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.

Iron Age Sites

Tiruvannamalai Hill is constituted of igneous rock and forms part of the Javadi Hill range of Tamil Nadu. Geological surveys are reported to show that Arunachala is older than the Himalayas, and as to its longevity, it is stated in the Skanda Purana that:


Sri Siva said:

"Let this perpetual and immobile Fiery Form of mine, famous as Arunadri, be present here forever. (27)

Even at the close of the Yugas the great oceans shall not submerge it, the winds shall not shake it and the fires shall not burn it." (28)

[Skanda Purana - iii(U).16.27-28]


The age of the area is evidenced by the dates of the rock formations, but it is an area which also has been inhabited for many thousands of years. And in this respect Megalithic burial sites over three thousand years old and spread over three kilometres were recently discovered at the foot of a hill chain near Veeranam Village, Tiruvannamalai District.

The sites are marked by cairn-circles, which are rough stones arranged in a circle indicating burial chambers below. The chambers accompanied by urns containing bones and pottery with paddy, beads, knives, swords and other artifacts.

Such burial sites are highly valued by Historians, as they provide information about the social life of the Sangam Age in Tamil Nadu. In this respect The Tamil Nadu Archaeology Department and The Archaeological Survey of India are being asked to involve themselves in conservation of remaining historically rich areas by offering them protection under the Ancient Monuments and Archaeological Sites and Remains Act.

Parrots and Arunachala

In Hindu mythology a vahana or vehicle (sometimes called a mount) is an animal closely associated with a particular deity. Similarities can be found in the religious associations of Hindu vahanas to animal totems and familiars in non-Hindu belief systems.

Sacred animals who become the vahanas of various Hindu gods, symbolize and complement the energy or character of the deity and come to be integral to the iconography of that God and are thereafter always depicted with them. Each God or Goddess is in charge of a particular energy they control. These vehicles actually symbolize the various energies that exist in the Universe as well as in human beings.

The parrot in Hindu mythology is associated with Kama, the god of love and his consort Rati. Kama is depicted as riding a parrot and taking aim with his bow made from sugarcane and arrows made of flowers. To find out more about the Rose Ringed Parakeet which can be found in abundant numbers around Arunachala, go to my Arunachala Birds at this link here.

Goddess Meenakshi

In many South Indian temples, the Goddess holds a parrot in her hand. This is the gentle form of Devi, associated with the Goddesses Meenakshi and Kamakshi and Lalita Tripurasundari.

Goddess Kamakshi

These goddesses are various forms of Parvati, wife of Shiva. In this form she is the love-goddess or enchantress who charms Shiva and transforms the hermit-god into a householder, thus ensuring a participation of god in worldly life.



Parrot at Arunachaleswarar Temple

The parrot, has a curious connection with Arunachaleswarar Temple where an ornately painted mortar image of a parrot (Kili) can be seen in a niche in the Kili Gopuram tower at the Temple. The story involves Arunagirinathar, a famous saint and Murugan bhakta of Tiruvannamalai, who legend has it happily spent the last years of his life in the form of a parrot resident at the Temple.

Saint Arunagirinathar

One story has it that after orator Sambandan lost a challenge to Arunagirinathar, he tried to get revenge. He went to the king, who had been blinded by the darshan of Murugan, and told him:

‘If your highness can persuade Arunagirinathar to bring a parijata flower from svargaloka [one of the heavenly worlds], a few drops squeezed from the flower onto your eyes will restore your eyesight.’

The king, eager to regain his vision, commissioned Arunagirinathar to fetch the flower. In order to reach the heavenly world, Arunagirinathar entered the body of a parrot that had recently died and reanimated it. He left his own body in one of the niches of a gopuram in the Arunachaleswarar Temple and flew off to collect the flower. After the parrot had departed on its mission, Sambandandan, who had been watching Arunagirinathar’s movements, announced that the lifeless body was dead, and asked for permission to cremate it. The king agreed and the body was quickly burned.

