuvam / niśkala tattva – noumenal principal) and this the चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum).  As one progresses spiritually, one can, not only see (experience) the ஒளி நடனம் (oLi natanam – visual dance) but can eventually hear His மந்திர / ஒலி நடனம் (manthira / oli natanam – mantric / sonic dance) as well. The Holy saint ¾¢Õ அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) has beautifully symbolized ஒளி நடனம் (oLi natanam – visual dance) & ஒலி நடனம் (oli natanam –sonic dance) as மயில் (mayil - peacock) & குயில் (kuyil - cuckoo) respectively, as testified in the following verses,
  

வானத்தின் மீது மயில் ஆட கண்டேன்

மயில் குயிலாச்சுதடி அக்கச்சி

மயில் குயிலாச்சுதடி..

(

vaanaththin mIdhu mayil aada kaNdEn

mayil kuyilaachchudhadi akkachchi

mayil kuyilaachchudhadi...

I saw a peacock dancing in the sky.

The peacock (magically) transformed into a cuckoo – dear sister

The peacock turned into a cuckoo!

-translation by self

) திரு அருட்பா (thiru arutpa) (6.129.1)

What the saint refers to here is his பிண்ட மெய்ஞான அனுபவம் (pinda meiGnaana anubavam – internalized spiritual experience). However, the same theme can also be extended to the அண்ட விஞான அனுபவம் (anda viGnaana anubavam – externalized scientific experience). Please remember that the பிண்டம் (pindam – microcosm) is nothing but the fractal reflection of the அண்டம் (andam – macrocosm). We shall discuss more about this as we proceed further.

In fact, the चिताकाश स्पन्दन (citākāśa spandana - quantum jitters in conscious field) corresponds to specific letters in the Tamil & Sanskrit alphabets viz. ஆ (aa), ஈ (I), ஊ (U), ஏ (E), & ஓம் (Om) and अं (aṁ), ह्रीं (hrīṁ), हं (haṁ), क्षं (kṣaṁ) & आं (āṁ) respectively. The following verses from திருமந்திரம் (thirumandhiram) very clearly highlights the same

ஆனந்தம் ஆனந்தம் ஒன்றென்று அறைந்திட

ஆனந்தம் ஆனந்தம் ஆ ஈ ஊ ஏ ஓம் என்று அறைந்திடும்

ஆனந்தம் ஆனந்தம் அஞ்சுமது ஆயிடும்

ஆனந்தம் ஆனந்தம் அம் ஹ்ரீம் அம் க்ஷம் ஆம் ஆகுமே.

மேனி இரண்டும் விலங்காமல் மேற்கொள்ள

மேனி இரண்டும் மிகார விகாரியாம்

மேனி இரண்டும் ஊ ஆ ஈ ஏ  ஓ என்று

மேனி இரண்டும் ஈ ஓ ஊ ஆ ஏ கூத்தாமே.

(

aanandham aanandham onRenRu aRainthida

aanandham aanandham A I U E Om enRu aRaindhidum

aanandham aanandham anjumadhu aayidum

aanandham aanandham am hrIm am ksham aam aagumE.

mEni iraNdum vilangaamal mERkoLLa

mEni iraNdum migaara vigaariyaam

mEni iraNdum U aa I E  O enRu

mEni iraNdum I O U aa E kUththaamE.

One the Supreme Bliss,

One the Supreme Bliss,

Thus chant the mantra

You shall have Bliss,

Bliss has its source in Letters Five;

A-I-U-E and Aum the life vowels they are;

They become the Five Letter mantra

And joy that is within joy;

Bliss lies in the seed-letters Five;

Hum-Hrim-Ham-Ksam-Am, are they.

The Two Letter mantra is Body of Lord

Chant it inarticulate;

As the Two suffuse your body,

You stand transformed;

The Two Letters that are Lord's Corpus

Become Five Letters that is Jiva;

U-A-I-E-O

The Two Letters that are Lord's Corpus

Become the Five Letters that is Siva Dance

I-O-U-A-E.

-translation by Dr. B. Natarajan

)

திருமந்திரம் (thirumandhiram) (910., 911)

Theologically speaking, here the Tamil & Sanskrit version of अक्षर (akṣara – phonemes) correspond to the शैव (śaiva) & शाक्त (śākta) aspects respectively and their नाद संमेलन (nāda saṁmelana – sonic union)  is the ஆனந்த திருகுத்து (aanandha thirukkUththu – dance of bliss).  This is what is referred in the first verse quoted above. The next verse highlights that the स्थूल (sthūla - gross) & सूक्ष्म (sūkṣma - subtle) modes of the dance occurring in us simultaneously at the जीवात्म (jīvātma)  & परमात्म (paramātma) scales respectively.

