For Previous Parts click below
https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-1.html
https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-2.html
https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-1.html
https://shankarsanthammorthy.blogspot.com/2018/06/chitsabesaaya-mangalam-part-2.html
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) viz. वाम (vāma),
जैष्ट (jaiṣṭa), रौद्र(raudra), काली(kālī), कल्विकर्नि (raudra),बालविकर्नी(bālavikarnī),बाल प्रमार्धनी
(bāla pramārdhanī), सर्व भूताद्मनि (sarva bhūtādmani) & मनोन्मनि (manonmani).
The अर्ध मण्डप (ardha maṇḍapa) has ஆறு தூண்கள் (aaRu thUNgal – six pillars) supporting it and these symbolize the षट् वेदाङ्ग शास्त्र (ṣaṭ vedāṅga śāstra).
Most
of these esoteric secrets underlying this temple’s architectural design, has
been highlighted and directly testified in different versions of the स्थल पुराण (sthala purāṇa – temple legend)
and over the years, many scholars and subject matter experts have highlighted
the same. For example, the revered saint ஸ்ரீ குமரகுருபரர்
(sri kumaragurubarar) in
the following verses from his famous work சிவகாமி அம்மை பிள்ளைத்தமிழ் (sivagaami ammai
piLLaiththamizh), very
categorically declares thus,
ஆறு சாத்திரம் நாலுவேதமதில் துன்
ஆகமங்கள் இருபத்தெட்டுடன்
ஐம்பெரும் பூதங்கள் பதினெண் புராணங்கள்
அறிய சிறு துன் உத்திரம்
எருக்களை அறுபத்து நாலு கைம்மாறு
நாடி எழுபத்திரெண்டாயிரம்
எழில் வாரிசுதான் ஆணி புவனம்
இருநூற்றிப்பதினாலும்
குலவு சிற்றோடு இருபத்தோராயிரமும்
கூறும் அறுநூறும் ஆகத் தேறு மொரு
பெருவிடு கட்டிவிளையாடும் உமை
சிறுவிடு கட்டியருளே
ஆகமங்கள் இருபத்தெட்டுடன்
ஐம்பெரும் பூதங்கள் பதினெண் புராணங்கள்
அறிய சிறு துன் உத்திரம்
எருக்களை அறுபத்து நாலு கைம்மாறு
நாடி எழுபத்திரெண்டாயிரம்
எழில் வாரிசுதான் ஆணி புவனம்
இருநூற்றிப்பதினாலும்
குலவு சிற்றோடு இருபத்தோராயிரமும்
கூறும் அறுநூறும் ஆகத் தேறு மொரு
பெருவிடு கட்டிவிளையாடும் உமை
சிறுவிடு கட்டியருளே
(
aaRu saaththiram naaluvEdhamadhil thUN
aagamangal irupaththettudan
aimperum bUdhangaL padhinen puraanangaL
ariya siRu thUn uththiram
ERukalai aRupaththu naalu kaimmara
naati ezhupaththiReNdaayiram
ezhil varichudan aaNi buvanam
irunURRipadhinaalum
kulavu siRROdu irupaththOraayiramum
kURum aRunURum aagath thERumoru
peruvIdu kattiviLaiyaadum umai
siRuvIdu kattiyaruLE
sivagaama sundhari yenum periya
vimalaiyE
siRu
vIdu katti aRuLE.
) சிவகாமி அம்மை பிள்ளைத்தமிழ் (sivagaami
ammai piLLaiththamizh)
Before proceeding
further, on the next topic, I would like to quote here the following
description of, Mr. J.H. Garstin,
Honourable District Collector (commissioner) of South Arcot during the British
Regime, on the architectural beauty of this sacred temple “As an architectural edifice the pagoda is a very
wonderful Structure, for it stands in the middle of an alluvial plain between
two rivers, where there is not only no stone but none within 30 or 40 miles,
and yet not only are the outer walls faced on both sides in their entirety with
dressed granite, but the whole of the great area enclosed within the inner
walls is entirely paved with stone of different kinds. Nor is this, by any
means, all, for there is in the pagoda a Mantapam or hall with more than 1,100
carved pillars, each a solid block, and in front of the Mantapam are several
rows of circular granite monoliths, about 70 in all, standing about 80 feet oat
of the ground, and sank in it probably at least 6ft feet, which are meant to
support the great pandal erected in front of the Mantapam on occasions of
ceremony. Moreover, the gateways of the Gopurams are built of solid blocks of
stone 30 feet high and considerably over 3 feet square; while not the least
remarkable feature in the pagoda is a large and very deep tank, about 160 feet
long and 100 feet broad, with long flights of dressed stone steps leading down
to the water on all four sides. The whole of the stone worked into the building
must have been carried at least 40 miles, across the Vellar river (which is not
navigable f0r more than 6 or 8 miles from its month), and over a country devoid
of roads. Nothing, indeed, strikes one more forcibly, when looking at the
pagoda, that the stupendous labour and marvelous perseverance which produced
such results under such circumstances. The compiler was informed that much of the
granite was brought from Trinomalai, a distance of over 80 miles, but it is
somewhat difficult to believe this, as that would have entailed the crossing of
the Ponniar river as well as of the Vellar”.
According to शैव सिद्धान्त (śaiva siddhānta), the बलिपीठम्
(balipīṭham – sacrificial altar) represents the surrendering or sacrificing
of the பாசம் (paasam - bondage) principle after which the जीवात्मा (jīvātmā
– embodied soul), also called as the பசு(pasu – cow) principle takes mounts on the वाहन (vāhana - vehicle) of नन्दि देव (nandi deva -
OX Deity)
to transmigrate various realms and finally reach his beloved பதி (pathi - Lord) incarnated as the मूल विग्रह (mūla vigraha - chief icon) - शिव लिङ्ग (śiva liṅga). Thus, in other words, बलिपीदम् (balipīdam – sacrificial altar), नन्दि देव (nandi deva - ox deity) and शिव लिङ्ग (śiva liṅga) represents பாசம் (paasam - bondage), பசு (pasu – cow) & பதி (pathi - Lord) respectively.
There are two consecutive मण्डप (maṇḍapa – chambers/halls) in
between the नन्दि (nandi – bull) and the गर्भगृह
(garbhagṛha – sanctum sanctorum) called महामण्डप (mahāmndabha – mega hall) & मुख मण्डप (mukha maṇḍapa) followed by a narrow passage called अन्तरालम् (antarālam –
intermediate space). In terms of temple anatomy of the वास्तु पुरुष (vāstu puruṣa), these
structures represent the belly, shoulders and the neck regions respectively,
which in turn corresponding to the मणिपूर चक्र (maṇipūra cakra), अनाहत चक्र (anāhada cakra) and the विशुद्ध चक्र (viśuddha cakra) respectively.
Finally, we come to गर्भगृह (garbhagṛha – sanctum sanctorum) which is the head portion of the वास्तु पुरुष (vāstu puruṣa)
hosting the मङ्गलसासन मूर्ति (maṅgalasāsana
mūrti - consecrated icon) which represents the मूल विग्रह (mūla vigraha– chief deity), corresponding
to the आज्ञा चक्र (ājñā
cakra), which is the focal point of spiritual द्यानम् (dyānam – contemplation). The कलस कुम्भ kalasa kumbha – lotus pot) installed
on the शिकर (śikara – top / crown) of the विमान (vimāna - tower), is the ultimate state of समाधि (samādhi – atonement),
symbolized as the सहस्रार पद्म (sahasrāra Padma - thousand petalled lotus).
Nataraja & Modern Cosmology
According to Saivism, they are theologized as the म्हेश्वर तत्त्व (mheśvara tattva) symbolizing the क्रिया शक्ति (kriyā śakti – executive principle) and is responsible forपञ्च महा कृत्य (pañca mahā
kṛtya – five cosmic acts) viz. स्रिश्ति (sriśti – creation), स्थिति (sthiti
- sustenance), सम्हार
(samhāra –dissolution), तिरोभव (tirobhava – veiling) & अनुग्रह (anugraha - grace). The following verses in the திருமந்திரம் (thirumandhiram), very clearly articulates the concept of पञ्च कृत्य
(pañca kṛtya – five fold
acts)
படைப்பு மாளிப்பும் பயிலினைப் பார்ருங்ஹ
துடைப்பு மறைப்புமுன் தோன்ற அருளுங்
சடத்தை விடுத்த அருளுங் சக்களத்தி
தடித்த அநாதியை ஐந்தென வாமே
(
துடைப்பு மறைப்புமுன் தோன்ற அருளுங்
சடத்தை விடுத்த அருளுங் சக்களத்தி
தடித்த அநாதியை ஐந்தென வாமே
(
padaippu maLippum
payilinaip paaRRunh
thudaippu
maRaippumun thOnRa aruLuGn
sadaththai
viduththa aruLuGn sagalath
thadaiththa
anaathiyai aindhena vaamE
Creation,
Preservation, and Dissolution (that for Jivas grant rest from birth and death
whirl) Obfuscation and Grace
(That
redeem Jiva after life below). These four sakala souls, He filled;
All
these acts five,
Beginningless
His are.