Some time later Arunagirinathar returned with the flower only to discover that he no longer had a human body to return to. He went to the king in his parrot body and restored the king’s eyesight with parijata flower juice and explained what had happened. Realising that he had been tricked, the king was struck with grief because he knew that it would now be impossible for Arunagirinathar to resume human form. However Arunagirinathar, was untroubled by events and happily spent the remainder of his life in the parrot’s body continuing to compose poetry in praise of Lord Murugan

Kili Gopuram, Left Side

Parrot Statute on Kili Gopuram

Parrots at Adi Annamalai Temple

With careful attention to detail during renovation of Adi Annamalai Temple, the little openings at the top of the compound walls surrounding the Temple were preserved so they could continue to remain as nesting places for: parrots, doves, pigeons, sparrows, owls and bats.

Parrots Nesting at Adi Annamalai Temple

If you enter the compound of Adi Annamalai during bird nesting season, you will often be met with clouds of parrots and doves going on flypast.

To read of the restoration of Adi Annamalai Temple go to this link here:


The Celestial Parrot

Shuka means tropical bird, particularly, parrot. This bird has the special privilege of resting on the right shoulder of Goddess Meenakshi, who is none other than Goddess Raja Matangi also known as Raja Shyamala. Meenakshi is identified with Raja Mathangi or manthrini, the minister of SriLalitha Tripura Sundari. The parrot resting on Her shoulder is a celestial partner of the Goddess, imparting knowledge of all the 64 arts to Devi.

The 64 bahyakalas (practical arts) are:

(1) singing (2) instrumental music (3) dancing (4) painting (5) forehead adornments (6) making decorative floral and grain designs on the floor (7) home and temple flower arranging (8) personal grooming (9) mosaic tiling (10) bedroom arrangements (11)creating music with water (12) splashing and squirting with water (13) secret mantras (14) making flower garlands (15) head adornments (16) dressing (17) costume decorations (18) perfumery (19) jewelry making (20) magic and illusions (21) ointments for charm and virility (22) manual dexterity (23) skills of cooking, eating and drinking (24) beverage and dessert preparation (25) sewing (26) embroidery (27) playing vina and drum (28) riddles and rhymes (29) poetry games (30) tongue twisters and difficult recitation (31) literary recitation (32) drama and story telling (33) verse composition game (34) furniture caning (35) erotic devices and knowledge of sexual arts (36) crafting wooden furniture (37) architecture and house construction (38) distinguishing between ordinary and precious stones and metals (39) metal-working (40) gems and mining (41) gardening and horticulture (42) games of wager involving animals (43) training parrots and mynas to speak (44) hairdressing (45) coding messages (46) speaking in code (47) knowledge of foreign languages and dialects (48) making flower carriages (49) spells, charms and omens (50) making simple mechanical devices (51) memory training (52) game of reciting verses from hearing (53) decoding messages (54) the meanings of words (55) dictionary studies (56) prosody and rhetoric (57) impersonation (58) artful dressing (59) games of dice (60) the game of akarsha (dice board game) (61) making dolls and toys for children (62) personal etiquette and animal training (63) knowledge of dharmic warfare and victory (64) physical culture.

Tripurasundari and Navaratri

To learn more about tree species in this area, visit my recent posting on my Arunachala Land Blog at this link here. One of the trees I mention in that posting is the Kadamba.

There are many legends and mythology concerning the Kadamba Tree. Probably best known in these parts are the legends associated with Lord Murugan and the deity Kadambariyamman.

During the Sangam Period in Tamil Nadu, Lord Murugan in the form of a spear under a Kadamba Tree at Tirupparankundram Hill of Madurai was referred to as a centre of nature worship.

In another mystical story, the Kadamba tree is also associated with a deity called Kadambariyamman. The Kadamba tree, which is considered the ‘sthalavruksham’ (Tree of the place) of the city that is otherwise known as ‘Kadambavanam’ (Kadamba forest).







