2013 Mahashivaratri Photographs

Below are photographs of the 2013 Mahashivaratri Festival celebrated at Arunachaleswarar Temple at Tiruvannamalai. Beautiful kolams painted on the floors of the Temple compound were created early in the morning. As the day progressed, one lakh archana puja was celebrated at the Shiva Sannidhi, as dusk fell devotees took to the steps of the Temple Tank to light and place oil or ghee lamps on the tank's perimeter. 

Each kolam represents a particular story or legend of Lord Shiva, and I hope to give more details of this year's elaborate kolams in the next day or so. Also hope to post photographs of the cultural programmes performed through the night and of the special lingodbhavamurti puja which occurs on the night of every Mahashivaratri and performed at the back of the Shiva Sannidhi at the Big Temple.

 

2013 Mahashivaratri Festival Arunachala

Significance of Mahashivaratri Festival 

Each month there is day known as Shivaratri and once a year there is Mahashivaratri (maha=great); The Great Night of Shiva. The dates of these occasions correspond to the phases of the moon and it is believed that the mind (which is adversely affected by the power of the moon) is less susceptible to low, animalistic forces and thus more tractable to the power of meditation and prayer. 

It is for this reason that Mahashivaratri is believed to be the one 24-hour period in the year which is of the greatest benefit. It has been stated in the scriptures that if a man fasts, stays awake and meditates for the whole of Mahashivaratri, it will give him his best chance to achieve mastery of the mind and attain liberation. 

Mahashivaratri always falls on the fourteenth day of the dark fortnight of Phalguna (February-March), and is dedicated to the worship of Lord Shiva. On this day devotees sing Shiva bhajans, recite verses from scriptures, offer prayers in the morning and evening, and some observe fasting throughout the day. People visit Shiva Temples and in the case of Arunachala, premier Shiva site of South India, circumambulation of Arunachala Hill is observed by many. 

The name Shiva signifies a quality that means 'Auspicious' or 'The Auspicious One'. To a few, Shiva is Paramatman, Brahman, the Absolute, but many more prefer to see Shiva as a personal God given to compassion for his worshippers, and the dispenser of both spiritual and material blessings. Related to the Absolute concept is Shiva as Yoganath, the Lord of Yoga, wherein he becomes teacher, path and goal. As such he is the Adi Guru or Highest Guru of sannyasins who have renounced the world to attain the Absolute. 

To continue reading more about the significance of this Festival go here to view a descriptive pictorial narrative. To view information and photographs specifically connected to the Mahashivaratri Festival of 2012 go to this link here. 

The Temple will be packed on the night of Mahashivaratri and as tradition dictates will be OPEN throughout the night of March 10 -- March 11, 2013. The number of devotees coming to Tiruvannamalai to perform girivalam on the night of Mahashivaratri has always been small compared to Full Moon crowds, however each year larger number of pilgrims are now descending upon Tiruvannamalai in order to perform girivalam at this most famous Shiva Sthalam on the Great Night of the Lord. 

There will be huge, beautiful coloured kolams decorating the floors of the Temple Compound, oil and ghee lamps around the Temple water tanks, an inspirational cultural programme including devotional singing and cultural dancing, Pujas of the 4 Kalas, performance of One Lakh Archana, and also a beautiful puja and abhiskeham of the Lingodbhavamurti located at the back of the Shiva Sannidhi. 

Below is the programme timings (with translation) of the 2013 Mahashivaratri Festival to be conducted at Arunachaleswarar Temple, Tiruvannamalai. 

Tami Nadu Religious Hindu Department, Tiruvannamalai 

Mahashivaratri Invitation March 10, 2013 One Lakh Archana on Sunday 10-03-2013 at Tiruvannamalai, Arunachaleswarar Temple from 5 a.m. in the morning to 2 p.m. in the afternoon. 

Ticket for the One Lakh Archana costs Rs.200/- and is available from the Temple Office. 

