Ardhanarishvara—Arunachaleswarar Temple: November 29, 2020

 
 

Significance of Ardhanarishvara

There are many subtleties and esoteric meanings connected with the mythology and legends of Arunachala. One of the most famous being that of Ardhanarishvara—a form of the Divine which is particularly celebrated at Arunachala and not more so than during the festival of Deepam.

"At the mystic hour of dusk when devotees have gathered in the courtyards and roofs of the Temple, the deity Ardhanarishvara is brought out and placed on the stairs of the Temple close to the big Deepam. This is the only day of the year that this particular Deity is ever moved. It is most auspicious.

In the Deepam Festival the union of Shiva and Parvati in the form of Ardhanarishvara is reflected. Once the Goddess in play covered the eyes of Lord Shiva with her hands, and thus the whole world was plunged into darkness. However, Shiva opened his third eye on the request of the Gods, and light was restored.

Goddess Parvati was ashamed of her behaviour, and retired from Mount Kailasa to Kanchipuram to do penance and purge herself of her sin. Shiva then directed her to go to Tiruvannamalai to worship him there. Parvati became an anchorite and did severe penance and performed girivalam around Arunachala with deep concentration on the holy name of the Lord.

Shiva was pleased and told Her that she was now relieved of the sin of causing the untimely pralaya (destruction of the world). He blessed Her saying, 'Come and unite with me,' and disappeared into the Hill.

On Kartikeya day the Lord appeared as a blazing light, a jyoti on the top of Arunachala and asked Parvati to circumambulate the hill. She did so, and when she rounded the western side of the hill, Shiva appeared on his white bull and blessed her. When she rounded the hill on the north-western side he absorbed her into the left half of his body. Thus came into being the form of Ardhanarishvara, the deity that is represented as half male and half female."

 

 

 

Arunachala Karthigai Mahadeepam -- December 5, 2014

Ardhanarishvara 

There are many subtleties and esoteric meanings connected with the mythology and legends of Arunachala. One of the most famous being that of Ardhanarishvara - a form of the divine which is particularly celebrated at Arunachala and not more so than during the festival of Deepam. 

At the mystic hour of dusk when thousands have gathered in the courtyards and roofs of the Temple, waiting since early morning, the pancha murtis, are carried out into the courtyard in a fast running motion, sitting in their golden palanquins covered with festoons. The deities are placed in a Mandapam (ceremonial pavilion) opposite the entrance to the Arunachaleshwara's temple and facing the holy mountain. 

At that time also the deity Ardhanarishvara is brought out and placed on the stairs of the Temple close to the big Deepam. This is the only day of the year that this particular Deity is ever moved. It is most auspicious. 

In the Deepam Festival the union of Shiva and Parvati in the deity Ardhanarishvara is also reflected. Once the Goddess in play covered the eyes of her Lord Shiva with her hands, and thus the whole world was plunged into darkness. However, Shiva opened his third eye on the request of the Gods, and light was restored. 

Ardhanarishvara

Uma was ashamed of her childish behaviour, and she retired from Mount Kailasa to Kanchipuram to do penance and purge herself of her sin. Shiva then directed her to go to Tiruvannamalai to worship him there. Mother Uma became an anchorite and did severe penance and also She performed girivalam around Arunachala with deep concentration on the holy name of the Lord. 

Shiva was pleased and told Her that she was now relieved of the sin which was causing the untimely pralaya (destruction of the world). He blessed Her saying, 'Come and unite with me,' and disappeared into the Hill. 

Then on Kartikeya day the Lord appeared as a blazing light, a jyoti on the top of the Hill, and asked Mother Uma to circumambulate the hill. So she did, and when she rounded the western side of the hill, Shiva appeared on his white bull and blessed her. When she rounded the hill on the north-western side he absorbed her into the left half of his body. Thus came into being the form of Ardhanarishvara, the deity that is represented as half male and half female. 

