Annabishegam Big Temple: Friday October 30, 2020

 

On Friday October 30, 2020  Annabishegam took place at the Kalyana Sundareswar Shrine located in the Temple's Fifth Prakaram.

 

Significance of Rice Puja

Aippasi (the sixth month of the Tamil solar calendar) begins with the Sun's entry into Libra (Thula Rasi). When the Moon is in the constellation of Ashwini Nakshatra on the full-moon day, that month is denoted as Aippasi Masam. The duration of the day and night time is equal during this month, hence it is named as Thula masa—thula means balance (weighing scale). 

During the month of Aippasi on Ashwini Star, as declared by Lord Shiva puja is performed with cooked rice and rice food items. Rice cultivation has existed in South India since 1400 BC. Details about rice have been found in the Yajur Veda and is frequently referred to in many Sanskrit texts. Rice is often directly associated with prosperity and fertility and therefore it is customary used during weddings and other religious ceremonies. 

 

 As by Lord Siva’s words: 

“I myself like this food as it gives energy to the whole Universe and goodness to all. Do puja to me with this food and don’t forget food is my special roopam (i.e. form).” 

As per the Agama Sastra, on paurnami day (full-moon) when it coincides with Ashwini Nakshatra during the month of Aippasi, offering rice annam to Lord Shiva will help yield good crop production, promote economic progress and thus help with the development of the nation. 

Hence Annabishekam (special abishekam with cooked rice) an annual affair during the full moon day of the Tamil Month Aippasi was performed this year on Friday October 30, 2020 at the Kalyana Sundareswarar Shrine at Arunachaleswarar Temple. 

 

 

 

 

 

 

 

 

 

 

2016 Arunachala Deepam Festival. Day Ten—6 p.m. Mahadeepam

Strong winds and rains on the day of Mahadeeepam, Monday December 12, 2016, did not prevent a large number of devotees travelling to Tiruvannamalai to witness this great event. In spite of cold, wet conditions many devotees braved the climb to the summit of Arunachala to view the lighting of the deepam first hand. In addition from early Monday morning throngs of people performed girivalam around the 14 km perimeter of the Hill. 

Ceremonies for the final day of the festival began shortly after 4 a.m., on December 12, 2016. Priests started the rituals by lighting the Barani Deepam (five earthen lamps marking the five elements, but merged into a single lamp to mark the convergence of the five elements) at Arthamandapam. 

To read about the events in the evening proceed below to a beautiful narrative of an earlier Mahdadeeam by Swami Abhisktananada. 

----- oOo -----

"Towards five the singing stopped, as a procession emerged from the Kalyana Mandapam. It was the five murtis (Ganapati, Subramaniyar, Lord Shiva, Parvati,  and representative of all devotees Chandiswarar) 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 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. 

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. 

Meanwhile the bearers up 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 Thibam 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.” 

Alangaram of Ardhanarishvara

Ardhanarisvara being taken by palanquin out of Temple

Amidst devotees in 3rd Prakaram, panchamoorthies in Mandapam at right

Lighting the Deepam at Arunachaleswarar Temple

Lighting the Deepam on Arunachala

With the storm and cloudy weather finally over, darshan of Arunachala Deepam on Wednesday December 14, 2016

2016 Mahashivaratri Lingodbhavamurti Puja

Below are photographs of the Lingodbhavamurti puja held at Arunachaleswarar Temple on the night of the 2016 Mahashivaratri. 

The manifestation of Shiva in this column of fire in front of Brahma and Vishnu, is carved in stone, as the Lingodbhavamurti manifestation of Shiva, and is always enshrined in the rear niche of the sanctum enshrining a Shiva Lingam. Since most temples face east, the Lingodbhava faces West. 

The non-anthropomorphic form of the 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. 

Large crowd watching the Puja

The story of Lingodbhava is that of the attempts of Vishnu and Brahma to discover the origins (the beginning Aadi and the end Antha) of Shiva, is stated in three of the Puranas - the Kurma Purana, the Vayu Purana and Shiva Purana. 