Contact telephone number: (0)4175-252438 

Festival Timings of Cultural Programmes March 10, 2013 

6 p.m. to 7 p.m. Oothuvar Group Singing Devaram Music 

7 p.m. to 8 p.m. Chennai Sivaallayam Group, Bharatnatyam 

8 p.m. to 9 p.m. Vellore Sri Krishna Kala Mandir Group, Bharatnatyam 

9 p.m. to 10 p.m. Gudiyatham Kalaivani Group, Bharatnatyam 

10 p.m. to 11 p.m. Tiruvannamalai Kala Mandir Group, Bharatnatyam 

11 p.m. to 2 a.m. Madras Veera Mani Raju and Malayil Swami, devotional singing 

Timings of the 4 Kala Pujas 

1st Kala -- 8.30 p.m. (March 10, 2013) 

2nd Kala -- 11 p.m. (March 10, 2013) 

3rd Kala -- 2 a.m. (March 11, 2013) 

4th Kala -- 4 a.m. (March 11, 2013) 

Lingodbhavamurti Puja 

12 o’clock on the night of March 10-March 11, 2013 Lingodhava Abhishekam Puja 

Om Arunachala Application

A very nice application designed for both iPhone and iPad has just appeared on iTunes, which might be of interest to readers. Below is the information on the relevant iTunes page. I include one of the screenshots of the app. The information on the relevant download page explaining the application goes as follows:

"OmArunachala is an universal application designed as an easy reminder for the important days of the Lord Shiva's sacred pilgrimage Thiruvannamalai. This application is created with the Lord's devotees and those who are interested in Hinduism or ancient India's culture, in mind. This app carries with it the most important dates of Thiruvannamalai and let the user add any such date as a reminder to the device. 

screenshot of application

Following list of dates can be viewed for the year 2013 with this app: 

1) Girivalam (Full Moon -- Mountain Walk) 

2) Amavasai or Amavasya (New Moon night) 

3) Karthigai Deepam (Sacred day of the mountain itself; Considered the most important day of the temple and The devotees) 

4) Pradosham (Sacred day of Lord Shiva) 

The chanting within this app offers the divine chanting of Lord Shiva, which according to the ancient text, purifies the soul and increases the concentration of the enchanter. The devotees are advised to chant the Mantra while visiting Thiruvannamalai, Lord Shiva's city of sacrificial fire." 

To go to the relevant iTune page go to this link here.

 

Trinomalee c. 1780

“In 1767, near Trinomalee (Tiruvannamalai, Tamil Nadu, south west of Madras), Colonel Joseph Smith defeated the combined forces of Hyder Ali, ruler of Mysore, and the Nizam of Hyderbad, who had formed a temporary alliance.” 

The below is an old photograph in black and white, of a unique copper engraving by J. Cheevers which was prepared for inclusion in a book by Richard Orme entitled “A History of Military Transactions of the British Nation in Indostan,” published in four editions during the years 1763-1799. 

Arunachala, Tiruvannamalai with Temple 1780

On examining the above photograph of Tiruvannamalai c 1780, one can see the girivalam path follows almost the same route as today, and the map shows two routes to the summit joining together, one branch possibly coming from Pavalakundru peak. The other summit path appears to be in the same location as nowadays i.e., from the south western lower corner of Arunachala temple. 

There is only one main shrine shown within the three walls of the Arunachala temple as the shrine to Unnamulai was not built until much later. See below photograph for an earlier photograph of the Siva Sannidhi. 

Siva Sannidhi before development

Vellore road is discernible in the north side of the map. It appears that a girivalam path went directly adjacent to Adi Annamalai, which is shown as being opposite Arunachaleswarar Temple, a small grouping of buildings, with open agricultural fields behind. The extent of Tiruvannamalai's streets were even more undeveloped than at the time of the below vintage photographs of the Big Temple in 1890’s and 1949. 

Photograph of Temple in 1890s

I will be posting a much fuller report of the historical context of this map and Book by Robert Orme shortly in the History section of Arunachala Samudra. 

