My Thoughts .............. 92

 

1) Be a camphor, burn and dissolve in the flame of HER bhakti!

2) Remember: The collapse of a false world is the birth of a true one.

3) The loudest word ever shouted is QUIET

4) Do not be loyal to the pain that shaped you. Let it flow off.

5)  “Your heart is not a container. It is an ocean — let everything dissolve in it.”

6) “Unity is not sameness — it is the music of differences moving together.” 

7) Remember, when you don't succumb to pressure, they negotiate with you!

8 ) “You are a flame pretending to be a candle.” Come out of the shackles!

9) “Let what you know become what you do.”

10 ) Remember, “You are the river, not the silt it carries.”

The Pañcakanyā

 

The Pañcakanyā

In Hindu tradition, the Pañcakanyā – the five maidens – are remembered daily as purifying forces:

अहल्याद्रौपदीकुन्ती तारा मन्दोदरी तथा ।
पञ्चकन्या स्मरेन्नित्यं महापातकनाशिनी ॥

ahalyā–draupadī–kuntī tārā mandodarī tathā |
pañca–kanyā smaren nityaṁ mahā–pātaka–nāśinī ||

Remembering the five holy maidens – Ahalyā, Draupadī, Kuntī, Tārā and Mandodarī – destroys even the greatest sins.

These five women are:

Ahalyā, Tārā and Mandodarī – from the Rāmāyaṇa
Draupadī and Kuntī – from the Mahābhārata

Some local traditions include Sītā instead of Kuntī, but the most widely accepted form in popular recitation includes Kuntī as part of the Pañcakanyā.

Here, “kanyā” does not mean physical virginity. All five are married women, mothers, and women whose lives involved complex, even scandalous, situations. Kanyā here means one whose inner purity continually renews itself, who remains spiritually unbroken despite outer turmoil.

The Power of Remembering the Pañcakanyā

The verse calls them “mahā–pātaka–nāśinī” – destroyers of even the greatest sins.

This can be understood in two ways:

Purification of past actions

Meditating on them, chanting their names with devotion and understanding, softens the impressions (saṁskāras) of guilt, shame, and inner hardness. We see in them that even deeply tangled karma can be illumined by grace, courage and surrender.

Protection from future wrongdoings

The mantra does not just “clean up after” sinful acts. Repeated remembrance creates a subtle inner compass. Their lives start to live inside us:

Ahalyā’s humility,
Draupadī’s uncompromising sense of justice,
Kuntī’s surrender and responsibility,
Tārā’s wisdom,
Mandodarī’s clarity in a corrupt environment.

These qualities gently divert the mind away from adharma. So “pātaka–nāśinī” includes preventing sin by reshaping our inner tendencies.

1) Ahalyā – From Stone to Grace

Ahalyā, wife of the sage Gautama, is often considered the “head” of the Pañcakanyā.

Traditions differ slightly about her origin:

In some tellings, she is created by Brahmā as the most beautiful woman in the universe. In others, she is a princess of the Lunar Dynasty, later married to Gautama.

Indra, the king of the gods, is overcome by desire for her. When Gautama is away:

In some versions, Indra comes disguised as Gautama. Ahalyā, unable to see through the disguise, is deceived.

In other words, she recognises him but gives in out of curiosity or confusion.

In all versions:

Gautama discovers the act and curses both Ahalyā and Indra. Ahalyā is condemned to severe penance and isolation:

Sometimes she becomes a stone. Sometimes she remains invisible, living unnoticed and fasting. Some regional retellings say she becomes a dry stream, destined to be purified when she joins the Godāvarī (Gautamī).

Indra too is cursed: Either to be castrated or to be covered with a thousand marks of shame (vulvae), which later transform into a thousand eyes.

The turning point:

When Rāma visits Gautama’s hermitage, he touches or steps upon the stone. Ahalyā instantly regains her form, purified by the presence of Rāma and accepted again.

Why is Ahalyā a kanyā?

Ahalyā stands for: The fallibility of human desire,

The pain of being cursed and ostracised, and the healing power of grace.

She becomes a “maiden” again, not in body, but in inner freshness: her ego is broken, guilt burned, and she stands as pure receptivity before Rāma.

When we remember Ahalyā, we touch that part of ourselves that feels “turned to stone” by past mistakes, and we invite Rāma’s touch of forgiveness.

2) Draupadī – Fire That Refuses to Be Covered

Draupadī, the heroine of the Mahābhārata, is born from the sacrificial fire of her father, Drupada, king of Panchāla. She is destined to be the instrument of the downfall of the Kauravas and Droṇa.

At her svayaṁvara: Arjuna, disguised as a brāhmaṇa, wins her hand.

Due to a fateful misunderstanding, Kuntī instructs her sons to share what Arjuna has brought, and Draupadī becomes the wife of all five Pāṇḍavas.

She is not a timid wife: She rejects Karṇa in the svayaṁvara, calling him unworthy. She laughs at Duryodhana in Indraprastha’s magic palace, wounding his ego deeply.

This fuels the later humiliation:

In the dice game, Yudhiṣṭhira loses everything – kingdom, brothers, and finally Draupadī herself. In the royal court, Duḥśāsana attempts to disrobe her before the assembly. Draupadī calls upon Kṛṣṇa, and her sari becomes endless. The attempt fails; her dignity remains untouched.

Her vow: She vows not to tie up her hair until it is wet with the blood of Duḥśāsana.

Her terrible oath propels the future war.

In exile: For 12 years in the forest and 1 year incognito, she endures hardship, repeated harassment (by Jayadratha, Kīcaka), and humiliation. Bhīma repeatedly protects her at her plea.

She instructs Satyabhāmā, Kṛṣṇa’s queen, on the deeper duties of a wife.

After the war: She regains her status as empress but loses her father, brothers, and all her sons. At the end of her life, ascending the Himalayas with the Pāṇḍavas, she falls first. Yudhiṣṭhira says this is due to her subtle partiality for Arjuna.

Many traditions view her as: An aspect of Kālī (fierce goddess), Or an aspect of Lakṣmī (fortune and royal majesty).

Why is Draupadī a kanyā?

She is called a kanyā not because she is untouched, but because her inner fire (agni) never cooperates with adharma: She questions, she refuses to be silenced, she claims justice even when abandoned. Even after humiliation, she does not become morally crooked or vengeful in a petty way; her wrath is tied to dharma, not personal greed.

Remembering Draupadī protects us from the sin of cowardly silence and from the habit of accommodating injustice for comfort.

3) Kuntī – The Mother Who Says “Yes” to Destiny

Kuntī, queen of Pāṇḍu and mother of the three elder Pāṇḍavas, is born as Pṛthā, the daughter of the Yādava king Śūrasena. She is adopted by the childless king Kuntibhoja, hence called Kuntī.

