Photographs of 2015 Mahashivaratri at Arunachaleswarar Temple

The below photographs are of the recent 2015 Mahashivaratri function celebrated at Arunachaleswarar Temple at Tiruvannamalai. To learn more about the legends and significance of Mahashivaratri as is observed at this place go to this link here.

The first photograph is of devotees performing worship by lighting camphor outside the main Raja Gopuram East Gate of the Temple. 

Main Temple Gate on Night of 2015 Mahashivaratri

Devotees going through the Temple Vallala Maharaja Gopuram

Generally both Theerthams inside the Temple Compound are closed to devotees, but on the evening of Mahashivaratri around 6 p.m. the gates of the Brahma Theertham traditionally open to allow devotees entry to light and place their individual Deepamas at the side of the tank. 

Lights around Brahma Lingam Tank, Arunachaleswarar Temple

Throughout the Temple Compound various groups of devotees engage in their own devotions throughout the evening of Mahashivaratri -- one of the Festivals celebrated at Arunachaleswarar Temple during which the Temple gates stay open all night. 

At the auditorium some devotees are watching cultural programmes. In the Moolasthanam others are attending the Kala Pujas and later on the Lingodhavamurti Puja. Other devotees are silently sitting in quiet spots in meditation. In the below photograph a small group of devotees are gathered in front of the Brahma Lingam Shrine in satsang and are observing the night of Mahashivaratri, singing bhajans dedicated to Lord Shiva. 

Singing bhajans in front of the Brahma Lingam Shrine

Devotees coming up from Tank after lighting their Deepam

Cultural Programme, Arunachaleswarar Temple Auditorium

Traditionally large kolams created by using salt rock crystals are made in the morning of the first day of the Festival. After their creation, devotees place small clay deepams around the kolam perimeters. The below depicts Saint Arunagirinathar -- who has many legends associated with this Temple. 

Arunagirinathar Kolam

Lingodbhavamurti Puja 

On the Night of Mahashivaratri, which in 2015 was observed on February 17th-18th, an abhishekham and puja ritual commenced at 12 midnight at the Sri Lingodbhavamurti. 

The manifestation of Shiva in a column of fire, carved in stone is known as the Lingodbhavamurti. It is always enshrined in the rear niche of a Shiva Lingam sanctum. 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. 

2015 Lingodbhavamurti Puja, Arunachaleswarar Temple

Lingodbhavamurti located outside the back of the Moolasthanam

Arti at 2015 Mahashivaratri Puja at Lingodbhavamurti

To learn more about the Lingodhavamurti at this Temple, and the legend of the Ketaki flower and why it is only used in Shiva worship one time a year -- i.e. the night of Mahashivaratri, visit my earlier posting at this link here. 

2015 Mahashivaratri at Arunachaleswarar Temple

The below photographs are of the 2015 Mahashivaratri Festival as observed at Arunachaleswarar Temple.

At around 6 p.m. this evening, the gates to the Temple tank were opened to allow devotees to place and light their deepam clay pots around the perimeter of the tank. The tank gates stayed open till about 9 p.m. But it wasn't just around the Temple Tank that one could observe the small deepam lights, as little ghee deepam pots were twinkling everywhere throughout the Temple compound.

Devotees lighting their own clay lamps around Temple tank

Devotee creating his version of the Amarnath Ice Lingam

Lingam display at the Mahila Maram trees, Third Prakaram

Ardhanarishvara at Arunachala

 

As tradition dictates, in the daytime of Mahashivaratri (this year February 17) both ladies and gentlemen created a number of beautiful kolams (also known as rangolis) on the floors of the Temple Compound which depicted scenes from the history and mythology of Lord Shiva. Instead of kolam powder, all the large kolams were made using rock crystal salt to make the kolams look shiny and also to ensure that they last longer. 

Tonight, in accordance with the Mahashivaratri Programme there will be pujas inside the Siva Sannidhi and various cultural programmes at the Temple auditorium. 

To find out more about the Mahashivaratri Festival celebrated at Arunachala, please visit my website Arunachala Samudra at this link here. 