The Kadamba tree is is said to put forth orange, fragrant buds at the roaring of thunder clouds. A withered relic of the Kadamba tree is believed to be preserved in the precincts of the Madurai Sri Meenakshi Temple. The name also means multitude. In that sense, the Kadamba forest stands for the Universe that the Devi permeates completely i.e. like a cloud that quenches the thirst for knowledge of the sages.

The Festival of Navaratri, dedicated to the Divine Mother starts on September 28th, 2011. Arunachaleswarar Temple will celebrate this Festival in evening functions at the site of the Old Marriage Mandapam near the Shiva Sannidhi. Ramana Ashram also has delightful puja functions throughout the Festival.

There are several very beautiful Temples in Tiruvannamalai dedicated to the Divine Mother, one of which, Rajarajeshwari Temple also known as Tripurasundari, is a wonderful Temple to visit, especially during Poornima, Deepam and special functions as Navaratri and Deepavali. What makes the Rajarajeshwari Temple so appropriate during Navaratri, is the presence of its exquisite and most powerful Sri Meru Chakra.

Goddess Rajarajeshwari

“Dear One, Tripura is the ultimate, primordial Shakti, the light of manifestation. She, the pile of letters of the alphabet, gave birth to the three worlds. At dissolution, She is the abode of all tattvas, still remaining Herself”
[Vamakeshvaratantra]

Sri Meru Chakra

Embedded below is the wonderful Sri Tripurasundari Stotram sung by the Sulamangalam Sisters, which extols the glory and attributes of the Goddess inhabiting the Kadamba Forest. The name Goddess Tripurasundari attests that the Goddess is consort to Lord Shiva who is called Tripura because he contains within himself all three forms of Brahma, Vishnu and Shiva.

English Translation to Strotram:

Seek I shelter in Tripurasundari, materfamilias of the three-eyed one. Who is roaming in the Kadamba Forest, a bank of clouds to the galaxy of sages. Whose hip excels the mountain; who is served by damsels celestial, whose eyes rival new blown lotus. And swarthy like the nimbus newly-formed.

Seek I shelter in Tripurasundari, materfamilias of the three-eyed one. Who is inhabiting the forest Kadamba, Holding a Vina golden, wearing a necklace of gems priceless. A face deeply aglow of ambrosia. Through mercy bestowing prosperity, clear-eyed, the wandering one.

Arrayed we be in panoply by her Kadamba forest abode. By the garland gracing her massive bosom. By her bosom rivalling mounts. By the splendid flow of her surpassing grace. By her cheeks ruddied by wine. By her melodious musical voice. By her cloud-like blue. By her instructable play!

Seek I shelter in Tripurasundari, materfamilias of the three-eyed one. Who is in the midst of Kadamba forest; seated on the golden disc. Who resides in lotuses six. A lightning to the constant Siddhas, splendorously mocking scarlet Hibiscus with cloudless moon for her crest jewel.

Seek I shelter in Sage Matanga’s daughter. Mellifluously conversing. Vina gracing the bosom. Adorned with curly tresses. Residing in lotus. Scorning the evil-minded. Reddish-eyed from nectar. Captivating Cupid’s enemy.

Seek I shelter in Tripurasundari, materfamilias of the three-eyed one. Who bears the first flower of Manmatha. Clad in garments blue, spotted sanguine. Holding a liquor bowl. With eyes inebriated, languishing at the ends. Close-set bosom heavy and high. The swarthy one with locks dishevelled.

In japa I remember the Mother. Smeared with vermillion. Forelocks grazing the dot of musk. Looks soft and smiling. Bearing arrows, blow, snared and goad. Deluding all people. In red garland, jewels and apparel.