The next important point to understand that these five syllables viz. ஆ (aa), ஈ (I), ஊ (U), ஏ (E), & ஓம் (Om), esoterically correspond to the the sacred पञ्चाक्षर मन्त्र (pañcākṣara mantra) viz. நம சிவாய (nama sivaaya).  It is this बीजाक्षर मन्त्र (bījākṣara mantra) that lies behind the தங்க வில்வ இலை மாலை (thanga vilva ilia maalai - golden chain of aegle marmelo leaves). These letters are secretly embossed in a 5*5 मण्डल (maṇḍala - matrix) embedded on the கலிமண் சுவர் (kaliman suvar - clay wall) where the sacred சிதம்பர இரகசியம் (chithambara iragasiyam) is revealed in the sanctum sanctorum of the temple.  The below quoted verses from திருமந்திரம் (thirumandhiram)  testifies on these points

கூத்தே சிவாய நமசி வாயிடும்

கூத்தே ஈஊ ஆ ஏ ஓம் சிவாய நம வாயிடும்

கூத்தே ஈஊஆஏஓம் சிவயனம வாயிடும்

கூத்தே ஈஊஆஏஓம் நமசிவாய கோளொன்று மாறே.

இருந்த இவ் வட்டங்கள் ஈராறி ரேகை

இஎஉந்த இராகைமேல் இறாறு இருத்தி

இருந்த மனைகளும் ஈராறு பதொன்று

இருந்த மனையொன்றில் எய்துவன் தானே.

(

kUththE sivaaya namasi vaayidum

kUththE IU aa E OM sivaaya nama vaayidum

kUththE IUaaEOm sivayanama vaayidum

kUththE IUaaEOm namasivaaya kOLonRu maaRE.

irundha iv vattangaL IraaRi rEgai

ieundha iraagaimEl iRaaRu iruththi

irundha manaigaLum IraaRu pathonRu

irundha manaiyonRil eidhuvan thaanE..

The Dance-Letters Si Va Ya become Namasivaya

The Dance-Letters I, U, A, E and O(m) become Sivaya Nama

The Dance-Letters I, U, A, E and O(m) become Si Va Ya Nama

The Dance-Letters I, U, A, E and O(m) become the stellar mantra Nama Sivaya

.

In the Chakra formed by lines twelve (Six Vertical and Six Horizontal)

Are the squares;

Fix the Mantra,

In the chambers five and twenty formed,

In One the Lord takes His seat.

.-translation by Dr. B. Natarajan

) திருமந்திரம் (thirumandhiram) (910., 911)

The 5*5 मण्डल (maṇḍala - matrix) referred above is technically called as the पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) and more or less corresponds to the following matrix. The esoteric significance of this पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) is subtly referred in various occult தமிழ் சித்தர் இலக்கியங்கள் (thamizh siththar ilakkiyangaL – Tamil Siddha literature). திருமூலர்  (thirumUlar) in particular, deals at length with it in his magnum opus masterpiece திருமந்திரம் (thirumandhiram), as testified in the below quoted verses

அஞ்செழுத்தாலே  அமர்ந்தனர்  நந்தியும் 
அஞ்செழுத்தாலே  அமர்ந்த  பஞ்சாக்கரம் 
அஞ்செழுத்தாகிய  வக்கர  சக்கரம் 
அஞ்செழுத்துள்ளே  அமர்ந்திருந்தானே .

ஆயும்  சிவாய  நமசிவாய  ந 
ஆயும்  நமசிவாய  பயணமா  சிவா 
வாயும் E வாய  நமசியெனும்  மந்திரம் 
ஆயும்  சிகாரம்  தோட்டநத்தத்த  தடைவிலே  

(

anjezhuththaalE amarndhanan nandhiyum

anjezhuththaalE amarndha panjaakkaram

anjezhuththaagiya vakkara chakkaram

anjezhuththuLLE amarnadhirundhaanE.

aayum sivaaya namasivaaya na

aayum namasivaa yayanama sivaa

vaayumE vaaya namasiyenum mandhiram

aayum sigaaram thottanathath thadaivilE.

Letter five is seat of Nandi;

Letter Five is Holy Mantra;

Letter Five is Divine Chakra;

Letter Five is Lord’s abode.

In the row on top of Chakra

Write Si Va Ya Na Ma;

In the squares on row next

Fill Ma Si Va Ya Na

In the row third write Na Ma Si Va Ya

Still below comes Letters in order Ya Na Ma Si Va

In the squares last are Letters Va Ya Na Ma Si

Thus do you fill squares in Chakra

With 'Si' to begin and 'Si' to end..

-translation by Dr. B. Natarajan

) திருமந்திரம் (thirumandhiram) (934, 923)

This पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) is called a चक्र (cakra - wheel) here because of its cyclic pattern in chanting. If you observe the above 5 * 5 matrix, it will be clear that the அக்ஷரம் (aksharam – syllable) in the 5^th column (c) of every row (r), corresponds to the 1^st column of its immediately subsequent row. For example, ம (ma) in (r = 1, c =5) is the same as (r=2, c=1). Similarly, ந (na)  in (r=2, c=5)  is the same as (r=3,c=1) and so on; and finally in the last row  சி (si)  in (r=5, c=5)  is the same as  (r=1, c=1); thus, forming a closed loop चक्र (cakra - wheel).

