Kolam

Now that we are in the midst of a celebratory season which started with the victory of Navaratri and will continue through to Karthigai Deepam in December, thought it an appropriate time to make a posting about the Kolam.

A Kolam is a design, made afresh daily, which decorates the fronts of homes in South India. This art form which is described in many ancient Sanskrit texts, is a symbol of auspiciousness. It is believed that geometric patterns and designs applied with rice flour at the entrance to a home, invites Goddess Lakshmi into the household, and drives away evil spirits. In this respect, folklore has evolved to mandate that the lines of a design must be completed so as to symbolically prevent evil spirits from entering the shapes, and thus be prevented from entering the inside of the home!

Every morning before sunrise, the floor outside a home is cleaned with water and a Kolam drawn while the surface is still damp. Occasionally, cow-dung is used on the floor as cow-dung is believed to be auspicious and also thought to have antiseptic properties, thus providing protection for the home. Kolams are also applied daily in the pooja room generally near lamps, with specific Kolams attributed to various deities.

On festive occasions, Kolam designs are more elaborate and complicated. Although Kolam (termed Rangoli in north India) is practised in most parts of India, the geometric patterns that constitute the Kolam and manner of constructing them vary from region to region.






“Crossing a threshold is a conscious event. Kolams link the private realm to communal life, hospitality to guests and passersby, the personal and familial to the divine. In this way, more than a transient art, they are a conscious science. They are a subtle bridge between the intimate home and the vast and challenging world beyond. In ancient times, wandering sadhus would enter a village with Kolams gracing the thresholds of village homes and know something of the lives of the inhabitants of each house. Abundance, hardship, aspirations were written on the earth with a few lines and dots or the absence of them.”
[Book on Kolams]


Recommended Kolam Links:

A narrative about India Floor Decoration, which explores the scriptural history of Rangoli and includes fascinating information about Kolam.

Interesting site documenting the history and evolution of Kolams in South India. In particular observations regarding women's ability to learn, memorize and easily reproduce Kolam patterns everyday.

A website exploring the fractal dimensions of Kolam design.

An elegant website with information about Kolams. Including excellent gallery of Kolam designs and interactive tutorials of how to draw Kolams.

Fascinating website with tutorials of Kolams and Rangoli and many photographs of designs.

Deepavali 2011

Deepavali which means "a row of lights" falls on the last two days of the dark half of Kartik (October-November). This year the celebration of Lakshmi Puja occurs on October 26, 2011.

The Festival marks the end of the harvest season in most of India. Farmers give thanks for the bounty of the year gone by, and pray for a good harvest for the year to come. Traditionally this marks the closing of accounts for businesses dependent on the agrarian cycle, and is the last major celebration before winter. Lakshmi symbolises wealth and prosperity, and her blessings are invoked for a good year ahead.

While the story behind Deepavali and the manner of celebration varies from region to region (festive fireworks, worship, lights, sharing of sweets), the essence is the same – to rejoice in the Inner Light Atman or the underlying Reality of all things Brahman. To read about the various legends connected with this Festival, go to this link here.

However, to appreciate the true essence of this Festival, read the below narrative by Sri Swami Sivananda.

“O Ram! The light of lights, the self-luminous inner light of the Self is ever shining steadily in the chamber of your heart. Sit quietly. Close your eyes. Withdraw the senses. Fix the mind on this supreme light and enjoy the real Deepavali, by attaining illumination of the soul.







He who Himself sees all but whom no one beholds, who illumines the intellect, the sun, the moon and the stars and the whole universe but whom they cannot illumine, He indeed is Brahman, He is the inner Self. Celebrate the real Deepavali by living in Brahman, and enjoy the eternal bliss of the soul.

The sun does not shine there, nor do the moon and the stars, nor do lightnings shine and much less fire. All the lights of the world cannot be compared even to a ray of the inner light of the Self. Merge yourself in this light of lights and enjoy the supreme Deepavali.

Many Deepavali festivals have come and gone. Yet the hearts of the vast majority are as dark as the night of the new moon. The house is lit with lamps, but the heart is full of the darkness of ignorance. O man! wake up from the slumber of ignorance. Realise the constant and eternal light of the Soul which neither rises nor sets, through meditation and deep enquiry.

May you all attain full inner illumination! May the supreme light of lights enlighten your understanding! May you all attain the inexhaustible spiritual wealth of the Self! May you all prosper gloriously on the material as well as spiritual planes!”

Deepavali Lights

In Vedic times, fire was kept alive in every household in some form and carried when migrating to new locations. Later the presence of fire in the household or religious building was ensured by an oil lamp. Over the years various rituals and customs were woven around the oil lamp.

Early lamps were made out of stone or seashells. The shape was like a circular bowl with a protruding beak. Later they were replaced by earthen and metal lamps. The simple shape evolved and the lamps were created in the shapes of the animals and things associated with God like conch shells etc.






Light is a universally accepted force that is regarded as a symbol of knowledge, which removes the darkness of ignorance. There is the belief in South India that goddess Lakshmi provides her blessings to those who propitiate her by lighting lamps in their homes. This belief is held all over India but in Tamil Nadu as well as during Deepavali, the Festival of Light, the lighting of lamps is also practiced during the month of Karthigai.

Light is considered as a symbol of auspiciousness, prosperity and abundance. The light in the lamp symbolizes knowledge the highest truth in the most simplest way. The Lord is the 'Knowledge principle' who is the very source and illuminator of all. Hence light is considered as the Lord Himself.

The wick in the traditional oil lamp symbolizes ego and the oil or ghee used symbolizes our negative tendencies. When we are lit by self knowledge, the negative tendencies (oil) melt away and finally the ego (wick) perishes. In the course of its burning, the flame of the lamp which burns upwards, reminds one of acquiring the knowledge which would guide one to higher ideals. To read more about the esoteric aspect of lamps and their part in Festival, go to this link here.





The lamp is dear to the heart of Goddess Lakshmi. Legend has it that she was travelling through the skies on a dark night and saw a small ray of light. As she approached the beam, she saw a tiny lamp in a hut throwing its radiance all around. The lamp had been lit to propitiate her. Pleased, she blessed all those who lit lamps with prosperity.

The lamp is regarded as an emblem of Agni, the God of Fire as well the Sun God, Surya. And is said to be filled with sanctity mainly because of its light giving characteristic.

Lamps were lit with a base or pedestal, because according to the Shastras, Mother Earth cannot bear the heat of the light. As time passed, the standard lamps of simple shape became more complicated and elaborate.