Arunachaleswarar Temple 1949

Flag Hoisting at Arunachaleswarar Temple

I am currently researching and preparing material to update to my website Arunachala Samudra. In this respect on researching the symbolism of the Flag Hoisting ceremony which occurs on the first day of the Deepam Festival (and also in connection with all major Festivals at the Temple) I found the below information explaining the significance of this tradition and as it is so interesting am posting it today on Arunachala Grace.

Flag Hoisting First Day Deepam Festival 2012

A permanent Dhvaja Stambha is believed to be a later addition to the Hindu Temple. Initially, it was temporary and was primarily used to indicate the beginning of a festival or other auspicious days and occasions. Whatever its history may be, the Pancharatra scripture states that a Temple without a Dhvaja cannot be said to be a Temple! 

Dhvaja Stambha Arunachaleswarar Temple

Dhvaja Stambha, or Flag Staff, which is an important feature of the Temple, is located in front of the Siva Sannidhi. A Dhvaja Stambha usually represents the prosperity and pride of a Temple. But some texts suggest that the bottom of a flag post symbolizes Shiva, middle portion Brahma and the top portion Vishnu.

Today, Dhvaja Stambhas are permanent and in the case of Arunachaleswarar Temple it is plated with a precious metal. The top portion of the flag staff has three horizontal perches or three branches pointing towards the Sanctum Sanctorum. It symbolizes righteousness, reputation and propriety or the Trimurtis – Vishnu, Brahma and Shiva. 

Bali Pitha

At the base of the Flag Staff is located the Bali Pitha (sacrificial altar for one’s malas, sins). One who hoists the Dhvaja (flag) aloft a Hindu Temple attains a divine body and enjoys the company of gods." So declares the treatise Deeparnava. 

Ornate Vinayaka at base of Dhvaja Stambha

There is a widespread belief that the Dhvaja Stambha gives an idea to a devotee from a long distance about the idol installed in the Temple and about the Vahana or Vehicle used by the deity. It is hoisted when there is an auspicious ceremony or festival in the Temple. 

First Day of Deepam 2012, Flag Hoisting

Symbolically, hoisting the flag suggests setting out to conquer, and a devotee comes to the Temple to conquer his ego and gain control over the baser nature with the help of the Supreme Being. The Sanskrit word for the flag is ‘Dhvaja’ and it means whatever is raised. In the religious sense, whatever raises man to a higher level of understanding and activity is a ‘Dhvaja.’ The flag also suggests hope and desire to overcome ignorance. The Temple visit invigorates the devotee, recharging him with strength and bravery to face the hardships of daily life knowing full well that in the ultimate those who have surrendered to the will of God find victory. 

The Dhvaja which suggests the victory of good over evil is a symbol of victory and superior wealth. It signifies commanding respect, patriotism and kingship. The Kings of old in order to exhibit their Lordship over their kingdom and proclaim their continuing rulership would hoist a flag above their battlements or palace. 

Flag Hoisting Ceremony, Deepam 2012

God is seen as the King of Kings, an Emperor above all emperors. He is the Supreme Power, not just on earth but in the entire universe; which is, after all, His creation. The Hindu mind thus thinks it only befitting that tribute be paid to this all powerful Master - the Dhvaja is thus sent aloft. If an ordinary citizen pays tribute to his king and receives favour, why the surprise when a devotee pays tribute to his King! 

2012 Deepam Flag Hoisting

Sometimes the flag or banner hoisted in the Temple acts as a message board and gives an idea about the deity worshipped in the temple. It also suggests which particular incarnation or manifestation of the God is given importance in the temple. An interesting minor function of the Dhvaja is its use as a warning. Just as a city without the king's flag is a city 'without owner', a mandir without a Dhvaja is open to harassment by evil elements. The Dhvaja warns, "Beware, your entry is prohibited!" 

[Reference: Indian Temple Traditions – Kalpatharu Research Academy]

Masi Maga Theerthavari Urchavam

Yesterday was the important Festival of Masi Magam which falls in the Tamil Month of Masi (February – March). Maham or Makam is one among the twenty seven stars in the astrological system. The makam star in the Masi month usually falls on the full moon day and is considered highly auspicious in many Temples across South India. 

