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.

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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.

Konark Sun Temple

 

Konark Sun Temple

It's a 13th-century Sun Temple at Konark, in Odisha, India.

It was supposedly built by King Narasimhadeva I of Eastern Ganga Dynasty around 1250.It has been built in the shape of a gigantic chariot with elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins

The name Konark derives from the combination of the Sanskrit words, Kona (corner) and Arka (sun), in reference to the temple which was dedicated to the Sun god Surya.

The monument was also called the Black Pagoda by European sailors. In contrast, the Jagannath Temple in Puri was called the White Pagoda. Both temples served as important landmarks for the sailors.

The temple was originally built at the mouth of the river Chandrabhaga, but the waterline has receded since then. The temple has been built in the form of a giant ornamented chariot of the Sun god, Surya. It has twelve pairs of elaborately carved stone wheels some of which are 3 meters wide and is pulled by seven pairs of horses. The temple follows the traditional style of Kalinga architecture. It is carefully oriented towards the east, so that the first rays of sunrise strike the principal entrance. The temple is built from Khondalite rocks.

The original temple had a main Sanctum Sanctorum (vimana), which was supposedly 229 feet (70 m) tall. Due to the weight of the superstructure (70m tall) and weak soil of the area the main vimana fell in 1837. The audience hall (Jagamohana), which is about 128 feet (30 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures, which have survived to the current day, are the dance hall (Nata mandira) and dining hall (Bhoga mandapa). The Konark temple is also known for its erotic sculptures of maithunas.

Two smaller ruined temples have been discovered nearby. One of them is called the Mayadevi Temple and is located southwest from the entrance of the main temple. It is presumed to have been dedicated to Mayadevi, one of the Sun god's wives. It has been dated to the late 11th century, earlier than the main temple. The other one belongs to some unknown Vaishnava deity. Sculptures of Balarama, Varaha and Trivikrama have been found at the site, indicating it to be a Vaishnavite temple. Both temples have their primary idols missing.

A collection of fallen sculptures can be viewed at the Konark Archaeological Museum which is maintained by the Archaeological Survey of India.

According to Bhavishya Purana and Samba Purana, there may have been a sun temple in the region earlier than current one, dating to the 9th century or earlier. The books mention three sun temples at Mundira (possibly Konark), Kalapriya (Mathura), and Multan.

According to the scriptures, Samba, the son of Krishna, was cursed with leprosy. He was advised by the sage, Kataka, to worship the sun god to cure his ailment. Samba underwent penance for 12 years in Mitravana near the shores of Chandrabhaga. Both the original Konark temple and the Multan temple have been attributed to Samba.

The Periplus of the Erythraean Sea (1st Century CE) mentions a port called Kainapara, which has been identified as current day Konark.

According to the Madala Panji, there was another temple in the region. It was built by one Pundara Kesari. He may have been Puranjaya, the 7th century ruler, of the Somavasmi Dynasty dynasty.

Narasimhadeva I

The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty. His reign spanned from 1238 to 1264 CE. The temple may have been a monument to his victory against Tughral Tughan Khan.

Dharmapada's Tale

According to local folklore, Narasimhadeva I had hired a chief architect called Bisu Maharana to build the temple. After a period of twelve years, a workforce of twelve thousand almost finished the construction. But, they failed to mount the crown stone. The impatient king ordered the temple to be finished in three days or the artisans be put to death. At the time, Bisu Maharana's twelve year old son, Dharmapada arrived at the site. Bisu Maharana had never seen his son, as he had left his village when his wife was still pregnant. Dharmapada successfully proposed a solution to mount the crown stone. But, the artisans were still apprehensive that the king will be displeased to learn that a boy succeeded where his best artisans failed. Dharmapada climbed onto the temple and leapt into the water to save his father and his co-workers.

Collapse

There have been several proposed theories for the collapse of the main sanctum. The date of the collapse is also not certain.

The Kenduli copper plates of Narasimha IV (Saka 1305 or 1384 CE) states the temple to be in a perfect state.

In the 16th century Ain-i-Akbari, Abul Fazl also mentions Konark being in a proper state. The account also mentions the cost of construction being 12 years of revenue.

The cause of collapse is also placed on Kalapahad who invaded Odisha in 1568.

In 1627, the then Raja of Khurda had removed the sun idol from Konark and moved it to the Jagannath temple in Puri.

James Fergusson (1808–1886) had the opinion that marshy foundation had caused the collapse. But, the structure has shown no sign of sinking into its foundation. Fergusson, who visited the temple in 1837, recorded a corner of the main sanctum still standing. It also fell down in 1848 due to a strong gale.

According to Percy Brown (1872–1955), the temple was not properly completed and so it collapsed. This contradicts earlier recorded accounts of the temple being in a proper state.

In 1929, an analysis of a moss covered rock estimated the date of abandonment at around 1573.

Other proposed causes include lighting and earthquake.

Aruna Stambha

In the last quarter of the 18th century, when worship had ceased in the temple, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari called Goswain (or Goswami). The pillar is made of monolithic chlorite and is 33 feet 8 inches (10.26 m) tall . It is dedicated to Aruna, the charioteer of the Sun god.

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