     

சி (si)	வ(va)	ய (ya)	ந (na)	ம (ma)
ம (ma)	சி(si)	வ(va)	ய (ya)	ந (na)
ந (na)	ம (ma)	சி(si)	வ(va)	ய (ya)
ய (ya)	ந (na)	ம (ma)	சி(si)	வ(va)
வ (va)	ய (ya)	ந (na)	ம(ma)	சி (si)

Interestingly, திருமூலர் (thirumUlar) himself also refers to an alternate version of this चक्र (cakra - wheel).  The following matrix demonstrates the same here

     

சி (si)	வ(va)	ய (ya)	ந (na)	ம (ma)
ய (ya)	ந (na)	ம (ma)	சி(si)	வ (va)
ம (ma)	சி(si)	வ (va)	ய (ya)	ந (na)
வ (va)	ய (ya)	ந (na)	ம (ma)	சி(si)
ந (na)	ம (ma)	சி(si)	வ(va)	ய (ya)

Here, the அக்ஷரம் (aksharam – syllable) in the 3^rd column (c) of every row (r), corresponds to the 1^st column of its immediately subsequent row. The following verse from திருமந்திரம் (thirumandhiram) testifies this.

பாரமாய்  அஞ்செழுத்துள்  நடுவாய் 
பாரமாய்  நமசிமா  பார்க்கில்  மவயநசி 
பாரமாய்  சிவநாம  வாம்பரத்தோதிர் 
பாரமாய்  வாசி  மாயணமா i நின்றே.

(

paramaai anjezhuththuL naduvaai

paramaai namasima paarkkil mavayanasi

paramaai siyanama vaamparaththOdhiR

paramaai vaasi mayanamaai ninRE.

Inscribe Letters Five Si Va Ya Na Ma;

In the next row place Letters Ya Na Va Si Ma;

Further on place the letters in order thus:

Ma Va Ya Na Si; Si Ya Na Ma Va;

And Va Si Ma Ya Na

Thus do the Five Letters in Chakra permuted stand..

-translation by Dr. B. Natarajan

) திருமந்திரம் (thirumandhiram) (946)

Of course, the above two styles are not the only ways of contemplating on the sacred चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra). From योग साधन (yoga sādhana – yogic practices) perspective, saints like மகா சித்தர் அகத்தியர் (magaa siththar agaththiyar), for example, refer to variations in these यन्त्र मण्डल (yantra maṇḍala) that would help master अष्टमा सिद्धि (aṣṭamā siddhi – eightfold potencies) viz. வசியம் (vasiyam), மோகனம் (mOganam), உச்சாடனம் (uchchaadanam), தம்பனம் (thampanam), ஆகர்ஷணம் (aagarshaNam), பேதனம் (pEdhanam), வித்வேஷணம் (vidhvEshaNam) & மரணம் (maaraNam).

Please remember that this पञ्जाक्षर मन्त्र (pañjākṣara mantra – five syllabled mantra) also corresponds to the पञ्जमहा भूत (pañjamahā bhūta) which in turn esoterically maps to specific geometrical shapes, technically called as பஞ்சபூத  உடற்சக்கரம் (panjabUtha udaRchakkaram) in this context, மகா சித்தர் அகத்தியர் (magaa siththar agasththiyar)  also refers to them. Moreover, he also refers to other occult tantric concepts like பஞ்சாக்ஷர லக்கனம் (panjaakshara lakkanam), பஞ்சபூத பீஜாக்ஷரம் (panjabUtha bIjaaksharam), பஞ்சபூத லக்கம் (panjabUtha lakkam)  etc. I shall not get into these details here, but would like to share here a more comprehensive version of the चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra) highlighting some of these mappings

The following table gives a mapping of these attributes in terms of the चितंबर पञ्चाक्षर मण्डल चक्र  (citaṁbara pañcākṣara maṇḍala cakra)

#	அக்ஷரம் (aksharam - syllable)	பூதம்  (bUtham - element)	உடற்சக்கரம் (udaRchakkaram)	இலக்ஷணம் (ilakshaNam)	பீஜாக்ஷரம் (bIjaaxaram)	மர்ம என் (marma en - occult number)	மர்ம எழுத்து (marma ezhuththu - occult letter)
1	ந / न (na)	நிலம் / पृथ्वि (nilam / pṛthvi -  earth)	நாற்கோணம் (naaRkONam - square)	तत्पुरुष  (tatpuruṣa)	लं (laṁ)	5	ரு (ru)
2	ம / म (ma)	நீர் / अपस् (nIr / apas - water)	மூன்றாம் பிறை (mUnRaam pirai – crescent moon)	अघोर  (aghora)	वं (vaṁ)	7	எ (e)
3	சி/ शि (si)	நெருப்பு / अग्नि  (neruppu / agni - fire)	முக்கோணம் (mukkONam - triangle)	वामदेव (vāmadeva)	रं (raṁ)	8	ப் (p)
4	வ / व (va)	காற்று / वायु (kaaRRu/ vāyu  - air)	அறுகோணம் (aRukONam - hexagon)	सद्योजात (sadyojāta)	यं (yaṁ)	13	ய ங (ya nGa)
5	ய / य (ya)	ஆகாயம் / आकाश् (aagaayam / ākāś - space)	வட்டம்(vattam - circle)	ईशान (īśāna)	हं (haṁ)	15	ய அ  (ya a)

The next important concept to remember before proceeding further is that there is a close correspondence between the ஓலி வடிவம் / शब्दो रूप (oli vadivam / śabdo rūpa – sonic form) and the ஒளி வடிவம்  / तेजो रूप (oLi vadivam  / tejo rūpa – visual form)  of திரு  ஆனந்த  நடராஜ  கூத்து (thiru aanandha nataraaja kUththu) . In fact, the पञ्जाक्षर मन्त्र बीज (pañjākṣara mantra bīja)  forms different अङ्ग (aṅga - organs) in the दिव्य देह (divya deha – divine body)  of Lord नटराज (naṭarāja) as testified in the following verses

மகார  நடுவே  வளைந்திடும்  சத்தியை 

ஓகாரம்  வளைத்திட்டு  உம்பிளந்து  ஏற்றி 

அகாரம்  தலையாய்  இருக்கான்  சிகரமாய் 

நகர  வகார  நற்காலத்து  நாடுமே .

