Darenth Parish Church, which is dedicated to St. Margaret of Antioch, is situated on the rising ground to the east of the beautiful valley of the river Darent. Rising near Westerham, the river breaks through the North Downs at Otford and, crossing the old Watling Street at Dartford, eventually empties into the Thames after a course of about 20 miles.

 

The whole of the valley is of great archaeological interest, not least around Darenth. The name of the river itself is of great antiquity and is a variant of the pre-Roman name ‘Derwent’. In Roman times, the whole valley must have been occupied. Roman remains have been found throughout its length, notably at Lullingstone, but also at Farningham, Horton, Kirby and Darenth. In 1894 an extensive Roman Villa was excavated a short distance to the South of Darenth Church, but unfortunately, has been allowed to grow over. The villa was apparently abandoned in the 5th. Century but a great number of its bricks have been incorporated in the nave walls of the church.

 

In coming to the Church, you will have followed the path that countless feet have trod over the past 1,000 years. It is doubtful if the avenue of magnificent horse chestnut trees has been there that long but parts of the church certainly have.

 

The first mention of a church on this site is 940 A.D. in a grant to Christ Church, Canterbury. That year was a year of comparative peace in England, with the Saxons firmly in charge. St. Augustine had landed in Kent in 597 A.D. and had soon converted the people of Kent to Christianity. There would probably been a small wooden church on or near the site of the present church. Then, when it was announced that the Manor of Darenth was to be given to the Cathedral of Canterbury, the local people decided that a more permanent house of God should be built.

 

Imagine the scene: a representative of the Archbishop is asked to visit the site to discuss the project. Having been received with due reverence befitting his position, he asks the local people what they intended to use a building materials. They reply that they will use flints with which their fields abound – as they know to their cost. ‘You will need something stronger for the corners’, says the Archbishop’s representative. ‘We could use the bricks from the Roman Villa’, says one of the local men.

  

So the building was started. The walls were made of flint and rubble, very solid and 2’5” thick. They were meant to stand the test of time – and they have! In those days, the Saxon church would have been just under 40’ long and 19” wide, with probably a small square chancel. The latter was demolished when the Normans enlarged the Church. The position of the original Saxon doorway, with its rounded arch and the original Saxon window (over the present doorway), can still be seen however.

 

The Normans must have come from Darenth soon after 1066 as, not long afterwards, they were building the magnificent castle at Rochester. They were also very zealous builders of churches – over 7,000 being built in the 100 years after 1066. Strength was the keynote of the Norman character and also of their buildings. Much of their early work was rough – it lacked grace and finish – but it has certainly stood the test of time.

 

The Normans needed larger churches, not only because the population was increasing but also to contain the more elaborate ritual which they had brought with them from the continent. So at Darenth they extended the church by building that beautiful solid chancel, with its three deeply-splayed round headed windows and its groined roof. They brought the stone all the way from Caen in Normandy, fashioned it with loving care and decorated it with paintings. They also added the magnificent font, which now stands at the back of the church.

 

In 1195 the Archbishop of Canterbury Hubert Walter who was Justiciar to Richard I, laid covetous eyes on the manor of Lambeth, as it would give him a base in London. A deal was therefore arranged with the Bishop of Rochester who owned Lambeth, whereby Lambeth was exchanged for Darenth. Darenth thus became the property of Rochester.

 

A notable feature of this particular age in England was the deep religious feeling which directed the daily lives of the populace. This found expression in the fervour which inspired the Crusades and the many extensions to churches. During this time the nave was extended to the south with a squint provided to give a view of the altar. A side chapel was in a bad state of repair and, as there were no funds for the work, it was demolished and the arches adjoining the chancel blocked up. The latter can still be seen on the south side of the chancel. However there is one part of the church built during this period which still exists, namely the tower of the south-west corner, which was very strongly built of flints, with walls 4ft. thick. The tower is crowned with a plain shingled broach spire of the usual Kent type.

 

The Middle Ages saw the end of feudalism in England and the rise of the enterprising middle classes. Very little was done to alter the fabric of the church during this period. Most of the windows were however enlarged to let in more light and the present doorway in the north wall was opened up.

 

In 1694 Cromwell came to power and heralded the Puritan approach to religion. Legend has it that the holes in the door to the church were caused by Cromwell’s soldiers pursuing a cavalier racing to reach the sanctuary of the church!

 

In 1660 it became compulsory to have a Royal Arms in church and those of Charles II were presented to Darenth by Edmund Davenport. Originally placed over the chancel arch, they were subsequently moved to their present position over the south door.

 

In 1888 Ewen Christian, who restored a number of other churches in the neighbourhood, carried out a complete restoration of Darenth church. A low plaster ceiling, which had been placed over the chancel, was removed to reveal the original 14th. Century oak rafters. The present eagle lectern, carved in oak, was installed. A gallery at the west end of the church, in which had been installed a barrel-organ, was removed and the present organ installed in the chancel.

 

In 1889 the existing porch was built to replace the original one which had been there since at least 1600. In 1915 the oak chancel screen was installed as in 1926 were the choir stalls – both were gifts from the Fleet family. In 1922 the vestry was added at the west end of the church to commemorate the fallen of the First World War.

 

In 1970 the Rev.Graham Thomas had the inspiration to form Project 70, the aim of which was to raise funds to build an extension to the church on the south side. This would consist of a meeting room, with ancillary kitchen and toilets. By 1972 sufficient funds had been raised for the building to be completed and consecrated.

 

For its time modern in design and concept, St. Luke’s Room blends with the ancient church. The ceiling is formed of laminated wooden beams soaring upwards and outwards from the old outer wall of the church. This has been left in its original state of rough flints and on it placed a simple wooden cross, carved by one of the young parishioners of Darenth.

 

1197 Nicholas

 

1292 Elyas

 

William ate Halle

 

1354 John de Riparia

 

1355 Roger de Shardelowe

 

1356 Hugh Rodland

 

1358 John Longon

 

1360 Richard Bokeley

 

1404 Thomas Forster

 

1405 John Humfrey

 

1407 John Langford

 

David Sparke

 

1417 John Snetman

 

1424 Allen Lolles

 

1425 John Fitzjohn

 

1428 William Upton

 

1433 William ate Welles

 

William Claneburgh

 

1454 John Strobogge

 

1470 John Smyth

 

1472 Roger Wyllymys

 

1473 Ralph Ffisher

 

1475 Thomas Donald

 

1507 Gerade Matthewe

 

1511 Richard Staple

 

1526 Oliver Rudde

 

1540 John Carre

 

1557 John Calverley

 

1561 Richard Fanne

 

1573 Alexander Ready

 

1584 William Wythers

 

1595 William Baker

 

1605 Richard Buckley

 

1608 John Bassingthwaite

 

1627 Robert Warburton

 

1643 John Larkin

 

1645 John Cacott

 

1661 John Davis

 

1669 John Chadwick

 

1685 Richard Taylor

 

1712 Robert Hodges

 

1714 John Taylor

 

1758 Thomas Thompson

 

1759 Thomas Frank

 

1767 Samuel Denne

 

1799 Henry Thomas Jones

 

1801 William Bagshaw Harrison

 

John Willis

 

1802 John Wall

 

1813 Edward Winthorp

 

1823 John Eveliegh

 

1863 Robert Patch Coates

 

1883 Henry Bingham Stevens

 

1911 Henry Tudor Powell

 

1933 Ernest Levi Howland

 

1934 Ernest George Pratt

 

1952 Neville Gill

 

1958 John Robert Elkington (P in C)

 

1960 Douglas Graham Thomas

 

1986 Roger Ford

 

1999 Kim Mathers

 

2005 Jan Dash (P in C)

 

2011 Nicholas Williams (P in C)

 

www.stmargaretdarenth.org.uk/

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The Heinkel He 276 was a night fighter that served with the German Luftwaffe in the later stages of World War II. Its inception dated back to June 1942 when the RLM requested a multi-purpose combat aircraft, the so-called "Arbeitsflugzeug", that could be adapted to various roles and would replace the Bf 110, Ju 88/188 and Do 217.

 

Heinkel responded with a multitude of designs under the project number P.1065, all of them capable of a speed between 600-700 km/h (373-435 mph) and a ragne form 400-1.000km (248-621 miles) and all driven by piston engines. None of them would enter the hardware stage, though.

 

In parallel, Heinkel also worked on the fast He 219 "Uhu" night fighter, also a psiton-engined design which was a direct response to the RAF's fast Mosquito night bombers which flew so high and fast that they could operate almost unmolested over Germany. Additionally, the Luftwaffe had to cope with more and intense night bomber raids - it became clear that the number of night fighters was not big enough to cope with this threat, let alone the aircraft's capabilities.

 

The He 219 was introduced with high hopes, but the advent of the jet age already signalled that the piston-engined fighetr would become obsolete in a matter of months. As stopgap solutions, 1st generation jet aircraft like the Me 262 or the Ar 234 were in hurry converted to night fighters, but this could not hide that fact that a more potent solution was needed - concerning almost any aspect like range, speed, firepower and radar capability.

 

Plans to augment the He 219 were dropped after intial trials, so that Heinkel decided in September 1944 to develop a completely new aircraft, dedicated to the long range night fighter role. The design team did not start from scratch, though, as the He 219 was already a very good basis to start from, with jigs and tools available for quick production start.

 

The He 276 A-0 was consequently designed around the He 219 structure, even though all wing surfaces were new. The main wings had a laminar profile for higher speeds in excess of 800km/h, the aircraft was to be powered by two Heinkel-Hirth S011 jet engines in nacelles under the wings.

In order to keep the tail surfcaes free from the jet efflux, the He 219's twin fin arrangement was replaced by a single fin with a cruciform stabilizer above the fuselage level. Since the engine nacelles could not take the landing gear anymore, a new arrangement with wells in the lower fuselage waas introduced - overall the He 276 resembled a lot the much smaller Ar 234.

 

The radar system was to be the FuG 240 'Berlin', which was still under development, with a (draggy) "antler" antenna arrangement on the nose plus a rearward-facing warning radar. The rarar was operated by a second crew member who's also control the defensive armament, a tail-mounted FDL 131Z barbette. Main armament were four 30mm MK103 machine cannons in the lower fuselage, each with a muzzle velocity of 860 m/s (2,822 ft/s) and firing HE/M rounds at 380 RPM. Like the He 219 the He 276 was equipped with ejection seats.

 

The first prototype was assembled in record time, and the first flight of the He 276 A-0 took place in August 1945 - only to reveal several shortcomings. One issue was poor directional handling, which could quickly be mended through an enlarged fin surface and a fin fillet, the bigger problem was the unavailability of the HeS011 engine for serial production, and its priority allocation to light fighters.

 

As a consequence, the engine arrangement was literally revised over night - the He 276 was direly needed in frontline service and no more delays were accepted. This lead to the He 276 B series, which would become the production type.

This version was powered by four of the proven Junkers Jumo 109-004D, an uprated version of the Me 262's engine. The engines were mounted in separate nacelles under the wings, even though these were so close to each other that they looked like a double nacelle.

 

A further innovation of the B-series was the introduction of the first radar-guided weapons station - the FDL 131ZR was not visually guided (a task that proved to be almost impossible during night sorties), but rather slaved to the radar system which would automatically align and fire the guns. The radar operator could still override the autamatic guidance, but the system was deemed reliable enough for front line use and it effectively relieved the radar operator.

 

The first production series (B-1) only comprised 10 aircraft, and it was almost immediately replaced by the B-2 which introduced another novelty: the parabolic antenna for the FuG 242 'Schwerin' radar, an improved version of the FuG 240 with longer range and higher sensitivity.

The He 276 B-2 arrived at the Nachtjagdgeschwader in early 1946 and was immediately thrown against Allied bombers and fared surprisingly well.

 

The He 276 was a simple aircraft, which made production and maintenance relatively easy. It also offered enough development and modification potential - many machines received augmented armament and equipment in form of so-called Rüstsätze, which were later integrated into production and earned the aircraft additional 'U-X' suffixes. These included racks for unguided R4M or RZ 65 rockets under the wings, or several 'Schräge Musik' cannon arrangements, which featured two or four oblique-mounted guns in the fuselage, partly coupled with an optical or radar trigger to fire them automatically when flying under a target.

 

The He 276 B-2 was the only version to enter service, though - a planned B-3 upgrade with four reheated Jumo 109s (rated at 1.200 kp each) remained on the drawing board.

  

General characteristics:

Crew: 2

Length (incl. rear antenna): 14.97 m (49 ft 2 in)

Wingspan: 16.56 m (54 ft 3 in)

Height: 5.14 m (16 ft 10 in)

Wing area: 44.4 m² (478 ft²)

Max. takeoff weight: 13,580 kg (29,900 lb)

 

Powerplant:

4× Junkers Jumo 109-004D jet engines, each rated at 1.015 kp

 

Performance:

Maximum speed: 916 km/h (494 kn, 568 mph)

Range: 1,540 km (831 nmi, 960 mi)

Ferry range: 2,148 km (1,160 nmi, 1,335 mi)

Service ceiling: 13.300 m (43.564 ft)

 

Armament:

4 × 30 mm MK 103 cannons in a detachable fairing under the fuselage, 220 RPG;

2× 13 mm MG 131 in an FDL 131ZR tail barbette, 450 RPG;

Factory Rüstsatz "U1" with 4× 30 mm (1.18 in) MK 108 cannons, mounted dorsally as

Schräge Musik (oriented 65° above horizontal), 100 RPG

 

Two hardpoints under the outer wings, capable of carrying 500 kg each

(normally occupied by 300l drop tanks).