-Translation by B. Natarajan
) திருமந்திரம் (thirumanthiram (2418)
In Saivism, these five functions are
considered as शुद्ध तत्त्व (śuddha tattva
– pure principles) and symbolised by
the पञ्चनन शिव मूर्ति (pañcanana śiva mūrti – five headed Shiva iconography) viz.सद्योजात
(sadyojāta), वाम देव (vāma deva), अघोर (aghora), तत्पुरुष (tatpuruṣa) & ईशान (īśāna) respectively. The earliest references to these
occurs in the महा नारायण उपनिषद् (mahā nārāyaṇa upaniṣad) section of the तैत्तिरिय आरन्यक (taittiriya āranyaka) belonging to the कृष्ण यजुर् वेद संहित (kṛṣṇa yajur veda saṁhita), wherein they are referred to as the पञ्च ब्रह्म मन्त्र (pañca brahma
mantra). Interestingly, from a theosonic
perspective the term पञ्चवक्त्र (pañcavaktra) is also popularly used to denote the पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces) as it is believed that revealed
the wisdom of वेद (veda) using five-fold means viz. विधि (vidhi - rules), मन्त्र (mantra - incantation), नामधेय (nāmadheya - appellation), निशेध (niśedha - control) & अर्थवाद (arthavāda - interpretation). The following is a popular imagery of the same
In other texts,
these five faces are also called as the पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces) or simply as पञ्चमुखि (pañcamukhi –
five faces). The लिङ्ग पुराण (liṅga
purāṇa), for example, very beautifully
glorifies the पञ्चमुखि (pañcamukhi –
five faces)
दम्ष्ट्राकरालं अत्युग्रं
ज्वालमाल संवर्तम्।
रक्तश्मश्रुं जटायुक्तं
चोत्तरे विद्रुमाप्रभम्॥
प्रसन्नं वामदेवाख्यं वरदं
विश्वरूपिणम्।
पश्चिमं वदनं तस्य
गोक्षिरधवलं सुभम्॥
मुक्ताफलमयैर् हारैर्
भूषितं तिलकोज्ज्वलम्।
सद्योजातमुखं दिव्यम् भास्करस्य
स्मरारिणः॥
(
tasya pūrvaṁ mukhaṁ pīṭaṁ prasannaṁ puruṣatmakam|
aghoraṁ dakṣinaṁ vaktraṁ nīlāñjanacayopamam||
damṣṭrākarālaṁ atyugraṁ jvālamāla saṁvartam|
raktaśmaśruṁ jaṭāyuktaṁ cottare vidrumāprabham||
prasannaṁ vāmadevākhyaṁ varadaṁ viśvarūpiṇam|
paścimaṁ vadanaṁ tasya gokṣiradhavalaṁ subham||
muktāphalamayair hārair bhūṣitaṁ tilakojjvalam|
sadyojātamukhaṁ
divyam bhāskarasya smarāriṇaḥ||
His face is yellow, serene , the form of Purusha.
His south face is Aghora, comparable to a heap of
collyrium,
Terrific with protruding teeth, very fierce,
surrounded by garland of flames.
In the north the face has red beard, matted hair,
the colour of the coral, is serene called Vamadeva,
bestower of boons, having all forms.
His west face has the colour of cow’s milk,
is beautiful adorned with pearl necklaces,
brightened by a forehead mark;
that is the Divine Sadyojata face of
the resplendent Shiva.
) लिङ्ग
पुराण (liṅga purāṇa) (2.19.9-12)
Interestingly, in the sacred பொதிகை மலை தொடர் (podhigai malai thodar), amidst the dense forests of the along the Western Ghats
mountain range in southern Tamil Nadu (& Kerala), there lies the naturally
from சுயம்பு பஞ்சமுக சிவலிங்க மாமலை (suyambu panjamuka sivalinga
maamalai). The image of
which is given below,
The पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces) motif of शिव (śiva) very beautifully symbolizes these पञ्च महा कृत्य (pañca mahā
kṛtya – five fold sacred acts). The पञ्च मुख (pañca mukha – five faces) of the Lord having सद्योजात (sadyojāta) facing மேற்கு (mERku - west), तत्पुरुष (tatpuruṣa) facing கிழக்கு (kizhakku - East), अघोर
(aghora) facing தெற்கு (theRku - south), वामदेव (vāmadeva) facing வடக்கு (vadakku –north)
& ईसान (īsāna) facing உச்சி (uchchi - top) correspond to the पञ्च महा कृत्य (pañca mahā
kṛtya – five cosmic acts) viz. स्रिश्ति (sriśti – creation), स्थिति (sthiti - sustenance), सम्हार (samhāra –dissolution), तिरोभव (tirobhava – veiling) & अनुग्रह (anugraha - grace) respectively.
सृष्टिः स्तिथिश् च संहारस्
तिरोभावोऽप्य् अनुग्रहः।
पञ्चेमे जगत्कृत्यं नित्यसिद्धम्
अजाच्युतौ॥
सर्गः संसारसंरंभस् तत्प्रतिष्टा
स्थितिर् मता।
संहारो मर्दनं तस्य तिरोभावस्
तदुत्क्रमः॥
तन्मोक्षोऽनुग्रहस्तन् मे कृत्यम् एवं
हि पञ्चकं।
सर्गादि यच्चतुष्त्यं संसार
परिज्र्ंभनं॥
पञ्चमं मुक्तिहेतुर् वै नित्यं मयि च
सुस्थिरं।
तदिदं पञ्चभूतेषु दृष्यते मामकैर्
जनैः॥
सृष्टिर् भूमौ स्थितिस् तोये संहारः
पावके तथा।
तिरोभावोऽनिले तवदानुग्रह इवांबरे।
सृजयते दरया सर्वं अद्भिः सर्वं
प्रवर्द्धते।
अर्द्यते तेजसा सर्वं वायुना चापनियते।
व्योम्ना तु गृह्यते सर्वं ज्ञेयं एवं
एवं हि सूरिभिः॥
पञ्चवक्त्रं इमं वोढुम् ममास्ति
मुखपञ्चकम्।
चतुर्दिक्षु चतुर्वक्त्रं तन्म्ध्ये
पञ्चमं मुखम्॥
युवाभ्यां तपसा लब्धम् एव कृत्यद्वयं
सुतौ।
सृष्टिथ्यभिधं भाग्यम् मत्तः
प्रित्ताद् अतिप्रियम्॥
तयो रुद्रमहेशाभ्यां अन्यत्कृत्यद्वयं
परम्।
अनुग्रहाख्यं केनापि लब्धुं नैव हि शक्यते॥
(
sṛṣṭiḥ stithiś ca saṁhāras tirobhāvo'py anugrahaḥ|
pañceme jagatkṛtyaṁ nityasiddham ajācyutau||
sargaḥ saṁsārasaṁraṁbhas tatpratiṣṭā sthitir matā|
saṁhāro mardanaṁ tasya tirobhāvas tadutkramaḥ||
tanmokṣo'nugrahastan me kṛtyam evaṁ hi pañcakaṁ|
sargādi yaccatuṣktyaṁ saṁsāra parijrṁbhanaṁ||
pañcamaṁ muktihetur vai nityaṁ mayi ca susthiraṁ|
tadidaṁ pañcabhūteṣu dṛṣyate māmakair janaiḥ||
sṛṣṭir bhūmau sthitis toye saṁhāraḥ pāvake tathā|
tirobhāvo'nile tavadānugraha ivāṁbare|
sṛjayate darayā sarvaṁ adbhiḥ sarvaṁ pravarddhate|
ardyate tejasā sarvaṁ vāyunā cāpaniyate|
vyomnā tu gṛhyate sarvaṁ jñeyaṁ evaṁ evaṁ hi sūribhiḥ||
pañcavaktraṁ imaṁ voḍhum mamāsti mukhapañcakam|
caturdikṣu caturvaktraṁ tanmdhye pañcamaṁ mukham||
yuvābhyāṁ tapasā labdham eva kṛtyadvayaṁ sutau|
sṛṣṭithyabhidhaṁ bhāgyam mattaḥ prittād atipriyam||
tayo rudramaheśābhyāṁ anyatkṛtyadvayaṁ param|
anugrahākhyaṁ
kenāpi labdhuṁ naiva hi śakyate||
Creation, maintenance, destruction, concealment, grace,
these five are my actions regarding the world,
which are eternally accomplished, O Brahman
and Vishnu.
Creation is the beginning of the world rebirths, maintenance
is its stabilization,
Destruction is the crushing of it .
Concealing is its passing forward, grace is the final release
of it.
That is the five actions.
Four of them starting with creation,
Manifest the world of its rebirths, the fifth is the cause of
release
And is eternally well stable in me.
My followers see all that in five elements:
Creation in earth, maintenance in water, destruction in fire,
Concealment in wind and grace in space.
Everything is created with Earth, everything grows with water,
Is burnt with fire, is brough together with space.
Sages know everything of that.
To carry on this I have five faces., four in the four
directions,
The fifth in the center.
By your penance, O my sons,
From me who is satisfied you have detained two of those
actions,
Your share is called creation and maintenance., the most
agreeable.
Other two have been obtained by Rudra and Mahesha.
The action
called Grace cannot be entrusted to anyone.
) शिवपुराण
(śivapurāṇa) (8.1-10)
The
following table summarizes these पञ्च कृत्य (pañca kṛtya - fivefold functions) and maps them to the respective देवत (devata – deity) associated with the कृत्य (kṛtya
- function).
कृत्य (kṛtya - function)
|
Description
|
ब्रह्म मुख
(brahma mukha- Divine face)
|
कर्त
(karta - actor)
|
ஆக்கல் / सृष्टि (aakkal / sṛṣṭi
– creation
/ manifestation)
|
Represents the act of படைத்தல் (padaiththal – emanation)
of the phenomenal universe (effect)
from Himself (cause) by self will.
|
सद्योजात (sadyojāta)
|
ब्रह्म (brahma)
|
காத்தல் / स्थिति (kaaththal /
sthiti
- sustenance)
|
The act of maintenance and
growth of the emanated effect (universe)
|
वामदेव
(vāmadeva)
|
विष्णु (viṣṇu)
|
அழித்தல் / संहार (azhithal
/ saṁhāra –dissolution)
|
The act of destruction or
dissolution of the phenomenal universe
|
अघोर
(aghora)
|
रुद्र शिव (rudra śiva)
|
மறைத்தல் / तिरोभाव (maRaiththal /
tirobhāva - veiling)
|
The act of veiling
or concealing.
|
तत्पुरुष (tatpuruṣa)
|
सदाशिव (sadāśiva)
|
அருளல் /
अनुग्रह (aruLal /
anugraha -
grace):
|
Finally, bestowing spiritual
emancipation to the souls
|
ईसान (īsāna)
|
महेश्वर (maheśvara)
|
The harmony
in the divine cosmology of the intrinsic relationship between matter (particle)
and energy (wave) is very beautifully explained by
the Saivite genius,
which describes the end to end management of the entire process of the पञ्च कृत्य (pañca kṛtya - fivefold functions) - creation, sustenance, destruction,
veiling & grace. Please remember that although
there is a logical sequence in these phases, specifically between creation,
sustenance, destruction, yet holistically speaking there is no time sequence
among them. This is
explained in the following verses of சிவஞான சித்தியார் (sivaGnaana sidhdhiyaar)
இத்தையோடு , ஈசர் , சாதாக்கியம் , சத்தி , சிவன்கள் ஐந்தும் சுத்த தத்துவம் ;
சிவன்தான் சுதந்திர வடிவம் ஆகும் ;
நித்தம் என்று உரைப்பர் ; காலம் நீங்கிய நிலைமையாலே
வைத்தியர் , முற்பிற்பாடு வருவித்தார் கருமத்தாலே
சிவன்தான் சுதந்திர வடிவம் ஆகும் ;
நித்தம் என்று உரைப்பர் ; காலம் நீங்கிய நிலைமையாலே
வைத்தியர் , முற்பிற்பாடு வருவித்தார் கருமத்தாலே
(
viththaiyOdu,
Isar, sadhaakkiyam, saththi, sivangaL aindhum suththa thatthuvam;
sivanthan
sudhandhira vadivam aagum;
niththam enRu
uraippar; kaalam nIngiya nilaimaiyaalE
vaiththilar, muRpiRpaadu
varuviththaar karumaththaalE
Along
with Suddha Vidyā Tattva, Mahesvara, Sadasiva, Sakti and Sivam, all these five
constitute Suddha Tattva. Siva Himself is of the form of Freedom. There is no
Time sequence among them in their manifestation, though Knowledge comes first
before Action..