The lamps can be categorised into different types, and some of those types are listed below:-




Mud lamps or Terracotta lamps: These lamps can be said to be the oldest of all lamps, as they date back to the Neolithic age. These brick-coloured lamps can be shaped in the simple form of an "ahal" or designed like animals, birds or human forms.




Kuthuvilakku: The most common among all lamps is the Kuthuvilakku. The name was derived from the fact that these lamps were originally spiked into the ground. They are now stand-alone pieces with ornate decorations, but the name has remained through the ages. The lamp has five bowls on the top and there is a trim pedestal fixed firmly on a heavy circular base. These lamps are used in common households and are also used on ceremonial platforms. The Kuthuvilakku is usually decorated on the top with the structures of the `hamsa` or mythical swan with other religious symbols.

Thattu Vilakku, Step Lamp: This lamp has different steps or layers. It is made of bronze. Oil is put inside every cup.

Thongavillaku or the eternal lamp found in the Chola inscriptions of South India, is said to be a lamp which burns all through the night without attention. These lamps can be seen in the temples hung by a chain. No oil needs be added or the wick changed. The structure of the lamp is important. Oil is stored in a round container from which the wick draws a drop at a time. The feed hole, the thickness of the wick and the size of the air inlet have to be perfectly synchronised. The lamp is hung by an ornamental brass chain that has on top a swan or other bird as decorative motifs. Endowment of perpetual lamps by devotees to a temple was considered a sacred service.




Kilai or Branch Vilakkus are also seen in Temples to light up courtyards. These lamps are made up of a number of branches fixed to the main stem. This elaborately made lamp is usually lit only on Karthigai day or on the "Janma Nakshatra" day of the presiding deity of the Temple. It is actually made up of a number of lamps designed to look like branches.

Torana Vilakku or Garland Lamp: This is the most ornamental of all lamps and offers the most illumination. There is mention of the "Deepamalai" in Pandya and Chola inscriptions. These lamps decorate doorways. There is an added brilliance as the brass-sheet to which the lamps are attached reflects the light.




Pavai Vilakku or Lady with Lamp: This lamp, it is thought, owes its origins to lamps shaped like human beings made by the Yavanas, Roman settlers in India. The bronze workers of Tamil Nadu stylised this form and gave it facial features, hair styles, costumes, jewellery and other ornamentation relating to the region and period. Often, people wanting to make an offering of a lamp would have one cast with their own features.

Thoratnavilakka: A hand lamp that provides great illumination. The reference of this type of lamps can be found from Pandya and the Chola inscriptions.

Kai Vilakku or Hand Lamp: This lamp is carried in the hand and is used to light other lamps. It has an "ahal" or oil receptacle, a pot in the centre to hold oil, a spoon attached with a chain, a wick pin and a long handle. This kind of a lamp is usually used in temples.

Kuthgu Vilakku: This is a type of lamp carried in Temples during processions. It has a long handle and the person carrying the lamp walks in front of the deity to show the way.

Gaja Vilakku or Elephant Lamp: This lamp which is shaped like an elephant is linked to the concept of salvation through surrender. Lighting the "gaja vilakku" epitomises "saranagathi" or total surrender to Lord Narayana.




Hanging Lamps: Lamps in the shape of pigeons or birds where the chain is hooked. These lamps are made of bronze and are very heavy.

Lakshmi Vilakku: The lamp is symbolic of Goddess Lakshmi (goddess of wealth) and is referred to as Deepalakshmi.




Karaha Deepam or Pot Lamp: This lamp is a pot or several pots with a wick which is lit and carried by devotees in fulfillment of vows. These rituals are common in Temples for Muruga and Mariamman. The pot is decorated with turmeric-coated coconut, mango leaves and a saffron cloth before being placed on the devotees head.

Deepa Sthambha: For lighting multiple lamps, wooden and stone deepastambhas (towers of light) were created. Erecting a deepastambha in front of a temple is still a general practice in South India. Smaller spaces, like homes, adapted the deepastambha into deepavriksha (tree of light).







Changalavattam: This lamp used in temple processions is made of bronze and is very heavy. It has an oil storage space with a spoon attached to it by chain.

Chirathu: The outer wall of a Temple is fully lined with columns of lamps. Lamps can be made of clay, stone or bronze.

Aarti Lamp: The Aarti lamp usually has a handle attached to it for holding it. The arrangements of the lamps depends on place and occasion.



Asato maa sadgamaya
Tamaso maa jyotirgamaya
Mrityor maa amritan gamaya
Om Shanti, Shanti, Shanti

“From the unreal, lead us to the Real; from darkness, lead us unto Light; from death, lead us to Immortality. Om peace, peace, peace.”


Wishing you a Joyous and Light Filled Deepavali

Arunachala Retreat January-February, 2012

This posting is about a Retreat to be held by Torsten Brugge and Padma Wolff at Arunachala from January 28th to February 12, 2012 The venue for the fully catered Retreat is Sri Nannagaru Ashram. Language is not an impediment as most members of the group are multi-lingual.

For more information go to this link here:

“Torsten and Padma offer self-enquiry in the tradition of Sri Ramana Maharshi and in the lineage of Sri Poonjaji, Gangaji and Eli Jaxon-Bear. The focus of the retreat will be to make Sri Ramana Maharshi’s profound self-enquiry and the silent power of Arunachala accessible to participants. Torsten and Padma offer daily Satsang-meetings on the roof-terrace of Sri Nannagaru Ashram. The group will also visit different abodes of Sri Ramana Maharshi on the mountain for silent meditation.

In their dialogues with participants Torsten and Padma support spiritual seekers through traditional as well as modern approaches of self-enquiry to awaken to the inner freedom of our true nature and ground ourselves in that. To that end they also make their experience in Enneagram-work, Buddhist meditation, transpersonal psychology and other approaches available.

The main transmission, however, consists in the message of Sri Ramana Maharshi:

‘We already are the formless, silent Awareness before, during and after all transient appearances. When we rediscover that, our limited sense of I dissolves and the natural bliss of our true nature shines forth.’”







To hear Torsten and Padma’s response to the question, “Sri Ramana Maharshi said that Self-Enquiry is the most direct route in realising the Self. What do you say about Self-Enquiry? How to conduct Self-Enquiry?” Go to this video link here.