As a girl, she serves the irritable sage Durvāsā with great devotion: Pleased, he grants her a mantra by which she can invoke any deity to obtain a child. Out of curiosity, she tests the mantra and Invokes Sūrya, the Sun-god.

Bound by the power of the mantra, he grants her a son, Karna, born with divine armour and earrings. Unwed and afraid of social disgrace, Kuntī places the infant in a basket and abandons him in the river. He is later raised by a charioteer. Later, she marries Pāṇḍu, who is cursed that union with his wives will cause his death. To continue the lineage:

At Pāṇḍu’s request, she uses Durvāsā’s boon to invoke:

Dharma (Yama) – and bears Yudhiṣṭhira,
Vāyu – and bears Bhīma,
Indra – and bears Arjuna.

Her co-wife Mādrī uses the mantra (with Kuntī’s permission) to invoke the Aśvins, bearing Nakula and Sahadeva.

After Pāṇḍu and Mādrī’s death, Kuntī returns to Hastināpura with the five sons. She: Endures repeated conspiracies by the Kauravas to kill her sons. Advises Bhīma to marry Hiḍimbā, the rākṣasī, to form alliances and protect the future. Orders Bhīma to kill demons like Baka to protect the people. Famously orders the brothers to share Draupadī, binding her destiny to theirs.

Before the war, she reveals to Karna that she is his mother and asks him to spare her other sons, even if he must fight Arjuna. He promises not to kill any Pāṇḍava except Arjuna.

After the war, Kuntī retires to the forest with Dhṛtarāṣṭra and Gāndhārī and ultimately dies in a forest fire, ascending to higher worlds.

Why is Kuntī a kanyā?

Kuntī’s life is woven of hidden pain and public duty: She bears heavy guilt over abandoning Karna, carries the burden of protecting her sons in a hostile court, and accepts intense suffering without demanding a more comfortable fate.

In the Bhāgavata Purāṇa, her prayer to Kṛṣṇa – asking that calamities recur so that she may never forget Him – shows the peak of her surrender.

She is “maiden-like” in the sense that her heart remains turned towards God and dharma, no matter how old, burdened, or broken she is.

Remembering Kuntī guards us from the sin of self-pity and teaches the strength of responsibility and surrender.

4) Tārā – Wisdom in the Midst of Power

Tārā is the queen of Kiṣkindhā, wife of the mighty Vānara king Vāli, and later wife of his brother Sugrīva.

In the Rāmāyaṇa, She is usually described as the daughter of the Vānara physician Suṣeṇa; later traditions also call her an apsarā who emerged from the churning of the ocean.

She marries Vāli and bears him a son, Aṅgada. When Vāli vanishes in battle with a demon, Sugrīva assumes he is dead, becomes king, and takes Tārā into his household. Vāli returns, defeats Sugrīva, reclaims Tārā, and takes Sugrīva’s wife Ruma, accusing Sugrīva of betrayal.

Later, when Sugrīva challenges Vāli again, Tārā warns Vāli not to accept the challenge, sensing Rāma’s presence and alliance with Sugrīva. Vāli ignores her and is fatally struck by Rāma’s arrow during the duel.

In his final moments, Vāli reconciles with Sugrīva and entrusts Tārā and Aṅgada to his care, telling Sugrīva to always follow Tārā’s counsel.

In some vernacular versions, Tārā, in grief, curses Rāma by the power of her chastity, or Rāma consoles and enlightens her, praising her wisdom and devotion.

After Sugrīva becomes king, He neglects his promise to assist Rāma in finding Sītā, absorbed in pleasure. When Lakṣmaṇa arrives in anger, Tārā skillfully pacifies him, prevents disaster, and brings Sugrīva back to his duty.

Why is Tārā a kanyā?

Tārā embodies viveka (discernment) in the middle of rajasic, political power: She sees clearly what others refuse to see, speaks truth to Vāli even when he is blinded by pride, and prevents Sugrīva’s foolishness from destroying Kiṣkindhā.

She is “maiden-like” in that her wisdom remains untouched by the turbulence of her surroundings. Her fidelity is not blind; it is intelligent and dharmic.

Remembering Tārā protects us from the sin of stubborn pride and short-sighted decisions, and cultivates the courage to speak wise counsel even when it may be ignored.

5) Mandodarī – Purity in the Heart of Laṅkā

Mandodarī, queen of Rāvaṇa, is one of the most dignified and tragic figures in the Rāmāyaṇa.

Her origin: She is the daughter of Maya, the Asura architect, and the apsarā Hema. Some stories narrate that an apsarā named Madhurā was cursed to become a frog, later transformed into a maiden and adopted by Maya as Mandodarī.

Rāvaṇa visits Maya’s home, sees Mandodarī, falls in love, and marries her. She bears him three sons: Meghanāda (Indrajit) – the great warrior who defeats Indra and later fights Rāma, Atikāya, and Akṣayakumāra.

Some later adaptations add a tradition in which Sītā is actually born as Mandodarī’s daughter and abandoned, but this is not part of Vālmīki’s core text and remains a regional/later development.

Mandodarī is: Beautiful, intelligent, and profoundly righteous at heart. She repeatedly advises Rāvaṇa to return Sītā to Rāma and avoid ruin. Rāvaṇa, however, is intoxicated with power and desire and does not heed her words.

Some versions recount: How Vānara generals misinterpret or violate her personal space during the search for Rāvaṇa’s vulnerabilities, how Hanumān tricks her into revealing the secret of a protective arrow or boon that sustains Rāvaṇa’s life, indirectly aiding his destruction.

After Rāvaṇa’s death, Rāma, wishing to stabilise Laṅkā under a dharmic ruler, advises Vibhīṣaṇa (Rāvaṇa’s righteous brother) to marry Mandodarī. This union preserves her status and honours her virtue.

Some retellings say that in her sorrow, Mandodarī curses Sītā that she too will suffer separation from Rāma – a way of explaining Sītā’s later exile.

Why is Mandodarī a kanyā?

Mandodarī is the lotus in the swamp: She is pure and wise, living in the very centre of Rāvaṇa’s arrogance, lust, and adharma. She neither supports his crime nor abandons her dharma as a wife; she counsels, warns, weeps, but does not bend to his value system.

Her “maidenhood” is the untouched clarity of her conscience. Laṅkā burns around her, but her inner sense of right and wrong remains steady.

Remembering Mandodarī guards us from the sin of being corrupted by our environment. She teaches that one can remain clean in a dirty world.

The Inner Meaning of the Pañcakanyā

When we chant:

अहल्याद्रौपदीकुन्ती तारा मन्दोदरी तथा ।
पञ्चकन्या स्मरेन्नित्यं महापातकनाशिनी ॥

We are not just reciting names; we are invoking five inner forces:

Ahalyā – the part of us that seeks forgiveness and rebirth after confusion and wrong choices.