-Translation from Internet
) சிவஞான சித்தியார் (sivaGnaana sidhdhiyaar)
(86)
To use a software programmer’s jargon, such eternal play of being & becoming is an on-going cyclic pattern forming an infinite loop
involving the पञ्च महा कृत्य (pañca mahā kṛtya- five
cosmic functions) explained earlier; and in accordance
with the Divine Will of महा माया शक्ति (mahā māyā śakti), each of these functions are performed by पञ्च ब्रह्म (pañca
brahma - fivefold divinities) as
further explained by the परमाचार्य (paramācārya) in the very next verse from the
above quoted scripture,
जगत् सूत धाता हरिरवति रुद्रः क्षपयते
तिरस्कुर्वन्नेतत् स्वम् अपि वपुर्
इशस्तिरियति।
सदापूर्वः सर्वं तदिदमनुगृहणाति च शिवस्
तवज्ञाम्
आलम्ब क्षणचलितयोर् भ्रूलतिकयोः॥
(
jagat sūta dhātā hariravati rudraḥ kṣapayate
tiraskurvannetat svam api vapur iśastiriyati|
sadāpūrvaḥ sarvaṁ tadidamanugṛhaṇāti ca śivas
tavajñām ālamba kṣaṇacalitayor bhrūlatikayoḥ||
The Dhātṛ creates the world; Hari sustains it;
Rudra destroys it, īśa causes his own form to disappear as well; while
Sadāśiva, in pursuance of the mandate from Thy slightly-knit creeper – like
eyebrows, belsesses all this .
-translation
by Pandit S Subramaniya Shastri & Srinivasa Aiyangar
) सौन्दर्य लहरी (saundarya
laharī) (24)
Interestingly a similar mapping of
the पञ्च कृत्य (pañca kṛtya - fivefold functions) with
specific deities is also provided by the revered saint தவத்திரு மணவாசகம் கடந்தார் (thavaththiru
manavaasakam kadandhaar) in உண்மை விளக்கம் (uNmai
viLakkam), considered to be one of the important சைவ சித்தாந்த சாத்திரம் (saiva siththaantha
saaththiram)
படைப்பன் அயன் அளிப்பன் பங்கயக்கண் மாயன்
துடைப்பன் உருத்திரனும் சொல்லில் - திடப்பெறவே
என்றும் திரோபவிப்பர் ஈசர் சதாசிவரும்
அன்றே அநுக்கிரகர் ஆம்
துடைப்பன் உருத்திரனும் சொல்லில் - திடப்பெறவே
என்றும் திரோபவிப்பர் ஈசர் சதாசிவரும்
அன்றே அநுக்கிரகர் ஆம்
(
padaippan ayan;
aLippanpangayakaN maayan;
thudaiipan
uriththiranum; sollil thidappeRavE
enRum
thirObavippar Isar; sadhaasivarum
anRE anukkirakar aam.
Brahma evolves; the lotus-eyed Vishnu sutains;
Redra resplves; undergo experience Mahesh always
conceals; Sadasiva, as of yore; grants grace.
It is said that they function thus, even thus.
Translation by Dr. B.
Ramachandran
) உண்மை விளக்கம் (uNmai
viLakkam) (9)
The iconography of சிவ தாண்டவம் (siva thaandavam - Dance of Siva) is another popular poetic expression encapsulating very
complex laws behind these पञ्च कृत्य (pañca kṛtya - fivefold functions) represented
by five different dance forms of Shiva, as explained in the following verses
ஆன நடம் ஐந்து அகள சகளத்தர்
ஆன நடம் ஆடி ஐங் கருமத்து ஆக
ஆன தொழில் அருளால் ஐந் தொழில் செய்தே
தேன் மொழி பாகன் திரு நடம் ஆடுமே
ஆன நடம் ஆடி ஐங் கருமத்து ஆக
ஆன தொழில் அருளால் ஐந் தொழில் செய்தே
தேன் மொழி பாகன் திரு நடம் ஆடுமே
(
aana nadam aindhu
agaLa sagaLaththar
aana nadam aadi
ainkarumaththaaga
aana thozhil
aruLaal ainthOzhil seidhE
thEn mozhi paagan
thirunadam aadumE
This
formless one takes form and performs five dances; t
hat dance is done to perform five actions;
The five actions are performed with the knowledge of shakti;
The one having the honey-tongued partner does the sacred dance.
hat dance is done to perform five actions;
The five actions are performed with the knowledge of shakti;
The one having the honey-tongued partner does the sacred dance.
-Translation by T.N Ganapthy
) திருமந்திரம் (thirumanthiram (2727)
Mythologically,
these dances are performed on பஞ்ச சபைகள் (sabaigaL - five stages / platforms) which are terrestrially located in the the following temples
respectively
Again, each of these dance stages are correspondingly mapped to one எழுத்து /अक्षर (ezhuththu / akṣara - syllable) in the ஐந்தெழுத்து மந்திரம் / पञ्चाक्षर मन्त्र (aindhezhuththu mandhiram / pañcākṣara mantra – five syllabled sonic formula). An important point to remember is that, when we refer to पञ्च ब्रह्म (pañca brahma - fivefold divinities) performing these पञ्च महा कृत्य (pañca mahā kṛtya – fivefold cosmic acts) they do not refer to five different देवत (devata – deities), rather they are different aspects of the same पर ब्रह्म (para brahma – absolute divinity). This fact is very categorically reiterated by திருவருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) in the following verses
படைத்தல் முதல் ஐந்தொழில் புரிந்திலங்கும் பரம்பர ஒளி
(
(
padaiththal mudhal aindhozhil purin thilangum parampara oLi
) திருவருடஂபா (thiruvarutpaa) (3999)
Interestingly,
this पर ब्रह्म / பர அம்பர ஒளி (para brahma / para ambara oLi – absolute divinity / transcendent light) corresponds to different objects
in the imagery of the महा तान्डवं (mahā tānḍavaṁ - cosmic dance) of நடராஜர்(nataraajar). The following table provides a quick summary of these
mappings.
कृत्य (kṛtya - Act)
|
Description
|
சபை (sabhai
- stage)
|
ஸ்தலம் (sthalam - site)
|
தாண்டவம்
(thaandavam - dance) |
எழுத்து / अक्षर (ezhuththu / akṣara - syllable)
|
ஆக்கல் / स्रिश्ति (aakkal/ sriśti – creation / manifestation)
|
The दम्रु
(damru
- drum) held by the right posterior hand represents
emanation of the परनाद (paranāda - supreme
sound)
|
இரத்தின சபை / மணிமன்றம் (irathina sabhai/ maNimanRam)
|
திருவாலங்காடு
(thiruvaalangaadu) |
காளிகா தாண்டவம்
(kaaLikaa thaaNdavam) |
ந (na)
|
காத்தல் / स्थिति (kaaththal / sthiti - sustenance)
|
The right anterior hand with
supinated upright palm in अभय मुद्र
(abhaya mudra — fear not
symbol)
|
கனக சபை / பொற்சபை (kanaka sabai / poRsabai)
|
சிதம்பரம்
(sithambaram) |
ஆனந்த தாண்டவம்
(aaNandha thaaNdavam) |
ம (ma) |
அழித்தல் / सम्हार (azhithal
/samhāra –dissolution)
|
left posterior hand with flame.
|
இரத்தின / வெள்ளி சபை (irasatha / veLLi sabai)
|
மதுரை (madhurai)
|
சந்தியா தாண்டவம்
(santhiyaa thaaNdavam) |
சி (si) |
மறைத்தல்
/ तिरोभव (maRaiththal /tirobhava - veiling)
|
Anterior hand pointing down to
left foot-- jīva's refuge
|
தாமிர சபை (thaamira sabai)
|
நெல்லையப்பர்
(nellaiyappar) |
முனி தாண்டவம்
(muni thaaNdavam) |
வா (vaa) |
அருளல் / अनुग्रह (aruLal / anugraha - grace):
|
Grace, planted right foot.
|
சித்திர சபை
(siththira sabai) |
திரு குற்றாலம்
(kuRRaalam) |
கௌரி தாண்டவம்
(Gauri thaaNdavam) |
ய (ya)
|
Thus, as indicated above the five
divine act of manifestation involving the above functionalities is beautifully
symbolized to corrsponds to अङ्ग (aṅga - parts) of the नटराज ताण्डव मूर्थि (naṭarāja
tāṇḍava mūrthi – iconography of lord of dance), as testified below by திருமூலர் (thirumUlar)
viz.