Here are some reports from participants of earlier Arunachala-Retreats with Torsten and Padma:

Andreas: “Just sitting at the roof top of the Ashram, looking at the Arunachala day or night is such a grace. In addition it was such a gift to be in a group with Padma and Torsten. The Sri Nannagaru Ashram is a perfect place for a Retreat as it is located a bit aside but just a short walk or rickshaw-drive to Ramana Maharshi Ashram.“

Volker: “This whole journey with Torsten and Padma has been a great gift for me and I am very grateful. These special places and all these possibilities that they have experienced and selected beforehand – and this ground of Satsang carrying through this whole journey and group – wonderful! The best way to get to know India. To experience this country and these people in this way has touched me very much. Thank you – thank you – thank you – also for this intensive inner journey. I am very happy with it.”

Hidden Secrets of Arunachala

In connection with my previous posting on Kenneth Grant and his metaphysical interpretations of the Hill, in which appeared several quotes by Sri Ramana Maharshi. Below follows an extract taken from ‘Letters of Sri Ramanasramam’ by Suri Nagamma, which gives more information about the Hidden Secrets of Arunachala as revealed by the Maharshi..

“ . . . One of the devotees addressed Bhagavan: “You told us once that you had seen on this Hill temples, gardens and such like. Was that all during the period you were on the Hill?”

Bhagavan: “Yes. That was perhaps when I was in the Virupaksha Cave. I closed my eyes. I felt I was walking on the Hill itself towards the north-east. I saw at one place a nice flower garden, a big temple, a fine compound wall and a big Nandi (a bull, sacred to Siva, carved in stone). There was a strange light. It was extremely pleasant. As I was looking at all these, it was time for Puja (worship). The bell was rung and immediately after that I opened by eyes.”

Devotee: “Bhagavan told us some time back that there was a big cave also.”

Bhagavan: “Yes, yes. That also happened when I was living on the Hill. I was wandering about aimlessly, when I found at one place a big cave. When I entered the cave, I saw a number of waterfalls, beautiful gardens, tanks within those gardens, well-laid paths, fine lighting, everything there was most pleasing.

As I went farther and farther I saw a Siddha Purusha (Realised Sage) seated like Dakshinamurti under a tree on the banks of tank. Around him, a number of Munis (sages) were seated. They were asking something, and he was replying to them. That place appeared to me very familiar. That is all. I opened by eyes.

Subsequently, after some time, when I saw Arunachala Purana in Sanskrit, I found . . . slokas (which described) that cave and that Siddha Purusha, and so I was surprised that what had appeared to me in a trance was to be found in that book. So I wrote their translation in Tamil . . . Its meaning is ‘Though you are in the form of fire, you have kept away the fire and have taken the shape of a Hill, mainly to shower your blessings on people. You are always living here in the form of a Siddha. The cave that appeared to me is in you with all the luxuries of the world.’

“Recently (i.e. c.1949), when the temple in Adi Annamalai was renovated, it was reported that in the sanctum sanctorum of the temple, a large tunnel was found, and when people tried to find out its extent they saw that it was extending to the very centre of the Hill. As they could not go in very far, they came back. I therefore thought that that which had occurred to me that which is in the Purana appear to be true, and that the tunnel was the way to the place I had seen.

It is reported that Siddha Purushas come from the cave inside to the temple through the tunnel night after night and go back after worshipping Ishwara. Why so far? Recently something like that was seen even here. I was going on to the Hill as usual when, as I was getting near the steps over there, a big city appeared before me. There were huge buildings of several varieties; well-laid thoroughfares; good lighting; and it appeared to be a great city. At one place, a meeting was being held; Chadwick was with me. He was even saying, ‘Bhagavan, all this is so self-evident. Who will believe if we say this is all a dream!” Everything appeared as if it was actually happening . . . “

Kenneth Grant on Arunachala

Over the last several hundreds of years there have been many fascinating narratives written about Arunachala by devotees of the Hill. But sometimes the most intuitive and compelling narratives are written by those who have never even visited Arunachala.

One such writer was Kenneth Grant. He was born in Ilford, Essex, England on May 23, 1924 and died this year on January 15, 2011. Grant volunteered for the army in 1942 as a young man of 18 years old in the hope that he would be posted to India, where he might find a guru. However a breakdown of his health, saw him discharged from the army within 18 months of his enlistment, and thereafter he was to spend his years and life in the U.K. Where he became a renowned occultist and writer propounding the philosophy of 'Thelema', which was a synthesis of Nietzschean and Buddhist ideas that sought to harness willpower for magical ends. Later Grant proceeded to immerse himself in mysticism and in particular in Advaita Vedanta and wrote essays on such luminaries as Sri Ramana Maharshi, Pagal Haranath, Paramahamsa Ramakrishna, Anandamayi Ma, and Swami Sivananda.

In his work ‘The Magical Revival’ Kenneth Grant writes of Arunachala as one of the global chakras.

“The supreme seat of energy - the Sahasrara Chakra - is not located within the physical body at all, but above the cranial suture, where, figuratively speaking, the Lotus of Infinite Light blooms and bathes with its perfume the subtle anatomy of man. The Sahasrara is the seat of the Atman, the True Self in Man which is known as the Brahman in the Cosmos. It is the Abode of Siva and is represented on earth by the Sacred Hill of Arunachala in South India. This is the cult-centre of the most profoundly spiritual Path now open to humanity, i.e. the Advaita-marg or Path of Non-duality.

Arunachala, the oldest hill in existence is said to date from the Lemurian phase of the earth's history. The Light of Pure Wisdom, Jnana, shines through the Sahasrara. It is broken into a thousand streams by its multitude of petals. The nectar drips perpetually over the subtle bodies and energizes the chakras beneath it, each chakra absorbing and transmuting a little of the Light in accordance with individual spiritual development.

The first two glands to be animated by it are the pineal and the pituitary. The former is located in the middle of the head of the physical body, and its function is to initiate the current of Light in the remaining centres, and to regulate its distribution from the corresponding chakras in the etheric body. The pineal gland is backed by the Ajna Chakra, which once constituted the Third Eye, or Eye of Siva. This is the channel of direct spiritual energy.”








In speaking of the inner light beam of Arunachala, Kenneth Grant states in his book 'Outer Gateways', that:

“Down this column, as down a pathway cut through space by the beams of the full moon, swarm the unearthly siddhas who, while upon earth, reside within the caverns of the hill.’