To learn more about the 'Legend of Ardhanarishvara' at Arunachala go to this link here: 

Ardhanarishvara darshan Temple Compound

Lord Arunachaleswarar

Lord Arunachaleswarar Darshan Temple Compound

MahaDeepam

“. . . However all this was only preparatory for the last and principal day of the Festival, on which the darshan of the Light is given. This day is also a day of fasting, as the spirit must be pure and completely unencumbered in order to receive the grace of this darshan. On this day one refrains from all food, or at least from taking the normal heavy meal of rice, until the evening after sunset, when one has actually seen the light on the crest of Arunachala. 

I spent this day at the Esanya Madan . . . and arrived around two o’clock, at the inner courtyard of the Temple which was already more than half full. However with the help of friends I managed to insinuate myself onto a balcony from which I could get an excellent view of the whole ceremony. By four o’clock it looked as if not a single square foot in front of the sanctuary remained unoccupied, and yet the crowds continued to arrive. From my balcony I looked down on a sea of heads, all exposed without protection to the fiery rays of the sun. 

In order to divert the crowd, as they awaited the great moment, a succession of speakers came to the microphone which was placed quite near me on the balcony. They had only a limited success, however; and even when Murugan Das took the microphone, began to sing and invited the crowd to join in the refrain he carried scarcely half of them with him. Then he chanted the great mantra “Glory to Shiva!” and at once every tongue took up the cry, which was bellowed from the loud-speakers and echoed back from the enclosure walls. Soon there was only the cry of “Om Namah Shivaya! Om Namah Shivaya!” coming in great waves of sound endlessly repeated from all sides and uttered in fervent supplication.

Deepam inside Arunachaleswarar Temple

Towards five the singing stopped, as a procession emerged from the Kalyana Mandapam. It was the five murtis (Ganapati and Subramaniyar, the two sons of Shiva; the Bull Nandi, Shiva’s vehicle, Parvati, his consort; and finally Shiva himself) which were now coming attired in their most splendid garments and covered with flowers, to mix with the crowd so that they might have the darshan of the Holy Light. Immediately in front of the porch of the sanctuary stands a mandapam which was built in 1202 by Mangayarkarasi to provide a shelter for the Lords of the Temple during this annual function. The murtis passed through the crowd in their palanquins carried on the shoulders of the Brahmins. Once they were in their place, everyone’s attention was once more turned towards the Mountain and the chanting of mantras began again. 

The atmosphere became more and more tense. The sun had now disappeared behind the mountain, and the lengthening shadow of the mighty Linga of rock gradually spread across the sanctuary, the courtyards and the Gopurams. The great moment was drawing near for which everyone was waiting—the appearance of the Flame. Expectation filled every heart and showed on every face. It increased in harmony with the rhythm of the cosmos itself; as slowly beyond the horizon the moon rose into the sky, while in the depths of space the constellation of the Pleiades, of Krittika, appeared in the same direction. 

2014 Mahadeepam Arunachala Hill

Suddenly there was the sound of an explosion, like a gunshot. Young Brahmin torch-bearers came running out of the inner sanctuary, brandishing their lighted torches at arm’s length. Priests offered the flame of the arati before the murti of Arunachala at its space under the mandapam. In front of the main gate a huge bronze cauldron, filled with oil, camphor and clarified butter, burst into a giant flame. 

And from the peak of the Mountain also, - on which all eyes had been fixed for the last full hour, not only in the Temple and the town, but in the whole countryside around to a distance of many leagues—the flame mounted up, manifesting both outwardly and in the heart of the faithful, the mystery of Light which from the beginning has at the same time hidden and revealed itself in Arunachala. 

That is all. The Flame has been seen. Joy and grace have filled all hearts. The crowd immediately begins to disperse, though it will be more than two hours before the Temple courts are completely empty. Each one as he leaves, goes to the bronze cauldron and casts into it his offering of camphor or of oil to be burnt up in the one great flame - a symbol of his own departure into the mystery of the Flame. 