அரன்துடி தோற்றம் அமைத்தல் திதிஆம்
அரன்அங்கி தன்னில் அறையின் சங் காரம்
அரன்ஊற் றணைப்பில் அமருந்திரோ தாயி
அரன்அடி என்றும் அனுக்கிரகம் என்னே
(
அரன்அங்கி தன்னில் அறையின் சங் காரம்
அரன்ஊற் றணைப்பில் அமருந்திரோ தாயி
அரன்அடி என்றும் அனுக்கிரகம் என்னே
(
aranthudi thORRam
amaiththal thithiyaam
aran anGgi thannil
aRaiyiR sangAram
aran uRRu
aNaippil amarum thirOthaayi
aranadi
endrum anuggiragam ennE
Hara’s
drum is creation
Hara’s
hand gesturing protection
Hara’s fire is dissolution
Hara’s
foot planted down is concealment
Hara’s
foot, raised in dance, is grace abiding.
-Translation by Ananda K
Coomaraswamy
) திருமந்திரம் (Thirumanthiram) (2799)
We have already discussed on this, while talking about the
esoteric science of temples. Please
refer back to the same for further details.
An almost similar mapping is provided by the revered saint திருவதிகை மணவாசகம் கடந்தார் (thiruvadhigai manavaasagam
kadandhaar) in his famous work titled உண்மை விளக்கம் (uNmai viLakkam), an
important சைவ சித்தாந்த மெய்கண்ட சாத்திரம் (saiva siththaantha meikaNda saaththiram)
தோற்றம் துடி அதனில் தோயும் திதி அமைப்பில்
சாற்றியிடும் அங்கியிலே சங்காரம் - ஊற்றமா
ஊன்று மலர்ப்பதத்தில் உற்றதிரோதம் முத்தி
நான்ற மலர்ப்பதத்தே நாடு
சாற்றியிடும் அங்கியிலே சங்காரம் - ஊற்றமா
ஊன்று மலர்ப்பதத்தில் உற்றதிரோதம் முத்தி
நான்ற மலர்ப்பதத்தே நாடு
(
thORRam thudi
adhayum thithi amaippil
saaRRiyidum angiyilE
sangaaram - URRumaa
UnRu
malarpadhaththil uRRathirOdham muththi
naanRa malarppadhaththE
naadu.
Creation
starts from the Drum.
Protection proceeds from the Hand of Hope.
The fire produces destruction.
From the Foot holding down proceeds Droupavam;
the Foot held aloft gives mukti
Protection proceeds from the Hand of Hope.
The fire produces destruction.
From the Foot holding down proceeds Droupavam;
the Foot held aloft gives mukti
-Translation by T.N. Ramachandran
) உண்மை விளக்கம் (uNmai viLakkam) (36)
Again, the revered saint திரு குமரகுருபர சுவாமிகள் (thiru kumaragurubara
suvaamigaL) even more poetic account of
the correspondence between पञ्च कृत्य (pañca
kṛtya - fivefold functions) and the महा तान्डवं (mahā tānḍavaṁ - cosmic dance) of நடராஜர் (nataraajar), as illustrated in the
following verses
பூமலி கற்பகப் புத்தேள் வைப்பும்
நாமநீர் வரைப்பி னானில வளாகமும்
ஏனைப் புவனமு மெண்ணீங் குயிரும்
தானே வகுத்ததுன் றமருகக் கரமே
தனித்தனி வகுத்த சராசரப் பகுதி
அனைத்தையுங் காப்பதுன் னமைத்தபொற் கரமே
தோற்றுபு நின்றவத் தொல்லுல கடங்கலும்
மாற்றுவ தாரழல் வைத்ததோர் கரமே
ஈட்டிய வினைப்பய னெவற்றையு மறைத்துநின்
றூட்டுவ தாகுநின் னூன்றிய பதமே
அடுத்தவின் னுயிர்கட் களவில்பே ரின்பம்
கொடுப்பது முதல்வநின் குஞ்சித பதமே
(
நாமநீர் வரைப்பி னானில வளாகமும்
ஏனைப் புவனமு மெண்ணீங் குயிரும்
தானே வகுத்ததுன் றமருகக் கரமே
தனித்தனி வகுத்த சராசரப் பகுதி
அனைத்தையுங் காப்பதுன் னமைத்தபொற் கரமே
தோற்றுபு நின்றவத் தொல்லுல கடங்கலும்
மாற்றுவ தாரழல் வைத்ததோர் கரமே
ஈட்டிய வினைப்பய னெவற்றையு மறைத்துநின்
றூட்டுவ தாகுநின் னூன்றிய பதமே
அடுத்தவின் னுயிர்கட் களவில்பே ரின்பம்
கொடுப்பது முதல்வநின் குஞ்சித பதமே
(
pUmali karpaga
puththEL vaippum
naama nIr
varaippil naanila vaLaagamum
Enai buvanamum
eNNInguyirun
thaanE vaguthadhan
dhamarukkaramE
thaniththani
vaguththa saraasarap paguthi
anaiththayum kaappadhu
un amaindha poRkaramE.
thOnRubu ninRavath
tholluk kadangalum
maaRRuvadhu
aarazhal vaiththathOr karamE
Ittiya vinaipayan
evaRRaiyum maRaiththu ninRu
Uttuvadhaam nin
UnRiya padhamE
aduththa
innuyirgatku aLavil pErinbam
koduppadhu mudhalva nin
kunjidha padhamE.
) சிதம்பர மும்மணிக்கோவை (sidhambara mumaNikkOvai) (1-12)
Infact, in cosmological terms,
these पञ्च महा कृत्य (pañca mahā kṛtya – five main acts) forms the main crux of cosmic governance of
the universe and as cited below, saint மாணிக்கவாசகர் (maaNikka vaasagar) in his திரு அண்டப் பகுதி (thiru aNdappagudhi) very beautifully and
scientifically eulogizes the cosmic significance of the same
அண்டப் பகுதியின் உண்டைப் பிறக்கம்,
அளப்புஅரும் தன்மை, வளப் பெரும் காட்சி
ஒன்றனுக்கு ஒன்று நின்ற எழில் பகரின்
நூற்று ஒரு கோடியின் மேற்பட விரிந்தன;
இல் நுழை கதிரின் துன் அணுப் புரைய,
சிறிய ஆகப் பெரியோன். தெரியின்
வேதியன் தொகையொடு மால் அவன் மிகுதியும்,
தோற்றமும், சிறப்பும், ஈற்றொடு புணரிய
மாப் பேர் ஊழியும், நீக்கமும், நிலையும்,
சூக்கமொடு, தூலத்து, சூறை மாருதத்து
எறியது வளியின்
கொட்கப் பெயர்க்கும் குழகன் முழுவதும்
படைப்போன் படைக்கும் பழையோன்; படைத்தவை
காப்போன் காக்கும் கடவுள்; காப்பவை
கரப்போன்; கரப்பவை கருதாக்
கருத்துடைக் கடவுள்; திருத்தகும்
அறுவகைச் சமயத்து அறுவகையோர்க்கும்
வீடு பேறு ஆய், நின்ற விண்ணோர் பகுதி
கீடம் புரையும் கிழவோன்; நாள்தொறும்
அருக்கனில் சோதி அமைத்தோன்; திருத்தகு
மதியில் தண்மை வைத்தோன்; திண் திறல்
தீயில் வெம்மை செய்தோன்; பொய் தீர்
வானில் கலப்பு வைத்தோன்; மேதகு
காலில் ஊக்கம் கண்டோன்; நிழல் திகழ்
நீரில் இன்சுவை நிகழ்ந்தோன்; வெளிப்பட
மண்ணில் திண்மை வைத்தோன் என்று என்று,
எனைப் பல கோடி, எனைப் பல பிறவும்,
அனைத்துஅனைத்து, அவ்வயின் அடைத்தோன். அஃதான்று
(
அளப்புஅரும் தன்மை, வளப் பெரும் காட்சி
ஒன்றனுக்கு ஒன்று நின்ற எழில் பகரின்
நூற்று ஒரு கோடியின் மேற்பட விரிந்தன;
இல் நுழை கதிரின் துன் அணுப் புரைய,
சிறிய ஆகப் பெரியோன். தெரியின்
வேதியன் தொகையொடு மால் அவன் மிகுதியும்,
தோற்றமும், சிறப்பும், ஈற்றொடு புணரிய
மாப் பேர் ஊழியும், நீக்கமும், நிலையும்,
சூக்கமொடு, தூலத்து, சூறை மாருதத்து
எறியது வளியின்
கொட்கப் பெயர்க்கும் குழகன் முழுவதும்
படைப்போன் படைக்கும் பழையோன்; படைத்தவை
காப்போன் காக்கும் கடவுள்; காப்பவை
கரப்போன்; கரப்பவை கருதாக்
கருத்துடைக் கடவுள்; திருத்தகும்
அறுவகைச் சமயத்து அறுவகையோர்க்கும்
வீடு பேறு ஆய், நின்ற விண்ணோர் பகுதி
கீடம் புரையும் கிழவோன்; நாள்தொறும்
அருக்கனில் சோதி அமைத்தோன்; திருத்தகு
மதியில் தண்மை வைத்தோன்; திண் திறல்
தீயில் வெம்மை செய்தோன்; பொய் தீர்
வானில் கலப்பு வைத்தோன்; மேதகு
காலில் ஊக்கம் கண்டோன்; நிழல் திகழ்
நீரில் இன்சுவை நிகழ்ந்தோன்; வெளிப்பட
மண்ணில் திண்மை வைத்தோன் என்று என்று,
எனைப் பல கோடி, எனைப் பல பிறவும்,
அனைத்துஅனைத்து, அவ்வயின் அடைத்தோன். அஃதான்று
(
aNdap pagudhiyin
uNdaipp piRakkam
aLapparum thanmai
vaLapperum kaatchi
onRanukku onRu
ninRa ezhil pagarin
nURRoru kOdiyin
mERpada virindhana
il nuzhai kadhirin
thun aNuppuraiyach
siRiyavaagap
peRiyOn theriyin
vEdhiyin
thogaiyodu maalavan migudhiyum
thORRamum siRappum
IRRodu puNariya
maapEr Uzhiyum
nIkkamum nilaiyum
sUkkamodu
thUlaththuch sURai maarudhaththu
aRiyadhu vaLiyiR
kotgap peyarkkum
kuzhagan muzhuvadhum
padaipOR padaikkum
pazhaiyOn padaiththavai
kaappOR kaakkum
kaDavuL kaappavai
karappOn
karappavai karudhaak
karuththadaik
kadavuL thiruththagum
aRuvagai
samayaththu aRuvagaiyORkkum
vIdupEraai ninRa
viNNOr pagudhi
kIdam puriyum
kizhavOn naaLthoRum
arukkaniR sOdhi
amaiththOn thiruththagu
madhiyil thanmai
vaiththOn thiNthiRal
thIyin venmai
seidhOn poithIr
vaaniR kalappu
vaithOn mEdhagu
kaalin Ukkam
kaNdOn nizhalthigazh
nIril insuvai
nigazhndhOn veLippada
maNNil thiNmai
vaiththOn enRu enRu
enaipala kOdi
enaipala piRavum
anaiththu
anaiththu avvayin adaiththOn agdhaanRu.