Draupadī – the fire in us that refuses to accept humiliation and injustice.

Kuntī – the heart that carries heavy karma but stays turned to God.

Tārā – the intelligence that sees consequences and speaks wise counsel.

Mandodarī – the conscience that remains pure even in corrupt surroundings.

Chanting their names with understanding can indeed be “pātaka–nāśinī”:

It loosens the knots of old guilt.
It strengthens the inner voice before a new mistake is made.
It replaces crude moral fear with refined, living dharma.

Five Elements:

Ahalyā – Ākāśa (Space)
Draupadī – Agni (Fire)
Kuntī – Pṛthvī (Earth)
Tārā – Vāyu (Air)
Mandodarī – Āpas (Water)

My Thoughts .............. 91

 

1) As they can't control you, they dislike you. Are they worth your attention?

2)  Be Careful, don't get carried away by applause, they divert your attention from your Goal!

3) When your own don't support you, God sends strangers!

4) Develop the highest form of intelligence, the ability to observe without any evaluation!

5) A cigarette pack comes with a warning, "Smoking is injurious to health". In the same way, the life manual says, "Ego and Greed" are injurious to Life!

6) Be no one and no one to NO ONE!

7) What you truly are cannot be destroyed. Everything that can be destroyed is not you.

8) Do not shrink. Expand. The Self within you is a lion — let it roar.

9) A boundary is not a wall — it is self-respect made visible.

10) Do not fear the fire within you. It is your own Self awakening.

Guru Dattatreya

 

Guru Dattatreya

In ancient times, when Dharma flourished in its purity, there dwelt the exalted Sage Atri and his radiant consort Anasūyā, whose name itself became the measure of chastity and devotion. By serving her husband, who was ever absorbed in tapas, Anasūyā attained a brilliance of spiritual power that illumined the three worlds. Beholding her purity, the celestial Goddesses grew apprehensive and sought to test her. Thus, they approached the Holy Trinity—Brahmā, Viṣṇu and Śiva—and requested their descent for the trial of her virtue.

According to the law of the householder, a guest is to be received with food and honour. On a certain day, when Atri had gone to bathe in the river, the Trinity came to Anasūyā’s hermitage in the guise of wandering ascetics and asked for alms. As no food was prepared, she sought a little time. The ascetics agreed but declared a severe condition: the meal must be served without any garment upon her body. To refuse a saint is sinful; to violate modesty is unrighteous. Standing at the junction of dharma and dharma, Anasūyā invoked her inner purity. Taking consecrated water in her palm, she sprinkled it upon the three ascetics, whereupon they became three infants. Lifting them to her lap, she fed them milk from her own breast, thus fulfilling the condition without impurity. Delighted, the Gods resumed their forms and offered her a boon. She prayed, “May You three become one and be born of my womb as my son.” Blessing her, they entered her womb as one essence, and thus Dattātreya took birth. When Atri returned, he perceived all by his inward vision and rejoiced.

Lord Dattatreya is classically depicted with one body, three heads, and six hands, accompanied by four dogs, the divine cow Kāmadhenu, and the wish-fulfilling Kalpavṛkṣa or Audumbara tree. The four dogs symbolise the four Vedas—Ṛg, Yajur, Sāma, and Atharva—while Kāmadhenu and the Kalpavṛkṣa represent the fulfilment of sincere devotees’ wishes. In His six hands, He holds a rosary, drum, discus, conch, trident, and water-pot, each representing an aspect of the Trinity.

As Shiva, He holds the śūla, the trident that destroys the ego, and the ḍamaru, the drum that awakens beings from the deep sleep of ignorance. These are Shiva’s emblems, and through them Datta calls souls onward on the path.

As Vishnu, He bears the śaṅkha, whose sound is the primordial Om—the fusion of A (creation), U (preservation) and M (dissolution). Every breath silently chants this mantra as “So’ham,” the recognition “I am the Universe; I am the Divine.” When the conch resounds, ignorance is dispelled. On another hand, He carries the chakra, symbol of the endless cycle of karma, which Vishnu removes from devotees who surrender to Him.

As Brahma, He holds the japa-mālā, whose beads symbolise countless universes under His governance and also signify His perpetual meditation on Om. The kamaṇḍalu He carries contains not ordinary water but the nectar of wisdom through which beings attain exalted states.

As Kṛṣṇa was the Yuga-Ācārya for Dvāpara Yuga, so Dattātreya became the Supreme Teacher of Treta Yuga. At His birth, He manifested the three faces of Brahmā, Viṣṇu, and Śiva. At the request of His mother, these three condensed into one, yet the essence of all three remained within Him. Thus, He stands as the embodiment of the Absolute, which transcends, yet contains, the powers of creation, preservation, and dissolution.

Though accounts of His birth vary, the scriptures speak with one voice regarding His life: Dattātreya was the wandering Avadhūta, naked of possessions, roaming the regions between the Narmadā and the southern lands, absorbed solely in the search for the Supreme. Near the place now called Ganagapur and upon Mount Girnar, He attained full realisation; His sacred footprints remain there even now.

When the era of Kali was about to begin, and Śrī Kṛṣṇa prepared to withdraw His manifested body, He foresaw that Dharma would wane and beings would fall into violence, greed and lust. Desiring a lineage that would preserve wisdom in the dark age, He consulted Dattātreya. Then, at Datta’s behest, the Nava Nārāyaṇas, the nine Nath Siddhas, descended from the celestial realms to take birth on Earth. Thus was established the Nātha Sampradāya, bearing Datta’s seal of liberation.

The Avadhūta Tradition, sprung from Dattātreya, remains formless, uncodified, and free of all binding structure. Its Masters—each an emanation of Datta—teach without pattern, speak without doctrine, and respond only to the inner need of those who approach them. Empty of self, they are vessels of the Eternal, and through them the living presence of Dattātreya continues to flow upon the Earth.

24 Gurus of Lord Dattatreya

One prominent story associated with Lord Dattatreya is his preaching to his disciple King Yadu about his twenty-four Gurus of nature, from whom he learned profound lessons about spirituality and life.

These Gurus include:

1. Prithvi (Earth): Patience and doing good to others in one's entire life can be learnt from Mother Earth.

2. Vaayu (Air): Air is symbolic of the qualities of non-attachment and stainlessness.

3. Akasha (Sky): Sky represents the all-pervading nature and about the Self that remains uncontaminated by the qualities that arise in the elements forming the body.

4. Jala (Water): Water represents purity, smoothness and sweetness, so one should have a pure heart, speak sweet words and be full of love for all beings.