2014 Mahadeepam at Arunachaleswarar Temple and on Hill

Meanwhile those from above begin their slow and difficult descent from the Mountain. They had climbed up early that morning in the first light of dawn, carrying jars of oil and clarified butter. The worthiest of their number were entrusted with bearing the sacred fire, taken from each of the Temple shrines, in order to light the Deepam flame. This had to be done at the very moment when, from their lofty observatory, they saw simultaneously the red sun disappearing in the west while the moon’s dish came over the horizon in the east. 

As soon as I left the Temple precincts amid the crowd of faithful, I joined with many others in once more following the circular road round Arunachala . . . as I stepped into the cool air of the night . . . all the detailed features of the Mountain had disappeared. There was nothing to be seen but the sharp outline of its mystic triangle sketched against the sky. As the moon climbed majestically towards the zenith, it shed over it its silvery light, while all around was spread a mysterious shadow. 

The Mountain had become an immense lamp, from the top of which glittered the bright Fame. OM.”

[By Swami Abhisktananda 1970]

2011 Karthigai Maha Deepam

The below extract and video is a narrative about the celebration of Karthigai Deepam at the Arunachaleswarar Temple. I hope to soon post either photographs or a video of the lighting of the 2011 Deepam cauldron at the top of Arunachala. But for now, this is what happens at the Temple:

“All across India, millions of bonfires are lit on hills and in temples on Krittika Deepam. But nowhere is this festival celebrated like it is at Tiruvannamalai. Here it is unique. Krittika Deepam occurs annually in the lunar month of Kartika, which occurs in November/December, on the last day of the 10-day festival called Brahmotsavam.

It is on this auspicious day that, at approximately 6:00 in the evening, a sacred fire is lit on top of the 2,668 foot Arunachala mountain to symbolize the merging of all manifest existence back into the one source of all things. It is said that those who witness this sacred ceremony personally receive the blessings of Siva and Parvati. All of the traditional temple rituals that are performed during Brahmotsavam create a spiritual fervency that culminate with great power on Krittika Deepam as a grand congregation of devotees, holy men, officials, police personnel and media squeeze together, shoulder to shoulder, to witness the festival's magnificent consummation.

As the day wanes into dusk and night begins to darken the sky, pilgrims stand or sit, motionless with anticipation, at the base of Arunachala mountain, preparing to worship God Siva as an infinite pillar of light.

By 5:00 in the evening, the area surrounding the Temple flagpole, as well as the adjoining terrace, is packed. People are grabbing seats to observe the dramatic arrival of five exquisitely decorated palanquins, carrying the Hindu Gods Vinayaka, Subramanya, Siva, Amba and Chandikeshwara. The devotees are constantly moving and adjusting their positions to get a better view and to make way for still more people pouring in.

Suddenly, the crowd's attention shifts to the Temple entrance from behind the flag pole. Some devotees jump up to get a better view. The first palanquin arrives with a dramatic flair. It's the Vinayaka Deity, a form of Lord Ganesha. Exquisitely bedecked with a variety of flowers artistically arranged, this relatively small Deity seems magically large in its luxurious setting. More than eight people are carrying the heavy wooden palanquin. They dance with graceful dignity to the accompaniment of temple music, devotional singing and Sanskrit prayers. Soon enough, they reach their designated position in front of the flag pole and come to a stop.

In a few minutes, the next palanquin arrives “Subramanya”. It's a little bigger. Unmindful of its weight, those who are carrying this celestial cargo somehow manage to dance with abandon, rocking the Deity joyously.

Now another palanquin is arriving, rocking to and fro. "Swami, Swami," the crowd shouts. Here, "Swami" is referring to Siva. Amba (Goddess Parvati) is right behind, followed by Chandikeshwara.

Within about 30 minutes, five palanquins have arrived in all their spiritual pageantry.

Finally, the appointed moment arrives. Against the backdrop of a sunset sky, crowned with the rising star of Kartika, thundering firecrackers, ringing Temple bells and a frenzy of rhythmic chanting merge to create a cacophony of chaotic splendor. Camphor is lit in a cauldron by the Temple flag pole, signaling priests on top of the mountain to light their flame.