I salute the Mother of the World entire. Who has the celestial queen for plaiting tresses. Brahma’s consort skilful for anointing sandalpaste. Vishnu’s spouse for adorning with lustrous gems. And heavenly damsels for servant maids.

Tripurasundari Stotram

Kadambha vana charineen, muni kadambha kadambhineem,
Nidhambha jitha bhoodaram sura nithambhini sevitham,
Navamburuha lochanam abhinavambhudha shyamalam,
Trilochana kudumbhineem tripurasundarim asraye.

Kadambha vana vasineem kanaka vallaki dharineem,
Maharhamani harineem mukha samullasa dwarineem,
Daya vibhava karineem, visadha lochineem charineem,
Trilochana kudumbhineem tripurasundarim asraye.

Kadambha vanashalaya kuchbarollasanmalaya,
Kuchopamithashailaya gurukrupalasad velaya,
Madarunakapolaya madhura geetha vachalaya,
Kayapi gana leelaya kavachiha vayam leelaya

Kadambha vana madhykam kanaka mandala lopa sthithaam,
Shadambhuruha vasineem sathath sidha sowdamineem,
Vidambhitha japa ruchim vikhacha chandra choodamanim,
Trilochana kudumbhineem tripurasundarim asraye.

Kuchancithabanjikaam kutila kunthalalangrutham,
Kusheshaya nivasineem kutila chitha vidwesineem,
Madaaruna vilochanaam manasi jari sammohineem,
Madhnga muni kanyakaam, madhurabhashineen ashraye.

Smareth prathama puspineem, rudhira bindu neelabaram,
Graheetha madhu pathrikaam madhu vigurna nethranchalam,
Gana sthans baronnatham galitha soolikaam shyamalam,
Trilochana kudumbhineem tripurasundarim asraye.

Sakumkuma vilepanaam alaka kampikasthurikaam,
Samanthahasitheshanaam sachara chapa pasangusam,
Asesha jana mohineem aruna malya bhooshambaram,
Japa kusuma basuraam japa vidhow smarathembikam.

Purandara purandrikaam chikura bandha sairandhrikam,
Pithamaha pathivrutham, patu pateera charcharathaam,
Mukunda ramani manim lasadalangriya kaarineem,
Bajami bhuvanambikam, sura vadhootika chetikam.

Happy Birthday Guruji

Today, September 23rd, is the birthday of my Guruji, Sri Nannagaru. I had a programme to go into Ramana Nagar to confirm a Deepam room reservation at a local lodge, Arunachala Ramana Home. Thereafter I planned to visit my Guruji’s Ashram to take prasad and bow outside the room of my spiritual teacher (who is currently in his native place at Andhra Pradesh).

Sri Nannagaru in Previous Darshan

However following the old adage that, 'Man proposes and God Disposes', after finishing the work on the room reservation I went up on the roof of the Lodge with a friend to have tea in the open air restaurant. Below are photographs taken from the roof of this now fully developed area of Ramana Nagar, with views of the multi faith dialogue facility of Quo Vadis, rooftops of adjacent buildings, a multitude of phone towers evidencing the technological development of the area, BUT most importantly enjoying from the rooftop the glorious darshan of Arunachala.

It was mid-day, the skies azure blue, and the Hill shimmered in the light of a clear hot sun. Quite lovely.

Arunachala Mid-day, Friday September 23

With Arunachala as inspiration, I proceeded to celebrate the birthday of my Guruji by telling my overseas friend some stories and teachings of Sri Nannagaru. In a word, a perfect day. Thanks and Happy Birthday Swamiji

Road from Lodge leading to Chengam Road

Adjacent Outlying Buildings From Lodge Rooftop

Quo Vadis Facility

The Ubiquitous Telephone Towers

Sri Nannagaru was once asked in an interview what it was he saw when he looked deeply into the eyes of those sitting in front of him.

Sri Nannagaru replied that, “I am seeing myself in those people. I am seeing myself in those people, and then Grace will work.”