 ஆகின்ற  சக்கரத்துள்ளே  எழுத்தைந்தும் 

பாகொன்றி  நின்ற  பாதங்களில்  வார்த்தைக்கும் 

ஆகின்ற  ஐம்பத்தோரெழுத்துள்  நிற்கப் 

பாகொன்றி  நிற்கும்  பராபறன்    தானே.

(

magaara naduvE vaLaindhidum saththiyai

Ogaaram vaLaiththittu umpiLandhu ERRi

agaaram thalaiyaai irukan sigaaramaai

nagaara vagaara naRkaaladhu naadumE.

 aaginRa chakkaraththuLLE ezhuththaindhum

paagonRi ninRa padhangaLil varththikkum

aaginRa aimbaththOrezhuththuL niRkkap

paagonRi niRkkum paraaparan thaanE.

Inscribe Letter 'Ma' in center

Above it describe Letter 'Va'

Surround the two by Letter 'O'

Split them in Center vertically by letter U

Place Letter 'Ya' on top,

Fix letter 'Si' on both sides,

That they look like eyes two,

The Letters 'Na' and 'A' to form the diagram's feet two.

His Feet are Letter "Na"

His navel is Letter "Ma"

His shoulders are Letter "Si"

His mouth Letter "Va"

His cranial center aloft is Letter "Ya"

--Thus Five-Letter Form of Siva is.

-translation by Dr. B. Natarajan

) திருமந்திரம் (thirumandhiram) (921, 941)

The first verse refers to the Lord’s सूक्ष्म मन्त्र रूप  (sūkṣma mantra rūpa), while the latter refers to His स्थूल अङ्ग रूप (sthūla aṅga rūpa).  The following images depicts both these forms

Interestingly, the मण्डल (maṇḍala - matrix) also corresponds to subtle quantum vibrations codified as the 51 बीजाक्षर (bījākṣara - seed syllables) of देवनागरी (devanāgarī) – in other words the Sanskrit alphabet. Once again, I quote the verses of the noble saint திருமூலர் (thirumUlar)  in this regard.

அடைவினில்  ஐம்பதும்  ஐஐந்து  அறையின் 

அடையும்  அறையினருக்கு  ஈரெழுத்து  ஆக்கி 

அடையும்  மகாரத்தில்  அந்தமான்  க்ஷவ்வும் 

அடைவின்  எழுத்து  ஐம்பத்தோன்றும்  அமர்ந்ததே (

adaivinil aimbadhum aiaindhu aRaiiyin

adaiyum aRaiynRukku Irezhuththu aakki

adaiyum makaaraththil andhamaam kshavvum

adaivin ezhuththu aimbaththonRum amarndhadhE

In chambers five and twenty, enclose the letters fifty two in each; with letter ‘a’ to begin and

Final letter ‘Ksha’ to end; These with the one letter OM;

Fifty and one in all, the letter fill.

In Chakra’s chamber five and twenty.

-translation by Dr. B. Natarajan

) திருமந்திரம்(thirumandhiram) (924,934)

The following table illustrates a specific pattern (discussed above) of the  चितंबर पञ्चाक्षर मण्डल चक्र  (citaṁbara pañcākṣara maṇḍala cakra) along with the corresponding Sanskrit letters associated with the specific cell

சி (si) अ (a), आ (ā)	வ (va) इ (i), ई (ī)	ய (ya) उ(u),  ऊ (ū)	ந (na) ऋ (ṛ), ॠ (ṝ)	ம (ma) लृ (lṛ), ए (e)
ய (ya) ऐ (ai), ओ (o)	ந (na) औ (au), अं (aṁ)	ம(ma) अः (aḥ), क (ka)	சி (si) ख (kha),  ग (ga)	வ(va) घ (gha), ङ (ṅa)
ம (ma) च (ca), छ (cha)	சி (si) ज (ja),  झ (jha)	வ(va) ञ (ña),  ट (ṭa)	ய (ya) ठ (ṭha), ड (ḍa)	ந (na) ढ (ḍha), ण (ṇa)வ
வ (va) त (ta), थ (tha)	ய(ya) द (da), ध (dha)	ந (na) न (na), प (pa)	ம (ma) फ (pha), ब (ba)	சி (si) भ (bha), म (ma)
ந (na) य (ya), र (ra)	ம(ma) ल (la),  व (va)	சி(si) श (śa),  ष (ṣa)	வ (va) स (sa),  ह (ha)	ய(ya) क्ष (kṣa)