February 16, 2015 Pradosham at Arunachaleswarar Temple

The photographs below are of Pradosham celebrated today at Arunachaleswarar Temple. Crowds were very large in spite of the building work currently going on. 

Work started recently on the refurbishment and renovation of Arunachaleswarar Temple with major focus on restoring the antiquity of the Temple by changing what was recently carried out; such as granite flooring at various spots in the complex. 

Apart from the restoration, work on all the nine Gopurams of the Temple will be repaired and re-plastered wherever required and thereafter painted. Currently several of the Gopurams are crisscrossed with bamboo scaffolding in order to facilitate this work. 

After all of the above work has been completed a grand Kumbhabhishekam will be held at Arunachaleswarar Temple.

2015 Arunachaleswarar Temple Mahashivaratri Programme

Arulmigu Arunachaleswarar Temple, Tiruvannamalai 

Mahashivaratri Festival Celebration Invitation 

Tuesday February 17th-18th, 2015. 

Details of the programmes in the Temple Auditorium on the evening of Tuesday February17, 2015 and early morning of Wednesday 18th February, 2015. 

Cultural Programme Timings:

6.00 p.m. to 7.00 p.m. Devaram poems with music 

7.05 p.m. to 8.00 p.m. Bharatnatyam Dance 

8.05 p.m. to 9.00 p.m. Bharatnatyam Dance by Sri Krishna Kalamandhir (Vellore) 

9.05 p.m. to 10.00 p.m. Bharatnatyam Dance 

10.05 p.m. to 11.05 p.m. Bharatnatyam Dance 

11.05 p.m. to 12.05 a.m. Violin and Saxophone music of devotional songs (Sri Mani Thilaka Group) 

12.05 a.m. to 1.00 a.m. Devotional songs 

Mahashivaratri Night Puja Programme: 
1st Kala Puja 8.30 p.m. February 17 

2nd Kala Puja 11.00 p.m. February 17 

3rd Kala Puja 2.00 a.m. February 18 

4th Kala Puja 4.00 a.m. February 18 

Night of Mahashivaratri February 17-18 at 12 midnight Commencement of the Sri Lingodbhavamurti (at back of Siva Sannidhi) 

Special Abhishekam Lakshana Archana on Tuesday February 17, 2015 from morning 5 a.m. to 2 p.m. at the Moolasthana 

Visit to a village shrine

On our way back from a recent visit to the ashram of Sri Siva Siddhar Mona Swami, we stopped briefly at a small shrine set off the Nallan Pillaei Petral village road. The Goddess is represented at that place in the form of an uncarved stone and both the Shrine and surrounding area had a serene, peaceful atmosphere. 

On returning home I read up on Village Goddesses and am posting the below fascinating information. 

Despite the number and variety of gramadevatas (village deities), several typical characteristics of these local deities have been noted. First they are usually female, second these deities are usually not represented by anthromorphic images instead they are usually represented by uncarved stones, trees, or small shrines . . . third, these deities, goddesses for the most part, capture the primary interest of the villagers and tend to be worshipped with more intensity than the great gods of the Hindu pantheon . . . the village goddess engages the villagers directly by being associated with their local, existential concerns. She is perceived to be their deity and to be concerned especially with their well-being and that of their village. 

Goddess as manifest in the form of uncarved stone

“Many Indian villages have Brahmanic temples within them, however the religious focus is mainly on the shrines of the village's goddess and god. Rural Indians inhabit a world full of divine and semi-divine beings; tree spirits (yakshas), ghosts (bhootas), puranic, local, personal and ancestral gods who co-exist in a complex hierarchy. . . . Unlike in orthodox puranic Hinduism villagers have direct access to the local gods and do not require the intercession of a priest. The Goddess also plays a larger role in local religion, and rural religion is centred on specific places of perceived spiritual power. The shrines themselves are relatively simple affairs. 

Guardian of Shrine

In parts of South India Goddess shrines are located to the north of the village. This is significant as the north is associated with spiritual knowledge and disease and so emphasises the innate duality of the Goddess. 