And that Arunachala, ‘constitutes the most powerful concentration of spiritual energy on this planet.’ ‘The hill represents and conceals some form of gateway to a state of consciousness outside terrestrial conditions.’ ‘Arunachala, therefore, is associated with such concepts as light-siddhas-caves-tunnels-visions (of amazing cities), flower-gardens-temples; and Dakshinamurti, the Guru who confers diksa by Silence. Dakshinamurti means, literally, the formless (amurti) dakshin (south/Set). This pervasive and formless light of Arunachala was congealed into a solid columnic mass or pillar, in aeons-old Lemuria.’

These are mysterious inner plane entities of vastly ancient provenance who can manifest in whatever way they choose. Maharshi said that ‘A number of siddha Purushas live on this mountain. It is perhaps with a desire to see me that they come and go assuming various shapes.’ Strange lights have been seen over Arunachala and have often given the impression of being under some kind of conscious control. When Maharshi died a bright light was seen moving slowly across the sky that then appeared to enter the hill. The Tripurarahasya has a tale of a hill containing an entire universe within it.

‘. . . Dakshinamurti (the Sage associated by tradition with Arunachala) initiates by silence. ‘Silence is the true nature of the Self for it transcends all vibrations and is the type of absolute stillness symbolised by Arunachala-Siva, consciousness unstained by thoughts, which are but subtle vibrations.’

Mother Umadevi

Sri Seshadri Swamigal now has a website at this link, where you can find out more about this great Master, his teachings and his ashram.

Sri Seshadri Swamigal

If you wish to read an indepth narrative of his fascinating life go to this link here.

Arunachala has always attracted saints and holy people to itself. But sometimes those luminaries are known to just a few during their lifetime. Uma Deviar was known to devotees of Sri Seshadri Swamigal but otherwise lived the quiet exemplar life of a married woman with meticulous attention to her duties to God and family.

I was fortunate to have met Uma Deviar briefly in her home towards the end of her life, where she met me with kindness and courtesy and responded to a worrying spiritual difficulty I was experiencing in words that would be repeated almost exactly, sometime later, by my own guruji, Sri Nannagaru.

Through her tapas and sadhana, Uma Deviar previously acted as a channel to various saints until she moved to Tiruvannamalai and her life became inextricably mixed with the great Sri Seshadri Swamigal. Of her connection with him Mother Umadevi said that Swamigal would appear in front of her in response to questions asked, and thereafter she would convey the answers to those seeking his guidance. To read more about the life of Uma Deviar, go to this link here.

Mother Umadevi

I found the below narrative written by B.R. Kumar in which he talks of his experiences with Mother Umadevi, beautiful and inspirational and it reminds one that sometimes even in an ordinary guise in an ordinary home, lives a most extraordinary person.

Mother Umadevi

“The turning point in my personal and official life was in 1961 when I had the first darshan of Saint Uma Deviar at Thenmathadi Street, Tiruvannamalai. It was evening time, when we reached Tiruvannamalai from Pondicherry. We were at the residence of Sri S.R. Veeraraghavan, well-known Advocate-Scholar of Tiruvannamalai. Sri Veeraraghavan told us that we would be meeting a very rare personality in a few minutes time and he took us to the residence of Sri. R. Muthukumaraswamy, another Advocate of Tiruvannamalai and a prominent personality known for his erudition and benevolence.

We were introduced to Saint Uma Deviar and we were talking to her. I was wonderstruck at her appearance, for she was bedecked with a huge Kumkuma Pottu on her face which was fully smeared with Vibhuti. I came to know that she was the wife of Sri Muthukumaraswamy. But I was wondering at her saintly appearance. She took each of us separately to an adjoining room and talked to us about our past, present and future lives. She gave vibhuti and blessed me saying that Mahan Sri Seshadri Swamigal was always with me for guidance and security. I was dazed at her words, for this was the first time in my life that I had met such a personality.

We came away to Pondicherry the same night, but the memories of my meeting Saint Uma Deviar was haunting me and I wanted to make another trip to Tiruvannamalai immediately and meet the Saint once again. Yes, I did it immediately on my own and reached Tiruvannamalai within a couple of days. I waited on the verandah of the residence of Saint Uma Deviar. A servant woman came from inside and asked me whether I was from Pondicherry and if my name was Kumar. I said ‘Yes’ and I was wonderstruck. The servant maid said that the Saint was doing Puja and she would meet me very soon. After some time the Saint came out and took me inside and was speaking to me for quite a long time. She was seated in a chair and I was on the floor. Sri Muthukumaraswamy was also present by our side. After some time, with great reluctance, I took leave of her and came away to Pondicherry.

Who is Mahan Sri Seshadri Swamigal and how does he speaks through Saint Uma Deviar? were questions that I was asking myself several times, but I could not find any answer, within my limited knowledge and experience in spiritual matters But I used to pray to both the Saint Uma Deviar and Mahan Sri Seshadri Swamigal, by continuously chanting the mantra, “Mahan Sri Seshadri Swamigal Tiruvaadikke”, which brought me immense benefits in both my personal and official life.

In the meanwhile, I found in Sri A.D.M. Panneerselvam, a great poet and a devout follower of Mahan, answers to all my questions about the Saint and the Mahan. Sri Panneerselvam became my very close friend in the days to come and our bond of friendship grew from strength to strength. Even after 28 years, I find Sri Paneerselvam humility and friendship unfathomable. I do not know what good I have done for him but to speak to him once on the telephone brings me all memories of my previous Tiruvannamalai visits.

Saint Uma Deviar used to politely tell all those who met her, to go around the Hill of Arunachala whenever they are in Tiruvannamalai. I used to think that it was only for others and not for me! One day, when I met her in the mid-afternoon, she told me that I should immediately go round the Hill and then return to Pondicherry. I was terrified and did not know what do to. She told me emphatically, “Yes! Go round and come back!”. With great reluctance I started, with a friend of mine from Pondicherry. It was quite hot to start with, but when I landed on the path to go round the weather cooled down and it was all pleasant. I completed the circle in about three hours and raced back to report to the Saint. She blessed me and me that I must undertake such going round frequently. Later in the company of Sri A.D.M. Paneerselvam, I have gone around the Hill at different times of the day and night. While going around the Hill during the nights,

I have been guided by white glimmering lights to show the path and have seen red lights glowing from the Hill. I have been guided by the pleasant aroma of flowers, vibhuti and medicinal plants. Once a playful calf was leading all around the Hill and finally disappeared. Once a male saint with a dog and a stick in his hand was going in front of us and guiding us throughout our round of the Hill. And many more such incidents made me feel that the Mount Arunachala was a Hill full of throbbing life and that it took care of all those who went round at any time.