One of the important rituals on this day is the taking of idols to the seashore or ponds. Therefore the festival is also referred to as, the holy bath ceremony. Long processions from Temples arrive at the sea shore or waterbody with idols of various Gods. Pujas and other rituals are held at the sea shore and thousands of devotees throng the sea shore on this day to offer prayer. Yesterday the bathing of idols was performed in the river at Tirukkoyilur Temple near Tiruvannamalai.

Idols of Lord Shiva and Goddess

Immersion in River near Tiruvannamalai

Each temple has a myth for celebrating Masi Makam, in the case of Arunachaleswarar Temple, the legend for Masi Makam is related to Lord Shiva. King Vallalan of Tiruvannamalai was an ardent devotee of the Lord, and as he had no child, Lord Shiva promised to perform his last rituals. The king died on a Masi Magam day and it is said that the Lord performed his last rites. Lord Shiva also blessed the king by saying that whoever bathes in the sea during Masi Magam will merge with him and will get ‘mukthi.’ It is believed that every year the Lord visits a waterbody to perform the last rites of the king. 

Large crowds gathered for immersion

King Vira Vallalan III was an illustrious king who ruled over the Hoysala empire from 1292 till 1342. His empire at its peak covered a large part of South India. It had three capital cities, one of which was Tiruvannamalai, although it was then known as Arunasamudra, or Arunai for short. 

King Vallalan in niche Vallala Gopuram, Big Temple

The king was an ardent Saivite and during his stays in Tiruvannamalai he made many improvements to the Arunachaleswarar Temple. Tiruvannamalai was near the geographical centre of his empire and this encouraged him to make protracted stays there, particularly after the destruction of Dwarasamudra. It seems that during the last fifteen years of his reign he was constantly in residence at Tiruvannamalai. 

King Vallalan

King Vallalan's devotion and piety are celebrated in chapter seven of the Arunachala Puranam, a Tamil poetical work that was written in the sixteenth century by Ellapa Nayinar. The work is primarily a poetical rendering of the Sanskrit Arunachala Mahatmyam which was written several centuries before, but the verses at this link here, dealing with King Vallalan’s quest for a son, are only to be found in the Tamil version.

Sani Pradosham, Arunachaleswarar Temple

Yesterday, February 23, Sani Pradosham was celebrated at Arunachaleswarar Temple. Pradosham which is a worship connected to Lord Shiva and is a bimonthly occasion which falls on the thirteenth day of every fortnight in the Hindu Calendar.

If Pradosham falls on a Monday it is called Soma Pradosham (or Chandra Pradosham), on a Tuesday it is known as Bhauma Pradosham, and on a Saturday is called Sani Pradosham. Among all Pradoshams, Soma Pradosham and Sani Pradosham are the most significant ones observed by devotees. An auspicious 3 hour period, 1.5 hours before and after sunset is regarded as the optimum time for worship of Lord Shiva. 

During the day of Pradosham a fast observed from sunrise to sunset is considered highly beneficial. During pradosham, the bull Nandi (in Shiva Temples in South India) is worshipped and the idol of Shiva with Parvati in a seated pose on Nandi are taken on procession in the Temple compound.

Lord Shiva and Parvati

Worship of Bull Nandi

Gods on Nandi in procession

Performing circumambulation of Lord Shiva shrine

Large crowd of devotees attendant

Legend of Sani Pradosham 

Sani Pradosham, the Pradosham which falls on a Saturday, corresponds to the planet Saturn and is associated with the Mahakaleshwar Temple in Ujjain, Madhya Pradesh. 