An unpaid priest and his assistants have the duty to maintain the shrines (at the community's expense) and to propitiate the deity to ward off communal bad luck and disease. Individual villagers, regardless of caste, can approach the village deity directly as and when they have a need. At specific times of year and during crisis a festival is held in honour of the Goddess. Generally main feature of these festivals is the sacrifice of an animal, at one time buffalo sacrifice was widely practised, nowadays the victim is more likely to be a goat or chicken.” 

[By Rowan] 

Painted terracotta horse

At this particular shrine, the Tamil words are written under the shrine which translated specifically declare: ‘Don’t kill animals in the name of God.’ 

View of all 9 Temple Gopurams

This post is about one spot inside the Arunachaleswarar Temple Compound from where you can see all nine Temple Gopurams. That spot is located near the sacred Mahila Maram trees in the Third Prakaram. In the below photograph, I have marked with a pink "X" the location of the trees and Dais. 

"X" marks the spot

The next photo shows the dais next to the Trees in the Third Prakaram outside the Siva Sannidhi. At the bottom of the photograph one can see four round pillars encompassing a flat Lingam, which during the Vasantha Ursavam Festival, is filled with water and flowers, which makes it look as if it is floating.

Flat Lingam surrounded by four cylindrical pillars

Statues of Dakshinamurthi and Lord Vinayaka are situated close to the Linga.

Statues of the Gods on the Dais

Boon Cradles

In the above photograph one can see Boon Cradles hanging from the branches of the Mahila Marams; the cradles are made of cloth and sometimes wood and are hung by devotees who are seeking the blessings of the Annamalayiar for a child. 

Circle from where to view all 9 Temple Gopurams

Above one can see in front of the raised platform, a circle drawn on the ground. When standing in the centre of that spot and turning a complete circle, it is possible to see all nine gopurams of the Temple. In addition if you raise your head to view the Temple, one can see see the stone Nandis that face Arunachala. 

In the above photograph (taken from the circle in front of the Mahila Maram tree dais, the smaller structure is the West Kattalai Gopuram and in the background the larger structure is the Pey Gopuram. Notice the Nandis on the wall facing Arunachala.

Continuing in a clockwise direction from Pey Gopuram and the West Kattalai Gopuram, the next Gopurams viewed from the circle spot at the Mahila Maram Trees and dais are to the north; the Ammani Amman Gopuram and in front the North Kattalai Gopuram. 

Ammani Amman and North Kattalai (in front) Gopurams

The next photograph below and facing east are three Gopurams: back Raja Gopuram, centre Vallala Maharaja Gopuram and front the Kili (parrot) Gopuram. 

Back to front: Raja, Vallala and Kili Gopurams

The final 2 Gopurams to be viewed making a total of the 9 Temple Gopurams, are to the South; the large one at back is Thirumanjana Gopuram and smaller in front South Katalai Gopuram.

Back: Tirumanjan Gopuram, front South Katalai Gopuram

Life of Ammani Amman (Arunachaleswarar North Gopuram)

I have received a number of enquiries asking for information about women saints and sadhakas of this place. I earlier made a posting of the renowned and mysterious Sufi Saint Syedini Bibi whose Darghar (burial site) is located on Car Street. 

The below posting is of Ammani Amman, the great sadhaka responsible for the construction of the North Gopuram of Arunachaleswarar Temple. The information and legends have come from several Tamil sources. It is my belief that the below narrative is the first time information and legends of this sadhaka have appeared in English. 

Ammani Amman 

Ammani Amman was born in the small village of Chennasamutharam, which is located at the foot of Javadhi Hills (near Chengam). She is famous for building the North Gopuram of Tiruvannamalai Temple (Arunachaleswarar Kovil). She was born to Gopala Pillai and Alu Ammal and had a brother named Thandavan Pillai. Her parents planned to marry off their daughter and although Ammani Amman was not interested in marriage, she did not oppose the wish of her parents. Her parents selected a boy, who was related to her family and fixed the date for the marriage. 