Saint Uma Deviar became part and parcel of my personal life and our entire family bowed and followed whatever she said. Once on her visit to Pondicherry, I had arrange only for a limited number of laddus for distribution to those who came to meet her. But to our surprise, the distribution of laddus became endless and there even remained a surplus quantity! That was a very great miracle performed by Saint Uma Deviar.

She visited us while I was at Tiruchirapalli in the year 1991 and went on a lecture tour of educational institutions. I took her to the Samadhi of Saint Thayagaraja at Tiruvaiyaru and there she rendered a beautiful composition in Telegu. Saint Uma Deviar could also play on the Veena very well.

During my train journey from New Delhi, Saint Uma Deviar provided me a security guard and escort of an unknown person, when the train was attacked by an unruly mob. The security guard came with me till I reached my home at Pondicherry. And then he disappeared. During my unplanned long distance travels, Saint Uma Deviar used to send unknown messengers from the Railway Department, to arrange for my reserved accommodation.

Once Saint Uma Deviar, accompanied me in an unknown form (I could not see it at all!) and set things right, with the higher officials at New Delhi. That was a great relief for me, for I was struggling with a peculiar problem for several years. She secured admission for my son in the Central School, so that I could easily move all over India on transfer. She gave me special numbers for chanting, so that I could solve problems instantly.

Saint Uma Deviar had prepared and served coffee to me, with her own hands! Once she had served me lunch at her house. At the time, she told me that she had gone without food for over 48 days. Yet she was very cheerful and healthy. There was not a small trace of tiredness or weakness in her appearance. Always she had talked to me with a very bright and broad smile on her face. She used to be extremely cheerful and pleasant whenever she met with devotees. I have been fortunate enough to move with her very closely and I felt sad when she shed her mortal coil. She has not gone anywhere. She lives with all of us. Such is her power of penance. She had sat on the hot rocks of the Mountain of Arunachala at her young age for observing silence and penance. For years, she had not taken food at all. She had lived on a spoonful of milk and a small bit of banana fruit. For preparing the Golden Kavacha for the Goddess Unnamulai Amman of the Big Temple at Arunachala, she removed all the golden bangles that she was wearing on her hands and gave them to Sri Muthukumaraswamy to be taken to Chennai instantly for ordering ornaments for the Goddess.

I had met her at odd times at her residence at Tiruvannamalai, both at Thenmathadhi Street and Gopal Pillayar Koil Street and she never once frowned upon me. She had always received me with great grace and benevolence and talked to me in a very sweet manner. Once she was on a very long penance of silence, but she welcomed me inside her house and talked to me personally for several minutes.

Once when one becomes the staunch devotee of Saint Uma Deviar, well-known as “Amma” she takes care of the entire life of the devotee, along with their family. What is required on our part is only devotion, pure devotion.”
[By B.R. Kumar]

Devyandal Land

For those interested in purchasing land at Arunachala, there is a very beautiful land parcel available at Devyandal (northwest of the Hill) which is comprised of two adjacents farms and totals 5 acres in size.

View of Arunachala from Land



The land, which is very reasonably priced, is to be sold as one unit, but has an electrical connection and water tanks (driven by petrol motors) on both pieces of land.

To learn more and view photographs, go to this link here.

Significance of Vibhuti

Although Shiva is worshipped primarily in the form of Arunachala, at this premier Shiva Sthalam, He is also worshipped in other significant forms, such as: Lingodbhava, ‘inside the Lingam', Ardhanisvara ‘the androgynous deity’, Dakshinamurti, ‘the one facing south’ and Bhikshtana, ‘the enchanting mendicant’. However, in whatever form Lord Shiva is worshipped, Vibhuti (sacred ash) is an integral part of that worship.

Vibhuti is the residue from sacrificial fires where special woods (mostly sandal or shami) along with ghee and other herbs have been offered as worship. Vibhuti represents Lord Siva and denotes destruction of illusion by reminding one of the transience of all created things. Sacred ash indicates time and reminds the devotee to reach the Lord who is the destroyer of time

Sacred ash has several symbolic meanings: When eaten, Vibhuti imparts the blessings of the Divine. Placed on the forehead of devotees, it serves as a sectarian mark (tilaka). In worship connected with Lord Shiva it is a symbol of purity and a main prasad given at pujas in Saivite temples and shrines.

Vibhuti also serves as a reminder to the believer to cast away selfish and worldly desires that wrap the self in maya, and calls to mind the story of how Shiva burned Kama (the god of desire) to ashes when Kama attempted to break Shiva's focus on the Divine Truth

Shiva Kolam at Arunachaleswarar Temple



According to Hindu mythology Vibhuti is said to be highly favoured by Lord Shiva and that's why He is often called Vibhuti Bhushan (the one having ash as his ornament). Shiva devotees apply Vibhuti as tripundra (a form of three lines). When applied with a red spot in the centre, the mark symbolises Shiva-Shakti (the unity of energy and matter that creates the entire seen and unseen universe).

Sadhu wearing Vibhuti


Fire which is inherent in all objects becomes visible only in objects consumed by fire. It is Formlessness manifested amidst forms. In the Arunachala Mahatmyam, it is said the Lord gives his form to one who attains Him in the fire of meditation and merging in Him remains as infinite Wisdom.

Sri Shankaracharya of Kamakoti Peetam says of sacred ash, that:

“Vibhuti is held as most sacred and one should necessarily have it smeared over the whole of the body. In Sanskrit, Vibhuti also refers to the glorious attributes of the divine, and (in this context) is translated as 'all pervading', 'superhuman power', and 'wealth', and gives all types of wealth to the one who wears it.

The very colour of Vibhuti, which is white, signifies nothing less than the Supreme Self. As the Bhagavad Gita states: ‘Just as fire reduces firewood to ashes, jnana destroys all karma.’ Vibhuti symbolises the jnana (wisdom) which remains after all karma is burnt out. Anything put into a fire may turn black for a while but eventually it has to turn white. So whiteness is the ultimate state. God is the great Vibhuti and has the same quality as the Vibhuti we smear over the body. Hence the Vibhuti we smear over the body will take us to Him.

The wearing of Vibhuti emphasises the reality of the Self and the unreality of the world and its objects. The smearing of sacred ash reminds us of the great principle: that whether one is a prince or pauper, one will end up as a handful of ash.”

Control of the Mind

“Other than inquiry, there are no adequate means for mind-control. If through other means it is attempted, the mind will appear to be controlled, but will again rise up. Through the control of breath also, the mind will become quiescent, but only as long as the breath remains controlled; and with the movement of breath, the mind also will start moving and will wander as impelled by residual impressions.