 

The kit and its assembly:

This whiffy Luft ’46 aircraft model had two inspirational roots. One was the question what could a jet-powered He 219 night fighter have looked like, the other was the real Heinkel P.1065 ‘Arbeitsflugzeug’ project(s), following the idea what that aircraft might have looked like if it had been ushered into production and service?

It would certainly have relied upon existing components – so the concept for this jet-propelled, dedicated night fighter design was born.

 

The model is a wild kitbash, welded together from the following main ingredients:

• Fuselage of a 1:72 Frog He 219 (Matchbox re-boxing)

• Wings from a 1:100 VEB Plasticart An-24 (NuBee re-boxing)

• Two pairs of 1:72 Revell Me 262 engine nacelles

• Fin and stabilizer from an 1:72 Matchbox Douglas F3D Skyknight

  

Sounds odd? Yes, and it took some surgical work to get these pieces together. The He 219 fuselage was shortened, a 1” plug taken out at the wings’ trailing edge, thereby shortening the wing roots to the An-24’s dimensions, and the tail section cut off. The tail gap was replaced by a scratched FDL 131Z barbette, and new stabilizers from a Matchbox F3D placed on top of the fuselage, far away from the jet efflux.

 

I did not want to open the cockpit, but the canopy offers good visibility into the interior, so I scratched something together - the Frog kit has literally nothing of value to offer, so I added a new floor (also acting as front wheel well), new Me 262 seats, dashboards, an IR sight and something that looks like the upper side of a fuselage tank, plus two crew figures.

 

The wings were clipped, too, and the original An-24 turboprops replaced by two pairs of Me 262 engines in the same place, mounted closely together.

 

This meant that the landing gear had to go elsewhere, so I relocated the main landing gear wells into the lower fuselage, changing it into a narrow Ar 234 or B-66 style arrangement - from AH-64, F-86 and Bv 155 parts.

For this new arrangement the belly was cut open and a Fiat G.91 part from a Revell kit integrated. The covers for the main landing gear were scratched from sytrene sheet.

 

The front wheel strut is OOB, but shortened, and instead of a single, big wheel I used smaller twin wheels, from a Matchbox Canberra PR.9. After 25 years these parts finally found a new destination. ^^

 

The thimble radome is a Pavla resin piece, it actually belongs to a Bristol Beaufighter TF Mk. X, but perfectly fits ins shape and size - and the new nose dramatically changes the He 219 lines!

 

On the fuselage, I finally added four vertical guns as a "Schräge Musik" installation, adding some more purpose to the rather ugly aircraft. A pair of drop tanks (from two Academy Fw 190 kits) and their respective hardpoints (from a Me 262) complete the ordnance.

 

I must admit that the thing is ugly as hell, but on the other side looks very German and purposeful - and the new nose section recalls some similarity with a CF-100 or even a B-57a C-130 or a Transall?

  

Painting and markings:

As a late war German night fighter, almost anything goes. I went for a personal mix of two real night fighter schemes, blended into one: the basis comes from a Me 262 two seater which was finished in an unusual scheme for night duties: upper surfaces in RLM 81 & 83 (Braunviolett and Dunkelgrün), with black (RLM 22) undersides.

 

Since many night fighters received field modifications, and in patricular much lighter upper surfaces, I added an individual RLM 76 treatment (maybe whitewash, though - not certain if it was intended as winter or night cammo) that comes from a Ju 188 night reconnaissance aircraft and which can only be described as original.

 

In an initial step the model received its normal paint scheme (using Humbrol 116 and 155, plus flat black from Modelmaster), the RLM 76 additions (with Modelmaster Authentic enamel paint and some Humbrol 127) were then added, so that the original paint could shine through. Everything done with a soft brush, and the result is IMHO very good.

 

All interior surfaces and the landing gear were painted in dark grey (Humbrol 67) and later slightly dry-painted with medium grey (Humbrol 176) in order to point out details.

 

Decals were puzzled together from various sources, and I kept everything very simple and minimal - just some German insignia, a tactical code and the last digits of the airframe's serial number at the top of the fin.

 

Finally, some soot stains were added with grinded graphite and everything sealed under matt acrylic varnish (Revell).

  

I will admit that the He 276 is an ugly aircraft, with a rather utilarian design. But this actually adds a very German touch to it - and how else could a successos to the He 219 or Ju 88 C look like? ;)

Dedicated to my good friend David who wrote me a great testimonial...thank you so much!! And here is his wonderful photostream, check it out!

 

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My Interesting Photos on Hive Mind

A mural on the side of the Volunteer Fire Department in Concrete, WA is didicated to past and present Volunteers in the Fire Department.

 

Texture by darkwoods67 www.flickr.com/photos/darkwood67/3714506836/

Dedicated to my Flickr friends! Catching up tomorrow!

Officers from GMP’s dedicated operation into tackling serious and organised crime in Salford have been in Kersal this morning in the fourth of a series of action days aimed at disrupting criminal activity in the district.

 

It has been a month since the inception of the action days and officers have so far trawled through sites on Buile Hill Park, Weaste Cemetry and Stanton Avenue looking to recover any discarded and hidden firearms or weapons to ensure their removal from the streets.

 

So far, police have recovered approximately four kilograms of Class A drugs and 30 unspent shot gun cartridges, which have been submitted for forensic evidence for ongoing investigations as part of GMP’s dedicated Operation Naseby.

 

Today (Friday 20 November 2020)’s action comes after three firearms incidents in the past week – all incidents that aren’t believed to be linked to any previous incident or ongoing disputes.

 

Extensive enquiries are ongoing for each of the incidents and detectives are encouraging any members of the public with information to get in touch to aid with their investigations.

 

None of the incidents caused serious or life-threatening injuries but officers are keen to bring to justice each of those responsible for those incidents.

 

The first of the three was on the evening of Saturday 14 November on Anson Street, Eccles, where a 20-year-old man was shot at by a passing vehicle.

 

On Tuesday 17 November, a 38-year-old man self-presented at hospital with a gunshot wound to the hand following an altercation with an unknown man in another vehicle on Littleton Road, Kersal – the vehicle was found burnt-out on nearby Whit Lane and recovered in evidence.

 

Yesterday morning (Thursday 19 November) a 39-year-old man was reported to be at hospital with a gunshot wound to the foot after an incident on Cromwell Road.

 

No arrests have been made in relation to any of the three incidents at this stage and detectives are investigating all lines of enquiry to establish what the circumstances of each of them.

 

There has been an increase in high-visibility patrols in response to the incidents and the public are, as ever, encouraged to speak to them with any concerns they may have, with the knowledge information will be treated with the strictest confidence.

 

Since the inception of the Operation Naseby disruption hub in April, there have been 133 arrests, 120 vehicles seized and 51 house searches.

 

Detective Superintendent Chris Packer, of GMP’s Salford division, said: “Today’s action is a really positive continuation of some of the work that has been done, not only as part of the weapon search days, but also our wider disruption activity that has taken place this year which has seen us make some really positive strides in the battle to thwart organised crime.

 

“There has been a worrying increase in the number of firearms incidents in the past week and I want to assure the public that, despite none of the incidents being treated as linked at this time, we have taken this very seriously and understand the concerns members of the public may have.

 

“We have a team of detectives who are thoroughly investigating each of the incidents and have been working around the clock to make sure that those responsible are caught, and I urge any members of the public who may have even the slightest bit of information to get in touch with us, or anonymously through Crimestoppers.

 

“It has been a challenging week but we take great confidence from the reduction in incidents involving serious and organised crime this year, which have previously been a burden on the city for a number of years. However, recent events show why the police remain vigilant and void of complacency as we need to continue our positive work as a district and alongside local authority to tackle the use of firearms and weapons on our streets.”

 

GMP have also been working alongside partners in Salford City Council as part of Project Gulf, an initiative dedicated to tackling organised crime in the city with a view to deter reoffending as well as taking down criminal groups.

 

Councillor David Lancaster, lead member for environment and community safety, praised the police action and said partnership working and intelligence sharing through Project Gulf, is as strong as ever.

 

“We are also working hard to keep young people out of crime. The Steer project, run by Salford Foundation was launched in Salford to provide one to one support and proved so successful it was then rolled out across Greater Manchester.

 

“We’ve commissioned support for ex-offenders to find work to avoid them drifting back into crime and used everything from drama to direct meetings with ex-gang members. We want to make clear to young people the reality, consequences and dangers of getting involved in crime.”

 

If you have any information about Operation Naseby or recent incidents in Salford, please call police directly on 0161 856 3777. Details can be passed anonymously to the independent charity Crimestoppers on 0800 555 111.

Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.

 

A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.

 

The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.

 

Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.

 

ETYMOLOGY

The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".

 

LEGEND

The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).

 

The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.

 

PATRONAGE

To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.

 

Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.

 

Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.

 

Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.

 

TEMPLE STRUCTURE

The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).

 

Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").

 

The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.

 

This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:

 

- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.

- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.

- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.

 

SIGNIFICANCE OF THE TEMPLE DESIGN

The layout and architecture of the temple is replete with philosophical meanings.

 

Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).

 

The 9 gateways signify the 9 orifices in the human body.

The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.

 

The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).

 

The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.

 

TOWERS

The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.

 

HALLS

There are 5 ambalams or sabhas (halls) inside the temple.

 

- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.

- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.

- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy

- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.

- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.

 

SHRINES

- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai

- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.

- Shrine of Sivagami.

- Ganesha shrine

- Shrine of Muruga or Pandiya nayakan

 

There are also several smaller shrines in the temple complex.

 

GOVINDARAJA SWAMY SHRINE

The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.

 

TEMPLE TANKS

The Chidambaram temple is well endowed with several water bodies within and around the temple complex.

 

- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.

- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.

- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.

- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.

- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.

- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.

- Nagaseri tank is situated to the west of the Anantha thirtham.

- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.

- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.

- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.

 

TEMPLE CAR

The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.

 

ANANDA TANDAVA

The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage 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 krita age joins another saint, Vyaghrapada or 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 Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, 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 (January-February).

 

THE ANANDA TANDAVA POSTURE

The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.

 

- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.

- The fire in His hand (power of destruction) means He is the destroyer of evil.

- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.

- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.

- The drum in His hand signifies the origin of life forms.

- The lotus pedestal signifies Om, the sound of the universe.

- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.

- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).

- The crescent moon in His hair signifies benevolence and beauty.

- The flowing of river Ganges through His matted hair signifies eternity of life.

- The dreading of His hair and drape signify the force of His dance.

 

Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.

 

RELIGIOUS SIGNIFICANCE OF THE TEMPLE

Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.

 

Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.

 

Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).

 

RELIGIOUS WORK AND SAINTS

There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.

 

THE CHIDAMBARA RAHASIYAM

During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.

 

The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.

Temple administration and daily rituals

 

WORSHIP FORMS

A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.

 

At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.

 

Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".

 

WORSHIP

The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.

 

DIKSHITARS

The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.

 

DAILY RITUALS

The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).

 

Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.

 

TEMPLE ADMINISTRATION

The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.

 

FESTIVALS

A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.

 

There are references in Umapathy Sivam's

Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.

 

Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.

 

HISTORY

Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."

 

The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.

 

Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.

 

At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.

 

To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.

The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.

 

INSCRIPTIONS

There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.

 

KUMBHABISHEKAM 2015

The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam

 

Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.

 

INVASIONS

The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.

 

WIKIPEDIA

All my flickr friends.

Dedicated to my piano-soulmate. ♥. Because without you I can not be.

 

I was playing "Comptine d'un autre été: l'aprés midi" by Yann Tiersen (♥) by the way,

I´m sure, you all know it.

... Still working on the Moonlight Sonata (1st movement at the moment ;)) and sometime I´ll share it with you guys - so stay tuned.

 

There is a stained glass window in the church of St Mary, Wortham dedicated to Arnold and his brother Ralph. I wonder if the faces are those of the young men concerned.

 

In memory of Arnold William Rash 2nd Lieut Suffolk Regt, who fell at the Battle of Passchendaele

July 31st 1917 aged 25, & of Ralph Reginald Rash 2nd Lieut Suffolk Regt who fell at the battle of the Somme October 12th 1916 – aged 20, 4th and 6th sons of J J Rash J.P. of Wortham.

 

Arnold W Rash………………………………………….

 

The Roll of Honour for those who served from the Parish has

+Rash, Arnold William………………………4th Suffolk

 

RASH, ARNOLD WILLIAM

Rank:………………………………….Second Lieutenant

Date of Death:……………………31/07/1917

Age:……………………………………25

Regiment:………………………….Suffolk Regiment,5th Bn.

Grave Reference:……………….C. 18.

Cemetery:………………………….BUFFS ROAD CEMETERY

Additional Information:

Son of John J. and Mary L. Rash, of 44, Cranley Gardens, Muswell Hill, London. Native of Wortham, Suffolk.

CWGC: www.cwgc.org/find-war-dead/casualty/451689/RASH,%20ARNOLD...

 

Soldiers who Died in the Great War records that 2/Lt Arnold William Rash was Killed in Action on the 31st July 1917 whilst serving with the 5th Battalion (Territorial), Suffolk Regiment.