5. Agni (Fire): Even though fire consumes all things indiscriminately, it does not become unholy, so too, one should have knowledge, should be a tapasvin, be undesirable and remain unaffected by what others offer him.

6. Chandra (Moon): Waxing and waning are only for Moon's lustre; likewise, the delinquencies of the six senses are of the body only and not of the Atman.

7. Surya (Sun): Sun absorbs water from Earth with its rays and returns the water to Earth at an appropriate time. Similarly, one should accept the objects of the senses without any enthusiasm for them.

8. Kapota (Pigeon): A pigeon develops too much attachment or friendship and ends up in affliction. So, attachments lead to one's downfall and waste of precious lifespan.

9. Ajagara (Python): Like a python, one should forego even sleep and food, and remain firmly devoted to the Self.

10. Samudra (Ocean): An ocean does not let even a small leaf land on its surface, so too one should not allow even the smallest desire or agitation to enter into the mind. Moreover, many rivers flow into an ocean, yet it does not overflow. Likewise, one should not be overjoyed when desires are fulfilled or be depressed when they do not materialise.

11. Moth: Deluded by the flames of fire and expecting to enjoy comforts, the moth rushes towards the flames and gets burnt. So, man must be careful not to fall victim to the attractions of a woman or to the delusion caused by the sense organs.

12. Bhramara (Bee): A bee gathers nectar from almost every flower, so too one should study all scriptures, skilfully grasp the essence and adapt it in the search for the Self.

13. Gaja (Elephant): Although the elephant is very strong and intelligent, it gets trapped due to its lustfulness. So too, one should know that lust is dangerous.

14. Honey-thief: The honey-thief contrives and steals the honey that is hoarded by honey bees. Therefore, if a person is stingy and hides his wealth without enjoying it himself or allowing others to share it, he risks being robbed by someone.

15. Deer: The hunter's music makes the innocent deer stand still and listen with closed eyes. Sage Rushyashrunga became a victim of a dancing girl attracted to her music and dance. So too, one should not be beguiled by music or dancing.

16. Fish: The uncontrolled tongue of a fish makes it the prey of the fisherman's hook. Therefore, a fish teaches that controlling and conquering the tongue is very important.

17. Harlot named Pingala: Pingala, a harlot, attained marvellous tranquillity, peace of mind and a sound sleep by giving up the desire for wealth and lustful pleasures. So, desire is sorrow, and the absence of wants is the highest happiness.

18. Osprey: A little bird holding a bit of meat gets attacked by a bigger and stronger bird. When the bird drops the meat, the other bird follows to get the meat piece. So too, if one keeps a thing coveted by others, one will be subjected to severe anguish, and therefore it is wise to give up such things voluntarily.

19. Child: A little child is worry-free and is always happy playing by himself. One should also remain happy like a child.

20. Maiden: When a maiden pounds the paddy, her bangles make a jingling sound. To avoid any sound, she retains only one bangle on each wrist. Likewise, quarrels ensue when too many people gather in one place.

21. Arrow-maker: An arrow-maker has utmost concentration in making arrows. Likewise, one should sit with total focus and practice Yoga.

22. Snake: A serpent is always vigilant and is never absent-minded. Unlike a man, a snake does not waste its time building a shelter and happily lives in an ant-hill deserted by ants.

23. Spider: A spider stirs the threads in its stomach and with that material weaves its web, plays with it and finally swallows it. The process of creation is also akin to a spider's web.

24. Insect: Like how the form of an insect that stares hard at a dragon-fly undergoes a change, so too, one attains the form of those on whom one concentrates the mind completely. If a small insect can transform its body, even a man possessing intellect and the faculty of meditation and concentration can certainly be liberated.

Lord Dattatreya's teachings promote detachment from material desires and ego, emphasising the path of self-realisation and the realisation of the divine presence within oneself and all beings. He encourages seekers to learn from nature, observing the qualities and lessons it offers, and recognising the divinity inherent in all aspects of creation. The ultimate teaching of Lord Dattatreya is to transcend dualities and merge with the eternal consciousness, realising the oneness of all existence.

My Thoughts .............. 90

 

1) When I think "I am", I find myself worthless. When I think "I am not", I find my value!

2) Life is strange, you come with nothing, you fight for everything, and you leave, leaving everything that you fought for!

3) Be careful what you talk to yourself, the self has all the power to manifest it!

4) Few choose to live always in problems and chaos, dragging everyone around them into it like a whirlpool!

5) Don't get hooked on silly things all the time; that will make you silly!

6) Do not lose respect to gain attention!

7) Remember, nothing should go into the mouth without pondering how it will affect your stomach, and nothing should come out of the mouth without thinking about how it will affect the mind!

8 ) Control your mind, don't try to control others' minds!

9) IF you want to be happy, stop explaining yourself to others!

10) Bees don't waste their time explaining to flies why honey is better than shit!

WHY VISIT TEMPLES?

 

WHY VISIT TEMPLES? (Scientific Reason)

There are thousands of temples all over India in different sizes, shapes, and locations but not all of them are considered to be built the Vedic way. Generally, a temple should be located at a place where the earth’s magnetic wave path passes through densely. It can be on the outskirts of a town/village or city, or in the middle of the dwelling place, or on a hilltop. The essence of visiting a temple is discussed here.

Now, these temples are located strategically at a place where the positive energy is abundantly available from the magnetic and electric wave distributions of north/south pole thrust. The main idol is placed in the core center of the temple, known as “Garbhagriha” or Moolasthanam.

In fact, the temple structure is built after the idol has been placed.

This Moolasthanam is where the earth’s magnetic waves are found to be maximum.

We know that there are some copper plates, inscribed with Vedic scripts, buried beneath the Main Idol.

What are they really?

No, they are not God’s / priests’ flashcards when they forget the *shlokas*. The copper plate absorbs the earth’s magnetic waves and radiates it to the surroundings. Thus a person regularly visiting a temple and walking clockwise around the Main Idol receives the beamed magnetic waves and his body absorbs it. This is a very slow process and a regular visit will let him absorb more of this positive energy. Scientifically, it is a positive energy that we all require to have a healthy life.

Further, the Sanctum is closed on three sides. This increases the effect of all energies. The lamp that is lit radiates heat energy and also provides light inside the sanctum to the priests or *poojaris* performing the pooja.

The ringing of the bells and the chanting of prayers takes a worshipper into trance, thus not letting his mind waver.

When done in groups, this helps people forget personal problems for a while and relieve their stress.

The fragrance from the flowers, the burning of camphor gives out the chemical energy further aiding in a different good aura.

The effect of all these energies is supplemented by the positive energy from the idol, the copper plates, and utensils in the Moolasthanam/Garbagraham.