The development of the sphere of the elemental universe,
Its
immeasurable nature, and abundant phenomena,
If
one would tell their beauty in all its particulars,
As
when, more than a hundred millions in number spread abroad,
The
thronging atoms are seen in the ray that enters the house,
So
is He the GREAT ONE, Who exists in the minutest elements.
If
you would know Him, BrahmA and the rest with MAl,
His
greatness, source, glory, and end,
Conjoined
with His eternity, His extent, His abiding essence,
His
subtile ant palpable manifestations
They
sought to understand. As the rush of a mighty whirlwind
The
Beauteous One drave them far in whirling course !
He
is the Ancient One, Who creates the Creator of all;
He
is the God, Who preserves the Preserver of things created;
He
is the God, Who destroys the Destroyer;
But,
thinking without thought, regards the things destroyed.
To
the six sacred sects with their six diverse kinds of men
He
is the attainment of deliverance; and Source of being to the heavenly ones
He
is the Possessor of all, Who resembles an insect.
Day
by day He to the sun its lustre gave.
In
the sacred moon He placed its coolness;
Kindled
in the mighty fire its heat;
In
the pure ether placed pervasive power;
Endued
the ambiant wind with energy;
To
the streams that gleam in the shade their savour sweet,
And
to the expanded earth with its strength He gave;
For
ever and aye, me and millions other than me,
All
in their several cells hath He enclosed..
-Translation by (Rev) G.U. Pope
) திருவாசகம் (thiruvaasagam) (3.1-3.28)
Please be noted that noble saints like திருமூலர் (thirumUlar) highlight that there is a 6th ब्रह्म मुख
(brahma mukha –divine face) called अधोमुख (adhomukha –
downward face) that
is hidden and is a passive observer , while the remaining five are active participants in the Divine Drama. In other words, the former represents the निश्कल / निर्गुण (niśkala
/ nirguṇa – noumenal / being) aspect of Divinity, while the latter
(all five together) represents the शकल / सगुण (śakala / saguṇa –
phenomenal / becoming) aspect of ब्रह्मत्व (brahmatva-
divinity). It can also be referred as the அரங்கம் / சபை (arangam / sabai – stage/ platform) where the திருக்கூத்து (thirukkUththu -sacred dance) is performed. In other words, it is the साक्षि क्क्षेत्र (sākṣi kkṣetra – witness field) where the energy dance takes
place. In fact, साक्षि (sākṣi – witness) is an important ¾¢Õ ¿¡Áõ (thiru naamam – sacred name) of God, according to श्री विष्णु सहस्रनाम (śrī viṣṇu sahasranāma).
पूतात्मा परमात्मा च मुक्तानां परमा गतिः।
अव्ययः पुरुषः साक्षी क्षेत्रज्ञोऽक्षर एव च॥
(
pūtātmā
paramātmā ca muktānāṁ paramā gatiḥ|
avyayaḥ puruṣaḥ sākṣī
kṣetrajño'kṣara eva ca||
)
Thus, here in this capacity God
assumes the निर्व्यापार द्रष्ट्ट भावन (nirvyāpāra
draṣṭṭa bhāvana – passive observer role) who is not bound or affected by the
actions of the game. He acts as a pure அரங்கம் / சபை (arangam / sabai – stage/ platform) where the drama is enacted. In terms of modern science it is the vacuum
field/space hosting the energy dance of wave-particles. This theme has
very ancient roots. In fact, in my opinion, the following मन्त्र (mantra –
hymn) from one of the oldest Hindu scriptures viz. ऋग् वेद संहित (ṛg veda
saṁhita) testifies the same.
पञ्चरे चक्रे परिवर्तमाने तस्मिन्ना तस्थयुर्भुवनानि
विश्वा।
तस्य नाक्षस्तप्यते
भूरिभारः सनादेव न शीर्यते सनाभिः॥
(
pañcare cakre parivartamāne tasminnā
tasthayurbhuvanāni viśvā|
tasya nākṣastapyate bhūribhāraḥ sanādeva na śīryate
sanābhiḥ||
All the worlds rest, in the
five spoked revolving wheel.
The axle bearing the heavy load is not damaged. Its
only hub, though ancient, does not wear out.
-translation
by R.L. Kashyab
) ऋग् वेद संहित (ṛg veda
saṁhita) (1.164.13)
Here,
the revolving wheel denotes the संसार चक्र (saṁsāra cakra – metempsychosis cycle), also called as the महा काल चक्र (mahā kāla
cakra – cosmic time cycles) and its five
spokes represents the पञ्च महा कृत्य (pañca mahā kṛtya – fivefold
cosmic acts), while the axle and hub represents
the शक्ति / प्रकृति तत्त्व (śakti/ prakṛti tattva – dynamic principle) & शिव / पुरुष तत्त्व (shiva/ puruṣa tattva – static principle) respectively. Alternatively the former can be expressed as a function of काल (kāla
- time) while the latter as an aspect of देश (deśa – space/ field). In other words, all the पञ्च
महा कृत्य (pañca mahā
kṛtya – fivefold cosmic acts) in the phenomenal world occurs in space-time i.e temporal
events / milestones in देश (deśa
– space/ field).
Please
recollect that in Newtonian cosmological terms, the देश (deśa – space) here in terms of अधोमुख (adhomukha – downward face) corresponds to absolute space which is defined by Isaac Newton “Absolute space,
in its own nature, without reference to anything external, remains always
similar and unmovable”. In simple words, it acts
as the º¨À (sabai -
stage) where the drama of cosmic motions are enacted. Moreover, Newton also recognizes that such absolute space is actually a hidden concept which cannot be directly
observable by the sense but can only be verified mathematically. In fact to quote him, “It is indeed a matter
of great difficulty to discover and effectually to distinguish the true notions
of particular bodies from the apparent, because the parts of that immovable
space in which those motions are performed do by. no means come under the
observations of our senses”
However,
please remember that although in the capacity of शिव तत्त्व (shiva tattva – static principle), देश (deśa - space) remains pure and untainted, yet it
is not an isolated जड तत्त्व (jaḍa tattva – inert principle) as it is tightly interconnected with
the पञ्च महा कृत्य (pañca mahā
kṛtya – fivefold cosmic acts),
in the capacity of शक्ति तत्त्व (śakti tattva – dynamic principle). That
is, the same ब्रह्मम् (brahmam – divinity) continuously involves in these acts. In fact this is why, देश (deśa – space/ field) is depicted as the hidden अधोमुख
(adhomukha – downward face) which is underlying the पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces). Thus, देशकाल अनुबन्ध (deśakāla
anubandha – spacetime continuum) is the primary principle in
cosmology as testified in the following aphorism from the ancient Tamil
treatise ஐந்திரம் (ainthiram).
காலமும் களமும் மூலம் உணர்த்தும்
(
kaalamum kaLamum mUlam uNarththum
Both time and space will reveal the nature of the
primal space
or the primal absolute point of evolution.
Translation Dr. S.P. Sabharathnam
)
The eminent philosopher Immanuel Kant, explains thus, “Absolute space is
therefore necessary, not as a concept of an actual object, but as an idea that
is supposed to serve as a rule for considering all motion within it as merely
relative, and all motion and rest must be reduced to absolute space, if the
appearance of the same is to be transformed into a determinate concept of
experience (which unites all appearances)”
In other words, all the
motions (actions) viz. the पञ्च महा कृत्य (pañca mahā kṛtya – fivefold
cosmic acts) are merely relative phenomena occurring in देश (deśa – space/ field). In this context the space here corresponds to the Albert
Einstein’s general relativistic model
wherein all material phenomena are distortions of space-time gravity.
We shall discuss the technicalities behind देशकाल अनुबन्ध (deśakāla anubandha – spacetime continuum), in the light of modern cosmology in a
short while. For now, just remember that देशकाल अनुबन्ध (deśakāla anubandha – spacetime continuum) is the மாய சபை (maaya sabai - magic stage) where the पञ्च महाकृत्य ताण्डव (pañca mahākṛtya tāṇḍava – dance of fivefold cosmic acts) occurs.
As already highlighted earlier itself, the iconography of Lord கூத்தபிரான் / நடராசன் (kooththapiraan / natarājan- the Lord of Cosmic Dance) has deep
parallels with the modern cosmological discoveries in astrophysics. The परमशिव (paramaśiva - Infinite
Being) who is known as the கூத்தபிரான் / நடராசன் (kooththapiraan / natarājan- Lord of
Cosmic Dance), represents बिन्द (bindu - point particle or being) while His ஆனந்த தாண்டவம் (aanandha thaandavam – dance of bliss) of தில்லை நடராஜனஂ (thillai nataraajan) at ஞான சபை (gnaana sabai) in the º¢¾õÀÃõ (chidhambaram), represents
the नाद (nāda – vibrational waves or energy) aspect. That is why, this symbology is
considered to be a perfect marriage of art and science, of poetry and
philosophy as explained by Ananda K Coomaraswamy, “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!...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…Nature is inert, and cannot dance
until Siva wills it. He rises from His rapture, and dancing sends through inert
matter pulsing waves of awakening sound, and lo! Matter also dances
appearing as a glory round about Him. Dancing, He sustains its manifold phenomena.
In the fullness of time, still dancing, he destroys all forms and names by fire
and gives new rest. This is poetry; but none the less, science.”