The source is the same for both mind and breath. Thought, indeed is the nature of the mind. The thought ‘I’ is the first thought of the mind; and that is egoity. It is from that whence egoity originates that breath also originates. Therefore, when the mind becomes quiescent, the breath is controlled, and when the breath is controlled, the mind becomes quiescent. But in deep sleep, although the mind becomes quiescent, the breath does not stop. This is because of the will of God, so that the body may be preserved and others may not take it as dead.

In the state of waking and in samadhi, when the mind becomes quiescent the breath is also so. Breath is the gross form of mind. Till the time of death, the mind keeps the breath in the body; and when the body dies the mind takes the breath (prana) along with it. Therefore, breath-control is only an aid for mind-control; it will not bring above annihilation of the mind. Like breath-control meditation on some form of God, repetition of mantras, diet-regulation, etc., are but aids for rendering the mind quiescent for the time-being.”

[Ramana Maharshi in ‘Who Am I’]

In Search of Secret India

As is the case with many pilgrims to Arunachala, my introduction to the Hill was through the writings of Paul Brunton in his remarkable book, “In Search of Secret India.”

The book charts the course of Paul Brunton’s spiritual quest travelling throughout India in search of a Guru. His journey led him to meet extraordinary men in very unordinary circumstances. Eventually he was to understand that his guru in form was Sri Ramana Maharshi, and three chapters in the book recount Brunton’s experiences both with Arunachala and with the Sage.

When the book “In Search of Secret India”, found its way into my life I was recuperating from an illness so was able to read the book many times in a restful and contemplative manner. Like Brunton, I also fell under the spell of several saints and sages presented “In Search of Secret India,” however my true enchantment was spun by what was termed, ‘The Hill of the Holy Beacon'. And the book left me with the overpowering intention to one day visit Arunachala during Deepam Festival, and view the light on top of the Holy Hill.

There can be no better joy in life then what man proposes and God disposes are unified and it has subsequently been my great good fortune to be allowed to be at Arunachala for many Deepams.

Below is a narrative from Brunton’s book which describes his first view of Arunachala;-

“ . . . We descend at a little wayside station and the train screeches and grinds away into the silent darkness. Night’s life has not quite run out so we sit in a bare and comfortless little waiting-room, whose small kerosene lamp we light ourselves.

We wait patiently while day fights with darkness for supremacy. When a pale dawn emerges at last, creeping bit by bit through a small barred window in the back of our room, I peer out at such portion of our surroundings as becomes visible. Out of the morning haze there rises the faint outline of a solitary hill apparently some few miles distant. The base is of impressive extent and the body of ample girth, but the head is not to be seen, being yet thick-shrouded in the dawn mists.

. . . . . I judge that we have now travelled about five or six miles, when we reach the lower slopes of the hill whose vague outline I had seen from the station. It rises like a reddish-brown giant in the clear morning sunlight. The mists have now rolled away, revealing a broad skyline at the top. It is an isolated upland of red soil and brown rock, barren for the most part, with large tracts almost treeless and with masses of stone split into great boulders tossed about in chaotic disorder.

Arunachala in the 1940's

Brunton’s companion said:

“. . . . . Once a year the temple priests celebrate their central festival. Immediately that occurs within the temple, a huge fire blazes out on top of the mountain, its flame being fed with vast quantities of butter and camphor. It burns for many days and can be seen for many miles around. Whoever sees it, at once prostrates himself before it. It symbolizes the fact that this mountain is sacred ground, overshadowed by a great deity.”

The hill now towers over our heads. It is not without its rugged grandeur, this lonely peak patterned with red, brown and grey boulders, thrusting its flat head thousands of feet into the pearly sky. Whether the holy man’s words have affected me or whether for some unaccountable cause, I find a queer feeling of awe arising in me as I meditate upon the picture of the sacred mountain, as I gaze up wonderingly at the steep incline of Arunachala.

“Do you know,” whispers my companion, “That this mountain is not only esteemed holy ground, but the local traditions dare to assert that the gods placed it there to mark the spiritual centre of the world!”

[In Search of Secret India by Paul Brunton]

2011 Deepam Arunachala Programme

Right click on programme for enlargement:

Throughout the Festival, there will be processions in the daytime circumambulating the Arunachaleswarar Temple, but have listed below only information about major evening processions. In addition throughout the Deepam Festival there are scheduled singing and dancing programmes inside the Temple Compound.

Tickets can be purchased which allows access to the Temple Compound on the day of Maha Deepam. However, tickets are limited in number, so one should make enquiries as early as possible through the Arunachaleswar Temple office.

Flag Hoisting at Arunachaleswarar Temple is on November 29th, however the Festival actually starts three days earlier at the Durga Amman Temple, which has its own schedule of events.


29th Day November, 2011
Morning: Dwajaroghanam (Hoisting of festival flag)
Evening: Panchamoorthies Five Deities Silver Chariot

30th November, 2011
Evening: Panchamoorthies Silver Indra Vimana

1st December, 2011
Evening: Panchamoorthies, Simha Vahana (Lion Chariot), Velli Anna Vahana

2nd December, 2011
Evening: Kamadhenu (wish fulfilling cow) and Kapalavriksha (wish fulfilling tree)

3rd December, 2011
Evening: Panchamoorthies, Velli Mushigam, Velli Mayil, Velli Big Rishaba Vahana’s

4th December, 2011
Evening: Panchamoorthies in Silver Chariot, Indira Vimana and other Silver Vimana’s

5th December, 2011
Day: Panchamoorthies Wooden Chariots start Temple circumambulation
Afternooon: Maha Radham (Big Wooden Chariot) starts circumambulation of Temple Perimeter

6th December, 2011
Evening: Panchamoorthies start with Horse Vahanams. Pichandavar in Golden Meru

7th December, 2011
Evening: Kailasa Vahana

8th December, 2011
Morning 4 a.m: Bharani Deepam Temple, Theerthavaari Brahma Theertham

Evening 6 p.m: Maha Deepam on the top of Arunachala.
Panchamoorthies, Golden Rishaba Vahana

Navaratri 2011 - Pictorial Archive

Right click on all photographs to view enlargements

Below is the completion of Arunachala Grace's Navaratri 2011 pictorial archive. The first three photographs are of the Goddess in her most auspicious aspect.