Vishnu was engaged in his yoganidhra (the slumber of yoga) at the end of a kalpa, in the waters of the great deluge, when there appeared before him, Brahma emerging from a great illumination. Brahma introduced himself to Vishnu as the Creator of the Universe, to which Vishnu replied that he was the architect of the Universe. An argument ensued between both as to their superiority over one another, when there appeared before them - a huge lingam of fire - with tongues of flames blazing out of it. 

Curious to trace the origins of this 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. Eons of search in either direction proved futile, and hence the two Gods surrendered to this column of fire. 

The puja celebrating the legend of the Lingodbhavamurti is particularly relevant on the day of Mahashivaratri as it represents the worship of sacred Arunachala itself, which is considered to be the manifestation of this cosmic column of fire as it represents the primordial element of fire as one of the Pancha Bhuta Stalas. 

It is only on the day of Mahashivaratri (during the third Kala Puja) that the Screwpine Flower is used for the worship of Shiva. As a result of a dispute between Brahma and Vishnu, Lord Shiva declared that henceforth the flower which hitherto had adorned his head in worship would no longer be used in his adoration except on the night of Mahashivaratri. 

The Lingodbhavamurti is in a niche at the back of the Siva Sannidhi

The worship follows the proscribed order of Lingam abhishekham

Crowds had filled the space back of the Siva Sannidhi many hours before the Puja

Abhishekham complete aarti is offered to the waiting pilgrims

The top of the Lingodhava is covered with flowers, but can see the figure of Vishnu as boar at bottom of column

Ketaki flower with unopened blooms on top of Lord Shiva's head

Ketaki Flower with opened blooms

The story including the Ketaki Flower goes thus: 

In the days of antiquity a controversy arose between Brahma and Vishnu as to which of the two was greater. Brahma said to Vishnu, "I have created the five elements and all the living beings with their endless differences in form and sound. Therefore I am the Absolute God." Vishnu said, "The whole universe is but an aspect of mine. Of what use is your creation if I do not protect it? It is my thought-power that creates, sustains and destroys the whole Universe. So I am the Absolute God" Their dispute resulted in misery in the manifested world. Supreme Being Parameshwara saw this and was filled with compassion. To settle the discord and subdue their pride, Lord Shiva appeared before them in the form of blazing column of light and a voice issued from it asking them to seek its upper and lower limits and he who found either of these is the superior one. Both gods stopped fighting and decided to explore the ends. Brahma took the form of a swan and flew up to reach the top of the column of light, whereas Vishnu became a boar and started burrowing into the earth to find its base. 

A thousand years passed as Vishnu dug deep into the nether worlds and the journey seemed endless. With all this power he could not discover the base and he got lost in meditation with the result that he experienced the Supreme Light which dwells in the hearts of all. He soon realised and recognised that his true strength was derived from this Supreme Light, that is Lord Shiva. He prayed to Shiva seeking His pardon and then returned to earth. Brahman who flew up as a swan was mounting the sky and the higher he soared, the column of light rose higher before him. He was growing despondent and was about to return when he saw a fragrant flower called Ketaki (screw-pine) falling towards the earth. On asking from where it had come, the flower revealed that it had come from the crest of the fire column that was none other than Shiva himself and that it had been descending for thousands of four-fold Yugas. Brahma requested the flower to say that both of them came down after seeing the crest and thus the flower swore to Vishnu in the presence of the Column of Effulgence that Brahma had reach the summit. 

Splitting asunder the column of Light, Shiva appeared before the two Gods. When the lotus-eyed Vishnu saw him, he danced with joy. The guilty Brahma on seeing the Lord’s true form was confused and frightened. Mahadeva said, "The two of you need not be ashamed for having transcended your limits. Hari (Vishnu) pondered deeply and became enlightened. But Brahma has uttered falsehood and I now cut off his fifth head for that perjury. Brahma shall not hereafter be installed in any Temple. And this flower, which bore false witness, shall never again find a place on my head and shall not be used for my worship." After cursing Brahma and the screw-pine flower thus, Shiva turned to Vishnu and said, "Child! Be composed, I am pleased with you. You are one of my foremost devotees. You originated from me and are my sattwic part. At the end of the kalpa you shall merge in me." 

Brahma and Vishnu prayed to Shiva to abide there forever as a Tejo Lingam. In answer to their heartfelt request, Parameshwara established himself as the Arunachala Hill and also as a small Siva Lingam at the eastern foot of the Hill for the welfare of the world and for those who desire to worship Him and obtain illumination. 