 

The Medal Index card for Second Lieutenant Arnold William Rash, Suffolk Regiment, is held at the National Archive under reference WO 372/16/151415. He had originally been Private 2173 in the same Regiment.

discovery.nationalarchives.gov.uk/details/r/D4786580

 

The Probate Calendar for 1918 records that Arnold William Rash of 44 Cranley Gardens, Muswell Hill, Middlesex died of wounds on the 31st July 1917 in France. Administration was granted at the London Court on the 8th June 1918 to the widow Mary Lucy Rash. Effects were valued at £964 5s.

probatesearch.service.gov.uk/Calendar?surname=Rash&ye...

 

Arnold William Rash, born 5th May 1892, attended Framlingham College from 1906 – 10. He was one of seven brothers to attend the College. The College Roll of Honour records that he was a Prefect and Queen Victoria Scholar. He won the Goldsmith Prize and Gold Medal for Maths 1908, the Book Keeping Prize 1908-09 and the Maths Prize, 1909. The article includes a picture of his headstone.

www.oldframlinghamian.com/gallery2/main.php?g2_view=core....

 

He is also remembered on the Leiston cum Sizewell War Memorial.

www.roll-of-honour.com/Suffolk/Leiston.html

 

April to June 1892

 

The birth of an Arnold William Rash was registered in the Hartismere District of Suffolk in this quarter of 1892. (Hartismere includes the village of Wortham)

familysearch.org/ark:/61903/1:1:2FM4-3QW

 

The baptism of Arnold William Rash, son of John Josiah and Mary Lucy Rash took place at St Mary Redgrave with Botesdale, Suffolk on the 17th October 1892.

familysearch.org/ark:/61903/1:1:NNX7-F26

 

1901 Census

 

The 8 year old Arnold William, born Wortham, was recorded as resident at New Waters Farm, Wortham. This was the household of his parents, John Josiah, (aged 49 and a Miller + Farmer from Wortham) and Mary Lucy, (aged 39 and from Norwich, Norfolk). As well as Arnold, the other children still at home are:-

Ethel Maud…………aged 17…………born Wortham

Annie Lucy………….aged 16…………born Wortham

Ella Mary…………….aged 14…………born Wortham…..Deaf + Dumb from Childhood

Rowland Harry……aged 10…………born Wortham

Basil Lionel………….aged 6………….born Wortham

Ralph Reginald…….aged 4………….born Wortham

The family then have one live in servant.

 

New Waters Farm, Wortham

media1.fineandcountry.com/v3/clients/346/properties/50024...

 

The legend on the window states that Arnold and Reginald are the 4th and 6th sons,and the details from the Framlingham College Roll of Honour indicates 6 sons attended the College. Its likely therefore that there are two older sons who were not living at home on the 1901 census. Going back to the 1891 census it looks like the family have been recorded with the surname “Pash”. Running through the children recorded, as well as Ethel Maud, (7), Annie Lucy,(6), Ella Mary, (4) and Rowland Harry, (5 months) there are also two additional sons – John Cecil, (3) and Charles Edward, (1) – both born Wortham.

 

On the 1901 census, John Cecil Rash, (13 – born Wortham) and Charles Edward Rash, (11 – born Wortham), were both recorded as Boarders at Eye Grammar School in the nearby town of Eye.

 

1911 Census

 

The 18 year old Arnold William, an Engineering Cost Clerk from Wortham, was recorded living as a Boarder at “Lyndhurst”, Leiston, Suffolk. This was the household of a William and Eliza West. William works as a General Labourer in a Boiler Shop.

 

I could not find a marriage in England and Wales for an Arnold Rash. So unless he married somewhere else, (or there is a gap\error in the official records), then I suspect the widow Mary Lucy who sorted out his estate was his mother.

 

Older brother John Cecil, aged 23 and single, was recorded as the Head of the Household at 6, New Bridge Terrace, St Ives, Huntingdon. John was working as a Solicitors Articled Clerk.

John also appears on the Wortham Roll of Honour of those that served – his unit is shown as the 4th Suffolks.

 

In fact it looks like he actually initially served with the Suffolk (The Duke of York’s Own Loyal Suffolk Hussars) Yeomanry as a Private and was then appointed to be a Second Lieutetant in the Suffolk Regiment, effective 21st September 1915.

www.thegazette.co.uk/London/issue/29302/supplement/9308/d...

 

There are two Medal Index Cards held at the National Archive for a J C Rash. On the first he is shown as a Second Lieutenant, and its held under reference WO 372/24/80921.

discovery.nationalarchives.gov.uk/details/r/D6320446

The second records him as Second Lieutenant\Temporary Captain in the same Regiment, using reference WO 372/24/51747

discovery.nationalarchives.gov.uk/details/r/D6526611

 

The second oldest son, Charles Edward, (21) has meanwhile moved back home, where he describes himself as a Miller and Merchant, a Working Partner in a business run from home. Head of the household is his widowed mother Mary Lucy, aged 49. Although she does not state how many years she was married to her late husband, she has completed the columns advising on the number of children of the relationship. Mary had 13 children of which 11 are then still alive. As well as Charles Edward, also still at home are:-

Ethel Maud………..aged 27

Annie Lucy………….aged 26

Ella May……………..aged 24…Deaf and Dumb from birth

Eric Douglas……….aged 6..born Wortham

Joyce Eileen……….aged 1..born Wortham

There is also a guest and 2 live in Domestic Servants. Although Ella’s disabilities are documented on all three censuses she appears on after birth, from the signature it looks like she actually completed the return.

 

Ralph Reginald and Basil Lionel were recorded as Boarders at Framlingham College, Framlingham, Suffolk.

 

Rowland Harry Rash is not on the 1911 census. However, the death of a Rowland Harry Rash born 10th November 1890 did not occur until the October to December quarter of 1977 in the Hartismere District of Suffolk, so either he was outside England and Wales on the night of the census, was missed or had been mis-transcribed.

 

In Kelly's of 1937 Rowland Harry Rash is living at Wortham Manor.

 

He is also noted as being farmer and landowner Wortham Manor, Ling and

Hall > Farms, The Executors of J J Rash - Bailiff Robert Dixon looking after Beech Tree

Farm. There is a note to say that the Manor, occupied by R H Rash is an ancient

manor set in well timbered grounds.

 

I recall delivering groceries to the Manor in the sixties. The place was at that time owned and inhabited by the widow of Mr R H Rash. She was Doreen Rash, nee Wallace, and was a celebrated authoress in her maiden name.

 

In the 'thirties, the Rashes led a famous protest against the payment of tithes to the church, a campaign which was featured in the national press, I believe. There is a monument in the village (although not all that near to the Manor House), which commemorates the events, although its inscription

doesn't offer a very informative explanation of its purpose. It is known as the 'Tithe War Stone'.

Source: archiver.rootsweb.ancestry.com/th/read/SUFFOLK/2005-02/11...

 

On the day

 

The 5th Territorials were actually serving in Palestine, so I suspect he was more likely on the books of the 2nd/5th, the training unit. From there he would most probably have been attached to one of the active service Battalions serving in France.

 

Update (and correction) 25/10/2015)

 

I originally assumed this was probably the 8th Battalion, as that was the only unit I could identify from the Suffolk Regiment who were in the assault on the day of Alan’s death. When I originally posted this image I gave details of that battalions actions and casualties on that day. However, seeking to confirm this one way or the other, I posted a question on the Great War Forum.

 

Very quickly Forum member IPT identified that he was attached to the 1st/1st Battalion, Cambridgeshire – a unit I know has very close connections with the Suffolk Regiment.

 

31st July 1917: 5.30am 118th Brigade advanced in artillery formation. Cheshires on right, Herts in centre and 4/5th BW on left, with Cambs in reserve moving behind BW. 6.30am the three leading btns in Blue line and 1st Cambs on X line. 7.30am 116th & 117th Brigades took Black line. 118th Brigade advanced. Cambs advanced at 10.30am disposed as follows - two coys on a line east and west of 250yds north of Border House, with two coys in reserve and due west of Border House and one detailed to support 4/5 BW at C1815.5. At 10.10am brigade moved forward to attack the Solid Green line. 10.54am Solid Green line captured by Cheshires. 10.50am counter attack from most eastern part of Langemarke line on Herts who had lost all officers. BW had to fall back to conform. Cambs attacked with two coys and drove Germans back. By 5pm the line was back on Dotted Green Line with exception of 4/5 BW. At this time Cambs attacked at Border House and beat Germans back. Germans were around flank so Cambs ordered to retire south of Hannebeke. At 5.30pm they were at Canvas Tr-Canteen Tr. 10pm ordered to withdraw through 116th and 117th Brigades.

  

August 1st: 1.30pm Cambs Rgt reassembled in Coney Street and roll called. A, B and HQ in tunnels at Belle Alliance and C & D in Coney Street. Due to casualties, re-organised btn into two coys.

 

Aug 2nd: About noon orders received that Germans expected to counter-attack. Btn moved into support in Calf Trench (old German front line). 9pm, btn to occupy Blue and Dotted Blue Lines from Mouse Trap Farm to Krupp Farm - whole neighbourhood almost 12 inches deep in mud. No II Coy on right in position aout 2.30am, but No I on left did not get into position until 5am.

 

3rd: Btn HQ in old dugout in Caliban Trench.

 

4th: 2pm orders received that btn would relieve 17th Sherwood Foresters in front line - relief completed by midnight. No 1 coy in Dotted Blue line in front of Steenbeck, No 2 at Alberta. Btn HQ in Black Line at Kitchener’s Wood.

 

5th: 11pm btn relieved by 1/4th Ox & Bucks, moved to camp near Reigensburg Chateau.

 

Casualties 31/7 to 6/8: Killed - Capt F C Jonas, Capt B M Hunter RAMC, 2nd Lt A H Muirhead, Lt A J Gray, att 118th Brigade; 2nd Lt A W Rash, 4th Suffolks; Capt C L Awberry, 4th Essex. DoW - 2nd Lt W Ritchie; 2nd Lt R Hill. Wounded: Capt A Dunlop, Lt C L Tebbutt, Lt A Fison, 2nd Lts G Smith, G Blackburn, F Spicer, B Silk, E Twelvetrees, H Raven. Other ranks - 30 killed, 26 missing, two wounded and missing, 215 wounded.

 

Another forum member has more details on brother John Cecil who served with the 1/4th Suffolks.

1914-1918.invisionzone.com/forums/index.php?showtopic=232...

  

Ralph R Rash……………………………………………..

 

The Roll of Honour for those who served from the Parish has

+Rash, Ralph Reginald………………………10th Suffolk

 

RASH, RALPH REGINALD

Rank:…………………………………Second Lieutenant

Date of Death:…………………..12/10/1916

Age:…………………………………..19

Regiment:………………………….Suffolk Regiment, 7th Bn.

Panel Reference:……………….Pier and Face 1 C and 2 A.

Memorial:…………………………THIEPVAL MEMORIAL

Additional Information:

Son of Mary Lucy Rash, of 44, Cranley Gardens, Muswell Hill, London, and the late John Josiah Rash, J.P.

CWGC: www.cwgc.org/find-war-dead/casualty/1550248/RASH,%20RALPH...

 

Soldiers who Died in the Great War records that 2/Lt (TP) Ralph Reginald Rash was Killed in Action on the 12th October 1916 whilst serving with the 7th Battalion, Suffolk Regiment.

 

The Medal Index Card for Second Lieutenant Ralph Reginald Rash, Suffolk Regiment, is held at the National Archive under reference WO 372/16/151428

discovery.nationalarchives.gov.uk/details/r/D4786593

 

Ralph Reginald Rash, born 7th November 1896, attended Framlingham College from 1910-13. One of 6 brothers to attend the College, he was a Sub-Prefect. A 2nd Lieutenant in the 7th Battalion, Suffolk Regiment, he was Killed in Action on the 12th October 1916. There is a picture of the relevant panel on the Thiepval Memorial.

www.oldframlinghamian.com/gallery2/main.php?g2_view=core....

 

He was appointed Temporary Second Lieutenant on the 20th July 1915 being either a Cadet oe Ex-Cadet of the Officer Training Corps.

www.thegazette.co.uk/London/issue/29236/page/7081/data.pdf

 

Birth

 

The birth of a Ralph Reginald Rash was recorded in the Hartismere District of Suffolk in the October to December quarter of 1896.

familysearch.org/ark:/61903/1:1:2F7M-2MF

 

1901 census

 

See Brother Arnold William above for details of the family on this census.

 

1911 Census

 

The 14 year old Ralph Reginald was recorded as a Boarder at Framlingham College, Framlingham, Suffolk.

 

On the day

 

12th - Attack on Guedecourt with 7th Suffolks on right, 7th Norfolks on left. Wire uncut and remnants of battalions back to start.

1914-1918.invisionzone.com/forums/index.php?showtopic=487...

 

Nearer to Gueudecourt, 12th Div attacked Hilt Trench with the Newfoundland Regt. The Newfies were attached from 29th Div. They continued the advance to Grease Trench but were forced to withdraw at 5.30pm. They held onto the captured section of Hilt Trench and bombed some way along it before erecting a barricade. Meanwhile 7th Suffolks and 7th Norfolks (35 Bde, 12th Div) were halted by uncut wire in front of Bayonet Trench.

forum.irishmilitaryonline.com/showthread.php?9058-The-Som...

 

Battalion War Diary for the 7th Norfolks.

 

12th October 1916. Flers Trench near Flers.