The timing is perfectly synchronized

When that flame is seen by the thousands of devotees below, the entire countryside explodes with flashing luminescence. Bonfires, lamps, neon lights and fireworks light the night like day as a surging, thronging, emotionally charged mass of devotees chant, "Arunachala Siva," "Annamalai” and "Annamalai Harohara”. The sight of the Krittika Deepam is magical. It brings an inexplicable joy. People are ecstatic, mesmerized by the light.





The air is charged as the overpowering sight of light, signifying Siva in the form of Jyoti (divine light), merges with Parvati to become Siva/Sakti. Now, finally, Ardhanarishvara is brought out of the Temple with great ceremonial fanfare. This is the only day of the year that this particular Deity is ever moved. It is most auspicious.

To learn more about the 'Legend of Ardhanarishvara' at Arunachala go to this link here.

The Temple is closed for a day after Krittika Deepam, because it is believed that, when Arunachala manifested Himself in the Deepam, He temporarily shifted His abode from the temple to the hilltop.

Long-time pilgrims assert that, even years later, the very thought of an otherworldly moment like this recreates it, just as if it is happening fresh and new.“

[Edited extract from ‘Fire on the Mountain’]

Ardhanarishvara at Deepam

Right click on all photographs to view enlarged version

There are many subtleties and esoteric meanings connected with the mythology and legends of Arunachala. One of the most famous being that of Ardhanarishvara - a form of the divine which is particularly celebrated at Arunachala and not more so than during the festival of Deepam and on the day of Bharani Deepam.

At the mystic hour of dusk (pradosham), when thousands have gathered in the courtyards and roofs of the Temple, waiting since early morning, the pancha murtis, are carried out into the courtyard in a fast running motion, sitting in their golden palanquins covered with festoons. The deities are placed in a Mandapam (ceremonial pavilion) opposite the entrance to the Arunachaleshwara's temple and facing the holy mountain.
















At that time also the deity Ardhanarishvara is brought out and placed on the stairs of the temple close to the big Deepam. This is the only day of the year that this particular Deity is ever moved. It is most auspicious.







In the Deepam Festival is also reflected the union of Shiva and Parvati in the deity Ardhanarishvara. Once the goddess in play covered the eyes of her Lord Shiva with her hands, and thus the whole world was plunged into darkness. However, Shiva opened his third eye on the request of the gods, and the light was restored.

Uma was ashamed of her childish behaviour, and she retired from Mount Kailasa to Kanchipuram to do penance and purge herself of her sin. Shiva then directed her to go to Tiruvannamalai to worship him there. Mother Uma became an anchorite and did hard penance, going around Arunachala hill with deep concentration on the holy name of the Lord.

Shiva was pleased with her, and told her that she was now relieved of her sin which was causing the untimely pralaya (destruction of the world). He blessed her and said, 'Come and unite with me,' and disappeared in the hill.

Then on Kartikeya day the Lord appeared as a blazing light, a jyoti on the top of the hill, and asked Mother Uma to circumambulate the hill. So she did, and when she rounded the western side of the hill, Shiva appeared on his white bull and blessed her. When she rounded the hill on the north-western side he absorbed her into the left half of his body. Thus came into being the form of Ardhanarishvara, the deity that is represented as half male and half female.












To learn more about the 'Legend of Ardhanarishvara' at Arunachala go to this link here:

http://arunachalagrace.blogspot.com/2007/12/ardhanarishvara-at-arunachala.html

Lord Shiva at Arunachala

Although Shiva is primarily worshipped in the form of the lingam (Lingodbhava) at Arunachala, this God also has a particular connection to the Hill, in the forms of: Bhikshtana, ‘the enchanting mendicant’, Ardhanisvara ‘the androgynous deity’, and Dakshinamurti, ‘the one facing south’.

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Lingodbhava

Lingodbhava murthi is an iconic representation of Shiva, installed in the rear niche (devakoshta) of the sanctum (garbagriha) enshrining a Shiva Lingam. Since most Temples face east, Lingodhava faces West.