According to legend, there was a ruler of Ujjain called Chandrasen, who was a pious devotee of Shiva and worshipped him continuously. He was blessed with a celestial gem which could create miracles. Rivals of Ujjain, King Ripudaman and King Singhaditya of neighbouring kingdoms decided to attack Ujjain to appropriate the celestial gem. King Chandransena unaware of the impending attack was involved in his worship of Lord Shiva. A farmer's boy (Shrikhar), walking on the grounds of the palace heard the king chant Lord Shiva's name. However on being discovered by the King’s guards, the farmer’s boy was removed from the palace grounds and sent to the outskirts of the city near the river Kshipra. 

Shrikhar (the farmer’s boy) continued to pray and news spread to a priest named Vridhi. Who upon the urgent pleas of his sons, also started to pray to Lord Shiva. The attack by the enemies of the King occurred on a Saturday and with the help of the powerful demon Dushan, (blessed by the God Brahma to be invisible), the invading Kings plundered the city and attacked the inhabitants, who were all Shiva devotees. Upon hearing the pleas of his helpless devotees, Shiva appeared in his Mahakal (form of light) and destroyed the enemies of King Chandrasen. 

Upon the request of his devotees Shrikhar and Vridhi, Shiva agreed to reside in the city and become the chief deity of that kingdom. From that day on, (at that place) Shiva resided in his light form as Mahakal in a Lingam that was formed on its own from the powers of Shiva and Parvati. 

It is believed that people worshipping Shiva on Sani Pradosham will be free from the fear of death and diseases and have an increase in their worldly wealth. 

Ramana Maharshi by a non-devotee

Below is a very interesting narrative written by Swami Tapasyananda, an eminent disciple of Sri Ramakrishna and previously vice president of the Ramakrishna Mission, of his meetings and opinion of Sri Ramana Maharshi. Its most interesting and illuminating to read the opinions and evaluations of a non-devotee, who was also a senior spiritual personage of an eminent spiritual organisation. 

The photograph accompanying this narrative is a painting made in 1949 by the South Indian artist, S. Rajam, for the Himalayan Academy, and rarely seen outside their Kauai Hindu Monastery located in Hawaii. I reproduce it below with their kind permission 

“The Maharshi impressed me as a rare type of man. I do not know whether he is a Jnani, or what he is. For as the Vedanta says, a Jnani can be known only by a Jnani, and I am certainly not one. But this person, anyone can feel, is not of the ordinary run of men. We nowadays come across men everywhere whose one thought is world-reform and things of that kind. But here is a man who is perfectly aware, as one can see from his conduct and movements, who has no such idea, who has in his opinion nothing to add to the sum-total of human happiness. He simply seems to exist, without waiting for anything, without being anxious about anything. On watching him I was powerfully reminded of the Gita passage beginning with “Udasinavad” (Like one that is unconcerned). He seems to take, as far as I can see no interest even in the Ashrama that has sprung up around him. He simply sits there; things are going on as events and other men shape them. The only activity of the Ashrama in which he seems to take active interest is cooking. He cuts vegetables in the kitchen, and if there is any special cooking any day he is sure to try his hand at preparing some of the dishes for that day. Spicing and other processes of the culinary art are performed there under his directions. 

Another point that struck me is his silence. We used to ask in fun among ourselves why eminent professors who crossed the seas did not deliver their Vedantic lectures through silence. But here is a person who actually does this as far as his teaching of the Vedanta is concerned. When I asked him to tell me something of spirituality, the first thing he said was that silence is the highest teaching! The beauty of the man is that he remains faithful to that idea to the utmost extent possible. His idea is that the Advaitin has no position to state, no Siddhanta to propound. He regrets that in these days even Advaita has become a Siddhanta, whereas it is really not meant to be so. 

Painting by S. Rajam, 1949

The reason for the existence of so much Vedantic literature is this: When doubts arise in the mind as our intellects are quickened, such literature is helpful in dispelling them. In other words, the Advaitin speaks only to dispel a doubt that might have arisen in himself or in another. Our saint remains faithful to this idea. He is mostly silent, and speaks but a little if questioned on any point. Of course he jokes and speaks occasionally on other things, but he has no dogmatic teaching on Vedanta to deliver. 