 

Today at 2.5pm we attacked BAYONET TRENCH. Last night the assembly trenches were completed + all the battalion lay out in them from 5 a.m. this morning until the attack. The attack was carried out with all four companies in the line, disposed in depth, one platoon behind the other, D on the right C,B,A. On our right, 7th Suffolk Regt and on our left 2nd Royal Scots, 30 Divison. Battn HQ remained in BULLS ROAD. The object was to attack was first of all to capture BAYONET+SCABBARD TRENCH and then to sweep up + take LUISENHOF FARM and establish a line beyond it.

 

At 2.5 pm our artillery barrage commenced + our men advanced to the assault. After advancing about 50 yards, the Hun opened fire with M.G.s from both flanks + from in front. Our troops continued to advance but before reaching the enemys trench ran into barbed wire which had not been cut. The wire coupled with the M.G fire prevented any further advance, and our men lay down in shell holes from where they brought rifle fire to bear on the Germans who were standing up in their trenches shooting at them. We caused considerable casualties in this way to the enemy. After dark we made a further attempt to cut a way through to the enemy’s trench but the line proved too strong. The survivors then crawled back to our own line and then reformed. The 9th Essex Regt.then relieved us +the Suffolk Regt. In the front line + we came back to FLERS TRENCH, the Reserve lines near FLERS which we are sharing with the Suffolk Regt.

 

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Dedicated toTahreer :P

Last week I got my ass of the streetcar, and took the damn shot! His name is Blair. Really nice man. I like to think it's never too late, and I guess this shot is proof.

Dedicated to all children around our planet victims of our lack of a sense of moderation...

 

Dedicacée à tous les enfants de la Terre victimes de nôtre manque du sens de la mesure...

Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.

 

A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.

 

The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.

 

Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.

 

ETYMOLOGY

The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".

 

LEGEND

The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).

 

The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.

 

PATRONAGE

To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.

 

Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.

 

Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.

 

Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.

 

TEMPLE STRUCTURE

The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).

 

Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").

 

The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.

 

This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:

 

- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.

- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.

- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.

 

SIGNIFICANCE OF THE TEMPLE DESIGN

The layout and architecture of the temple is replete with philosophical meanings.

 

Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).

 

The 9 gateways signify the 9 orifices in the human body.

The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.

 

The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).

 

The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.

 

TOWERS

The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.

 

HALLS

There are 5 ambalams or sabhas (halls) inside the temple.

 

- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.

- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.

- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy

- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.

- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.

 

SHRINES

- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai

- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.

- Shrine of Sivagami.

- Ganesha shrine

- Shrine of Muruga or Pandiya nayakan

 

There are also several smaller shrines in the temple complex.

 

GOVINDARAJA SWAMY SHRINE

The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.

 

TEMPLE TANKS

The Chidambaram temple is well endowed with several water bodies within and around the temple complex.

 

- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.

- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.

- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.

- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.

- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.

- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.

- Nagaseri tank is situated to the west of the Anantha thirtham.

- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.

- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.

- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.

 

TEMPLE CAR

The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.

 

ANANDA TANDAVA

The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage 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 krita age joins another saint, Vyaghrapada or 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 Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, 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 (January-February).

 

THE ANANDA TANDAVA POSTURE

The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.

 

- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.

- The fire in His hand (power of destruction) means He is the destroyer of evil.

- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.

- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.

- The drum in His hand signifies the origin of life forms.

- The lotus pedestal signifies Om, the sound of the universe.

- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.

- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).

- The crescent moon in His hair signifies benevolence and beauty.

- The flowing of river Ganges through His matted hair signifies eternity of life.

- The dreading of His hair and drape signify the force of His dance.

 

Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.

 

RELIGIOUS SIGNIFICANCE OF THE TEMPLE

Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.

 

Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.

 

Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).

 

RELIGIOUS WORK AND SAINTS

There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.

 

THE CHIDAMBARA RAHASIYAM

During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.

 

The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.

Temple administration and daily rituals

 

WORSHIP FORMS

A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.

 

At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.

 

Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".

 

WORSHIP

The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.

 

DIKSHITARS

The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.

 

DAILY RITUALS

The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).

 

Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.

 

TEMPLE ADMINISTRATION

The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.

 

FESTIVALS

A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.

 

There are references in Umapathy Sivam's

Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.

 

Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.

 

HISTORY

Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."

 

The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.

 

Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.

 

At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.

 

To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.

The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.

 

INSCRIPTIONS

There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.

 

KUMBHABISHEKAM 2015

The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam

 

Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.

 

INVASIONS

The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.

 

WIKIPEDIA

The Arch of Constantine (Italian: Arco di Costantino) is a triumphal arch in Rome, situated between the Colosseum and the Palatine Hill. It was erected by the Roman Senate to commemorate Constantine I's victory over Maxentius at the Battle of Milvian Bridge in 312.[a] Dedicated in 315, it is the largest Roman triumphal arch.[1] The arch spans the Via triumphalis, the way taken by the emperors when they entered the city in triumph.

Though dedicated to Constantine, much of the decorative material incorporated earlier work from the time of the emperors Trajan (98–117), Hadrian (117–138) and Marcus Aurelius (161–180), and is thus a collage.[2] The last of the existing triumphal arches in Rome, it is also the only one to make extensive use of spolia,[3] reusing several major reliefs from 2nd century imperial monuments, which give a striking and famous stylistic contrast to the sculpture newly created for the arch. This earned it the derisive nickname of Cornacchia di Esopo Aesop's Crow.[4]

The arch is 21 m high, 25.9 m wide and 7.4 m deep. It has three archways, the central one being 11.5 m high and 6.5 m wide and the lateral archways 7.4 m by 3.4 m each. Above the archways is placed the attic, composed of brickwork reveted (faced) with marble. A staircase within the arch is entered from a door at some height from the ground, on the west side, facing the Palatine Hill. The general design with a main part structured by detached columns and an attic with the main inscription above is modelled after the example of the Arch of Septimius Severus on the Roman Forum.

 

The arch, which was constructed between 312 and 315 AD, was dedicated by the Senate to commemorate ten years (decennalia[b]) of Constantine's reign (306–337) and his victory over the then reigning emperor Maxentius (306–312) at the Battle of Milvian Bridge on 28 October 312,[6] as described on its attic inscription,[7] and officially opened on 25 July 315. Not only did the Roman senate give the arch for Constantine's victory, they also were celebrating decennia, a series of games that happens every decade for the romans. In this occasion they also said many prayers.[8] However, Constantine had actually entered Rome on 29 October 312, amidst great rejoicing, and the Senate then commissioned the monument.[9] Constantine then left Rome within two months and did not return till 326.[10]

The location, between the Palatine Hill and the Caelian Hill, spanned the ancient route of Roman triumphs (Via triumphalis) at its origin, where it diverged from the Via sacra.[6][4][11] This route was that taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus, and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left at the Meta Sudans and march along the Via sacra to the Forum Romanum and on to the Capitoline Hill, passing through both the Arches of Titus and Septimius Severus.

During the Middle Ages, the Arch of Constantine was incorporated into one of the family strongholds of ancient Rome, as shown in the painting by Herman van Swanevelt, here. Works of restoration were first carried out in the 18th century,[3][c] the last excavations have taken place in the late 1990s, just before the Great Jubilee of 2000. The arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics.

Am currently in the Italian mode. No. I don't speak Italian and my heart really isn't in it.

 

Flickr is a dictatorship run by a bunch of buffoons that care little about the people that use it and most especially the serious photographer. I have absolutely no use for the lot of them. I wish they would find a nice black hole to crawl into…all of the tyrannical jerks at once.

Dedicated to all my flickr friends. / Dedicado a todos mis amig@s de flickr.

 

Thank you so much for all your support, comments, views and faves! / Muchas gracias por todo vuestro apoyo, comentarios, visitas y favoritos!

 

To view on black click here. Thanks!! ;)

More than 100 dedicated DMPS employees from a variety of departments were honored at a special luncheon on Wednesday at the Wakonda Club in Des Moines. Chief of Human Resources Dr. Anne Sullivan offered congratulations, and Superintendent Dr. Tom Ahart presented retirees with a golden apple for their service.

 

Students Aviva Adams-Wilk (Cowles Montessori School), Shakira Stiefvater (Callanan Middle School) and Courtnei Caldwell (Hoover High School) talked about the special teachers in their lives and the impact school has had on them.

 

Congratulations to our retiring employees!

 

Anderson, Rhonda

Andresen, Kimberly

Andrews, Kathleen

Balkema, James

Banks, Leane

Barnes, Steve

Bass, Cynthia

Behling, Denise

Bennett, Ronald

Berry, Mary

Blackford, Cynthia

Boal, Anne

Brandt, Marsha

Brier, Sandra

Brocksmith, Karen

Brones, Laura

Caligiuri, Mari

Callaghan-Mitchell, Barbara

Carlson, Philip

Carter, Shelley

Charron, Karen

Clausen, Katherine

Cockrell, Stephen

Collins, Melinda

Colton, Patricia

Cooley, Terance

Cooper, Janyce

Crandell, Kathleen

Cropp, Billie Jo

Cross, Karen

Culver, Peggy

Cusmano, Patricia

Dahm, Leslie

Day, Barbara

Decker, Mary

Dickerson, Donna

Dinsdale, Linda

Dunivan, Sandra

Durham, Dawn

Edwards, Pamela

Faust, Gloria

Fogle, Deborah

Forsgren, Thomas

Fritch, Marcia

Gaylord-Crispin, Marjorie

Gier, Kay

Graham, Kay

Grandanette, Joseph

Greiner-Glas, Susan

Hansen, Kathryn

Hanson, Steven

Harrington, Diane

Heideman, Julie

Henline, Thomas

Hetzel, Jannan

Hilger, Mary

Holmgren, Ronald

Holmgren, Teresa

Horn, Sarah

Hoyt, Lynne

Huston, Steven

James, Ethel

Jasso, Michael

Jefferson, Lucy

Johnson, Camille

Johnson, John

Johnston, Michael

Jones, Sarah (Jackie)

Jones, Karen

Jones, Melinda

Kerman, Lonny

Khalastchi, Barbara

King, Bonnie

Kitterman, Darrell

Kleinschrodt, Juli

Kulzer, Howard

Lehman, Kathleen

Leonetti, Juli

Lewis, Mary

Logsdon, Michael

Loux, Donna

Lowe, Julia

Lynch, Gene

Lynch, Nancy

Maass, Karen

Markle, Todd

Mattila, Lin

Mcdonald, Susan

Metge, Maria

Miller, Diann

Morain, Diane

Murillo, Janet

Murphy, Kathleen

Nemmers, Linda

Nemmers, Theodore

Neswold, Vicki

Nichols-Wood, Barbara

Nigro, Roberta

Nizzi, Jerry

O’lear, Laura

Parrish, Terry

Paul, Kathleen

Paulsen, Mary

Pearson, Genevieve

Reynolds, Kathy

Riordan, Therese

Robinson, Barbara

Rodriguez, Linda

Root, Valerie

Rosin, Julie

Schwering, Jeanette

Sircy, Katherine

Skinner, Peggy

Smith, Thomas

Smith, Birdie Mae

Smith, Jean

Smith, J Kirby

Stancel, Kenneth

Stark, Lee

Stetson, Deborah

Stinson, Donna

Stone-Flomo, Cassandra

Swanson, Carol

Swanson, Thomas

Sweet, David

Tebo, Janette

Thompson, Shari

Trullinger, Christy

Tursi, Madelyn

Van De Pol, Carol

Virden, Mark

Walag, John Michael

West, Sheila

Westover, Mary

Wilkinson, Rena

Williams, Patti

Wilson, Wanda

Winslow, Joanne

#OnceUponATime

 

In spring 2013 I organized #SpaceBembel, a #SpaceSocial where a group of #SpaceTweeps got together again to share some space fun in Frankfurt.

As one of my mottos is "no #SpaceTweetup without a proper badge" I designed one and distributed it to all participants.

What I had started back then became kind of a tradition in the meantime:

Inspired by several #Space- and #ScienceTweetups I painted logos for every event I attended,

got them printed on badges for all, as well as thank-you posters, t-shirts, etc. as memento of our shared adventures.

 

And 2013 has been quite a ride :-)

#SpaceBembel *

#ASE26 *

#BuraMooN 1 & 2 * #SpaceKoelschX * #CERNTweetup * #ItIsStonehengeReunionOClock * #ScienceTweetup

 

And 2014 is also amazing already:

I already created designs for #SpaceFestVI and #AlexTweetup taking place in May

and @SpaceUpUK in July 2014.

I am very much looking forward to sharing these events with so many friends from all over the world.

 

More to come ;-)

www.flickr.com/photos/spaceholix/collections/721576354819...

 

So #AlexTweetup is about our trip to Baikonur shared by 16 dedicated #SpaceTweeps and two #SpaceMascots named #PinkLittleDragon and @CamillaSpace.

All of us will share this unique adventure of witnessing the Soyuz launch of our German astronaut Alexander Gerst ( #FF @Astro_Alex ) to #ISS on 28. May 2014 via Twitter, Facebook and other social media channels.

 

Here is the collection of my brainstorming and the design process as well as many pictures of the past 5 years, from the day at #TdLR09, where we "met" Alexander Gerst and the other #shenanigans for the very first (but not the last) time, shortly after their assignments for a trip to #ISS.

Oh yes, there was a time before twitter and other social media ;-)

 

www.flickr.com/photos/spaceholix/sets/72157644182872632/

 

My latest design features the #NebraSkydisk - one of the most beautiful and most fascinating archeological and astronomical artefacts ever found - until today.

This is the oldest-known illustration of our cosmos so far, with an estimated age of 3600 years (!!!), the earliest known diagram of the heavens, which makes it one or may be THE most important archaeological discovery of the twenty-first century.