In the same interview he then proceeded to give advice on skilful living, recommending that it was essential for us to use to the maximum the individual gifts God had given us; whether that gift was that of a good intellect, a facility for writing or oratory etc., -- in our endeavour to realise the Self.

Swamiji also advised that for spiritual advancement it is essential to think only positive thoughts and associate only with good, positive thinking people as such relationships help to promote self-confidence (confidence in the Self) which is an essential component to Self Realisation.

Karikal Ammaiyar

One of the few women saints whose stories appear in the 'Periapuranam, The Lives of the Sixty-Three Saivite Saints', is that of Karikal Ammaiyar. The stories of the 'Periapuranam' may expand our hearts by showing the depths of devotion to Lord Shiva that can be reached by mortal man.

The story of Karikal Ammaiyar

Punithavathiar as Karaikal Ammaiyar was called, was born in a Vaisya family. Her father was Danadathan. He was a wealthy merchant. He was very virtuous, too. He and his dutiful wife prayed to the Lord for a child, and the child the Lord blessed them with they called Punithavathy. From her childhood, Punithavathy had an intense love for Lord Siva and His Bhaktas. She was married to Paramadattan, a wealthy Vaisya. Both of them were leading an ideal householder’s life.

One day Paramadattan sent two mangoes to his house. Punithavathy kept them safely so that she could serve her husband with them at meal-time. In the meantime, a Siva Yogi appeared before her. He was hungry and completely exhausted. Punithavathy worshipped him and offered him Bhiksha. She had nothing to give him, except the mangoes. She gave one to the guest. At midday Paramadattan came to the house. The wife served him with one mango. He liked it, and asked for the other. She was upset. She appealed to the Lord for help.

When she finished her prayer, mysteriously a mango fell on the palm of her hand. She gave it her husband. He tasted it. It was exceptionally sweet. He asked her to tell him from where she got it, as he was quite sure it was not the mango he had sent. Punithavathy told him the whole truth. Paramadattan, however, would not believe this and challenged her to produce another. She prayed again to the Lord. Another mango appeared on her palm. She gave it to him. But, at once it disappeared from his hand. He was astounded. He understood the greatness of his wife. He felt that it was a great sin to live with her as her husband. On the pretext of going to a foreign country for trade, he sailed with a ship load of goods. On return, he established himself in a big city in the Pandyan kingdom. He married a Vaisya girl and lived happily. He had a daughter by her and he named her Punithavathy, after his first wife.

Punithavathiyar’s relatives came to know of her husband’s whereabouts and took her also there in a palanquin. When Paramadattan heard that Punithavathy was coming to him, he, with his second wife and child, went forward, and fell at Punithavathy’s feet. When the people demanded an explanation, he revealed that he regarded her, not as his wife, but as a Goddess. Punithavathy understood his mental condition, and prayed to the Lord: ‘In that case, Oh Lord, deprive me of the present physical charm and let me have a demonaical form.’ Her prayer was immediately granted and her charming body was transformed into a skeleton.

Then she went on a pilgrimage to the holy Kailasa. Feeling that it would be a great sin to place her foot on those sacred grounds, she made the last part of the journey on her head. Mother Parvathy was surprised to see Punithavathy’s strange form and her wonderful devotion. Lord Siva told her of Ammaiyar’s greatness. When she went near Him, Lord Siva welcomed her with extreme love and granted a boon to her. She fell at His Feet, and prayed: ‘Oh Lord of Mercy, give me sincere, pure, unalloyed, eternal and overflowing devotion unto You. I want no more birth. If, however, I have to take birth here, grant me that I should never forget You. Whenever You dance, I must be at Your feet singing Your praise. This is my only wish.’ Lord Siva granted the boon and asked her to proceed to Tiruvalangadu to witness His dance. She went to that place and spent her life singing the praise of Lord Siva.

[By Swami Shivananda]