Sri Lakshmi,

Kamakshi Amman Temple




Goddess Saraswati, Kalyana Mandapam,

Arunachaleswarar Temple

Goddess on Kamadhenu (wish fulfilling cow),

Kamakshi Amman Temple

The next three photographs are of the Goddess Parvati during the 2011 Navaratri Festival at three separate Arunachala Temples, which depict the legend of the Goddess worshipping the Shiva Lingam.

The story goes like this:


On the Blind-Folding of the Lord:

The Lord and his Consort:

“ . . . would have tiffs, then make up; garland each other, listen to their praises sung by the Rishis, play on the Veena; dally in spirited sport or pass time in games, winning and losing them to one another. On one such occasion Parvati asked her Lord, “Won’t you tell me what the Moon and Sun are?” He replied, “Dear lass of lush Lips! The two lights are but my Eyes!” Thinking that he was teasing her, the mother of Kartikeya went behind him and, without any warning, closed his Eyes.

The momentary closure meant aeons of darkness for the gods. All of embodied life behaved as if born blind. Aye! Order and organisation broke down in the absence of the Eye-energy. In what was a trice for him, the Lord opened the Third Eye on his uncovered fore-head. The Destroyer had turned Life-giver! As Gauri drew her hands back, the three Eyes shone like the three Vedic fires (dakshina, garhapatya and ahavaneya) powering the ‘unplanned’ power-cut.

When Parvati begged for forgiveness Siva replied, “You are ever taintless and beyond Karma. However, if you desire to set an example of purification, go to Kanchi which is greater than Kasi, Avanti, Dwaraka and Mathura.” Narrations of the holy Mother’s Tapas at various places are scattered through the Puranas. Was the Lord now advising her of the superiority of Kanchi over those places of her earlier visits?

What follows is well known. From Kasi, Parvati reaches Kanchi; makes a sand-Linga by the Kampa River and worships it day and night. The Lord wills a flood in order to test her devotion. She embraces the Linga in protection unmindful of her own fate in the spate. Pleased, the Lord appears before her, “with his shoulders bearing the marks of the Pandya king’s cane*, his feet the marks of crowns of countless gods, his chest, embraced recently, bearing the mark and sandal-scent of Parvati’s breasts and bangles”!

Goddess with Linga,

Durga Amman Temple

She requests for the ultimate boon of Idappaham, of being his left Half. The ultimate asking; the adviteya. The Ultimate, giving, said, “purified in Kanchi, proceed now southward to holy Tiruvannamalai. Resident as the primal Linga contracted to a Hill; there I shall grant this boon!” Parvati, wise after the event, said, “Following your advice I came to Kanchi ‘superior to Kasi’. And now you mention Arunachala! Please let me know right away if more places exist!” The Lord gave her his word that the Tejolinga (Arunachala) is the Terminus.

Enroute to Arunachala from Kanchi, Parvati encamped for the night at Seyar, the Son’s River. It was here that Lord Subrahmania got a hut made of plantain trees for Her rest and the following morning enabled with a thundering arrow, a river of pure water to flow for Her ablutions.

Passing then through paddy fields Parvati reached Tiruvannamalai. After obeisance to the Lord at the Temple to the east, she began to look for a spot to purse Tapas. At the nearby Pavazhu Kunru, Coral hillock, a spur of Arunachala Hill, she met the Rishis assembled at the Sage Gautama’s Ashrama who sang the praise of Mother Parvati

Goddess with Linga,

Adi Kamakshi Temple

“Bringing forth the Eternal Siva from within you, you appear then within Him as the animating Sakti! With this, They mysterious nature (of Siva-within-Sakti-within-Siva), you procreate your multiple jivas. Is there anyone capable of finding out your nature which for ever remains non-dual!”

“If the Supreme Reality of Siva becomes Maheswara, Rudra, Brahma and Vishnu you become simultaneously the Saktis known as Maheswari, Rudri, Saraswati and Lakshmi. Other than these should He assume any ‘other’. You become correspondingly. Is there anyone capable of knowing you!”

Goddess with Lingam,

Kalyana Mandapam, Arunachaleswarar Temple

. . . . . . . . . . “This Abode, the primal One, is known as the Abode Supreme and is sacred par excellence. One good deed done here multiplies manifold of itself. Therefore do Thou conduct ardent penance here. They Lord will then surely come on His bull-mount and reabsorb you as His left Half.”

“(O Mother) even Vishnu, Brahma, the Vasus, Indra, and a host of Munis had in days gone by, made their dwelling here and completed the penance of solitude. The place is right and the time auspicious. Thy penance is thus assured of success.””

* Tiruvilaiyadal Puranam.

[Extract from Sri Arunachala Purana Vignettes
By J. Jayaraman]

The last two photographs are of the final day of the 2011 Navaratri Festival, Vijayadashami, as celebrated in the Kalyana Mandapam of the Arunachaleswarar Temple.

Aarti of Goddess Durga Victory, Kalyana Mandapam,

Arunachaleswarar Temple

Victory of Good over Evil,

Killing of Mahishasura by Goddess Durga

To read the story of the Goddess Durga's victory of good over evil as symbolised in the slaying of the demon Mahishasura, go to this earlier link here.

Vijayadashami

The culmination of the festival of Navaratri is Vijayadashami also known as Dussehra (i.e. "remover of bad fate") which symbolises the Victory of Good over Evil, which this year falls today October 6, 2011.

The name Durga which means; "inaccessible", "invincible"; or "one who can redeem in situations of utmost distress" is a form of the Devi which is considered the fierce, demon-fighting form of Shiva’s wife, goddess Parvarti.

A narrative describing the victory of good over evil, is that of Goddess Durga fighting an asura named Mahishasura as appears in the Devi Mahatmya in the Markandeya Purana. More well known in these parts is the story of Goddess Durga’s battle and defeat of the demon as set down in the Skanda Purana (this legend appears in the below narrative).




Fight with Mahishasura

In this narrative Brahma relates how the demon Mahishasura was attracted to the beautiful Goddess Parvati and how he was lured to meet his end.

The devas, oppressed by the demon Mahishasura, who had taken the form of a buffalo, came down to earth and took refuge in the Goddess. They piteously told her about their sufferings and how they lived in fear and were compelled to obey all Mahishasura’s commands. They could do nothing, as the demon Mahishasura was invincible having obtained a boon from Siva that no man could kill him.

Hearing their cry of fear, the Goddess assured the devas of her protection and vowed to kill the great asura by strategy. Hearing such words of assurance the devas returned in peace to their abode. After they had left, Parvati manifested herself as the resplendent delusion Mohini (enchantress) and appointed four Bhairavis to keep watch on all four sides of Arunagiri, ordering them to admit only those who came to worship Arunachala and were tired, hungry and thirsty. Then after appointing strong men to guard the boundaries of Arunachala, extending to two yojanas (24 kilometres) the Goddess continued her penance at the ashram.