The 51 बीजाक्षर (bījākṣara - seed syllables) of देवनागरी (devanāgarī) which are by default potent in the चितंबर पञ्चाक्षर मण्डल चक्र  (citaṁbara pañcākṣara maṇḍala cakra) gets kindled and manifest themselves in a specific sequence in line with the rhythmic beats of the डमरु (ḍamaru - drum) in the hands  during the आनन्द ताण्डव (ānanda tāṇḍava) of  Lord नतराज (natarāja). This fact is testified by none other than महऋषि पाणिनि (mahaṛṣi pāṇini), who is widely adored as the father of classical Sanskrit Grammar, in the शिव सूत्र (śiva sūtra) section of his monumental work अष्टाद्यायी (aṣṭādyāyī)

नृत्तावसाने नटराजराजो

ननादढक्कां नवपञ्च वारम्।

ऊद्दर्तु कामः सनकादि सिद्धान्

एतत् विमर्शे शिव सूत्र जालम्॥

(

nṛttāvasāne naṭarājarājo

nanādaḍhakkāṁ navapañca vāram|

ūddartu kāmaḥ sanakādi siddhān

etat vimarśe śiva sūtra jālam||

At the end of the celestial dance, Lord NatarAja sounded His tabor 14 times with the desire to emancipate the exalted SanakAdi rishis. And this I understand as the group (जालम्)
of Shiva sUtrAs

-translation sourvce internet

) अष्टाद्यायी (aṣṭādyāyī) (1)

According to this legend the entire sequence of Sanskrit alphabet was originally revealed by lord महेश्वर (maheśvara)  in a specific sequence containing चतुर्दश जालम् (caturdaśa jālam – fourteen groups) technically called as अक्षर समानय (akṣara samānaya – recitation of phonemes). As it was originally revealed by महेश्वर (maheśvara) it is also called as महेश्वर सूत्र (maheśvara sūtra). These 14 aphorisms are listed here 

अ ई उ ण्।

ऋ लृ क्।

ए ओ ङ्।

ऐ औ च्।

ल ण्।

ञ म ङ ण न म्।

क्ष भ ञ्।

घ ढ ध ष।

ज ब ग द श।

ख फ छ ठ थ् च ट त व्।

क प य्।

श ष स र्।

ह ल्।

इति महेश्व्राणि सूत्राणि ॥

(

a ī u ṇ|

ṛ lṛ k|

e o ṅ|

ai au c|

la ṇ|

ña ma ṅa ṇa na m|

kṣa bha ñ|

gha ḍha dha ṣa|

ja ba ga da śa|

kha pha cha ṭha th ca ṭa ta v|

ka pa y|

śa ṣa sa r|

ha l|

iti maheśvrāṇi sūtrāṇi||

) अष्टाद्यायी : शिव सूत्र (aṣṭādyāyī: śiva sūtra)   (1)

Similarly, according to கூத்தநூல் (kūththanūl), an ancient treatise on Indian classical dances by சாத்தநார் (sāththanār) - the eminent poet from சஙத் தமிழ் காலம் (sangath thamizh kaalam - classical Tami era), the entire sequence of the ancient  தமிழ் எழுத்து (thamizh ezhuththu - Tamil alphabet), had emerged from the  ब्रह्मनाद स्पन्दन(brahmanāda spandana - theosonic vibration) emanating  from the துடி /உடுக்கை / डमरु (thudi / udukkai/ ḍamaru – drum) of आनन्द नटराज ताण्डव (ānanda naṭarāja tāṇḍava - blissful dance by the king of dances)

மோனத்து இருந்த முன்னேன் கூத்தில்

உடுக்கையில் பிறந்தது ஓசையிண் சுழலே

ஓசையில் பிறந்தது இசையின் உயிர்ப்பே

இசையில் பிறந்தது ஆட்டத்து இயல்பே

ஆட்டம் பிறந்தது கூத்தினது அமைவே

கூத்தில் பிறந்தது நாட்டியக் கோப்பே

நாட்டியம் பிறந்தது நாடக வகையே

உடுக்கையில் பிறந்தது ஓமெனும் ஓலியே

ஓமெனும் ஓலியே நாட்டியத்து ஓலியாம்

ஓமெனும் உருவே நாட்டியத்து ஓருவாம்

ஓமெனும் உணர்வே நாட்டியத்து உணர்வு

அவ்வுவ் விம் எனலஂ அதுவே ஓம் ஒலி

அவ் எனலஂ அகமே உவ் எனலஂ உளமே 

இம் எனல் இசையே இயல்வது தாளம்

முன்முதல் நான்கும் மொழிமுதல் ஜந்தும்

பன்னீ ருயிரும் பதினெண் மெய்யும்

முனீர் ஆய்த ம்றையும் முன்னேன்

பின்னிய கூத்தில் பிறந்தவை என்ப

நிறை மொழி மான்தர் மறைமொழிச் சொல்லும்

இறையவன் கூத்தில் இயன்றதே என்ப.

ஒவ்வோர் ஒலியும் ஒவ்வோர் ஆக்கும்

ஒவ்வோர் அசைப்பின் ஊக்கமே என்ப

பரை விரை னடுமுடி நால்வகைப்பண்பும்

வரைமுறைக் கூத்தின் வரைமுறை என்ப.