The story of Lingodbhava is that of the attempts of Vishnu and Brahma to discover the origins of Shiva as a column of fire. Brahma assumed the form of a swan and flew upwards, while Vishnu assumed the form of a boar, and burrowed down into the earth. Days of search in either direction proved futile, and hence the duo surrendered to Shiva.

The non-anthropomorphic form Shiva Lingam is a representation of this infinite cosmic column of fire, whose origins were not traceable by Brahma or Vishnu. The Shiva lingam is the centre of reverence and worship in all Saivite temples. This legend has particular resonance at Arunachala, as it is held that Arunachala Hill itself, is a manifestation of the cosmic column of fire. (Tiruvannamalai, is one of the Pancha Bhuta Stalas, representing the primordial element fire).

There is another interesting aspect to this legend. While Brahma was flying upwards in the guise of a swan, he saw the petals of a ketaki flower drifting down. Tired by the futility of his efforts to reach the top of the mysterious column of fire, Brahma requested the flower to acquiesce to his lie that he had seen the top of the column where the flower had previously resided. Accompanied by his accomplice, Brahma confronted Vishnu and asserted that he had indeed discovered the origin of the cosmic column. An enraged Shiva appeared out of the fiery column and cursed Brahma so that he would not be worshipped in Temples on earth. Thus there are no Temples dedicated to this God of any significance in India.

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Bhikshatana

Bhikshatana is a form of Lord Shiva, when he manifested as an ‘enchanting mendicant,’ a wandering ascetic. The Rishis in Darukavana had become convinced that action was supreme and that there was no need to worship God. To teach them the value of worshipping God, Shiva manifested as a naked mendicant, begging for alms. The wives of the Rishis were enchanted with the naked beggar and followed him. The Rishis quarrelled with Shiva but the matter was resolved when the Rishis were made aware that they were fighting with the Supreme God. As Bhikshatana, the Lord is depicted as naked, with a snake around the hips and sandals on his feet.

Check this link to read about ‘Mohini and the Sages’ (under Thiruvoodal Sagas) as one of the causes for a tiff (i.e. tiruvoodal) between Lord Shiva and Parvati.

Still another version of the legend is that Lord Shiva had to wander as a mendicant in order to expiate the sin of having severed the head of Brahma, till he reached the Himalayas, where he was relieved of his sin.

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Shiva as Ardhanarishvara

In Hinduism, Ardhanari or Ardhanarishvara, is an androgynous deity composed of Shiva and his consort Shakti, representing the synthesis of masculine and feminine energies. The Ardhanari form also illustrates how the female principle of God, Shakti is inseparable from the male principle of God, Shiva. Ardhanari in iconography is depicted as half-male and half-female, split down the middle.

The term 'Ardhanarishvara' is a combination of three words- 'ardha', 'nari' and 'ishvara', meaning respectively, 'half', 'woman' and 'Lord' or 'God', that is, Ardhanarishvara is the Lord whose half is woman, or who is half woman.

Go to this link to read about Arunachala and the legend of Ardhanarishvara and this link to read about Deepam Ardhanarishvara.

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Dakshinamurthi

Is an aspect of Shiva as a guru (teacher) of all type of knowledge, particularly jnana. This aspect of Shiva is his personification as the supreme or the ultimate awareness, understanding and knowledge and also represents Shiva in his aspect as a teacher of yoga, music, wisdom and giving exposition on the shastras.

Dakshinamurti literally means 'one who is facing south'. South is the direction of Death, hence change. In every Siva temple the stone image of Dakshinamurthi is installed, facing south, on the southern circumambulatory path around the sanctum sanctorum. Perhaps, of all Hindu Gods, he is the only one sitting facing south.