Thus,
here, the परमशिव (paramaśiva - Infinite Being) denotes ब्रह्मन् (brahman), while the स्पन्द (spanda -
cosmic dance /Eternal Becoming) denotes माया (māyā) which is also the शक्ति (śakti). Being is
the potential energy, while
becoming is
the kinetic energy. The
Saivite artistic genius has expressed these five functions as five different
dance forms of Shiva, but also encapsulated all these functionalities within a
single dance form as well. In the சிவ தாண்டவம் (Siva thaandavam – Dance of Shiva) of
Lord நடராஜன் (nataraajan),
where the ब्रह्मन् (brahman) is Lord महेश्वरा (maheśvarā)
Himself, and His dance is the divine लीला (līlā - play) of माया शक्ति (māyā śakti), symbolized as His beloved
consort महेश्वरी (maheśvarī). Thus, the Dancer represents the Being or the निश्कल ब्रह्मन् ( niśkala brahman – the Divine
Being), while His Dance represents the सकल ब्रह्मन् (sakala brahman – Divine
Becoming); and in such a process of cosmological evolution, शक्ति तत्त्व (śakti tattva - Kinetic/ becoming aspect) appears to take more dominant
role encapsulating the शिव तत्त्व (śiva tattva – Potential/ Being aspect) within Her. In fact,
that is why, She is also called by the name शिवगामी (śivagāmī), which
literally means ‘encapsulating
Shiva within Herself’.’परमाचार्य श्री आदि शंकर भगवद्पाद (paramācārya
śrī ādi śaṁkara bhagavadpāda) in his mystical masterpiece सौन्दर्य लहरी (saundarya
laharī), very beautifully expresses this
concept by singing thus,
त्वया हृवा वामं वपुरपरितृप्तेन मनसा
शऱ्इरार्धं शंभोरपरमति शङके हृत्मभूत्।
तथा हि त्वद्रूपं सकलमरुणाभं त्रिनयनं
कुचाभ्यामानम्रम्
कुतिल शशिचूदालमुकुतम्॥
(
tvayā hṛvā vāmaṁ vapuraparitṛptena manasā
śairārdhaṁ śaṁbhoraparamati śaṅake hṛtmabhūt|
tathā hi tvadrūpaṁ sakalamaruṇābhaṁ trinayanaṁ
kucābhyāmānamram kutila śaśicūdālamukutam||
I fancy that the other(
half) as well, of Shambhu’s frame has been absorbed by Thee, with Thy mind, not
satisfied with having absorbed the left
one; for, this, Thy form, is entirely of a red colour, has three eyes, is slightly
bent with (the weight of) the breasts, and wears over its crown the crescent
moon.
-translation
by Pandit S Subramaniya Shastri & Srinivasa Aiyangar
) सौन्दर्य लहरी (saundarya
laharī) (23)
The next important point to
understand is that the சிவ தாண்டவம் (siva thaandavam - Dance
of Siva) is not only a macro-cosmic event but is also
very much an eternally immersive experience at the microcosmic scale. The
revered saint திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) in his உரைநடை பகுதி (urainadai pagudhi - prose section) of his articulation
describes the esoteric meaning of the நடராஜ தத்துவம் (nataraaja thaththuvam) in Hinduism, as follows,
ஞான சபை என்பது ஆன்மபிரகாசம் . அந்த பிரகாசத்திற்குள் இருக்குப் பிரகாசம் கடவுள் . அந்த உலொளியின் அசைவே நடனம் . இவற்றை தான் சிற்சபை அல்லது ஞான சபை என்றும் , நடராஜர் என்றும் நடனம் என்றும் சொல்கிறது
(
gnaana sabai enbadhu aanmap pirakaasam. andha pirakaasathiRkuL
irukkup pirakaasam kadavuL. andha uLoLiyin asaivE nadanam. ivaRRai dhaan
siRsabai alladhu gnaana sabai enRum, nataraajar enRum nadanam enRum sollugiRadhu
) உபதேச குறிப்புகள் (upadhEsa kuRippugaL - prose instructions)
What is referred here as the ¯உளஂளொலியினஂ அசைவு (uL oLiyin asaivu -
vibrating
light inside) is actually the microcosmic
quantum jitter (glitter) occurring in one’s own inner space inseparably
associated with the self-consciousness called as the चिताकाश (citākāśa – consciousness space). It is the अन्तर् प्रेष / आत्म स्पन्दन (antar preṣa / ātma
spandana – inner urge / self throb) which manifests as the vacuum fluctuation in
the चितंबर (citaṁbara – mindfield) where space begins to materialize itself in various forms, as testified below
கொட்டியல் வடிவும் புள்ளியும் குறியும்
நிட்டூரும் இயல்பாய் நிகழும் நெறியே
(
நிட்டூரும் இயல்பாய் நிகழும் நெறியே
(
kOttiyal vadivum
puLLiyum kuRiyum
nIttuRum iyalbaai
nigazhum neriyE
Within the primal space itself, first there occurs
internally an urge as “let me become like this”; this urge turns into a point
(dot); and thence occurs manifestation of forms conditioned by enclosures of
lines limitations etc. This is how enduring process of manifestation of forms
takes place.
- Translation Dr. S.P. Sabharathnam
) ஐந்திரம் (ainthiram) (54)
The आत्म स्पन्दन / नाद (ātma
spandana / nāda – self throb) begins its creative journey by first formalizing as a अरूप बिन्धु (arūpa bindhu – dimensionless
/ formless point) and then further materializing into all other matter forms characterized by the पञ्चभूत अवस्त (pañcabhūta avasta – five
material phases)
This आत्म स्पन्दन (ātma spandana – self throb) is the सूक्षम नटन (sūkṣama naṭana – subtle dance) referred by the saint here. Of course, the same also
manifests itself as the नाद स्पन्दन (nāda spandana – sonic vibration) technically
called as திருமந்திரம் (thirumanthiram) by saint திருமூலர் (thirumUlar).
திருமந்திரம் சிதம்பரம் தானும்
திருமந்திரம் சிறந்த உபாங்கம்
திருமந்திரம் திருக்கூத்தினை செய்கை
திருமந்திரம் திருமேனி தானே
திருமந்திரம் சிறந்த உபாங்கம்
திருமந்திரம் திருக்கூத்தினை செய்கை
திருமந்திரம் திருமேனி தானே
(
thirumandhiramE
chidhambaram thaanum
thirumandhiramE
siRandha upaangam
thirumandhiramE
thirukUththinai seigai
thirumandhiramE
thirumEni thaanE.
) திருமந்திரம் (thirumanthiram) (2672)
In fact,
according to him, .சிதம்பரம் / சிற்றம்பலம் (chidhambaram / thiru chiTRRambalam) is nothing else but our own body wherein the sacred திருமந்திரம் (thirumanthiram) can be experienced as திருக்கூத்து (thirukuththu – sacred dance) performed. This again, in the
anthropic perspective refers to the சிற்சபை (ciRsabai – wisdom stage) microcosmically experienced at
the आज्ञ चक्र (ājña cakra –
command centre) located
in-between the eyebrows
நெற்றிக்கு நேரே புருவத் திடைவெளி
உற்றுற்றுப் பார்க்க ஒளிவிடும் மந்திரம்
பற்றுக்குப் பற்றாய்ப் பரமன் இருந்திடம்
சிற்றம் பலம்என்று தேர்ந்துகொண் டேனே .
(
உற்றுற்றுப் பார்க்க ஒளிவிடும் மந்திரம்
பற்றுக்குப் பற்றாய்ப் பரமன் இருந்திடம்
சிற்றம் பலம்என்று தேர்ந்துகொண் டேனே .
(
neRRikku nEre
puruvath thidaiveLi
uRRuRuppaarkkap
oLividum mandhiRam
paRRukkup pRRaai
paraman irundhidam
iRRambalammenRu
therindhukoNDEnanRE.
Straight within the
fore-head
Between the eye-brows
Is the astral space
vast;
Peer, peer within
there
The luminous Mantra
(Aum) will be;
The place where they
in yearning sought Him
Is the place where He
in yearning is;
That verily is the
Holy Temple of Chittambalam
And there did
I firm sit.
) திருமந்திரம்(thirumanthiram) (2672, 2724)
Further, திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga
vaLLalaar) in different parts of his magnum opus poetic masterpiece திரு அருட்பா (thiru arutpaa) testifies that, in the microcosm, the சிதம்பரம் / திரு சிற்றம்பலம்(chidhambaram / thiru chiRRambalam) is located at the சிவ சுகாதீத வெளி நடு (siva sugaadhIdha veLi nadu)
in the சிரசுப்பகுதி (sirasuppagudhi - head section) of
our body. For example,
தலைவளர் திருச்சிற்றம்பலம் தனிலே
தனித்தெனக் கினித்ததோர் கனியே .
அருள் நிலை விளங்குமசிற்றம்பல மெனும்
சிவ சுகாதித வெளி நடுவிலே
தனித்தெனக் கினித்ததோர் கனியே .
அருள் நிலை விளங்குமசிற்றம்பல மெனும்
சிவ சுகாதித வெளி நடுவிலே
(
thalaivaLar
thiruchiRRambalam thanilE
thaniththenak
kiniththathOr kaniyE.
aruL nilai
viLangumsiRRambala menum siva
sugaadhIdha
veLi naduvilE
) திரு அருட்பா (thiru arutpaa)
(5380, 3651)
Similarly,
the revered சித்தர் சிவவாக்கியர் (siva vaakkiyar) also
reiterates the fact that ஞான கூத்து(gnaana kUththy) can be witnessed within one’s own
self. In fact, according to him, it is the most effective way of experiencing
the highest Divinity.
ஆடுகின்ற எம்பிரானை அங்குமிங்கும் என்றுநீர்
தேடுகின்ற பாவிகாள், தெளிந்தஒன்றை ஓர்கிலீர்;
காடுநாடு வீடுவீண் கலந்துநின்ற கள்வனை
நாடிஓடி உம்முளே நயந்துணர்ந்து பாருமே.
தேடுகின்ற பாவிகாள், தெளிந்தஒன்றை ஓர்கிலீர்;
காடுநாடு வீடுவீண் கலந்துநின்ற கள்வனை
நாடிஓடி உம்முளே நயந்துணர்ந்து பாருமே.