He told me he says ‘yes, yes’ to everyone who interprets Advaita, even to some of his followers who interpret his ideas in the books published under his name. When I asked, regarding a book that I purchased in the depot there, how far the ideas stated therein are his teachings, he told that it is very difficult to say that, as he had no definite teaching. As people have understood they have written, and they may be right from certain points of view. He himself, he said, has absolutely no idea or inclination to write a book; but due to the entreaties of some people about him he has written some verses, and he told me that he is often troubled by men who take a fancy to translate them into this language and that, and ask him about the faithfulness of the translation. 

So mostly the Maharshi remains silent, and people come, make prostrations, sit before him for some minutes to hours and then go away, perhaps without exchanging even a single word! I have got my own doubts as to whether people benefit by this teaching through silence. But yet people come from long distances to hear this dumb eloquence and go back satisfied. 

Though he speaks but little, it is very instructive to watch his face and eyes. There is nothing very prepossessing about his personality, but there is a beam of intelligence and unruffled calmness in his eyes that are unique. His body is almost motionless except when he occasionally changes his position or wipes his sweat in that hot place. I was carefully observing his face; I found him seldom winking and never yawning. I say this to show that I am sufficiently satisfied that the absence of activity in him is not due to inertness. 

The third point that struck me was the absolute absence of vanity or self-importance in him. Except for his toilette confined only to a kaupinam a visitor may not find it possible to make out Ramana Maharshi. He eats the same food as everyone else there; there is not even a single extra item or special dish for him. I specially noticed that in conversation he is not averse to using the first person pronoun, unlike some other Vedantins who use ‘he’ and things of that kind. I point out this to show how unostentatious he is. His silence, I am convinced, is not to assume a gravity of disposition calculated to keep people at a distance. And when he breaks that silence, as he does when questioned, he appears to be the sweetest and most friendly of men. 

He makes no distinction between man and man for their wealth or position in society. I saw peasants and gentlemen in motor cars coming and being greeted with the same silence. They all sit on the floor and receive the same hospitality . . . I stayed in the Ashrama for three days. The Maharshi talked with me very kindly and quite freely on the several questions I asked him. Although his manner of replying was not so impressive as I expected, his thoughts are always clear, concise and free from all ideas of narrowness. Though he has not read much, as he himself told me in some context, he has a good grasp of all the difficult points in Vedanta. 

My impression is this: Whether he is a Jnani or anything else I do not positively know. But I am convinced that he is a sweet and lovable person who is indifferent to all things about him, who has no end of his own to gain, who is always alert even when he seems to be most deeply absorbed, and who may be said to be perfectly free from greed and vanity. In seeing him I do believe I have seen a unique personage.” 

Swami Tapasyananda (1904-1991) 

Ramakrishna Mission 

Rajeshwari (Parvati Temple)

Recently this Temple, The Rajeshwari (Parvati) Temple on the Girivalam Roadway, was renovated and painted in preparation for a just completed mahabishekam function. In addition to the paintings of the interior and exterior walls, some new murals were painted on each of the outside walls of the Shrine, by a local Tiruvannamalai artist. The paintings are of: Shiva and Parvati on Nandi, Parvati with the Sage Bringi, Lord Dakshinamurti, Lingodbhavamurti, and the Goddess Durga with her foot on the decapitated head of the demon Mahisha. 

The stucco figurines adorning the gopuram are ancient and made in a pure Dravidian style. Just outside the Sanctum Sanctorum, there is a stela (stele) blackened by oil and upon which are Shiva and Parvati, sitting on the bull Nandi. 

This Shrine was originally called the Aravan Temple. The reason for the original name is unclear, it could possibly refer to the snake (i.e. aravan) adornment that Lord Shiva wears on the stele. It could also refer to the name of a warrior from the epic Mahabharata, who was on the side of the Pandavas. In the epic, it is Aravan who offers sacrifice before the first battle. For this reason he is known for granting protection to devotees and as he supervised the fire, he is often invoked by devotees who are attempting firewalking. The name Aravan could also possibly refer to the name of a Siddha Purusha of South India. 