Theertham, the “holy” water used during the pooja to wash the idol is not plain water cleaning the dust off an idol. It is a concoction of Cardamom,Karpura, (camphor), saffron, Tulsi (Holy Basil), Clove, etc…

Washing the idol is to charge the water with the magnetic radiations thus increasing its medicinal values. Three spoons of this holy water is distributed to devotees.

Again, this water is mainly a source of magneto-therapy. Besides, the clove essence protects one from tooth decay, the saffron & Tulsi leaves protect one from common cold and cough, cardamom and Pachha Karpuram, act as mouth fresheners. It is proved that Theertham is a very good blood purifier, as it is highly energized. Hence it is given as prasad to the devotees. This way, one can claim to remain healthy by regularly visiting the Temples.

This is why our elders used to suggest us to offer prayers at the temple so that you will be cured of many ailments. They were not always superstitious. Yes, in a few cases they did go overboard when due to ignorance they hoped many serious diseases could be cured at temples by deities.

When people go to a temple for the Deepaaraadhana, and when the doors open up, the positive energy gushes out onto the persons who are there. The water that is sprinkled onto the assemblages passes on the energy to all. This also explains why men are not allowed to wear shirts at a few temples and women are requested to wear more ornaments during temple visits. It is through these jewels (metal) that positive energy is absorbed by the women. Also, it is a practice to leave newly purchased jewels at an idol’s feet and then wear them with the idol’s blessings. This act is now justified after reading this article. This act of “seeking divine blessings” before using any new article, like books or pens or automobiles may have stemmed from this through mere observation.

The energy lost in a day’s work is regained through a temple visit and one is refreshed slightly. The positive energy that is spread out in the entire temple and especially around where the main idol is placed, are simply absorbed by one’s body and mind.

Did you know, every Vaishnava(Vishnu devotees), “must” visit a Vishnu temple twice every day in their location.

Our practices are NOT some hard and fast rules framed by 1 man and his followers or God’s words in somebody’s dreams. All the rituals, all the practices are, in reality, well researched, studied and the scientifically backed thesis which forms the ways of nature to lead a good healthy life.

The scientific and research part of the practices are well camouflaged as “elder’s instructions” or “granny’s teaching’s” which should be obeyed as a mark of respect so as to once again, avoid stress to the mediocre brains.

.....

My Thoughts .............. 89

 

1) IF you don't have a seat at the table, you're probably on the menu!

2) The man who saw tomorrow couldn't live to see it. Live what it is today!

3) You cannot quench your thirst with mirage water!

4) The more you know, the less you will be noisy and nosey!

5) Remember, even the longest night eventually turns to day!

6) If you desire peace, then end your expectations!

7) Eat without greed, you will feel empty!

8) HE is Aware of every mask you put on; you cannot cheat your SELF!

9) Why is the lion called a King? It is not afraid to walk alone!

10) Live when you are alive, you can't live when you're dead!

Advaita Prakaranam of Mandukya Upanishad (Chapter 3) Part 31

 

सर्वाभिलापविगतः सर्वचिन्तासमुत्थितः ।

सुप्रशान्तः सकृज्ज्योतिः समाधिरचलोऽभयः ॥ ३७ ॥

sarvābhilāpavigataḥ sarvacintāsamutthitaḥ |
supraśāntaḥ sakṛjjyotiḥ samādhiracalo'bhayaḥ || 37 ||

“Na upacārah”, it was said. Why? That is explained here.

Sarva-abhilāpa-vigataḥ — that Ātma or Brahman is free from abhilāpa, meaning the organ of speech, indicating all ten external organs. Sarva-bāhyendriya-varjitaḥ — it is devoid of all external organs. Is there an inner organ? Sarva-cintā-samutthitaḥ — here the word cintā indicates the mind itself. Cintā means thought, but here it stands for the entire mind. The mind includes all four faculties. So Ātma is free from all internal and external organs.

So how can there be upacāra? You use organs for performing upacāra. All of them being not there means all of them are known as mithyā. If pūjā is done with those organs, it will also be mithyā. If a jñānī does pūjā, he will do it with this awareness: “I am neither jīva nor Īśvara. Jīveśvara-bhāvaḥ is kalpitam temporarily for pūjā.”

So one jñānī said: “I have insulted You in the name of pūjā — apacāraḥ kṛtaḥ upacāra-miti.”

1 Rūpaṁ rūpa-vivarjita-yā bhavate dhyānāya yat kalpitam — You do not have form because You are limitless. I attributed the limitation to You for the sake of pūjā. It is apacāraḥ.

2 Stutyā anirvacanīyatvāt akhila-guro-Durīkṛta yat mayā — by me You were made “distant.” Arcana itself becomes an insult. You are anāmakaṁ arūpakaṁ — nameless and formless. By doing tīrtha-yātrā, I reduced Your all-pervasiveness. I cannot offer any upacāra.

If all these attributes are not there, what is the nature of that Brahman?

Suprasāntaḥ — totally tranquil. Prapañcopaśamaḥ — the complete cessation of the entire appearance of the world. Śāntaṁ. Sakṛd-jyotiḥ, which is the same as sakṛd-vibhatam — the Self-effulgent One Light.

Samādhi is explained in two ways:

1 One-pointedness of the mind.- Through this citta-samādhānam, Ātma can be recognised. So, since Ātma is recognised through samādhi, Ātma is also called samādhi — that which is known through samādhi.

When we listen to śāstra attentively, that mind is already in samādhi. Samādhi means single-pointedness. Here, the teaching (śāstra-pravṛtti) is involved, so jñānam can take place.

Suppose you receive this teaching and then quietly revive it in yourself; you become absorbed in the teaching “I am pūrṇaḥ,” etc. That samādhi is also valid — it is jñāna-samādhi. Both śravaṇam and dhyānam are jñāna-samādhis.

Where śāstra-pravṛtti is not there, it becomes andha-samādhi (blind absorption). Absorption in the teaching, either in śravaṇam or dhyānam, is called samādhi.

2 Second meaning: samādhīyate asmin sarvam iti — “that in which everything is placed or upon which everything is superimposed or supported.” That is the adhiṣṭhāna. Ā-dhānam — placing; sam — completely, well. Acalah — free from all movement or motion. Upon that, everything moves.

Like the road: someone asked, “Where does this road go?” The road does not go anywhere. Ask: “Where do I go?”

Abhayaḥ — free from fear.

ग्रहो न तत्र नोत्सर्गश्चिन्ता यत्र न विद्यते ।
आत्मसंस्थं तदा ज्ञानमजाति समतां गतम् ॥ ३८ ॥

graho na tatra notsargaścintā yatra na vidyate |
ātmasaṃsthaṃ tadā jñānamajāti samatāṃ gatam || 38 ||

The uniqueness of ātma-jñānam is pointed out. In all other types of knowledge, the mind has to objectify external viṣayas. When an external object is objectified, knowledge arises; and after some time, when the mind drops that particular vṛtti, that object is also dropped.