[Abridged – The Glory of Arunachala] 

Ravaged Murals

"Some exquisite mural paintings that adorned Tamil Nadu’s Temples are lost thanks to neglect and state-sponsored vandalism. These treasures, belonging mostly to the Vijayanagar and Nayaka periods (14th - 17th century), have been whitewashed or sandblasted in the name of Temple renovation or kumbhabhishekam (a consecration ritual). Officials of the State Hindu Religious and Charitable Endowments Department have allowed the whitewashing or sandblasting of murals to present a clean surface to devotees, claiming that devotees do not like to see faded paintings."

For two earlier posts on sandblasting on Arunachala Grace, go to this link here and this one here. (Sandblasting is a process intended to remove oily substances or whitewash from statues and/or paintings. In the process sand is sprayed at high air pressure on sculptures, walls and pillars. It is now banned in many Temples in India.)

Mural depicting Nataraja, Kalakkad Temple

"In some cases, it is ignorance that has led to the neglect of these works of art. Soot from oil lamps settle over the murals; electrical cables and switchboards are installed over them; or cracked ceilings allow water and sunlight to seep in and spoil the murals.

In what conservationists describe as a classic example of ‘murder of art’, these paintings are reportedly repainted by signboard artists who merrily use modern poster-colours to re-create them. The State Archaeology Department use artists unfamiliar with the conservation or restoration of ancient murals to repaint murals found on the ceiling of some Temples wth the result, that the murals now dazzle in bright colours."

Modern artist's repainted mural

The Temples where the few surviving murals have been mindlessly whitewashed include the Arunachaleswarar Temple, Tiruvannamalai and the Meenakshi Temple, Madurai amongst others. Palaces, forts, colonial bungalows, monasteries and churches in Madhya Pradesh, Gujarat, Rajasthan, Jammu and Kashmir and Goa face similar defacement.

Dr. David Shulman, an Indologist who has studied mural paintings of Tamil Nadu and Andhra Pradesh, says: “The problem is very urgent. If action is not taken immediately treasures of Tamil Nadu, which are part of the National Heritage, will disappear.” Very often Mandapams housing mural treasures of South India paintings are being used as godowns (food storage), or filled with junk, logs, rusting nails and even dead rodents! Experts in Fine Arts suggest organisations such as the Indian National Trust for Art and Cultural Heritage should consult tradition-oriented artists before taking up conservation of existing murals.

A four-day international seminar titled “Painting Narratives: Mural Painting Traditions in the 13th -19th centuries”, held near Chennai from January 23th to 27th, focussed on the magnitude of the problem. Attention was also drawn to the existence of hundreds of painted, wooden sculptures in Temples and Village deities (Ayyanars) and their Vahanas (mounts) being painted in garish rich colours.

Brightly Painted Vahanas at Pachaiamman Temple, Tiruvannamalai

Experts explain why it is important to preserve these paintings: “Mural paintings are not only great works of art but serve a historical purpose by throwing light on contemporary society through dresses, ornamentation, hairstyle, musical instruments, arms and armoury, and a host of other details depicted in them. Some of the murals are about actual historical events such as battles, trading and missionary activities, although the great majority of them deal with mythological themes, including the epics Ramayana and Mahabharata, and the Bhagavatha. A comparative study of the styles and techniques in different periods can take us through the process of development of the art of mural painting at different stages in the past.”

Repainted Mural at Varadarajaswamy Temple, Kancheepuram

Sometimes the vandalisation of murals take a different turn: first, they are copied, the walls whitewashed and then “artists” engaged to repaint the murals on the walls. At some Temples, ancient murals have been lost because of sandblasting for the purpose of cleaning the surface on which they were painted.

Officials of the Arunachaleswarar temple at Tiruvannamalai whitewashed exquisite paintings at Ezhuthu Mandapa depicting stories from the Ramayana and Kandapuranam, and whitewashed and sandblasted murals about Krishna Leela on the ceiling of a corridor.

How can ancient murals be preserved? Experts believe that the key to the solution lies in creating an awareness among Temple officials and the devotees on the value of these exquisite mural paintings.

[With thanks to T.S. Subramanian]