(
aadunginRa
empiraanai angum ingum enRum nIr
thEduginRa paavigaaL
theLindhadhu onRai OrkilIr
kaadu naadu vIdu
viN kalandha ninRa kaLvanai
naadiyOdum ummuLE
nayandhuNarndhu paarumE.
) சிவவாக்கியர் பாடல்கள் (sivavaakkiyar paadalgaL) (279)
Of course, although சிதம்பரம் / சிற்றம்பலம் (chidhambaram / thiru chiTRRambalam) is present well within our body itself, yet it is not
tangible to the भूत चक्षुस् (bhūta cakṣus - physical eyes) of the स्थूल देह (sthūla deha) for the
simple reason it operates at the subtlest realm - சிவ சுகாதீத வெளி நடு (siva sugaadhIdha veLi nadu) that is well beyond mundane human consciousness viz. जग्रत् (jagrat -wakeful), स्वप्न (svapna - dream) & सुशुप्ति (suśupti – deep sleep) states. For instance, the திரு சிற்றம்பலம் (thiru
chiTRRambalam) is considered
to be subtler than the subtlest of the micro-atomic quantum particles observed
in the physical universe. In fact, etymologically the term சிற்றம்பலம் (siTRRambalam) can also be split as ºசிறு (siRu - tiny) + அம்ப்ரம்(ambaram - vacuum). The following verses from திரு அருட்பா (thiru arutpaa)
very clearly depicts the scale of the subtlity.
- சிருட்டிஒன்று சிற்றணுவில் சிறிததனில் சிறிது
- சினைத்தகர ணக்கருஅச் சினைக்கருவில் சிறிது
- வெருட்டியமான் அம்மானில் சிறிதுமதி மதியின்
- மிகச்சிறிது காட்டுகின்ற வியன்சுடர்ஒன் றதனில்
- தெருட்டுகின்ற சத்திமிகச் சிறிததனில் கோடித்
- திறத்தினில்ஓர் சிறிதாகும் திருச்சிற்றம் பலத்தே
- அருட்டிறத்தின் நடிக்கின்ற என்னுடைய தலைவர்
- அருட்பெருமை எவர்உரைப்பார் அறியாய்என் தோழி
sirutti onRu
siRRaNuvil siRidhadhanil siRidhu
sinaiththagara
Nakkaruach sinaikkaruvil siRidhu
veruttiya maan
ammaanil siRidhu madhi madhiyin
migasiRidhu
kaattuginRa viyan sudar onRadhanil
theruttuginRa
saththi migasiRidhanil kOdith
thiRaththinalathOr
siRidhaagum thiruchchiRRambalaththE
aruttiRaththin nadikkinRa ennudaiya thalaivar
arutperumai evar uraippaar aRiyaai en thOzhi.
aruttiRaththin nadikkinRa ennudaiya thalaivar
arutperumai evar uraippaar aRiyaai en thOzhi.
) திரு அருட்பா (thiru arutpaa) (5644)
The science of studying such minute vacuum
vibrations from within (internally) is technically referred to as दहर विद्या (dahara vidyā – subtle /
micro wisdom / wisdom of the minute). Interestingly, recent discoveries of
modern physics almost reflects the same wisdom. According
to modern particle physics, the tiniest length of manifested space
(point-particle) is popularly denoted as Planck length (lp) (originally
developed by Max Planck) which approximates to be 1.616252* 10-35m. This is really tiny in all respects and is what is called as விண் வெளி / दहराकाश (viN veLi / daharākāśa – quantum field / micro space). It is the விண் வெளியின் அசைவு (viNveLiyin asaivu – quantum field /
vacuum jitters) at this micro scale that constitutes the energy dance described in
modern science as
· Quantum Electro Dynamic (QED): QED deals with the energy interactions between light and
matter. In other words, it is the शक्ति नर्तन (śakti
nartana - energy
dance) that is performed on the º¨À (sabai – stage) called Minkowski space-time coordinate system where the spatial coordinates (x) are plotted along
horizontal baseline traditionally denoted as x-axis and time (t) plotted along the vertical baseline traditionally called y-axis. Of course, an important point to assume here is that the
horizontal x-axis represents
all the three spatial dimensions (length, breadth and height). I would like to
quote here the explanation given by Leonard Susskind, describing such diagrams.
“A sheet or paper ot blackboard can be used to represent
space-time. Because the paper or the blackboard has only two dimensions, we
will have to cheat a bit. The horizontal direction on the paper will be a
stand-in for all three directions of space. We will have to stretch our
imagination and pretend that the horizontal axis is really three perpendicular
axes. That leaves the vertical direction to represent time. The future is
usually taken to be up and the past, down. A point on the sheet of paper is an
event - a where and a when: a space-time point.” Such kind of diagrams are technically called as Feynman
diagrams, as the eminent mathematician Richard Phillips Feynman originally
introduced these. Here we shall take some sample diagram relating to QED
wherein there is energy exchange at sub-atomic level between electron (e-), photon (y), positron (e+) The following diagrams by him will help us
understand it better
o a) represents सृष्टि (sṛṣṭi – emission) of photon (y) by electron (e-); while
o b) depicts the संहार (saṁhāra – anhilation / absorption) of photon (y) by electron (e-).
o c) represents सृष्टि (sṛṣṭi – emission) of photon (y) by positron (e+); while
o d) depicts the संहार (saṁhāra – anhilation / absorption) of photon (y) by positron (e+)
o e) represents सृष्टि (sṛṣṭi – emission) of electron (e-) & positron
(e+ ) from photon
(y); while
o f) represents संहार (saṁhāra – anhilation / absorption) of electron (e-) & positron
(e+ ) into photon
(y);
·
Quantum Chromo Dynamics (QCD): QCD deals at the still subtler levels strong
interactions between sub-nuclear
elementary fields like quarks (q) & gluons (g) in a similar style in the sense that just as photon is the mediating agent of energy exchange between electrons and positrons, gluons mediate energy quarks. Here, the energy-dance is even more dramatic and colorful.
It is considered more dramatic because the nuclear force in these interactions
are multi-fold (100 times almost) stronger than the electromagnetic force in QED
and it operates at very minute distances (technically called femtometer
i.e. 10-15 meter
scale). Moreover, QCD exhibits some unique characteristics viz.
- Color Confinement: Unlike in macro classical mechanics, the force between the two colour charged hadronic sub-nuclear particles like quarks is not inversely proportional to the distance between them. In other words, the love (read bonding) between the quarks do not decrease even if they are separated far apart.
- Asymptotic freedom: But at the same time when quarks (which generally exhibit color confinement) within a meson or baryon get closer (at short distances in the scale of femtometer) to each other, becomes weaker and asymptotically approaches zero for close confinements and gain complete freedom to move about at will.
Please remember that such Feynman diagrams
are not static pictures. They are designed to depict the probability pathways
in wave-particle dynamics (transformations) leading to either सृष्टि (sṛṣṭi – emission) of new particles or संहार (saṁhāra – annihilation / absorption) of the old one. In other words, it is a kind of energy-propagation
dance at the sub-atomic level say between electron (e-),
photon (y), positron (e+) during QED
for example. Again, to quote Susskind, “Propogators are more than just pictures. They
are quantum mechanical instructions for calculating a probability that a
particle starting at a point a will show up later at point b. Feynman had the
radical idea that a particle doesn’t merely move along a particular path: in an
odd way it feels out all paths – random zigzag paths as well as straight paths…
According to Feynman’s theory all possible paths contribute to the probability
for the particle to go from a to b. In the end a particular mathematical
expression representing all possible paths between the two points give the
probability to go from a to b. All of this is implicit in the notion of the
propagator. Nothing of very great
interest would ever happen if all that ever took place were the free motion of
electrons and photons but they both take part in one coordinated action that is
responsible for everything interested in nature. ”.
We can infer many important points from the
above explanation of Susskind with respect to our original point of discussion
viz. சிதம்பர / சிற்றம்பர நடனம்(sithamara / siRRambara
nadanam). Remember that சிற்றம்பரம் (siRRambaram) = சிறு (siRu - tiny) + அம்பரம் (ambaram - vacuum). In other
words, Feynman diagrams of QED & QCD depict the சிதம்பர / சிற்றம்பர நடனம் (sithamara / siRRambara
nadanam – quantum vacuum jitters). Here subatomic
vacuum corresponds to the விண் வெளி / दहराकाश (viN veLi / daharākāśa – quantum field / micro space) wherein the
wave-particle dynamics (transformations) takes place. The probability wave
function depicts the dance poses while the one coordinated action as the dance choreography. These dances are responsible for all manifestations in this universe.
Dr. Fritjof Capra, the eminent physicist and systems theorist, in his famous
book The Tao of Physics, declares
thus, “The exploration of the
subatomic world in the twentieth century has revealed the intrinsically dynamic
nature of matter. It has shown that the constituents of atoms, the subatomic
particles, are dynamic patterns which do not exist as isolated entities, but as
integral parts of an inseparable network of interactions. These interactions
involve a ceaseless flow of energy manifesting itself as the exchange of
particles; a dynamic interplay in which particles are created and destroyed
without end in a continual variation of energy patterns. The particle
interactions give rise to the stable structures which build up the material
world, which again do not remain static, but oscillate in rhythmic movements.
The whole universe is thus engaged in endless motion and activity; in a
continual cosmic dance of energy…
The ideas of rhythm and dance naturally come into
mind when one tries to imagine the flow of energy going through the patterns
that make up the particle world. .Modern physics has shown us that movement and
rhythm are essential properties of matter; that all matter, whether here on
Earth or in outer space, is involved in a continual cosmic dance.
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 equaling 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”
Interestingly,
in recognition of the close correspondence with the Dance of Shiva
iconography, in 2004 a similar statue of கூத்தபிரானஂ / நடராஜனஂ (kooththapiraan
/ natarājan- the Lord
of Cosmic Dance) was
installed at the Geneva office of European Center for Research in Particle Physics (CERN)
Of course, Capra is not alone in
recognizing the synergies between the ancient Indian iconography and recent
discoveries of modern physics. In fact, according to eminent astrophysicist Dr.