So there is the grasping of a pot through a vṛtti, and there is the dropping of the pot when the vṛtti is dropped. Then I grasp some other object, and again I drop it.

But when it comes to ātma-jñānam, when the mind wants to “know” the Ātma, what should the mind do? The mind cannot grasp the Ātma, nor can it drop the Ātma. Unless you grasp, you cannot drop. So what should the mind do?

It should drop all attempts to know.

The very attempt is based on the assumption that Ātma is an object. The very attempt to objectify is dropped, and the mind abides in the Ātma itself. “I am Ātma.” I do not need to know Ātma. Stop the struggle and abide in ātma-jñānam.

“Na aham manye…” — Do not talk in terms of knowing and not knowing; they apply only to knowable objects.

Tatra — with respect to Ātma, there is no grahaḥ or grahaṇam — no grasping, no taking.

If there is no taking, can there be dropping? No.

Therefore, na utsargaḥ — there is no rejection or dropping.

This is expressed by the terms aheyam (not rejectable) and anupādeyam (not acquirable).

Why is it that it cannot be grasped or dropped?

Because yatra cintā na vidyate — with regard to this Ātma, no thought is possible.

Where vṛtti is possible, one can talk about vṛtti-grahaṇam and vṛtti-nāśe utsargaḥ.

Since it is acintyam, there is no grasping and dropping.

Then what happens to our attempt to know?

Tadā jñānam ātma-saṁstham.

At the time of Self-knowledge, the knowledge — the vṛtti-jñānam — abides in the svarūpa-jñānam.

When I say “ghaṭaḥ — the pot,” the vṛtti-jñānam abides in the pot.
When I say “tree,” the thought abides in the tree.
When I say “I am Brahman,” that knowledge abides in the Ātma-ātma-saṁstham — without objectification.

What is the nature of this knowledge?

Ajāti-samatām gatam — it is ajāti (without origination) and sama (free from the distinctions of knower–known–knowledge). Uniform, divisionless, non-dual.

Advaita Prakaranam of Mandukya Upanishad (Chapter 3) Part 30

 

लीयते हि सुषुप्ते तन्निगृहीतं न लीयते ।

तदेव निर्भयं ब्रह्म ज्ञानलोकं समन्ततः ॥ ३५ ॥

līyate hi suṣupte tannigṛhītaṃ na līyate |
tadeva nirbhayaṃ brahma jñānalokaṃ samantataḥ || 35 ||

In sushupti and samadhi mind with its problems remains in a dormant, unmanifest condition. It is only a sedation. Sedation isn’t a cure. As long as the effect of sedation is there, there will be no problem. That is all. In samadhi also the same. Mind is Lingam, in these states. Linam means dormant.

Indicating that it will again come up. Indicating it is only a temporary cessation of problems. Like Ramajanma bhumi problem. Postponing the problem does not solve the problem. Whereas the mind of a wise person is nasam as it were. It is falsified by wisdom. Whatever happens in the mind is nothing but thought modification/ Greatest worry or greatest anxiety is nothing but a thought. It is Caitanyam plus mithya name and form.

Once you understand that Caitanyam alone is satyam in the thought, the other things are mithya name and form; thoughts can no longer disturb. Therefore, falsified thoughts will be there in him. So it is gone for good.

Tat sushupte liyate - That mind is only temporarily resolved in sleep or samadhi. But nigrihitam + the mind that is disciplined through knowledge is not resolved temporally, but it is falsified permanently. Na liyate. It does not come back again with reality to create problems. For this wise person, the mind itself has become Brahman. Tadeva nirbhayam brahman. That very same mind has become fearless Brahman for him. How? Brahman, plus name and form, is the mind.

Once name and form are removed or falsified, the content of the mind is Caitanyam, which is Brahman. As the mind is the cause of samsara. As Brahman, it is the cause of ananda. Same mind. You get into name and form, you are finished. As Caitnayam, it is harmless. Absorbed in name and form world becomes real, and it causes fear. Wooden elephant. No change in the world and mind. There is only a change in the way of looking at it. So no dvaitam.

What Brahman is it? Jnanalokam samantatah. It is nothing but the light of awareness everywhere. Alokam means light. It is jnanajyotih. It is an all-pervading awareness. Light is that which, in whose presence things are known. So eyes are light. Nose is light. Caitanyam alone is original light.

अजमनिन्द्रमस्वप्नमनामकमरूपकम् ।
सकृद्विभातं सर्वज्ञं नोपचारः कथंचन ॥ ३६ ॥

ajamanindramasvapnamanāmakamarūpakam |
sakṛdvibhātaṃ sarvajñaṃ nopacāraḥ kathaṃcana || 36 ||

For those whose person both grahyam and grahakam (aham annam aham annadah) are falsified, and he looks upon both as advayam Brahman. The very grahya grahakahm is seen as advaitam.

Not that at the bottom of both is Brahman. Not that wave is up and water is down below. A wave is water. Where wave buddhi was there before, there alone is water buddhi. The content of the wave is water. Advaitam is not underneath Brahman. But both are Brahman. The word ahdishthanam must not be confused. It means content. It is not exactly support. Mind is Brahman for jnani.

Here we get a description of Brahman. Ajam is birthless. Birth is from the standpoint of sthula sariram. The acquisition of the gross body is birth. Sukshma Sariram has not been produced. We do not see it. It is continuing from previous janmas. So ajam means sthula sarira rahitam. Asvapnam - dreamless. Dram belongs to the mind, and mind belongs to sukshma sariram. Asvapnam indicates sukshma sarira rahitam. Brahman is sukshma sarira rahitam. Anidram - free from sleep. It belongs to the causal body. Karana sarira rahitam. Nantah prajnam etc. It does not mean they are gone. He has falsified them. So as good as not there.

Anamakam arupakam. It is free from name and form. It means not that he will not see name and form. He will see them. But it is mithya iti seen. Yasyaiva sphuranam + Minus name and form, it is pure sat. The pure sat happens to be I the cit. Sakrit vibhatam - Ever effulgent. Unlike other objects, which will all be available only at a particular time. They come and go. Atma is the sakshi of all avasthas. Sada vibhatam. So sarvajnam. It illumines all.

Sankaracarya makes a slightly different commentary. Knowerr or illuminator of all - he does not take it. Here he says: illuminator of all means you are accepting ‘all’ which is dviatam. It is illuminator and it is all. Sarvam ca tat jnasca. How can that awareness be in the form of everything? It plus mithya name and form is everything.