On the first day of her marriage Ammani Amman told her husband about her devotion to Lord Shiva, and that she wanted to live a life dedicated to her chosen God. Her husband was irate and told his wife of his own wishes for their marriage. The discussion between the two led to strong words and Ammani Amman spoke harshly to her husband. After their argument, she left the house and went and stood in a nearby pond. She remained in the pond throughout the night and when she left the pond the next morning, was able to chant many mantras. Still in a trance-like condition, she wandered about near her village until she reached a small waterfall. At that place she remained motionless for two days. On the third day, in response to the unceasing prayers of her relatives, Ammani Amman left the waterfall and gave handfuls of sandy earth to her awaiting relatives (who had remained fasting in that place throughout on a vigil). The sand was transformed into fried rice, which amazed her family—who then questioned Ammani Amman about who she was and the nature of the powers she had acquired. 

Ammani Amman responded to their questioning:- 

It is reported that she claimed she was Parashakthi, consort of Lord Shiva. She continued with her narrative relating that when she was living with the Lord, one day she asked Him to answer her doubt as what was the sun and the moon. The Lord replied that, “the sun and moon are my two eyes – the right is the sun, and the left is the moon.” In play Parashakti moved to the back of the Lord and put her hands over His eyes, closing them. All became dark. The Lord angrily told her that although she was His wife, that she had to atone for the mistake of closing His eyes by taking birth for two jenmas (lives) on earth. Both those two births were ordained to take place at the village of Chennasamutharam. 

In the first jenma (birth), Ammani Amman related to her relatives (who were listening to her narrative), that she was brought up as an adopted daughter to a farmer and his wife of Chennasamutharam. Her adopted parents were Aadhyan and Godvari. They were devotees of Lord Shiva and did not themselves have a child. One day local villagers summoned them to a big stone at the village. On the stone the couple saw a small female child. Believing the child to be prasad from the Lord, they adopted the baby and gave it the name of Chennama (which was told by Lord Shiva in a dream to Aadhyan). Even to this day the villagers worship a big rock at that place (where the baby was believed to have been discovered) in the name of Ammani Amman i.e. Chennama Rock. 

As Chennama was growing up, she daily performed meditation and puja to Lord Shiva. A Muslim King Nawab, who was ruler in the area of Chengam, came to hear about the God-gifted child and came to see her. He asked Aadhyan and Godvari to give the child to his care, vowing that he would adopt the girl and eventually make her Queen of his Kingdom. 

The parents told their adopted daughter what the King proposed. The child asked the King to return on the eighth day. Before the King arrived on the eighth day (as related by Chennama) villagers and parents sent her away on a small boat, travelling throughout the night. In the morning she reached Neepathurai. On reaching that place, a person came to her – it was Velliyappa Chittar (a saint living in that village). On seeing the young girl he intuited who she was and showed her to a cave where the Saptha Kannigals (seven guardian deities) would protect her from all adversity. She went into the cave and sat surrendered to the protection of the Saptha Kannigals. 

Nawab, the King, on hearing the news that Chennama was at Neepathurai Village arrived there with his army to see the child. He met the saint Velliyappa Chittar who told the King that the child had been born to save devotees, that she was an incarnation of Parvati and did not belong in the worldly realm even as a Queen. Velliyappa Chittar showed the king the cave the child had entered and was now living under the protection of the Saptha Kannigals. On hearing the words of the saint the King was shocked and realised the mistake of his previously trying to take the child. Thereafter the King spent the remainder of his life as watchman and guardian to Chennama. 

The saint, Velliyappa Chittar soon after attained jivan samadhi. Above the rock of Velliyappa Chittar’s jivan samadhi, there is today a Temple at Neepathurai Village known as Sri Prasana Venktatesha Perumal Temple. 

Sri Prasana Venkatesha Perumal Temple

Thus the first jenma (birth) of Ammani Amman as Chennama ended.