In his aspect as Jnana Dakshinamurti, Shiva is seated upon a deer-throne and surrounded by sages who are receiving his instruction. He is shown as seated with his right foot on a demon (which represents ignorance) and his left foot lies folded on his lap. In his upper arms, he holds a snake or rosary or both in one hand and a flame in the other; while in his lower right hand is shown in vyakhyanamudra, his lower left hand holds a bundle of kusha grass or the scriptures. Dakshinamurthi is portrayed as being in the yogic state of abstract meditation - and as a powerful form brimming with ever flowing bliss and supreme joy.

Significance

Indian tradition accords a special reverence to the Guru or the teacher. Dakshinamurthi, is regarded as the ultimate Guru - the embodiment of knowledge and the destroyer of ignorance (as represented by the demon being crushed under the feet of the deity). The Jnana Mudra is interpreted in this way:- The thumb denotes God and the index finger man. The other three fingers stand for the three congenital impurities of man; arrogance, illusion and bad deeds of past births. When man detaches himself from these impurities, he reaches God. The Abhaya Mudra, a gesture with the hand lifted above thigh with palm facing out, fingers pointing, is interpreted as His grace upon His students. The rosary or the snake signifies Tantric knowledge. The fire represents illumination, removing the darkness of ignorance.

Go to this link to read some words by Sri Ramana Maharshi about Dakshinamurti.

Ardhanarishvara at Arunachala

The following legend and commentary explains the reason Ardhanarishvara is worshipped so prominently during Deepam at Arunachala. At which time a Murti symbolising the union of Siva-Parvati is displayed inside the compound of Arunachaleswarar Temple immediately after the fire is lit on top of the Hill.

Legend of Ardhanarishvara

The Goddess once playfully closed the eyes of her Beloved thereby plunging the world into darkness and causing suffering to all living beings. The Universal mother comprehending her folly started worshipping Lord Siva in the form of a Lingam to absolve herself of the sin and reunite with him. After first visiting Kanchipuram, Parvati proceeded to Tiruvannamalai to do her penance. While performing penance at Pavalakundru (with the help of Sage Gautama), the demon Mahishasura came and disturbed Parvati’s tapas. The Mother then took the form of Durga Devi and destroyed the demon on Full Moon Day of the Tamil Month of Karthigai during the auspicious period of Pradosham. Satisfied with his Goddess, Lord Siva presented himself in the form of Fire atop the hill and merged with Parvati - thus was created the half-man, half-woman aspect of the Lord, symbolising the oneness of all beings. To commemorate this event, every year during the festival of Annamalai Deepam, Lord Ardhanarishvara presents himself as Jyoti Swarupa to his devotees.

This fusion of Siva and Shakti representing the male and female halves, transcends the distinction and limitation of male and female and takes the Lord to a level beyond gender-manifest Brahman, realization of which means liberation. Siva is snow-white while Shakti is golden. He is substance while She is substrate. Siva is static; Shakti dynamic and creative. Siva is Being and Shakti is Becoming. He is One; She is many; He is Infinite and She renders the Infinite into finite; He is formless and She renders the Formless into myriad forms; But both are one. Siva and Shakti exist in Nirmala Turiya state (Stainless Purity).

When it comes to worship of Ardhanarishvara, some worship the Siva aspect and some worship the Shakti aspect. Siva is viewed as the Holder of Power, though he is inert. Siva is Shava (dead body) without Shakti. All the power in creation, maintenance, and dissolution rests with Shakti. But the Great Mother does not exist without Siva. When they become one Ardhanarishvara becomes a being of generative and constructive force.

Philosophically, this form portrays the boundless Grace of God. The formless God is called Parashiva. On Its own free-will for the benefit of pashus (souls), which are drowned in pasha (bondage), It thinks to create the worlds. Its dynamism of creation thus springs out of It, which is called Shakti. Now Shiva and Its power Shakti create everything. This is the form of their togetherness that makes every existence active. Siva and Shakti are one and the same Supreme. They are associated like the person and the action of the person. They are one and the same like ice and the water - one becomes the other. Shiva and Shakti are compared to gold and gold ornaments; they are the same; Shiva is hypostasis and when this force fuses with Shakti, it results in a multitude of manifestations.

[With thanks to A. Venkatraman]