Whatever the reason for the original name, traditionally this Temple is favoured by visitors who are seeking fulfillment of wishes or blessings in undertakings. 

Back of the Shrine with stucco figurines

View of Temple from the Girivalam Roadway

Front of Temple

Goddess Parvati with Sage Bringi

Lord Dakshinamurti with the four Rishis

Very nice Lingodbhavamurti

Lord Shiva, Goddess Parvati on Nandi

Goddess Durga on Mahisha's Head

Shrine with Stele at side

Close up of Stele

Halahala into Poison

"Just as Shiva took 'Halahala' Poison and changed it into 'Ambrosia', the Lord will change difficult situations into Great Blessings for those who love God . . . " 

[Yogi Ramsuratkumar]

Goddess Kamakshi at Arunachala

Tiruvannamalai has many beautiful Temples dedicated to the Divine Mother, notwithstanding the glorious Unnamulai Shrine at the Arunachaleswarar Temple, there are also the renowned and powerful; Durga Amman Temple, two Kamakshi Temples, Pachaiamman Temple, Pavala Kundru Temple, Karumariamman Temple and the unique and precious Rajarajeshwari Temple. Previously I viewed photographs taken at the Kamakshi Temple near North Street, but always assumed that the Temple was a recent minor Temple at Tiruvannamalai. I have visited the beautiful Kamakshi Temple on Thirumanjana Gopura Street (near Thiruvoodal Street), and supposed that that was the more ancient of the two. So I was surprised when I visited the Thavasu Adi Kamakshi Temple near North Street for the first time a few days ago, and learnt that it is in fact one of the most ancient Temples in the District. History dates its age to be around 1,500 years old, and the statue of the Goddess in the sanctum sanctorum is also extremely ancient. The Temple is very powerful and the Goddess Kamakshi is renowned as a boon giver as she is an aspect of the shakti of Lord Shiva, and grants all the wishes of those who invoke her.

The goddess Kamakshi is a form of Tripura Sundari or Raja Rajarajeshwari, an embodiment of Universal power, an incarnation of Parashakti. She is also known as Lalitambika or Tripurasundari. As the Goddess that sits on the Sri Chakra, she is defined as the supreme Goddess of beauty.

Ancient Goddess Kamakshi Temple

Legend states that the Goddess Kamakshi appeared when Kamadeva (god of love) was burnt to ashes by Lord Shiva’s third eye. Lord Chitra Karma (god of art) collected the ashes and drew a picture of a man. When Lord Shiva glanced at the ash figure, it breathed into life. Chitra Karma advised the man that as he was born due to the glance of Lord Shiva’ s merciful eyes hence he should do penance to Lord Shiva and recite Shiva mantras. The man born from the ashes of Kamadev was able to please Shiva by his penance and the Lord blessed the man with lordship of the world for sixty thousands years. Hearing this Lord Brahma feared that there would be chaos in the world and cried out in despair ‘Bhand! hey Bhand!’ Therefore the man was known as Bhanda.

Left is doorway to Sanctum Sanctorum

Beautiful Nandi with back to Shrine facing Arunachala

Armed with boon of near invincibility, Bhanda defeated Lord Indra and caused great chaos on earth. In response Indra performed a yajna dedicated to the Shakti Goddess. From the sacrificial fire arose the Sri Chakra and on it appeared the beautiful Goddess Kamakshi.

Goddess Kamakshi

Promising to restore Dharma on earth, the Goddess engaged Bhanda in battle and defeated him on the fourth day. As she appeared to annihilate the demon that arose from the ashes of Hindu God Kama, her name is Kamakshi.

With Lingam pressed against Heart

One of the most unique features of the Goddess at the Kamakshi Temple, North Street, Tiruvannamalai, is that she is holding a Shiva Lingam in her hand which is pressed against her heart, whilst standing in a sea of flames to represent the austerity (thavasu) she had to perform in reparation for her sin in killing Mahisha, a Shiva devotee.