In the second jenma (as she relates in her narrative to her friends and relatives by the waterfall) she took birth as Ammani Amman in order that she could perform tapas and service in atonement for the mistake she had previously made of closing the eyes of Lord Shiva. The service ordained to her was to complete the construction of the North Gopuram of Arunachaleswarar Temple (Tiruvannamalai) which had been started by King Vallala Maharaja. The King was responsible for the development of many parts of Arunachaleswarar Temple but had left the North Gopuram unfinished. When the King’s wives Malla and Salla had asked the King about the unfinished North Gopuram of the Temple; the King told them that a lady would come and finish the work. 

Ammani Amman Gopuram, Arunachaleswarar Temple

Ammani Amman started to raise money for the North Gopuram. One way she financed the work was by visiting the homes of Lord Annamalaiyar’s devotees and asking them for money towards the cost of the Temple tower. If they refused she would make them vow to give a cash donation if she was able to tell them exactly how much money they had in their homes. She would always guess correctly, and the devotees believing Ammani Amman had Divine grace for the work, would invariably donate towards the development of the North Gopuram. 

Later with a group of devotees Ammani Amman went to the King at Mysore seeking a donation towards the Temple work. The Mysore King agreed to help and gave her money laden on seven camels and a valuable pearl necklace. Returning with the treasure to Tiruvannamalai on the forested mountain path of Manjavadi Kaanavai a group of thieves attacked her encampment in order to steal her treasure. Ammani Amman allowed the thieves to take the money saying that it belonged to Lord Shiva. As the robbers touched the riches they became blind. In great remorse and realising their mistake they fell down before Ammani Amman in worship and asked her to restore their vision. As their sight returned, the band of reformed thieves accompanied her to her village Chennasamutharam where they made a pond for forest animals and planted many trees brought from Mysore. They then accompanied her to Tiruvannamalai and continued with the work on the North Gopuram. 

North Gopuram at left

Ammani Amman built up the seventh stage of the Gopuram by using specialist masons (spathis) but by the eighth stage (of the Gopuram) money had once again run out and thus she worshipped Lord Shiva by performing japa and begged for His support. Lord Shiva told her in a dream to continue and to give vibhutti to the workers. On giving vibhutti to the builders, it was transformed into gold and the work continued until the Gopuram was completed. 

************ 

The North Gopuram of Arunachaleswarar Temple is known as Ammani Amman Gopuram and comprises one of the four major Gopurams of the Temple; Raja Gopuram (east), Thirumanja Gopuram (south), Pey Gopuram (west) and Amman Amman Gopuram (north). 

Ammani Amman Compound, next to Esanya Mutt

The samadhi of this great sadhaka is next to the Esanya Mutt across from Esanya Lingam in Tiruvannamalai. 

Samadhi of Ammani Amman

2015 Maruvoodal -- Arunachaleswarar Temple

The below photograph is of the part of the Thiruvoodal Festival known as the Maruvoodal . . . which marks the reunion of the Divine couple in their abode at Arunachaleswarar Temple. 

When Lord Shiva completes his pradakshina he returns to Arunachaleswarar Temple early the next morning. He wishes to have reunion with his consort. This part of the Festival is known as Maruvoodal. The point of the Maruvoodal myth is to show the world that even a Celestial Couple has differences between them. But in the end there should only be reunion, even at the cost of a loss in finances which is represented by the loss of the jewels the night previously. 

Returning to his residence, Shiva knocks at the door but it has been bolted by Parvati. Lord Shiva asks, 

‘Oh my darling why have you locked the door?’ 

‘Sir after we came to an understanding still you went without me. And see now look you have lost everything there is no ornament or clothes. Not, only that but you went and gave darshan to all kinds of people. So, I am now requesting you must establish your manliness to me and retrieve everything that is lost and give the special one-legged dance.’ 

 Shiva starts the dance, Parvati forgets everything and opens the door. Their reunion is complete. 

2015 Arunachaleswarar Thiruvoodal Enactment

The below two photographs are of the enactment of the 2015 Thiruvoodal (petty quarrel) between Lord Shiva and the Goddess which partly takes place on the mada veedhi (perimeter streets) of Arunachaleswarar Temple here at Tiruvannamalai. 