It was discovered by treasure hunters on July 4th 1999 near the city of Nebra in Germany and since then fascinates not only the experts as its history is really exciting from then till now.

www.dailymotion.com/video/x1a45jq_the-nebra-sky-disc-anci...

en.wikipedia.org/wiki/Nebra_sky_disk

www.bibliotecapleyades.net/arqueologia/nebra_disk.htm

 

I fell in love with this beauty as soon as I saw it the very first time several years ago.

And I always wanted to paint it one day!

So what better match could there be than combining this masterpiece -created by stargazers thousands of years ago, who loved observing (and already started understanding) our night sky- with two fantastic #SpaceEvents in May 2014.

#SpaceFestVI in Pasadena ( www.spacefest.info/VI/brochure.html ), THE #SpaceEvent of the year, where many astronauts of the dawning of space exploration did reunite and inspire all of us

and then -end of May- our #AlexTweetup - where we celebrate the launch of @esa astronaut Alexander Gerst, whose mission name is #TheBlueDot (!!!).

Both events bring people together (again), who travel all around the world to share their love of space and our beautiful blue marble …

And I am really honored that sharing my badges and designs with so many #SpaceTweeps AND astronauts of the very first era of space exploration until today made so many people smile again. And these smiles seem to be contagious ;-D

I cannot really explain it, there simply is this very special close link between us.

 

NOTE:

#NebraSkyDisk is under the copyright of the Landesamt für Denkmalpflege und Archäologie Sachsen-Anhalt

- Landesmuseum für Vorgeschichte -

www.lda-lsa.de/en/nebra_sky_disc/

 

As my design project is an artistic realization for two private travel groups, I was kindly given official permission to integrate the #NebraSkydisk in my artworks here.

Hence I have to emphasize that my artwork may ONLY be shared as per following license:

CC BY-NC-ND 3.0 DE

creativecommons.org/licenses/by-nc-nd/3.0/de/

 

I herewith explicitly send my thanks to the

STATE OFFICE FOR HERITAGE MANAGEMENT AND ARCHAEOLOGY

- THE STATE MUSEUM OF PREHISTORY IN HALLE / GERMANY -

and - as asked for - I will gladly send pictures of my design as well as badges and photos of #SpaceFestVI in Pasadena and #AlexTweetup in Baikonur to the Museum for its collection / exhibition.

 

It is my pleasure to share the #NebraSkydisk far beyond the borders of Germany - especially during events, which only can take place, because some people started documenting their night-sky-observations thousands of years ago.

 

#SpaceholixThenAndNow ;-)

 

Covered below is an overview of all the details embodied in my #AlexTweetup mission logo

----------------------------------------------------------------------------------------------------------------------------

 

#AlexTweetup

- Facebook group for all #SpaceTweeps interested in the trip to the launch of Alexander Gerst on 28. May 2014

www.facebook.com/groups/AlexanderTweetup/

 

Baikonur * May 26th - 30th 2014

- Travel period for #AlexTweetup in Baikonur

www.dlr.de/dlr/presse/desktopdefault.aspx/tabid-10308/471...

 

BLUE DOT

- Mission name of Alexander Gerst

blogs.esa.int/alexander-gerst/

 

XL

- Mission no. 40 - in roman numerals

 

THEN + NOW

- Connection between space exploration THEN #NebraSkydisk (dated about 3.600 years ago in Germany) and NOW (#BlueDot mission of German astronaut Alexander Gerst)

 

WISEMAN * GERST * SURAJEW

- names of the international crew of mission no. 40

en.wikipedia.org/wiki/Expedition_40

 

SHAPING THE FUTURE ...

Mission theme of Alexander Gerst's mission #BlueDot

www.esa.int/Our_Activities/Human_Spaceflight/Astronauts/A...

 

... IN LEO

en.wikipedia.org/wiki/Low_Earth_orbit

- Abbreviation LEO #LowEarthOrbit - the home of #ISS

 

CONSTELLATIONS:

 

LEO

en.wikipedia.org/wiki/Leo_(constellation)

- reflecting LowEarthOrbit - the orbit of #ISS

 

DRACO

en.wikipedia.org/wiki/Draco_(constellation)

 

- representing #DRAGON - the partially reusable spacecraft developed by @SpaceX, which has docked to #ISS already several times and will deliver cargo regularly.

We enjoyed seeing the capsule used during the maiden flight in Florida at SpaceX Launch Control Center during an event before the #NASATweetup for #STS135

en.wikipedia.org/wiki/Draco_(rocket_engine)

- also representing #PinkLittleDragon - the travel buddy of #The2AndAHalfSpaceTweeps @LightspeedLeo @4tuneQkie and @travelholic ( avoving @Spaceholix ) and our #SpaceMascot.

This #VIP #VeryInspiringPinkLittleDragon is traveling all around the world with us and he already has attended several great #SpaceTweetup and #ScienceTweetup events organized by @NASA @DLR_de @ESA @CERN @Helmholtz_de as well as #ASE26 #SpaceFestV and #SpaceFestVI

and he has already met many of the most inspiring #SpaceExplorers and #Astronauts from the #Mercury and #Apollo era - till today, as well as #scientists @MeteoriteMen #CometHunters ...

 

SWAN

en.wikipedia.org/wiki/Cygnus

- representing the footprint / autograph of our dear friend and great #SpaceMascot and #VIP #VeryIntelligentPoultry:

@CamillaSpace is encouraging not only children of all ages to ask questions about the Sun and space and she was planned to be part of this mission accompanying NASA astronaut @astro_reid on his trip to #ISS.

Her footprint is heading from the Swiss flag (home country of Camilla's "executive secretary" Romeo Durscher ( about.me/romeoch ) to the US flag via #ISS

about.me/camillacorona

www.wired.com/2012/11/camilla-nasa-rubber-chicken/

 

XXVIII

V

MMXIV

- 28. 05. 2014 = launch date of mission 40 in roman numerals stylised in shape of ISS

 

* “ @ “ AND “ # “

- reflecting the tools of the peer-to-peer connection of astronauts @Astro_Alex and @astro_reid and many others with #SpaceTweeps and future space enthusiasts, who will further spread news about the adventures all around the world via social media channels, e.g. @twitter, Facebook, Google+ and others.

 

16 FLAGS

www.nasa.gov/mission_pages/station/structure/elements/par...

- representing all current international partners and participants cooperating on #ISS – the most ambitious international collaboration ever

which -in my eyes- really would be worthy of the nobel peace prize www.spacesafetymagazine.com/iss-nobel-peace-prize/

Between the flags I left additional room for more countries to join that global project in the near future.

Especially in difficult political times like today this cooperation hopefully will enable our world to grow together more closely step by step.

 

Now we are looking forward to this trip and are curious how everything will work out.

This definitely is a very adventurous trip and if someone had told me 5 years ago, when we met that guy in blue for the very first time that we would be going to KAZAKHSTAN half a decade later to see HIS launch, I would NEVER EVER have believed it.

It seems our lives as #Spaceholix have many surprises in store for us ;-)

If YOU want to know more about all this, just follow the hashtag of our group:

#AlexTweetup

;-)

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

The Czech Air Force (České Letectvo), officially the Army of the Czech Republic Air Force (Vzdušné síly Armády České republiky), is the air force branch of the Army of the Czech Republic. The Czech Air Force succeeded the Czechoslovak Air Force together with the Slovak Air Force in 1993.

 

The CzAF is responsible for securing the integrity of the Czech Republic's airspace through the NATO Integrated Air Defence System (NATINADS), close air support to the Land Forces and for transportation tasks including government and state priority flights. In peacetime the Air Force is contributing to tasks originating in the Czech laws and inter-ministerial agreements, for example to the air ambulance service or the SAR role.

 

Czech JAS-39C/D Gripen multirole fighters fulfill primarily the tasks related to the air defense of the Czech Republic and the NATO within the system of NATINADS. In the so-called national reinforcement system the subsonic L-159 ALCA jets could be deployed to fulfil this task too, similar to the BAe Hawk trainers for the RAF.

 

Until 2002 the CzAF relied upon roundabout thirty Su-22 fighter bombers in the interdiction, close air support and reconnaissance role (using external sensor and camera pods), but when the type was retired the Czech Air Force was left without a dedicated strike and low-level recce aircraft.

 

In order to fill this gap and relieve the Gripen fleet (14 were operated, leased from Sweden for initially 10 years) from the strike/recce role, the CzAF leased several surplus Tornados from Germany.

Germany operated a huge fleet of Tornado IDS and several special versions (for dedicated recce and radar suppression duties), but reduced this fleet considerably in the course of a thorough reconstruction and reduction of the Bundeswehr and its services.

 

The oldest Tornado airframes dated back to the late Seventies and most were to be scrapped, since they had reached the end of their lifetimes. But newer aircraft and those with few flying hours were to be mothballed or used for spares.

From this batch, a total of eight Tornado IDS were diverted for the CzAF. The selected machines had formerly served with JBG 34 "Allgäu" in Memmingen which had been operating the Tornado IDS since 1987 and which was disbanded in 2002.

These machines were completely overhauled and additional systems integrated on behalf of the CzAF. These included a laser spot tracker on a port side pylon under the front fuselage and a combined FLIR/laser designator eyeball (similar to the AN/AVQ-26 Pave Tack) in a semi-recessed fairing under the starboard side.

 

Furthermore, the Tornados were modified to remain interoperable with some CzAF equipment, most notably the proven KKR-1 reconnaissance pod which was formerly carried by the CzAF's Su-22M4.

The KKR-1 was equipped with an A-39 camera (positioned vertically or at an angle up to 55° before the flight), a PA-1 panoramic camera, a UA-47 camera for night photography, four KDF-38 cassettes containing FP-100 illumination flares and a SRS-13 Tangazh ELINT system. The SRS-13 suite was intended for the radar localization, their classification and identification of their operating frequencies, so that the Czech Tornados could also be used as guides in AA radar suppression/SEAD duties, even though in a fashion not as sophisticated as the German Tornado ECR.

 

Another system that the CzAF Tornados were to carry was the SPS-141 ECM pod instead of the German Cerberus ECM pod. But the BOZ-101 chaff/flare dispenser, as well as the AIM-9 Sidewinder for self-protection (being already procured with the Saab Gripen), were taken over, though.

 

The Czech Tornados were ready for service when the independence of the Czech Air Force was terminated on 1 December 2003. The force became a part of newly established Joint Forces of the Czech Army with the command post located at Olomouc. Within the new structure, the Air Force Commander in Chief was in a position of one of Joint Forces Chief Commander Deputy, and the Tornado fleet closely related to the Czech Army, and they were allocated to the re-established 20th fighter-bomber regiment at Náměšť nad Oslavou.

 

The leasing agreement was initially settled for 10 years, running until 2013, but the high service standard and rather timid use of the machines (~130 flying hours p.a.) resulted in a prolongation of the contract until at least 2023 - also made possible through the participation of the Czech machines in constant modernization programs of the German Luftwaffe which keeps it remaining Tornado force (85 machines are still active in 2016) up to date and probably in service until 2035.

  

General characteristics:

Crew: 2

Length: 16.72 m (54 ft 10 in)

Wingspan: 13.91 m at 25° wing sweep, 8.60 m at 67° wing sweep (45.6 ft / 28.2 ft)

Height: 5.95 m (19.5 ft)

Wing area: 26.6 m2 (286 ft2)

Empty weight: 13,890 kg (30,620 lb)

Loaded weight: 20,240 kg (44,620 lb)

Max. takeoff weight: 28,000 kg (61,700 lb)

 

Powerplant:

2 × Turbo-Union RB199-34R Mk 103 afterburning turbofans

with 43.8 kN (9,850 lbf) dry thrust each and 76.8 kN (17,270 lbf) with afterburner

 

Performance:

Maximum speed: Mach 2.2 (2,400 km/h, 1,490 mph) at 9,000 m (30,000 ft) altitude;

800 knots, 1,482 km/h, 921 mph indicated airspeed near sea level

Range: 1,390 km (870 mi) for typical combat mission

Ferry range: 3,890 km (2,417 mi) with four external drop tanks

Service ceiling: 15,240 m (50,000 ft)

Rate of climb: 76.7 m/s (15,100 ft/min)

Thrust/weight: 0.77

 

Armament:

2× 27 mm (1.06 in) Mauser BK-27 revolver cannon, 180 RPG

4× light duty + 3× heavy duty hardpoints under-fuselage and 4× swiveling under-wing

pylon stations with a capacity of 9,000 kg (19,800 lb) of payload;

the two inner wing pylons have shoulder launch rails for 2× Short-Range AAM (SRAAM)

  

The kit and its assembly:

This whif is actually a CG tribute, the build of a profile posted at whatifmodelers.com by fellow Czech member Wenzel a.k.a. PantherG in May 2015: a Czech Air Force Tornado. I found the idea and the look of the different paint scheme on the fighter-bomber interesting, and earmarked it for a build. But it took a year to dig out a surplus Italeri Tornado kit from the pile (bought in a lot without box and definitive building plan) and turn the virtual idea into model kit hardware.

 

The respective profile shows an RAF Tornado GR.1 in CzAF colors, but I considered a former Luftwaffe aircraft to be more appropriate. Historically, this slightly different story fits well, since the Czech Air Force phased out its Su-22 fighter bombers until 2002 and the German Luftwaffe also reduced its Tornado fleet considerably at that time (e. g. all of the Marineflieger Tornados were retired or re-distributed to Luftwaffe units until 2005, squadrons disbanded or unified, and the total German Tornado fleet declined from more than 300 to only 85 aircraft).