Na upacarah + Upacarah means any function or ceremony. For example, shodasa upacara. It means offerings. From that we take our meaning. In the beginning, every sadhana is upacarah. Karmayoga is upacara. Upasanam is also upacara. Sravana, etc, are upacarah again. No upacasrah is necessary for this wise person. No sadhana is necessary. Because there is no duality at all for him. To be a water wave need not do any sadhanam. Sarvatha vartamanopi +

My Thoughts .............. 88

 

1) When you get there, there is no there!!! #Ponder

2) Wisdom brings desire for simplicity! 

3) Sharing your vision with a blind is as useless as sharing shruti with a deaf!

4)  Everyone is going to experience death; you're here to experience life, be alive, don't be a zombie!   

5) Your original nature is unbounded freedom; don't fall into the trap and get bounded!

6) Only a fool knows everything, not a wise person!

7) Love is bliss, which never demands anything & gives out everything, silently! #Maa

8 ) Paradise is not a location; you can't find it on Google Maps. It is your attitude and way of life!

9) Om is Purnatvam, Om is Aikyam. When someone says "Hari Om", it sounds like "Hurry home", reminds us to hurry back to the Purnatvam, the WHOLE is your home, from where you emerged!

10) Your fingerprint is unique, for you to leave a mark!

Chidambaram Temple

 

Chidambaram Temple

A heritage-rich country, India is known for its vast culture and has several centuries-old temples, which are the epitome of the country’s magnificent architecture. Apart from being visually attractive, these sacred places have significant beliefs and history attached to them. Each is associated with unique, mystical facts.

Such are the Pancha Bhoota Sthalams—the five significant temples located in the South Indian states of Tamil Nadu and Andhra Pradesh. Held in reverence for centuries, the presiding deity here is Lord Shiva.

The Indian tradition recognises that the universe comprises five cosmic elements—Earth, Water, Fire, Air, and Sky. Therefore, the five temples of Pancha Bhoota Sthalam signify the fundamental meaning of life itself. Each dedicated to Lord Shiva represents the manifestation of different five elements of nature.

The five temples are—Thiruvanaikaval Jambukeshwara (water), Kanchipuram Ekambareswarar (earth), Chidambaram Nataraja (sky), Thiruvannamalai Arunachaleshwarar (fire) and Kalahasti Nathar (air).

Chidambaram Temple is a Hindu temple dedicated to Lord Shiva located in the heart of the temple town of Chidambaram, Tamil Nadu. The temple, 78 km south of Pondicherry and 235 Km from Chennai, the capital of the Tamil Nadu state of southeastern India.

The Sangam classics refer to Viduvelvidugu Perumtaccan, a respected clan of traditional Vishwakarmas, as being the chief architect of the temple renovation. There have been several renovations in its history, particularly during the days of Pallava/Chola emperors in ancient and pre-medieval periods.

Chidambaram town claimed fame with one of the holiest temples dedicated to Lord Shiva—the Natraja Temple or the Thillai Nataraja Temple. Lord Shiva manifested himself as the sky (akasha) element at this temple. Here, Lord Shiva is worshipped as “Akasha Lingam” to signify that God is divine and beyond human comprehension.

The Nataraja temple is one of the rarest since here no customary Lingam, which is worshipped. The main deity is “space”. An idol of Nataraja—Lord Shiva in a cosmic dancer position, is installed in a golden-rooted sanctum sanctorum. Behind the idol is a black screen that signifies the sky.

Nataraja—the Lord of Dance, is the symbolic representation of the supreme bliss or “aananda thandavam” in Tamil. Nataraja is considered to be one of the most significant forms of Lord Shiva. Goddess Parvati is worshipped here as the Shakti—“the power of wisdom”.

The sanctum is also known as Ponnambalam or Kanaka Sabha. Lord Shiva’s consort Devi Sivakama Sundari is enshrined to the left of the main sanctum. While two revered saints—Patanjali and Vyagrapada stand guarding the sanctum.

Revered Saivaites believe that devotees who worship at the Chidambaram Temple are bestowed with ultimate liberation. The name Chidambaram means “Hall of Wisdom” and a place of the “Ether of Consciousness”.

As per the Hindu Puranas, the temple is located at the “Lotus Heart of the Universe”: Virat hridaya padma sthalam. It is the spot where Lord Shiva had once performed his cosmic dance, in a grove of Tillai trees. Hence, Lord Shiva is also referred to as “Sabhanayakar” or “Lord of the Stage”.

It is one of the few temples where Lord Nataraja and Lord Govindaraja Perumal—both Shaivite and Vaishnavite deities are enshrined and worshipped in the same place.

Lord Shiva’s Ananda Tandava posture, or “Natraja”, is highly venerated by many across the world. The sanctum sanctorum houses Lord Nataraja in three forms:

As "form"—idol of Lord Nataraja, called the “Sakala thirumeni”.

As "formless-form"—crystal Lingam of Chandramauleswarar, the “Sakala nishkala thirumeni”.

As "formless"—Akash Lingam in “Chidambara Rahasyam”, the “Nishkala thirumeni”.

Legend:

A legend of the temple begins with Lord Shiva and his consort Mohini (Lord Vishnu) as strolling into the Thillai forests. These forests were said to be occupied by a group of saints who believed that enchanting ‘mantras’ could control God. The saints and their wives were enchanted by their brilliance and beauty. On seeing their wives enchanted, the enraged saints invoked ‘serpents’ by chanting magical mantras. Lord Shiva donned then donned the serpents as ornaments. This enraged the saints further. Next, the saints invoked a tiger, whose skin is donned as a shawl by Lord Shiva. The utterly angered saints then gathered all their spiritual strength and invoked a powerful demon that stands as a symbol of arrogance. Lord Shiva then stepped on the demon’s back and performed the Ananda Thaandava (the cosmic dance), thus disclosing his true form. This made the saints realise that this Lord is the truth and is therefore beyond all mantras and rituals.

Another story has it that Adhisesha, the serpent who serves as a bed for the Lord in his manifestation as Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. The Lord blesses him, beckons him to assume the saintly form of 'Patanjali' and sends him to the Thillai forest, informing him that he will display the dance in due course. Patanjali, who meditated in the Himalayas during the Krita age, joins another saint, Vyagrapathar / Pulikaalmuni (Vyagra / Puli meaning "Tiger" and patha / kaal meaning "feet" – referring to the story of how he sought and got the feet and eyesight of a tiger to help climb trees well before dawn to pick flowers for the Lord before the bees visit them).

The story of sage Patanjali, as well as his great student sage Upamanyu, is narrated in both Vishnu Puranam as well as Siva Puranam. They move into the Thillai forest and worship Lord Shiva in the form of Shivalinga, a deity worshipped today as Thirumoolataneswarar (Thiru-sri, Moolatanam - primordial or in the nature of a foundation, Eswarar- the Lord). Legends say that Lord Shiva displayed his dance of bliss (the Aananda Thaandavam) as Nataraja to these two saints on the day of the Poosam star in the Tamil month of Thai (Jan – Feb).