அகரம் சிவமாம்; இகரம் பரையாம்;

உகரம் சிவபறை; எகரம் யோனி;

ஐகாரம் வாக்கு; ஒகரமே சுவையாம்

ஔகாரம் இழையாம்; ஆயுடம் கூத்தே

ககரம் தலையாம்;  ஙகரம் கண்ணாம்;

சகரம் வாய் இதழ்;  ஞகரமே மூக்கு;

டகரம் ஓம் செவி; ணகரம் மற்று ஓர்செவி;

தகரம் கழுத்தாம்; னகரம் தோள்  இணை;

பகரமே மார்வம்; மகரமே வயிறு;

யகரமே உயிறாம்; ரகரம் இராகம்;

லகரம் இலவணி; வகரமே வகரம்;

ழகரமே ஸிறப்பு; ளகரமே இளதை;

றகரமே கடிக்கடி; நகரமே ஈறு.

மறைமொழிப் பெட்சி மறையவர்த் தெளிக.

எழுத்தும் ஸொல்லும் இசையும் கூத்தும்

பழுத்து நிறைவது பரனிலை என்ப.     . 

Moreover, along with the पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) the temple is associated with the यन्त्र (yantra - symbol) of श्री चक्र  (śrī cakra), संमेलन चक्र (saṁmelana cakra) etc. As the name indicates, the संमेलन चक्र (saṁmelana cakra – conjunction center) is basically a यन्त्र (yantra - symbol) depicting the शिव शक्ति सम्मेलन (śiva śakti sammelana – shiva shakti union). In fact, this is the महा रहस्य (mahā rahasya - supreme secret) revealed here. According to subject matter experts, there is a close correspondence between the संमेलन चक्र (saṁmelana cakra – conjunction centre) & षट्कोण चक्र (ṣaṭkoṇa cakra). 

One of the earliest testimonies on the संमेलन चक्र (saṁmelana cakra – conjunction centre) can be found in the sacred திருமந்திரம் (thirumandhiram), wherein the revered saint திருமூலர் (thirumUlar) cryptically hints about it.

அண்ணல்  இருப்பது அவள் அக்கரத்துளே   
பெண்ணின்நல் லாளும்  பிரானக் கரத்துளே 
எண்ணி  இருவர்  இசைந்தங்கு  இருத்திடப் 
புண்ணிய  வாளர்  பொருளறிவார்களே.

(

aNNal irupadh avaLag karaththuLE

peNNinal laaLum piraanak karaththuLE

enni iruvar isaindhang iruththidap

puNNiya vaaLar poruLaRivaargaLE

The Lord is seated in His Consort’s Letter (Sauh)

The Mother is seated in Her Lord’s Letter (Hum)

When thus the two are in amity seated

The Holy beings comprehend the meanings inner.

-translation by Dr. B. Natarajan

) திருமந்திரம் (thirumandhiram) (931)

Here the பொருளறிவார்களே (poruLaRivaargaLE - comprehend the meanings inner) refers to the दहर विद्या (dahara vidyā – quantum/subtle science) or what ஸ்ரீ பாம்பன்  சுவாமிகள் (sri paamban suvaamigaL) refers as the "தகராலய ரகசியம் (thagaraalaya ragasiyam – secret of the subtle temple/field)" and more popularly known as the சிற்றம்பல / சிதம்பர  ரகசியம் (chiRRambala / chidambara ragasiyam). Moreover, the expression "பெண்ணினால்  லாலும்  பிராணக்  கரத்துலே (peNNinal laaLum piraanak karaththuLE - mother is seated in Her Lord’s Letter)". refers to சிவகாம சுந்தரி (sivagaama sundhari), who is the कामी (kāmi – object of desire / love) & देवपतिनी (devapatinī – divine consort) of Lord शिव (śiva) – the தில்லை  ஆனந்த  கூத்தன்  ஸ்ரீ  நடராஜ  பெருமான் (thillai aanandha kUththan sri nataraaja perumaan), dwelling in His இதயம் (idhayam - heart). Again, the expression 'அண்ணல்  இருப்பது  அவளாக  கரத்துலே (aNNal irupadh avaLag karaththuLE)' also euologizes சிவகாமி  (sivakaami)  as 'சிவனை  அகமாய்  கொண்ட சிவகாமி (sivanai akamaai koNda sivakaami).' Besides, the combination of these two expressions describe the ying-yang synergies of शिव शक्ति सम्मेलन (śiva śakti sammelana – shiva shakti union). Please remember that the esoteric symbology of नटराज मूर्ति (naṭarāja mūrti – dance king icon), by default, is a dynamic representation of the अर्ध्नारीश्वर तत्त्व (ardhnārīśvara tattva – bipolar principle) wherein नट (naṭa - dancer) is शिव (śiva) while His नृत / नाट्य (nṛta / nāṭya - dance) is शक्ति (śakti). Of course, the same theme of अर्ध्नारीश्वर तत्त्व (ardhnārīśvara tattva – bipolar principle) is also reiterated in the श्री वैष्णव संप्रदाय (śrī vaiṣṇava saṁpradāya) where नारायणी (nārāyaṇī) & नारायण (nārāyaṇa) correspond to शक्ति (śakti) & शिव (śiva) respectively, as testified in the following verses from लक्ष्मी तन्त्र (lakṣmī tantra)

I am goddess Narayani, ever cooperating in performing the functions of Narayana, who consists of Jnana (knowledge), ananda (bliss) and kriya (activity); and i too consist of knowledge bliss and activity.