 

As already mentioned, the kit is the Italeri offering, a mediocre rendition of the Tornado IDS. I have built several of these in the past and was wary about the kit's flaws - including the poor fit of the fuselage halves, lack of exhaust or air intake interior and the funny construction of the swiveling pylons.

 

I basically built the kit OOB but made detail changes/improvements, like deeper air intakes with simulated ducts, some added ramps inside of the intakes. The jet nozzles and the fuselage end were drilled open, so that these would gain some more depth. Some styrene blade antennae and thin wire pitots were added all around the hull.

 

Personal additions are the pylon-mounted laser receiver (inspired by the Pave Penny pod on A-10s) and the eyeball (inspired by the A-6E TRAM) under the front fuselage, both scratched. Other details that set this Tornado apart are the KKR-1 and SPS-141 pods, both from a Mastercraft Su-22. The OOB AIM-9E Sidewinders were replaced by more modern AIM-9M from the scrap box, which the contemporary Czech Saab Gripen carry, too.

  

Painting and markings:

I tried to stay as close as possible to the original profile drawing, but added some personal twists and made corrections I felt suitable, e. g. an additional field of dark green in front of the cockpit nose or different colors for the tactical code.

 

The colors refer to the profile and I used the respective tones from Humbrol's and Modelmaster's enamel range for basic painting (upper sides: FS 34079 = H 116, FS 30018 = MM 1702, FS 36152 = H 27 and FS 34227 = H 120, with FS 35526 undersides, but I used a deeper blue on the undersides, RLM 80 from Modelmaster, instead of an RLM 65 equivalent).

After a black ink wash, panels and details were shaded and lightened because the original colors are pretty murky in real life and with little contrast.

 

With its five-color scheme, the CzAF Tornado already looked different and flashy - but I added even some more variation through various color details. Since the fictional ex Luftwaffe machines would bring typical equipment with them, I painted several 'optional parts' in different schemes: The swiveling pylons kept a light grey basis (RAL 7035) with a leading edge in Basaltgrau (RAL 7012). The BOZ-101 dispenser carries its former Luftwaffe livery in all-over RAL 6003 (Olivgrün). The drop tanks were painted in late Luftwaffe blue-grey (RAL 7001). This appears odd, but you frequently see Luftwaffe Tornados carrying external ordnance in very different, even vintage styles, which were simply not updated to newer camouflage schemes.

 

Furthermore, the SPS-141 carries light brown upper (Humbrol 62) and a light blue (Humbrol 65) lower surface (with bright green dielectric covers, of course, seen on a late CzAF Su-22), while the large KKR-1 pod became all-blue, even though in a slightly different shade from the Tornado. Overall, it's an intentional wild mix of styles and colors.

 

This went further with the hi-viz national roundels and yellow tactical codes. The original profile drawing featured black digits with white outlines, but this style was AFAIK dropped when the Czechoslovak Air Force became the Czech Air Force in 1993, and the codes on the Su-22 fighter-bombers became yellow. Later, additional NATO codes were added on the fin for war game identification. Therefore I incorporated this more recent style into my build.

Other markings and stencils come from various sources, including the OOB sheets or leftover material from 1:72 Su-22s made by Bilek and Mastercraft.

  

A kind of tribute build, and it’s exciting to see someone else’ virtual design taking literal shape as a three-dimensional model kit. And the idea of a Czech Tornado is IMHO not as fantastic as it might sound in the first place – the diversified paint scheme looks interesting on the Cold War warrior that swapped sides after the Iron Curtain went down.

Meenakshi Amman Temple (also called: Meenakshi Sundareswarar Temple, Tiru-aalavaai and Meenakshi Amman Kovil) is a historic Hindu temple located on the southern bank of the Vaigai River in the temple city of Madurai, Tamil Nadu, India. It is dedicated to Parvati, known as Meenakshi, and her consort, Shiva, here named Sundareswarar. The temple forms the heart and lifeline of the 2,500 year old city of Madurai and is a significant symbol for the Tamil people, mentioned since antiquity in Tamil literature though the present structure was built between 1623 and 1655 CE. It houses 14 gopurams (gateway towers), ranging from 45–50m in height. The tallest is the southern tower, 51.9 metres high, and two golden sculptured vimanas, the shrines over the garbhagrihas (sanctums) of the main deities. The temple attracts 15,000 visitors a day, around 25,000 on Fridays, and receives an annual revenue of sixty million INR. There are an estimated 33,000 sculptures in the temple. It was on the list of top 30 nominees for the "New Seven Wonders of the World". The annual 10-day Meenakshi Tirukalyanam festival, celebrated during April and May, attracts 1 million visitors.

 

LEGEND

Meenakshi (IAST Mīnākṣī Tamil மீனாட்சி) is an avatar of the Hindu goddess Parvati - the consort of Shiva, one of the few Hindu female deities to have a major temple devoted to her. The name "Mīnachchi" means fish-eyed and is derived from the words "mīna" meaning fish and "akṣi" meaning eyes. The lady goddess Meenakshi is the principal deity of the temple, not Sundareswarar, unlike most Shiva temples in South India where Shiva is the principal deity. According to Hindu legend, in order to answer the prayers of the second Pandya king Malayadwaja Pandya and his wife Kanchanamalai, Parvati appeared out of the holy fire of the Putra Kameshti Yagna (sacrifice for childhood) performed by the king. According to another legend, the goddess herself gave notice to Kanchanamalai in one of her previous births that Kanchanamalai would have the privilege of mothering the goddess. The girl who came out of the holy fire had three breasts. A voice from the heavens told the king not to worry about the abnormality and added that the third breast would vanish as soon as the girl met her future husband. The happy king named the girl "Tadaatagai" and as the heir to the throne, Tadaatagai was trained carefully in all the 64 sastras, the fields of science.

 

As the time came for Tadaatagai's coronation, she had to wage war in three worlds encompassing eight directions. After conquering Brahma's Abode, Sathyaloka, Vishnu's Abode, Vaikunta, and Devas' abode Amaravati, she advanced to Shiva's Abode Kailasha. She very easily defeated the bhoota ganas (IAST: Bhūtagana, meaning Shiva's army) and Nandi, the celestial bull of Shiva, and headed to attack and conquer Shiva. The moment she looked at Shiva, she was unable to fight and bowed her head down due to shyness, and the third breast vanished immediately. Tadaatagai realized that Shiva was her destined husband. She also realized that she was the incarnation of Parvati. Both Shiva and Tadaatagai returned to Madurai and the king arranged the coronation ceremony of his daughter, followed by her marriage with Shiva.

 

The marriage was to be the biggest event on earth, with the whole earth gathering near Madurai. Vishnu, the brother of Meenakshi, prepared to travel from his holy abode at Vaikuntam to preside over the marriage. Due to a divine play, he was tricked by the Deva, Indra and was delayed on the way. After the marriage, the pair ruled over Madurai for a long time and then assumed divine forms as Sundareswarar and Meenakshi, the presiding deities of the temple. Following the tradition, every evening, before closing the temple, a ritual procession lead by drummers and a brass ensemble carries the image of Sundareswarar to Meenakshi's bedroom to consummate the union, to be taken back the next morning in dawn. The marriage is celebrated annually as Chithirai Thiruvizha in Madurai. During the period of Nayakar rule in Madurai, the ruler Thirumalai Nayakar linked the festival Azhakar Thiruvizha and the Meenakshi wedding ceremony.

 

HISTORY

The Meenatchi temple is believed to have been founded by Indra (king of Deva celestial deities) while he was on a pilgrimage to atone for his misdeeds. He felt his burden lifting as he neared the swayambu lingam (self formed lingam, a representation of Shiva used for worship in temples) of Madurai. He ascribed this miracle to the lingam and constructed the temple to enshrine it. Indra worshipped Shiva, who caused golden lotuses to appear in the nearby pool. Tamil literature speaks of the temple over the last two millennia. Thirugnanasambandar, the famous Hindu saint of Saiva philosophy, mentioned this temple as early as the 7th century, and described the deity as Aalavai Iraivan. The temple is believed to have been sacked by the infamous Muslim invader Malik Kafur in 1310 and all the ancient elements were destroyed. The initiative to rebuild the structure was taken by first Nayak king of Madurai, Viswanatha Nayak (1559–1600) under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayak Dynasty and the founder of the Poligar System. The original design by Vishwanatha Nayak in 1560 was substantially expanded to the current structure during the reign of Thirumalai Nayak (1623–55). He took considerable interest in erecting many complexes inside the temple. His major contributions are the Vasantha Mandapam for celebrating vasanthorsavam (spring festival) and Kilikoondu Mandapam (corridor of parrots). The corridors of the temple tank and Meenatchi Nayakar Mandapam were built by Rani Mangammal.

 

Rous Peter (1786–1828), the Collector of Madurai in 1812, got nickname 'Peter Pandian’ as he respected and treated people of all faiths equally. He donated a set of golden stirrups studded with diamonds and red stones to the temple.Goddess Meenatchi is believed to have saved Rous Peter from a fatal incident. He also wished that after his death, his body be buried in a position that would enable his eyes to face the temple.

 

THE TEMPLE

ARCHITECTURE

The temple is the geographic and ritual center of the ancient city of Madurai and one of the largest temple complexes in Tamil Nadu. The temple complex is divided into a number of concentric quadrangular enclosures contained by high masonry walls. It is one of the few temples in Tamil Nadu to have four entrances facing four directions. Vishwantha Nayaka allegedly redesigned the city of Madurai in accordance with the principles laid down by Shilpa Shastras (Sanskrit: śilpa śāstra, also anglicized as silpa sastra meaning rules of architecture) relevant to urban planning. The city was laid out in the shape of square with a series of concentric streets culminating from the temple. These squares continue to retain their traditional names, Aadi, Chittirai, Avani-moola and Masi streets, corresponding to Tamil month names. Ancient Tamil classics mention that the temple was the center of the city and the streets happened to be radiating out like lotus and its petals. The temple prakarams (outer precincts of a temple) and streets accommodate an elobrate festival calendar in which dramatic processions circumabulate the shrines at varying distances from the centre. The vehicles used in processions are progressively more massive the further they travel from the centre. The complex is in around 180,000 m2.

 

GOPURAMS

The temple is surrounded by gopurams (gateway tower), - There are ten gopuram the tallest of which, the famous southern tower, rises to over 52 m and was built in 1559. The oldest gopuram is the eastern one, built by Maravarman Sundara Pandyan during 1216-1238 Each gopuram is a multi-storeyed structure, covered with thousands of stone figures of animals, gods and demons painted in bright hues. The outer gopuram presents steeply pyramidal tower encrusted with plaster figures, while the inner gopuram serves as the entrance to the inner enclosure of Sundareswarar shrine.

 

SHRINES

The central shrine of Meenakshi Amman temple and her consort Sundareswarar are surrounded by three enclosures and each of these are protected by four minor towers at the four points of the compass, the outer tower growing larger and reaching higher to the corresponding inner one. The Meenakshi shrine has the emerald-hued black stone image of Meenakshi. The Sundareswarar shrine lies at the centre of the complex, suggesting that the ritual dominance of the goddess developed later. Both the Meenakshi and Sundareswarar shrines have gold plated Vimanam (tower over sanctum). The golden top can be seen from a great distance in the west through the apertures of two successive towers. The area covered by the shrine of Sundareswarar is exactly one fourth of the area of the temple and that of Meenakshi is one fourth that of Sundareswarar.

 

The tall sculpture of Ganesh carved of single stone located outside the Sundareswarar shrine in the path from Meenashi shrine is called the Mukuruny Vinayakar. A large measure of rice measuring 3 kurini (a measure) is shaped into a big ball of sacrifice and hence the Ganesh is called Mukkurni Vinayagar (three kurinis). This deity is believed to be found during a 17th-century excavation process to dig the Mariamman temple tank.

 

TEMPLE TANK & SURROUNDING PORTICO

The sacred temple tank Porthamarai Kulam ("Pond with the golden lotus"), is 50 m by 37 m in size. According to legend, Shiva promised a stork that no fish or other marine life would grow here and thus no marine animals are found in the lake. In the Tamil legends, the lake is supposed to judge the worth of a new piece of literature. Authors place their works here and the poorly written works are supposed to sink and the scholastic ones are supposed to float, Tirukkural by Tiruvalluvar was one such work.

 

Only a fraction of 17th and 18th century paintings of Nayak period survives and one such portion is found in the small portico on the western side of the tank. It depicts the marriage of Sundareswarar and Meenkashi attended by Vijayaranga Chokkanatha and Rani Mangammal. The painting is executed on a vivid red background, with delicate black linework and large areas of white, green and ochre. The celestial couple is seated inside an architectural frame with a flowering tree in the background.

 

HALLS

The corridor surrounding the sanctum the Meenakshi is called kilikoondu Mandapam ("bird cage corridor"). The space was once used to keep green parrots that were trained to utter the name of Meenakshi. There are two large cages full of squawking green parrots.

 

The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture. Sculptures of Shiva and Kali trying to out-dance one another are pelted with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the human backbone and is surrounded by various gods, including Durga and Siddar.

 

The Puthu Mandapam ("new hall") constructed by Tirumala Nayak contains large number of sculptures. It is situated opposite to the east gopuram.