The Ananda Tandava Posture:

The Ananda Tandava posture of Lord Shiva is one of the famous postures recognised around the world by many. This celestial dancing posture tells us how a Bharathanatium Dancer should dance.

The demon under Nataraja's feet signifies that ignorance is under his feet

The Fire in this hand (power of destruction) means the destroyer of evil

The raised hand signifies that he is the saviour of all life.

The Ring at the back signifies the cosmos.

The drum in his hand signifies the origin of Life.

These are the main things that the Natarajar murti and the celestial dance posture depict. A rare type of thandava posture is seen in the Melakadambur temple, near by 32 km from here. In this Karakoil, Nataraja dancing on a bull and deva's rounds the structure, it's a pala art being kept in this shrine

Temple:

The temple complex spreads over 50 acres in the heart of the city. It is an ancient and historic temple dedicated to Lord Shiva Nataraja and Lord Govindaraja Perumal, one of the few temples where both the Shaivite and Vaishnavite deities are enshrined in one place. To the followers of Shaivism (Saivism) or the Saivaite, the very word koil refers to Chidambaram. In the same way, to the followers of Vaishnavism, it refers to Srirangam or Thiruvarangam.

The surviving structure of the Chidambaram temple dates back to the early Chola dynasty during the 10th century, when Chidambaram used to be its capital. Although it has an ancient history dating back to 3,500 years or more, the more recent part of the temple is around a thousand years old. The present structure of the temple goes back to the 12th and 13th centuries AD. The temple sculptures depicting the Thillai trees, however, date back to the 2nd century CE.

The word Chidambaram may be derived from chit, meaning "consciousness", and ambaram, meaning "sky" (from aakasam or aakayam); it refers to the chidaakasam, the sky of consciousness, which is the ultimate aim one should attain according to all the Vedas and scriptures. Another theory is that it is derived from chit + ambalam. Ambalam means a "stage" for performing arts. The chidakasam is the state of supreme bliss or aananda, and Lord Natarajar is the symbolic representation of the supreme bliss or aananda natanam. Saivaites believe that a visit to Chidambaram leads to liberation. Yet another theory is that it is derived from the word chitrambalam, from chithu meaning "play or dances of God" and ambalam meaning "stage".

The temple has a history of several damages and renovations by different dynasties, with Viduvelvidugu Perumtaccan being the chief architect for its restoration.

Cholas, Pandyas, Vijayanagara kings, Cheras, and Pallavas made noteworthy contributions to the temple during the ancient and pre-medieval period.

Although the Chidambaram Nataraja temple is one of the most intensively studied temples of South India, yet significant part of its history remains undiscovered.

Saints:

Vyagrapada and Patanjali, the revered saints, have their images embossed on the doors of Chit Sabha, thus serving as guards to the sanctum sanctorum. These saints are believed to have witnessed the cosmic dance of eternal bliss by Lord Shiva.

When it comes to literary mentions, the Nataraja temple has been held in high regard in several texts for centuries. The earliest mention of “dancing god of Chidambaram” as Lord Shiva exists in 6th and 7th century texts by Appar and Sambadar, the most revered Saivite poets of the centuries.

Chidambaram temple is also mentioned in various works, like Thillai (after Thillai forest, where the temple is currently situated).

Architecture:

The architecture of the Chidambaram Nataraja temple symbolises the relationship between arts and spirituality or the divine. Once a thick forest of Tillai trees, the temple complex now covers 40 acres. It stands as an epitome of Dravidian architectural fantasy.

The complex is designed with five concentric courtyards or Prakaras. These are associated with the five prominent elements. Hence, Chidambaram is the only temple that has all five elements of Pancha Bhoota Sthalams. However, the inner Prakara is not visible to the devotees, and only the rest four are accessible to the public.

There are five main sabhas in the temple, namely—Chit Sabha, Kanaka Sabha, Deva Sabha, Nritya Sabha and Raja Sabha. The Chit Sabha houses the prime idol of Lord Nataraja. The second sabha—Kanaka Sabha- is used for performing daily rituals.

The Kanaka Sabha has a gold-plated roof. The temple’s roof is formed of 21,600 gold sheets depicting 21,600 breaths (15 x 60 x 24 = 21600) taken by a person in a single day. It is fixed with 72,000 golden nails representing the 72,000 visible and invisible nerves present in the human body.

28 pillars are holding the sanctum sanctorum, representing the 28 methodologies for the worship of Lord Shiva.

Adorned with magnificent architecture, the temple has thousands of sculptures carved on its stone walls. One can see several statues of women enacting different dance postures. Many of these statues serve as sources of invaluable reference for scholars, as they are accompanied by inscriptions quoting the Hindu literature.

All five temples of Pancha Bhoota Sthalams are geographically aligned in almost a straight line. This positioning is astonishing as the temples were built centuries ago, when no satellite technology or GPS existed. The mysterious, highly accurate alignment of the temples is a geographical, engineering, and astronomical miracle in itself.

R & D scientists worldwide have proved that the Nataraja Temple lies at the Centre Point of Earth’s Magnetic Equator.

One unique feature of the temple is its well-organised priest community, which is perhaps the oldest functioning democracy globally.

The temple has an ornamented image of Lord Nataraja. Unlike other temples, Lord Shiva here is represented by an idol rather than the Lingam.

The temple has a “Chidambara Rahasyam”, a space in the sanctum sanctorum that is considered the place where Lord Shiva and Goddess Parvati are present, but cannot be seen by normal people. It is also believed that a secret message is conveyed by the embossed figure near the shrine of Lord Shiva.

It is believed that revered saints are able to see the Lord and Goddess in their physical form, but there is no official evidence yet to prove it.

Chidambara Rahasyam is hidden by a curtain, which is only opened by priests for special occasions. The fortunate devotees who have a glance at the Chidambara Ragasiyam can hardly see golden Bilva leaves signifying the presence of Lord Shiva and Goddess Parvati there.

Nataraja temple has 9 gateways or which signify the 9 holes/ openings present in the human body.

Conclusion:

The South Indian ancient temples attract thousands of domestic and international pilgrims daily. Apart from admiring their architectural beauty, the devotees worship at the sanctum sanctorum and gain Lord Shiva’s blessings, thereby getting cleansed of their sins.

Aani Tirumanjanam and Margazhi Tiruvaadirai are some festivals celebrated at Chidambaram Nataraj Temple with grandeur.

The other main attractions of Chidambaram that one must visit when visiting the Nataraja Temple are: Thillai Kaliamman Temple, Mayiladuthurai, Thirukkadaiyur, Pichavaram, and Gangai Konda Cholapuram.