Standing in sea of flames of tapas

The story of the slaying is as follows: 

The Goddess and the Lingam 

“The Goddess pierced Mahisha with Her trident. His body was as big as a mountain range but he could not withstand the valour of the Goddess. He fell and rolled on the ground but could not extricate himself from the trident. He looked like a red sea with blood flowing from his face and limbs. The Goddess cut off his head with a sharp sword and stood dancing upon him. Seeing this the siddhas, gandharvas and Maharshis hailed Her as Goddess Durga. Indra, the king of the devas, bowed down before Her and with folded hands he praised the Goddess. He prayed that Her form as Mahishasura Mardhani (the destroyer of Mahisha) should be a source of prosperity and happiness for all creation. 

When the Goddess was praised in this manner and worshipped by Indra and adored by the rishis, She complied with their request and said, “Let it be so”. She created an image bearing all kinds of weapons and installed it in the world of the devas. Then She took Her place here again assuming Her tranquil form surrounded by Her companions. She looked at the severed head and neck of Mahisha. Seeing a lingam there She quietly took it with the object of worshipping it. She looked at the blood smeared lingam carefully for a long time. When She did so the lingam stuck to Her hand. She could not remove it! She exclaimed: 

“Why has this happened?” In distress She went to Maharshi Gautama and said: “This devotee of Siva was killed by me. I am therefore overcome by sorrow.” Pained at what She had done She continued: “O Sage! You know all the dharmas! I wanted to protect the devas. So I assured them of my protection. While fulfilling my promise, though meant for protecting dharma, I have committed an act of adharma. This lingam which was around his neck clings to my hand. How shall I expiate the sin of killing a devotee of Siva? Until I obtain the Grace of Siva I shall go on a pilgrimage with this lingam and do penance. Afterwards I shall bathe in the holy waters flowing at places sacred to Siva and expiate my sin.” 

Gautama who was well-versed in the dharma of Siva said: “Gowri! Do not fear that you killed a devotee of Siva by mistake. Mahisha could not be conquered by the devas not because he had the good fortune to possess the lingam, but because he had to be killed only by you, the beloved of Siva. He roused the anger of Maharshis who were the devotees of Siva, hated them and scorned them. Consequently he was cursed by them thus: 'As you behave like a buffalo you shall become a wild bison.' And he immediately became Mahisha (bison). But when he bowed to them, praised them and begged for release from his curse, they were pleased to give him the following advice: 'Although you have become a bison, by Siva's command, you will be slain by the Goddess herself. You need not be depressed at your plight. Who is not punished for scorning the siddhas who are actually Siva? Although you have, on account of your sin become a bison, you will be released from the curse through the grace of the siddhas.' 

“O Gowri, Mahisha has been killed by you because of your penance. If necessary you may for the sake of pleasing Siva, have darshan of Arunachala, the Effulgent Lingam. Mahisha was a devotee of the Lord of Arunadri in his previous birth. Afterwards he became a wild buffalo but somehow he acquired a lingam. Who is there in the three worlds who can kill the wearer of a lingam? “It is said that a lingam which is worn without proper initiation will bring ruin upon the wearer. Or perhaps, he swerved away from the virtuous path by evil counsels. There is no doubt that he has been liberated by coming into contact with your lotus feet, as a result of the austerities performed by him in his former lives, by the remembrance of his real nature and the wearing of the lingam. In any case, the sight of this noble Hill is the sure means of expiating all sins. 

“Goddess! This sin can be expiated in the following manner: You must bring some followers of Saiva Siddhanta and settle them here. You must then make all the holy waters meet here and form a single holy pond, in which you must bathe wearing the lingam and uttering the aghamarshana mantra (mantra which expiates sins). You must bathe thrice daily and, at the end of one month, perform Deva Yaga (sacrifice for the gods) and worship the Lord of Arunadri.” 

When Bhagavati learnt from the muni this secret about Siva, She took the necessary steps for bathing in such a holy pond and expiating Her sins.”