There is not a single place nor moment when it is possible for me to exist without Him or Him without me.

Translation by Sanjukta Gupta

Interestingly, श्री ललिता त्रिपुर सुन्दरी (śrī lalitā tripura sundarī) the goddess & theo-personification of श्री चक्र यन्त्र (śrī cakra yantra) is called as नाटेश्वरी (nāṭeśvarī – goddess of dance) ( 734^th name) by lord हयग्रीव (hayagrīva) in the श्री ललिता सहरनाम  (śrī lalitā saharanāma) and श्री भास्करराय (śrī bhāskararāya) in his famous भाष्य (bhāṣya  - commentary) very clearly testifies that this term refers to º¢Å¸¡Á¢  (sivakaami). According to him, “She is the wife of the Dancer, the Nataraja of Chidambaram”

Moreover, according to esoteric श्रीविद्या संप्रदाय (śrīvidyā saṁpradāya), Goddess त्रिपुर सुन्धरी (tripura sundharī) is also closely associated with the हृदय स्थान (hṛdaya sthāna – heart centre), similar to the दहर विद्या (dahara vidyā) concept in चितंबर / चिताकाश तत्त्व (citaṁbara / citākāśa tattva). This fact, is very categorically acknowledged in the following verses of त्रिपुरारहस्य (tripurārahasya)

सा देवी त्रिपुरा सर्वहृदयाकाश रूपिणी।

अनन्न्यशरणं  भक्तं प्रत्येवंरूपिणी द्रुतम्॥

हृदयान्तः परिणता मोचयेद्  मृत्युजानतः॥

(

sā devī tripurā sarvahṛdayākāśa rūpiṇī|

anannyaśaraṇaṁ  bhaktaṁ pratyevaṁrūpiṇī drutam||

hṛdayāntaḥ pariṇatā mocayed  mṛtyujānataḥ||

That Goddess Tripuraa is of the nature of space of the Heart (since She manifests as Consciousness therein)

 in everyone. She, manifesting within the Heart in the form of discriminating  perception. 

(or Buddhi) in a devotee who has taken refugee in 

Her without any other person as recourse, can liberate him quickly from the snare of death.

-Translated by Samvid

) त्रिपुरारहस्य (tripurārahasya) (5)

Thus, there is lot of correspondence between the iconography of नटराज (naṭarāja) and the श्री चक्र (śrī cakra). For example, such correspondence is also testified in the following स्तोत्र (stotra – hymn of praise) composed by sage अगस्त्य महऋषि (agastya mahaṛṣi)

श्री चक्र राज सिंहासनेश्वरी

श्री ललिथाबुकये भुवनेश्वरी

आगम वेद कलामय रूपिनी

अकिल चराचर जननी नरायणी

नाग कङ्गन नट्राज मनोहरि

ज्नान विध्येश्वरी राज राजेश्वरी॥

(

śrī cakra rāja siṁhāsaneśvarī

śrī lalithābukaye bhuvaneśvarī

āgama veda kalāmaya rūpinī

akila carācara jananī narāyaṇī

nāga kaṅgana naṭrāja manohari

jnāna vidhyeśvarī rāja rājeśvarī||

The mother Lalitha who is the goddess of universe

She whose personification  of Agamas, Vedas and arts,

The Narayani who is the mother of moving and non moving things,

The beautiful consort of the king of dance who wears serpent bangles,

The goddess of knowledge of Jnana, and the goddess who is king of kings.

-Translated by P.R. Ramachandra Rao

) श्री चक्र राज  (śrī cakra rāja)

In fact, one can see the श्री चक्र यन्त्र (śrī cakra yantra) installed on the வலது பிரகாரம் (valadhu pirakaaram – right compound wall) of சிவகாம சுந்தரி சந்நிதி (sivakaama sundhari sannidhi) at தில்லை நடராஜர் கோயில், சிதம்பரம் (thillai nataraajar kOyil, chithambaram). According to local legend, it was here जगत्गुरु स्री आदि शंकराचार्य भगवत्पाद (jagatguru srī ādi śaṁkarācārya bhagavatpāda) received his formal दीक्ष (dīkṣa - initiation) on the occult science of श्री चक्र विद्या (śrī cakra vidyā) from महऋषि शुकर् (mahaṛṣi śukar). While one can see the physical version of the श्री चक्र यन्त्र (śrī cakra yantra) embedded on the compound wall, its original सूक्षम रूप (sūkṣama rūpa – subte form) is actually hidden behind the ¸Ä¢Áñ ÍÅ÷ (kaliman suvar - clay wall) displaying the चिदम्बर रहस्य (citambara rahasya). This fact is indirectly testified by the revered saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)