While Parvati was engaged in penance, there was no type of distress at all. The rains were plentiful, crops grew and the trees bore abundant fruits. Animals antagonistic to one another gave up their previous animosity, and neither external nor internal enemies prevailed. All the sages became content and praised the Goddess, who day and night continued to perform severe penance.

One day the demon Mahishasura, far from his own place, entered the forest of Arunachala whilst hunting animals. The animals then took refuge in the ashram of the Goddess and the asuras, chasing them, were denied entrance as it was a place of penance for Parvati. After entering the ashram, disguised as birds, the asuras seeing the Goddess soon returned to Mahisha praising her enchanting beauty. The demon, stricken with lust, disguised himself as an old man and entered the ashram, where he was told that the maiden of the ashram was doing penance in order to obtain a valiant husband, capable of performing great deeds.

After Mahisha spoke of his glories, the Goddess said she would become the wife only of a valiant man: ‘If you are such a man, display your strength. If you fail, admit that you are weak.’

On hearing these words Mahisha became enraged and sprang towards the Goddess with the object of killing her. At his approach Parvati transformed herself into Durga, the fiery and invincible Goddess. On seeing this, the demon made himself into the size of a mountain and gathered his vast armies from all quarters. But the Goddess was offered weapons and missiles by Brahma, Visnu, Siva, the dikpalakas, devas, mountains and seas. With many hands blazing due to the multitudes of arms, missiles and weapons, Durga, the great Maya, wore a coat of mail and immediately rode on her vehicle, the lion. Unable to bear her effulgence and seeing her terrible form, the demon Mahisha fled.

Knowing that the wicked Mahishasura could only be killed by subterfuge, the Goddess sends a monkey-faced muni named Suraguru to the demon. The demon becomes enraged on hearing the muni’s message from Parvati of abandoning adharma and following the path of righteousness. Thereafter the demon, gathered his armed forces and surrounded Arunagiri. The ensuing battle ended when the Goddess pierced the demon with her trident and cut off his head.



*********


After having killed the Demon, a lingam adhering to the Demon's neck when taken by the Goddess remained welded to the palm of Durga’s hand. The Goddess then went to a place which legend has it is now situated in the compound of the Durga Amman Temple at the foot of Arunachala. The area was dry, but the Goddess dug a hole with her sword and water gushed forth. When she took a bath, the lingam came off her hand and Durga started worshipping it.

The Goddess remained and bestowed her favours on her devotees. Since then, the sacred tank has had a regular water inflow. It is at this Temple that great celebrations take place in honour of Durga during the days of Navaratri and Dussehra – which symbolise the victory of the Goddess over evil.

Navaratri [Sharad] 2011

Each year Sharad Navratri commences on the first day (pratipada) of the bright fortnight of the lunar month of Ashvin. The festival is celebrated for approximately nine nights once every year during the beginning of October, with dates and longevity determined by the lunar calendar. This Navaratri started on September 28th and will complete on October 6th, 2011. To read about Navaratri in more details go to this link here.

The origin of Navaratri came about when Adi Shankaracharya gave Upadesham to the people at two primary locations during the installation of the Sri Chakra. He delivered his Upadesham at Srisailam (Andhra Pradesh) and Koolurmugambika (Karnataka). He directed the women folk to worship the Goddess and seek her blessings for wealth, prosperity and long life for their husbands and overall happiness in the family. To read about the worship of Shakti during the days of Navaratri go to this link here.

This Festival is celebrated in a wide variety of ways, depending on region, local history and family influences. Some see it as a way to commune with one’s own feminine divinity. A widespread practice honours the Goddess in every woman by inviting young girls to the family's home, feeding them and offering new clothes. During the Festival, women also perform tapas and selfless acts.

Families in Tamil Nadu traditionally prepare in their homes a kolu, an exhibition of small dolls, figurines and small artifacts on a stepped, decorated shelf. At least one murti of Shakti must be present, as well as wooden figurines of a boy and a girl together to invoke auspicious marriages. For information about Kolu Dolls go to this link here.

Kolu Dolls Display

The Navaratri festival or 'nine day festival' becomes 'ten days festival' with the addition of the last day, Vijaya-dasami (day of victory) its culmination.

On all these days, Mother Mahisasura-mardini (Durga) is worshipped. According to the narrative from the Devi Mahatmya of the Markandeya Purana in which the form of Durga was created as a warrior goddess to fight a demon.

Below photographs are taken in one of four Amman Temples at Arunachala during this year's 2011 Navaratri. Right click to view enlargements.

Adi Kamakshi Temple,
Goddess meditating on Lingam

Arunachaleswarar Temple Mandapam,
Sri Lakshmi

Adi Kamakshi Temple,
Goddess with Sri Venkateshwara

In South India the Goddess is worshipped in three forms. During the first three nights, Durga is revered, then Lakshmi on the fourth, fifth and sixth nights, and finally Saraswati until the ninth night. Durga ("invincible" in Sanskrit) is the epitome of strength, courage and ferocity. Her devotees approach Her, sometimes with difficult penances, for those qualities and for the protection she Bestows.

Kamakshi Temple,
Gaja Lakshmi

Durga Amman Temple,
Goddess with Parrot

Kamakshi Amman Temple,
Rishaba Vahanam

A more gentle worship is observed for Lakshmi also called Annapurna "Giver of food," Lakshmi is the Goddess of abundance, wealth and comfort. She is the ever-giving mother, worshipped for well being and prosperity. A traditional way of invoking Her is chanting the Sri Suktam. In Her honour, food is prepared and offered to neighbours and all who visit, thus strengthening community ties. On the full moon night following Navaratri, it is believed Lakshmi Herself visits each home and replenishes family wealth.

The last three days of Navaratri, exalt Saraswati, the form of Shakti personifying wisdom, arts and beauty. Her name literally means "flowing one", a reference to thoughts, words, music and the Saraswati River. Mystically Saraswati is believed to be the keeper of the powerful Gayatri Mantra, which is chanted during the festival to invoke Her supreme blessings. Devotees meditate for days on this mantra alone, as it is considered the door to divine wisdom.

Kamakshi Amman
Temple Lights

In the next posting, photographs of Vijaydasami at Arunachala Amman Temples, and the significance of the Goddess at this place during Navaratri.