 

The Ashta Shakthi Mandapam ("Hall of eight goddess") is the first hall in the entrance of Meenakshi shrine tower near to East Tower. Ashta indicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses. The gopurams (towers) can be viewed from this hall. The passage was named for eight forms of goddess Sakthi carved on its pillars. Other sculptures and paintings depict the Tiruvilayadal (holy games of Shiva). The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of Pandavas).

 

The Viravasantharaya Mandapam is a large hall with huge corridors. To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chithirai Festival in mid-April. The golden images of Meenakshi and Sundareswarar are carried into the 16th century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30 p.m. The shrine has a 3-storied gopuram guarded by two stern dwarapalakas (guardians) and supported by golden, rectangular columns that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are present. The hall is situated in the western bank of the temple tank.

 

The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall built by Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the form of Bikshadanar to teach the sages a lesson.

 

The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language. To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in 1795. The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for displaying dolls during the Navarathri festival celebrated during September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western side.

 

HALL OF THOUSAND PILLARS

The Meenakshi Nayakkar Mandapam ("Hall of 1000 pillars") has two rows of pillars carved with images of yali (mythological beast with body of lion and head of an elephant), commonly used as the symbol of Nayak power. It is situated to the north of Sundareswarar flag staff hall. The Thousand Pillar Hall contains 985 (instead of 1000) carved pillars. The hall was built by Ariyanatha Mudaliar in 1569 and blends engineering skill and artistic vision. Ariyanatha Mudaliar was prime minister and general of Viswanatha Nayak, the first Nayaka of Madurai (1559–1600). He was also the founder of Poligar System, the quasi-feudal organization of the country dividing it into multiple palayams or small provinces in which each palayam was ruled by a palayakkarar or a petty chief. At the entrance of the hall is the statue of Ariyanatha Mudaliar seated on a horse-back, flanking one side of the entrance to the temple. The statue is periodically garlanded by worshippers. Each pillar in the hall is a carved monument of the Dravidian sculpture. The more prominent among the carved figures are those of Rati (wife of Kama), Karthikeya, Ganesha, Shiva as a wandering mendicant and endless number of yalis (mythical figures of lions). There is a Temple Art Museum in the hall where icons, photographs, drawings, and other exhibits of the 1200 years old history of the temple are displayed. Just outside this hall, towards the west, are the Musical Pillars. Each pillar, when struck, produces a different musical note.

 

RELIGIOUS SIGNIFANCE OF THE TEMPLE

A distinct feature of Meenakshi in terms of iconography is the presence of parrot in her right hand. The parrot is generally associated with the Vaishnava azhwar saint Andal. "Pancha Sabhai" refers to the five royal courts of Nataraja (dancing form of Shiva) where he performed cosmic dance. The Tamil word velli means silver and ambalam means stage or altar. This massive Nataraja sculpture is enclosed in a huge silver altar and hence called "Velli Ambalam" (silver abode). This is a special figure of Natarja which usually differs from Chola bronzes; in the Chola images, Nataraja is shown dancing with his left leg raised, but this sculpture has the right leg raised. According to the Tiruvilayaadal Puranam (Shiva's sacred games), this is on the request of Rajasekara Pandya, who was a sincere devotee of Shiva. He requested the deity to change his position, as he felt that keeping the same foot raised would put enormous strain and got a graceful acquiescence from the divine master.

 

RITUALS

WORSHIP

There are close to 50 priests in the temple who perform the puja (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to Shivaite to the Adishaivas, a Brahmin sub-caste. The priests live in a closed area north of the temple. The temple has a six time pooja calendar everyday, each comprising four rituals namely abhisheka (sacred bath), alangaram (decoration), neivethanam (food offerings) and deepa aradanai (waving of lamps) for both Meenakshi and Sundareswarar. The puja (worship) ceremonies are held amidst music with nadhaswaram (pipe instrument) and tavil (percussion instrument), religious instructions in the Vedas by priests and prostration by worshippers in front of the temple mast. The common practise is to worship Meenakshi before Sundareswarar. Margazhi (December–January) ritual is prominent one for winning a perfect, god-like husband - it is Meenakshi's ennai kappu festival. Aligned with the cardinal points, the street plans forms a giant mandala (group) whose sacred properties are believed to be activated during the mass clockwise circumambulation of the central temple.

 

FESTIVALS

The most important festival associated with the temple is the "Meenakshi Thirukalyanam" (the divine marriage of Meenakshi) that is celebrated in April every year. The wedding of the divine couple is regarded as a classic instance of south Indian female-dominated marriage, an arrangement referred as "Madurai marriage". The male dominated marriage is called "Chidambaram marriage", referring to Shiva's uncontested dominance, ritual and mythic, at the famous Shiva temple of Chidhambaram. The marriage brings together rural and urban people, deities and mortals, Saivas (those who worship Shiva) and Vaishnavas (those who worship Vishnu) in order to celebrate Meenakshi as the royal monarch. During the one month period, there are a number of events including the "Ther Thiruvizhah" (chariot festival) and "Theppa Thiruvizhah" (float festival). Major Hindu festivals like Navrathri and Shivrathri are celebrated in the temple. Like most Shakti temples in Tamil Nadu, the Fridays during the Tamil months of Aadi (July–August) and Thai (January–February) are celebrated in the temple by thousands of devotees. "Avani Moola Utsavam" is a 10-day festival mainly devoted to Sundareswarar describes his various Thiruvilayadal meaning Shiva's sacred games.

 

LITERARY MENTION

Down the centuries, the temple has been a centre of education of Tamil culture, literature, art, music and dance. All three assemblies of Tamil language, the Tamil Sangam (about the 3rd century BCE to the 3rd century CE), were held at Madurai. Tamil poets of different epochs participated in these assemblies and their composition is called Sangam literature. During the third Tamil sangam, the comparative merit of the poets was decided by letting the works float in the lotus tank of the temple. It was believed that a divine force would cause the work of superior merit to float on the surface while the inferior literary work would sink. Tevaram, the 7th-8th century Tamil canonoical work on Shiva, are works by the three prominent Nayanars (Saivites) namely Appar, Sundarar and Thirugnanasambandar. The temple has been glorified by the hymns of Tevaram by all the three poets. Different hymns of Sambandar on the temple mention the queen of Pandya Nadu, his desire to defeat Jains in debate, the miracles performed by him curing the king's fever, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them. A poem from the Third Tirumurai by Sambandar is as under –

 

"Lady who has eyes that are comparable to the startled eyes of the deer!

the great chief queen of the Vaḻuti! listen to what I say. Do not feel distressed that I am such a young boy from whose mouth milk is flowing. when the god in Tiruvālavāy stands by my side as help, I can not be easily defeated by the low people who inflict many sufferings on others and who live in hills beginning with great Āṉaimalai."

 

There are few poets in Tamil history who sang about goddess Parvati. The notable among them is Kumaraguruparar, a 17th-century Tamil poet, who composed Meenakshi Pillaitamil on Meenakshi of this temple. King Tirumalai Nayak's patronage of Kumaraguruparar has an important place in the history of pillaitamil (a genre of Tamil literature). Kumaraguruparar visited a lot of temples and when he visited this temple, he composed Meenakshi pillaitamil on Meenakshi. Legend has it that goddess appeared in the dreams of Nayak directing him to arrange the recital of Kumaraguruparar before a learned assembly. The king made elobrate arrangements for the event. Meenakshi impersonated herself in the form of a small girl and enjoyed the recital. As Kumaraguruparar was explaining the 61st verse, the goddess appreciated by garlanding the poet with a string of pearls and disappeared.

 

WIKIPEDIA

Dedicated to all my flicker's friend

More than 100 dedicated DMPS employees from a variety of departments were honored at a special luncheon on Wednesday at the Wakonda Club in Des Moines. Chief of Human Resources Dr. Anne Sullivan offered congratulations with Amanda Lewis and Kathie Danielson, and School Board Chair Rob Baron presented retirees with a golden apple for their service.

 

Students Alexia Sanachit (Findley Elementary School), Samiro Gado (Merrill Middle School) and Carolina Ramos (Lincoln High School) talked about the special teachers in their lives and the impact school has had on them.

 

Congratulations to our retiring employees!

Peggy Aerisolphal

Roxanne Antisdel

Susan Atkin

Mary Alice Baker

Lynda Bates

Sarah Behrens

Jessie Bell

Janice Bibbins

Annette Bierkamp

Michael Blair

Janis Bowden

Jan Brandt

Karlette Brannon

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Leslie Buchanan, Jr.

Nancy Clark

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Earl Edwards

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Phillip Green

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Jeanne Haydon

Robert Heitman

Jackie Helvig

Darlene Hiatt

Donald Hotovec

Mary Humke

Larry Johnson

Dorothy Jones

Jane Kalyagina

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David Kehm

Walter Kennedy

Julia Kiley

Wanda Lamb

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James Lindsey

Sally Littell

Carol Lortscher

Jean Mack

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Kathryne Marek

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Linda Scobba

Mary (Sue) Skinner

Lourdes Smeader

Peg Smith

Penny Spriggs

Norma Terry

Linda Troutman

Delores Tyler

Dale Vande Haar

Roberta Vermillion

Pamela Wadle

Lynnette Wall-Slechta

Nancy Ward

Sherry Ward

Carol Weaver

Cynthia Weeks

Darolyn White

Julie Wiemers

Karen Wignall

Gregory Wildman

Patricia Wilkes

Juliann Woodhouse

 

Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.

 

A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.

 

The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.

 

Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.

 

ETYMOLOGY

The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".

 

LEGEND

The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).

 

The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.

 

PATRONAGE

To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.

 

Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.

 

Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.

 

Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.

 

TEMPLE STRUCTURE

The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).

 

Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").

 

The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.

 

This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:

 

- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.

- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.

- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.

 

SIGNIFICANCE OF THE TEMPLE DESIGN

The layout and architecture of the temple is replete with philosophical meanings.

 

Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).

 

The 9 gateways signify the 9 orifices in the human body.

The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.

 

The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).

 

The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.

 

TOWERS

The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.

 

HALLS

There are 5 ambalams or sabhas (halls) inside the temple.

 

- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.

- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.

- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy

- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.

- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.

 

SHRINES

- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai

- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.

- Shrine of Sivagami.

- Ganesha shrine

- Shrine of Muruga or Pandiya nayakan

 

There are also several smaller shrines in the temple complex.

 

GOVINDARAJA SWAMY SHRINE

The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.

 

TEMPLE TANKS

The Chidambaram temple is well endowed with several water bodies within and around the temple complex.

 

- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.

- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.

- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.

- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.

- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.

- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.

- Nagaseri tank is situated to the west of the Anantha thirtham.

- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.

- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.

- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.

 

TEMPLE CAR

The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.

 

ANANDA TANDAVA

The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage 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 krita age joins another saint, Vyaghrapada or 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 Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, 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 (January-February).

 

THE ANANDA TANDAVA POSTURE

The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.

 

- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.

- The fire in His hand (power of destruction) means He is the destroyer of evil.

- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.

- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.

- The drum in His hand signifies the origin of life forms.

- The lotus pedestal signifies Om, the sound of the universe.

- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.

- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).

- The crescent moon in His hair signifies benevolence and beauty.

- The flowing of river Ganges through His matted hair signifies eternity of life.

- The dreading of His hair and drape signify the force of His dance.

 

Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.

 

RELIGIOUS SIGNIFICANCE OF THE TEMPLE

Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.

 

Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.

 

Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).

 

RELIGIOUS WORK AND SAINTS

There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.

 

THE CHIDAMBARA RAHASIYAM

During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.

 

The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.

Temple administration and daily rituals

 

WORSHIP FORMS

A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.

 

At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.

 

Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".

 

WORSHIP

The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.

 

DIKSHITARS

The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.

 

DAILY RITUALS

The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).

 

Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.

 

TEMPLE ADMINISTRATION

The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.

 

FESTIVALS

A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.

 

There are references in Umapathy Sivam's

Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.

 

Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.

 

HISTORY

Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."

 

The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.

 

Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.

 

At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.

 

To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.

The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.

 

INSCRIPTIONS

There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.

 

KUMBHABISHEKAM 2015

The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam

 

Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.

 

INVASIONS

The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.

 

WIKIPEDIA

Members of the U.S. Marshals Service participate in the National Police Week 5K memorial run dedicated to honoring America’s fallen law enforcement heroes, 14 May, 2002. (U.S. Marshals photo/Bennie J. Davis III)

Dedicated to Michele - organist

Dedicated to Gatwick Express services, 4-Veg EMU 7910 arrives at Clapham Junction with 09.48 Victoria-Gatwick Airport train.

On the skyline are Clapham Junction 'A' and 'B' signal boxes (left and right). The elevated and characterful 'A' signal box would remain until the end of the decade.

Home processed / 35mm FP4.

27th March 1982

 

The Lakshmana Temple is a Hindu temple built by Yashovarman located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.

 

LOCATION

This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India

 

ARCHITECTURE

It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.

 

Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).

 

The wall portion is studded with balconied windows with ornate balustrades.

 

It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.

 

The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.

 

SCULPTURES

MAIN IDOL

Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.

 

The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).

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The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.

 

Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.

 

The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.

 

LOCATION

Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).

 

Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.

 

The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.

 

HISTORY

The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.

 

The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.

 

Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.

 

Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:

 

...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.

— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell

 

Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.

 

In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.

 

NOMENCLATURE

The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).

 

Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.

 

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

 

DESCRIPTION

The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.

 

The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.

 

All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

 

Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.

 

An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.

 

The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.