Thiruvoodal is enacted by Shiva and Parvati to convey social truths to their devotees. It takes place; inside the compound of Arunachaleswarar Temple, on the streets delineating the perimeter of the Temple, and on the girivalam pathway itself; by iconic representations of Shiva and Parvati. Thiruvoodal Festival is regarded in such high esteem that one of the perimeter roads has earned the special name Thiruvoodal Street by this convention. 

From the early hours Abishekam is performed at the Temple to start the procession by 5 a.m. At which time an iconic representation of the Lord (and Parvati) is carried by attendants on a palanquin with a huge sunshade. 

The palanquin first visits the Kodi Kampathu Nandi and gives darshan as Viratswarupa and afterwards separates into three parts representing; Brahma, Siva and Vishnu before leaving the compound of Arunachaleswarar. 

After Blessing the Nandhis en route the Holy Couple of Periya Nayakar (Protagonist Of the Universe) and His Consort find their way out through the thitti vaasal - a small entry at the east of the Temple compound, instead of leaving through the main Temple gate known as the Raja Gopuram. 

On blessing the Sun at the thitti vaasal the procession goes around the temple perimeter thrice. During which the actual staging of the Divine Quarrel is re-enacted on the streets; the first time as Brahma, second as Vishnu and the third round as Rudra.

The Gods "quarrelling" on the Tiruvannamalai streets

To support the enactment of the 'tiff' between Shiva and the Goddess, emissaries are employed by both to convey messages between the deities and participate in 'brokering a deal' between the feuding couple. The emissary used by Shiva on his behalf is Sundaramurthi Nayanar – a saint feted as a great devotee of Lord Siva and one of the Tamil Samaya Acharyas (four Tamil religious Teachers). His story is included in the famous book entitled Periapuranam. Saint Sambandhar is the other emissary engaged to help conciliate the Divine couple. 

A Tamil Poem "Thirukkutraala Voodal" narrates how Devi and Swami sing mockingly against each other’s courting. Thiruvalluvar has stressed in his verses the fact that such play between the couple enhances love and affection between spouses especially in making love which is described as the supreme form of "understanding" each other. 

Parvati complains about Shiva in the presence of Saint Sundarar. She talks of her unhappiness about the unkempt ways of Shiva; about his matted hair and having the Goddess Ganga in his disheveled locks, about his naked body smeared with ashes, his reclusive nature and his way of wandering about in cremation yards, His liking for wearing bones and dried skin, the carrying of a skull and his other strange behaviour. The Goddess also complains of Lord Shiva appearing in the minimal clothing of a Kaupina (loincloth) in front of the Rishi’s wives to whom he gives mouna darshan. Parvati also criticises that she is unable to get her Lord to work as he is immersed in meditation most of the time. 

Saint Sundarar is nonplussed and does not know what to do. Shiva, for his part, knowing full well that Parvati is more concerned with 'this and now' while he dwells purely in the eternal, pleads with her to reconcile. Parvati is implacable and stops talking to Shiva. She enters the temple without him. In order to placate her and as night is approaching, Shiva agrees to circumambulate Arunachala. During his circumambulation, he meets Bhringi Rishi and grants him liberation. The Lord loses all his Jewels during his hill round. 

When Lord Shiva completes his pradakshina he returns to Arunachaleswarar Temple early the next morning. He wishes to have reunion with his consort. This part of the Festival is known as Maruvoodal. The point of the Maruvoodal myth is to show the world that even a Celestial Couple has differences between them. But in the end there should only be reunion, even at the cost of a loss in finances which is represented by the loss of the jewels the night previously. 

Returning to his residence, Shiva knocks at the door but it has been bolted by Parvati. Lord Shiva asks, 

‘Oh my darling why have you locked the door?’ 

‘Sir after we came to an understanding still you went without me. And see now look you have lost everything there is no ornament or clothes. Not, only that but you went and gave darshan to all kinds of people. So, I am now requesting you must establish your manliness to me and retrieve everything that is lost and give the special one-legged dance.’ 

Shiva starts the dance, Parvati forgets everything and opens the door. 

To learn about the sagas concerning the Gods which are used to create the scenario of the 'petty quarrel' (Thiruvoodal) that needs resolution go to this link here.