भित्तौ श्रिचक्रसंस्थां तदनु नातपतिं शैव् चक्रान्तरस्थम्

तद्वामे युग्महस्ताम् अपि च शुककारम् ज्ञानशक्तिञ् च यष्ट्वा।

गोब्रह्मादिन् अथेष्ट्वा शकलविधाचारून् अर्पयित्वा बलींस् तान्

होमम् कृत्वा यजन्ति प्रतिदिनम् अपि यम् कुञ्चिताङ्घ्रिं बजेहम्॥

(

bhittau śricakrasaṁsthāṁ tadanu nātapatiṁ śaiv cakrāntarastham

tadvāme yugmahastām api ca śukakāram jñānaśaktiñ ca yaṣṭvā|

gobrahmādin atheṣṭvā śakalavidhācārūn arpayitvā balīṁs tān

homam kṛtvā yajanti pratidinam api yam kuñcitāṅghriṁ bajeham||

Honouring Her who is in the Sricakra on the wall,

And after Her the Lord of Dancers within the Saivacakra, ( then the Lord of Dancers)

 and on His left His Jnana Shakti,

She who has two hands and holds a parrot;

Then worshipping the Bull, Brahma, and the others;

Making all the kinds of revential food  offerings, making the external food offerings,

And performing the homa, they honour Him every day.

Him who constantly performs His dance, there in the sheath of Bless,

Whose foot is curved, I worshp.

-translation by David Smith 

) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (20)

And there is a even more explicit reference to the शिवचक्र (śivacakra), as well as, the श्री चक्र यन्त्र (śrī cakra yantra) in the following verses

आमन्वस्रम् सुधीपम् निजधनुमपि

दस्सत्यरूप प्रबान्धः वामे युक्तम्

स्वसक्त्या वसुतलकमलस्वर्ण किञ्जिल्कसोबम्।

व्याप्तम् स्वाहस्रकोष्टास्तित सिवम्नुपि

मोहनात्तैर्यतीयम् चक्रम्

सम्भुजयन्ती प्रतितिन्मनकाः

कुञ्चिताङ्घ्रिं बजेहम्॥

त्रैसकत्वारिम्सदस्रे  वसुन्ऱ्ऊप

कमले वृत्त पूजक्रमध्ये

बिन्थौसन्धानकल्पद्रुम्

निकर्युधे रत्नसौधे मनोक्ज्ञे।

स्वर्णमञ्जे निश्णनो

देव्या यः पूजयते तम्

हरिमुगविबुतैः कुञ्चिताङ्घ्रिं बजेहम्॥

(

āmanvasram sudhīpam nijadhanumapi

dassatyarūpa prabāndhaḥ vāme yuktam

svasaktyā vasutalakamalasvarṇa kiñjilkasobam|

vyāptam svāhasrakoṣṭāstita sivamnupi

mohanāttairyatīyam cakram

sambhujayantī pratitinmanakāḥ

kuñcitāṅghriṁ bajeham||

traisakatvārimsadasre  vasunūpa

kamale vṛtta pūjakramadhye

binthausandhānakalpadrum

nikaryudhe ratnasaudhe manokjñe|

svarṇamañje niśṇano

devyā yaḥ pūjayate tam

harimugavibutaiḥ kuñcitāṅghriṁ bajeham||

) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (109,110)

The roof has been laid by 21,600 தங்க ஓடுகள் (thanga OdugaL - golden tiles) each of which has the sacred पञ्चाक्षर मन्त्र (pañcākṣara mantra) சிவாய நம (sivaaya nama) inscribed on them. Esoterically, these 21,600 ஓடுகள் (OdugaL - tiles) correspond to the 21,600 inhalations of an average human being in a day. These ஓடுகள் (OdugaL - tiles) are fixed using 72,000 தங்க ஆணிகள் (thanga aanigaL – golden nails) which in turn correspond to the 72,000 சூக்ஷம நாடிகள் (sUkshama naadigaL – subtle nerve channles) making up the सूक्षम देह (sūkṣama deha – subtle body) viz. the प्राणमय कोश (prāṇamaya kośa – vital sheath).

यतस्दूप्यस्सकिरूपाः तत्तरविलस

त्रोमरूपाश्च कीलाः उच्चस्वासाः

स्वर्णबत्ताः ततूरनिहिता

तण्डरूपाश्च नाट्यः।

नाट्यन्तस्सर्वलोकाः बलकदनुकता

ह्स्तरूपाः कलाङ्गच्च दस्याम्

यो नृत्यतीस तमनुबमदनुम् कुञ्चिताङ्घ्रिं बजेहम्॥

(

yatasdūpyassakirūpāḥ tattaravilasa

tromarūpāśca kīlāḥ uccasvāsāḥ

svarṇabattāḥ tatūranihitā

taṇḍarūpāśca nāṭyaḥ|

nāṭyantassarvalokāḥ balakadanukatā

hstarūpāḥ kalāṅgacca dasyām

yo nṛtyatīsa tamanubamadanum kuñcitāṅghriṁ bajeham||

) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (6)

The roof is held by a set of 64 கை மரங்கள் (kai marangaL - wooden beams) representing the 64 forms of ஆய கலைகள் (aaya kalaigaL – fine arts) and is held by several cross-beams representing the innumerable blood vessels. The roof is topped by a set of நவ கலசங்கள் (nava kalasangaL –  nine sacred pots) representing the नवावर्ण शक्ति (navāvarṇa śakti - nine forms of energy).

Continued:
https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-3.html

https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-4.html