Carl Sagan, “Modern
physics pictures matter, not as passive and inert, but as continuously dancing
and vibrating. This is very much like the Eastern mystics description of the
world. Both emphasize that the universe has to be grasped dynamically. It
structures are not static, rigid ones, but should be seen in terms of dynamic
equilibrium. Physicists speak of the
continuous dance of sub-atomic matter, which goes on all the time. They have
actually used the words ‘dance of creation and destruction’ or ‘energy dance’.
This naturally comes to mind when you see some of the pictures of particles
taken by physicists in their bubble chambers. Of course, physicists are not the
only one talking about this cosmic dance. Perhaps the most beautiful example of
this metaphor exists in Hinduism – the idea of the dancing Lord Siva. Siva is
the personification of the cosmic dance. According to Indian tradition, all
life is a rhythmic interplay of death and birth, of creation and destruction.
Indian artists have created beautiful pictures and statues of dancing Lord
Siva. These statues are visual images of the cosmic dance, and so are the
bubble chamber tracks photographed by modern physicists. They are a modern
version of the dance of Siva obtained by using the most modern and advanced of
our Western technological instruments. To me, the effect is as beautiful and as
profound as the magnificent Hindu statues. In both cases, we are picturing an
eternal dance of creation and destruction, which is the basis of all natural
phenomena, the basis of all existence. Therefore, I have put the two together –
here you have the ‘Dance of Siva’ merging the 12th and 20th century versions.
You can see that this image of the cosmic dance unifies, in a very beautiful
way, ancient mythology, religious art, mystical insight and modern science.”
However,
at the same time please remember that the same ஆனந்த தாண்டவம் (aanandha thaaNdavam – dance of bliss) also refers to the पञ्च कृत्य (pañca kṛtya – five fold acts) at the macro cosmic scale, relating to the multiverse as
testified by saint திருமூலர் (thirumUlar) himself in the following verses
அண்டம் ஏழுகோடி பிண்டம் ஏழுகோடி
தெண்திரை சூழ்ந்த திசைகள் ஏழுகோடி
எண்திசை சூழ்ந்த இலிங்கம் ஏழுகோடி
அண்டன் நடம்செய்யும் ஆலயம் தானே
ஆகாசமாம் உடல் அம்கார் முயலகன்
ஏகாசமாம் திசை எட்டும் திருக்கைகள்
மோகார் முக்கண்கள் மூன்று ஒளிதான்ஆகும்
மாகாய மன்றுள் நடம்செய்கின்றானே.
அம்பலமாவது அகிலசராசரம்
அம்பலமாவதுஆதிப் பிரான் அடி
அம்பலமாவது அப்புத்தீ மண்டலம்அம்பலமாவது அஞ்செழுத்தாமே
(
aNdam ezhukOdi
piNdam ezhukOdi
theNdira sUzhndha
thisaigaL ezhukOdi
endisai sUzhndha
ilingam ezhukOdi
aNdangaL
nadanseiyum aalayanthaananRE.
aagaasa maamudal
angaarmuyalagan
ekaasa maanthisai
yettun thirukkaigaL
mOgaaya mukkaN
mUnRoLithaanaaga
maagaayamanRuL
nadanseiginRaanE.
ambala maavadhu
agilasaraasaram
ambala maavadhu
aadhipiraanadi
ambalamaavadhu
appuththImaNdalaaga
ambalamaavadhu
anjezhuththaamE
Seven Crores are the universes vast,
Seven Crores are the life forms varied,
Seven Crores the continents of the sea-girt world,
Seven Crores the Lingas in directions eight
These the Temples where His Cosmic Dance performed
are.
The Space is His Body;
The Muyalaka (Demon) is the Darkness in that space;
The Directions eight are His spreading Hands,
The loving eyes three
Are the lights three (Sun, Moon and Fire);
Thus He dances
In the space arena,
That is Body Cosmic.
The Holy Dance arena is the creation countless;
The Holy Dance arena is the Holy Feet of Lord;
The Holy Dance arena is the sphere of Water and Fire,
The Holy Dance arena is the Letter-Five, verily.
Translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (2727 - 2729)
Thus, in
other words, the आनन्द महा ताण्डव (ānanda mahā tāṇḍava – supreme dance of bliss) actually represents the
eternal governance of the पञ्च महा कृत्य (pañca mahā kṛtya – five cosmic functions) viz. ஆக்கல் / सृष्टि (aakkal / sṛṣṭi – creation / manifestation), காத்தல் / स्थिति (kaaththal /sthiti - sustenance), அழித்தல் / संहार (azhithal/saṁhāra –dissolution), மறைத்தல் / तिरोभाव (maraiththal / tirobhāva - veiling) & அருளல் / अनुग्रह (aruLal / anugraha - grace) cutting across the infinitely long
series of manifested multiverses. Whenever I think of the this massive scale, I
am reminded of the following verses of திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa
iraamalinga vaLLalaar) in his famous eulogical rendering
நடராஜ பதி மாலை (nadaraajapadhi maalai) on the cosmic dance of शिव (śiva)
அருணிலை விளங்குசிற் றம்பல மெனுஞ்சிவ
சுகாதீத வெளி நடுவிலே
அண்டபகி ரண்டகோ டிகளுஞ் சராசர
மனைத்துமவை யாக்கன் முதலாம்
பொருணிலைச் சத்தரொடு சத்திக ளனந்தமும்
பொற்பொடு விளங்கி யோங்கப்
புறப்புற மகப்புறம் புறமகமி வற்றின்மேற்
பூரணா கார மாகித்
தெருணிலைச் சச்சிதா நந்தகிர நாதிகள்
சிறப்பமுத லந்த மின்றித்
திகழ்கின்ற மெய்ஞ்ஞான சித்தியனு பவநிலை
தெளிந்திட வயங்கு சுடரே
கருணிலைக் குழலம்மை யானந்த வல்லிசிவ
சுந்தரிக் கினிய துணையே
சுத்தசிவ சன்மார்க்க நிதியே அருட்பெருஞ்
ஜோதிநட ராஜ பதியே.
சுகாதீத வெளி நடுவிலே
அண்டபகி ரண்டகோ டிகளுஞ் சராசர
மனைத்துமவை யாக்கன் முதலாம்
பொருணிலைச் சத்தரொடு சத்திக ளனந்தமும்
பொற்பொடு விளங்கி யோங்கப்
புறப்புற மகப்புறம் புறமகமி வற்றின்மேற்
பூரணா கார மாகித்
தெருணிலைச் சச்சிதா நந்தகிர நாதிகள்
சிறப்பமுத லந்த மின்றித்
திகழ்கின்ற மெய்ஞ்ஞான சித்தியனு பவநிலை
தெளிந்திட வயங்கு சுடரே
கருணிலைக் குழலம்மை யானந்த வல்லிசிவ
சுந்தரிக் கினிய துணையே
சுத்தசிவ சன்மார்க்க நிதியே அருட்பெருஞ்
ஜோதிநட ராஜ பதியே.
(
aruL nilai viLangu
siRRambalam enunjiva
siva sugaathItha
veLin naduvilE
aNdabagiraNda
kOdigaLum saraasaram
anaiththum avai
aakkal mudhalaam
porul nilaich
saththarodu saththigaL ananthamum
poRpoduviLangi
Ongap
puRappuRam
agappuRam puRam agam ivaRRin mEl
pUraNaakaaramaagith
theruL nilaich
sachchidhaanantha kiraNaadhigaL
siRappamudhal
andham inRith
nigazhginRa
meiGnGnaana siththi anubava nilai
theLindhida
vayangu sudarE
surul nilaik
kuzhalammai aanandha vallisiva
sundharikkiniya
thuNaiyE
suththasiva
sanmaarga nidhiyE arutperunjOthi
nadaraajapadhiyE..
) திரு அருட்பா (thiruarutpaa) (97.1)
Ofcourse,
from an anthropic perspective, this स्पन्द (spanda - cosmic
dance /eternal
becoming) both at a
micro-cosmic scale as well as as at the macrocosmic scare are basically immersive
experiences visualized as a sacred ஆனந்த தாண்டவம் (aanandha thaaNdavam – dance of bliss) happening
within one’s own consciousness. Such a dance is called ஞான கூத்து(gnaana kUththu – wisdom dance). Of
course, this can be visualized only after activating one’s दिव्य चक्षु / ஞான கண்கள் (divya cakṣu / gnaana kaNgaL – divine / wisdom eyes) as
testified in the following verses by saint திருமூலர்(thirumUlar)
ஆணைகள் ஐந்தும் அடக்கி அறிவென்னும்
ஞானத் திரியைக் கொளுவி அதனுட்புக்
கூனை இருளற நோக்கும் ஒருவற்கு
வானக மேற வழியெளி தாமே.
ஞானத் திரியைக் கொளுவி அதனுட்புக்
கூனை இருளற நோக்கும் ஒருவற்கு
வானக மேற வழியெளி தாமே.
ஆடிய காலில் அசைக்கின்ற வாயுவும்
தாடித் தெழுந்த தமருக ஓசையும்
பாடி எழுகின்ற வேதாக மங்களும்
நாடியின் உள்ளாக நான்கண்ட வாறே
(
தாடித் தெழுந்த தமருக ஓசையும்
பாடி எழுகின்ற வேதாக மங்களும்
நாடியின் உள்ளாக நான்கண்ட வாறே
(
aanaigaL aindhum
adakki aRivennum
gnaanathiriyai
koLubi adhanutppuk
kUnaiyiruLaRa
nOkkum oruvaRkku
vaanagamERavazhiyeLidhaamE.
aadiya kaalil
asaiginRa vaayuvun
thaadiththezhundha
dhamaruga Osaiyum
paadiyezhuginRa
vEdhaagamangaLum
naadiyinuLLaaga naan
kaNdavaaRE
He who the elephant of senses five subdues,
Lights the lamp of Jnana
And entering its radiance,
Drives the darkness within;
For him it is easy
To ascend the Heavenly Home (Siva Loka)
The moving
breeze that the dancing feet wafts;
The vibrant sound
that the Damruka drum emits;
The celestial music that the chanting Vedas and Agamas
produces;
All these within Nadis I experienced.
Translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (2316,2317)
Continued:
No comments:
Post a Comment