 

Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.

 

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.

 

ARCHITECTURE OF THE TEMPLES

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.

 

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.

 

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.

 

Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.

 

CONSTRUCTION

The temples are grouped into three geographical divisions: western, eastern and southern.

 

The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.

 

The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.

 

While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.

 

CHRONOLOGY

The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.

 

The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.

 

Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.

 

ARTS AND SCULPTURE

The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

 

The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.

 

There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,

 

This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).

— Stella Kramrisch, 1976

 

The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.

 

TOURISM AND CULTURAL EVENTS

The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.

 

The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

 

The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.

 

The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.

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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.

 

GESCHICHTE

Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.

 

Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.

 

TEMPEL

Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.

 

Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.

 

Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.

 

WESTGRUPPE (Hindu-Tempel)

- Matangeshvara-Tempel (ca. 950)

- Varaha-Tempel (ca. 950)

- Lakshmana-Tempel (ca. 950)

- Devi-Tempel

- Vishvanatha-Tempel (ca. 1000)

- Nandi-Schrein

- Parvati-Schrein

- Jagadambi-Tempel

- Chitragupta-Tempel

- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)

 

OSTGRUPPE (Jain-Tempel)

- Parsvanatha-Tempel (ca. 960)

- Adinatha-Tempel (ca. 1050)

- Shantinatha-Tempel

- Ghantai-Tempel (ca. 990)

 

EINZELTEMPEL (Hindu-Tempel)

- Chausath-Yogini-Tempel (ca. 875)

- Lalguan-Mahadeva-Tempel (ca. 920)

- Brahma-Tempel (ca. 930)

- Khakra-Math-Tempel (ca. 980)

- Vamana-Tempel (ca. 1050)

- Javari-Tempel (ca. 1100)

- Chaturbuja-Tempel (ca. 1120)

- Duladeo-Tempel (ca. 1120)

 

ARCHITEKTUR

Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.

 

FRÜHZEIT

Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.

 

BLÜHTZEIT

Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.

 

Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.

 

Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.

 

SKULPTUREN

Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.

 

FRÜHZEITLICHE SKULPTUREN

Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.

 

SKULPTUREN DER BLÜHTEZEIT

Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.

 

Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.

 

ARCHÄOLOGISCHES MUSEUM

Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.

 

WIKIPEDIA

 

Dedicated to Stefano Viola, founder of the Cranksters Bicycle Club, ride in peace fellow :-(

DEDICATED TO ART • Juried Exhibition Opening Reception @ The Hill Center

 

@adamchamy @judithpeck @justyfischer @luis202artist @oddragno @hillcenterdc

Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.

 

A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.

 

The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.

 

Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.

 

ETYMOLOGY

The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".

 

LEGEND

The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).

 

The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.

 

PATRONAGE

To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.

 

Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.

 

Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.

 

Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.

 

TEMPLE STRUCTURE

The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).

 

Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").

 

The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.

 

This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:

 

- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.

- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.

- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.

 

SIGNIFICANCE OF THE TEMPLE DESIGN

The layout and architecture of the temple is replete with philosophical meanings.

 

Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).

 

The 9 gateways signify the 9 orifices in the human body.

The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.

 

The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).

 

The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.

 

TOWERS

The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.

 

HALLS

There are 5 ambalams or sabhas (halls) inside the temple.

 

- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.

- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.

- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy

- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.

- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.

 

SHRINES

- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai

- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.

- Shrine of Sivagami.

- Ganesha shrine

- Shrine of Muruga or Pandiya nayakan

 

There are also several smaller shrines in the temple complex.

 

GOVINDARAJA SWAMY SHRINE

The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.

 

TEMPLE TANKS

The Chidambaram temple is well endowed with several water bodies within and around the temple complex.

 

- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.

- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.

- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.

- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.

- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.

- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.

- Nagaseri tank is situated to the west of the Anantha thirtham.

- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.

- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.

- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.

 

TEMPLE CAR

The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.

 

ANANDA TANDAVA

The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage 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 krita age joins another saint, Vyaghrapada or 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 Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, 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 (January-February).

 

THE ANANDA TANDAVA POSTURE

The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.

 

- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.

- The fire in His hand (power of destruction) means He is the destroyer of evil.

- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.

- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.

- The drum in His hand signifies the origin of life forms.

- The lotus pedestal signifies Om, the sound of the universe.

- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.

- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).

- The crescent moon in His hair signifies benevolence and beauty.

- The flowing of river Ganges through His matted hair signifies eternity of life.

- The dreading of His hair and drape signify the force of His dance.

 

Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.

 

RELIGIOUS SIGNIFICANCE OF THE TEMPLE

Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.

 

Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.

 

Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).

 

RELIGIOUS WORK AND SAINTS

There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.

 

THE CHIDAMBARA RAHASIYAM

During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.

 

The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.

Temple administration and daily rituals

 

WORSHIP FORMS

A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.

 

At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.

 

Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".

 

WORSHIP

The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.

 

DIKSHITARS

The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.

 

DAILY RITUALS

The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).

 

Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.

 

TEMPLE ADMINISTRATION

The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.

 

FESTIVALS

A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.

 

There are references in Umapathy Sivam's

Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.

 

Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.

 

HISTORY

Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."

 

The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.

 

Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.

 

At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.

 

To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.

The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.

 

INSCRIPTIONS

There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.

 

KUMBHABISHEKAM 2015

The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam

 

Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.

 

INVASIONS

The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.

 

WIKIPEDIA

Illustration dedicated to all the wonderful people, who's work brings us closer to the universe. Can you count all the characters? :)

 

For more details and timelapse video visit

www.behance.net/gallery/36131347/Lets-go-to-Colonies

Dedicated to him

 

Large size

   

Do you come together ever with him?

And is he dark enough?

Enough to see your light?

And do you brush your teeth before you kiss?

Do you miss my smell?

And is he bold enough to take you on?

Do you feel like you belong?

And does he drive you wild?

Or just mildly free?

What about me?

 

Well I know I make you cry

And I know sometimes you wanna die

But do you really feel alive without me?

If so, be free

If not, leave him for me

Before one of us ...

 

www.youtube.com/watch?v=TzTRmFpXc_w

The exhibition is dedicated to the First World War.

 

До 31 августа в отделе периодики представлены публикации по истории Первой мировой войны.

 

100 лет с начала Первой мировой войны – эту дату невозможно праздновать, но нельзя и забывать. Конфликт между отдельными государствами впервые вылился в катастрофу общечеловеческого масштаба. Уинстон Черчилль писал: «Человечество никогда ещё не было в таком положении. Не достигнув значительно более высокого уровня добродетели и не пользуясь значительно более мудрым руководством, люди впервые получили в руки такие орудия, при помощи которых они без промаха могут уничтожить всё человечество. Таково достижение всей их славной истории, всех славных трудов предшествовавших поколений. И люди хорошо сделают, если остановятся и задумаются над этой своей новой ответственностью».

 

Пробелы в изучении Первой мировой войны существовали в русской исторической науке на протяжении многих десятилетий. Публикации 2013–2014 годов в журналах «Новая и новейшая история», «Военно-исторический архив», «Отечественные архивы» и др. рассказывают о причинах, расстановке сил накануне войны и других аспектах Первой мировой. Особенно интересна подборка воспоминаний участников боевых действий.

www.book.uraic.ru/news_topic/2014/07/2299

 

ПЕРВАЯ МИРОВАЯ. Новые исследования.

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dedicated to bachin....

dedicated to everyone in love

The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.

This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.[1] Cathedral dimensions are 124 by 60 metres (407 ft × 197 ft), the main tower is 96.5 metres (317 ft) high, front towers 82 metres (269 ft), arch height 33.2 metres (109 ft).[2]

 

Origins

The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.

In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.

  

The Gothic Cathedral

 

Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[3] The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.

After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.

  

While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.

Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.

  

After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.

The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.

  

St. Wenceslas Chapel

  

Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslas, which houses relics of the saint. Peter Parler constructed the room between 1344 and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslas, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslas created by Jindrich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.

A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every (circa) eight years.

  

Renaissance and Baroque

Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on cathedral were mostly unsuccessful. In the latter half of 15th century, king Vladislav Jagiellon commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower and the great organ in the northern wing of transept.

  

Completion in 19th and 20th century

  

In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.

In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.

  

Influence

  

The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.

Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterised by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St Vitus Cathedral of Prague that influenced the development of English Gothic.[4]

  

Recent history

  

In 1997, on 1000th anniversary of the death of Saint Voitechus, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here.

In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Praha 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral. The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.

In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government.[5] The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.[6]

 

Services

Regular religious services in the Cathedral are:

•Sunday 08:30 Mass, 10:00 Mass (celebrated in Latin every last Sunday of the month) and 17:00 Vespers (not during July to September)

•Monday 07:00 Mass

•Tuesday 07:00 Mass

•Wednesday 07:00 Mass

•Thursday 07:00 Mass

•Friday 07:00 Mass, 18:00 Mass

•Saturday 07:00 Mass

Confessions: (Czech and English)

•Sunday 09:30 – 10:00

•Friday 17:30 – 17:50

 

Further reading

•Fučíková, Eliška, Martin Halata, Klára Halmanová, Pvel Scheufler. "Prague Castle in Photographs /1956-1900". Prague: Správa Pražského hradu a Nakladatelství KANT, 2005. ISBN 80-86217-94-9

•K. Benešovská, P. Chotebor, T. Durdík, M. Placek, D. Prix, V. Razim. "Architecture of the Gothic", vol. 2 of "Ten centuries of architecture" series, Prague Castle Administration & DaDa, a.s., Prague 2001, ISBN 80-86161-41-2 (English version)

 

dedicated to : reemo

Miss u alot

 

Comments are Disable

   

ST MICHAEL'S CHURCH IS THE ONLY CHURCH IN CHIRBURY, SHROPSHIRE, AND IS DEDICATED TO SAINT MICHAEL THE ARCHANGEL. IT IS CHURCH OF ENGLAND AND THE CHIRBURY ECCLESIASTICAL PARISH COVERS A SMALLER AREA THAN THE CIVIL PARISH, INCLUDING WOTHERTON, BUT NOT BROMPTON, MARTON OR MIDDLETON.

ORIGINALLY AN ANGLO-SAXON CHURCH, FOUNDED IN 915 OR POSSIBLY EARLIER, THE CURRENT BUILDING LARGELY DATES TO THE LATE 12TH CENTURY WITH THE TOWER CONSTRUCTED AROUND 1300, AND A SHORT CHANCEL ADDED IN 1733. THE CHURCH WAS RESTORED IN 1871–72 BY EDWARD HAYCOCK JUNIOR. THE TOWER AND BODY OF THE CHURCH ARE CONSTRUCTED IN LIMESTONE RUBBLE WITH PINK SANDSTONE ASHLAR DRESSINGS AND SLATE ROOFS; THE CHANCEL IS IN RED BRICK WITH A TILED ROOF. THE CHURCH WAS REFORMED INTO THE PRIORY CHURCH OF THE AUGUSTINIAN CHIRBURY PRIORY UPON THE MOVING OF THE ORDER FROM NEARBY SNEAD BY 1227. WITH THE DISSOLUTION OF THE PRIORY ST MICHAEL'S BECAME A PARISH CHURCH ONCE AGAIN; THE DISSOLUTION OF CHIRBURY PRIORY OCCURRED IN 1535. THE CHURCH BUILDING IS A GRADE I LISTED BUILDING. REMNANTS OF THE FORMER PRIORY CAN BE SEEN IN THE CHURCHYARD AND SOME STONEWORK WAS ALSO INCORPORATED INTO THE ADJACENT CHIRBURY HALL.

 

Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).

 

See this manuscript page by page at the Walters Art Museum website:

art.thewalters.org/viewwoa.aspx?id=19195

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The US Marine Corps' lessons learned from the Korean war included the need for a ground attack aircraft with a better performance than the AU-1 Corsair, as well as a higher effectiveness than the jet fighters of the 50ies era.

 

The AU-1 (re-designated from F4U-6) had been a dedicated U.S. Marines attack variant of the Vought F4U fighter with extra armor to protect the pilot and fuel tank, and the oil coolers relocated inboard to reduce vulnerability to ground fire. The fighter's supercharger had been simplified as the design was intended for low-altitude operation. Extra weapon racks were also fitted.

 

Ready for combat the AU-1 weighed 20% more than a fully loaded F4U-4 and was capable of carrying 8,200 lb of bombs, missiles or drop tanks. The AU-1 had a maximum speed of 238 miles per hour at 9,500 ft, when loaded with 4,600 lb of bombs and a 150-gallon drop-tank. When loaded with eight rockets and two 150-gallon drop-tanks, maximum speed was 298 mph at 19,700 ft. When not carrying external loads, maximum speed was 389 mph at 14,000 ft.

 

First produced in 1952, the AU-1 had been a useful addition. But it had become clear, by the end of the Korean War, that the age of the piston engine fighter plane was more or less over. Based on this insight and several studies based on the experience since WWII, Vought offered the USMC an improved ground attack aircraft on a private venture basis under the internal project handle V-381.

The machine was the result of initial attack aircraft studies and roughly based on the F4U's outlines, and a more conservative alternative to the A2U, a proposed attack derivative of the F7U Cutlass, which never came to fruition.

 

The V-381 study incorporated proven elements like the characteristic inverted gull wing, which allowed a short and sturdy landing gear, but it differed considerably in many other details and its internal structure, due to a different engine. The aircraft was to be powered by a T-56 turboprop engine and would fit into a heavier class than the F4U, rather comparable to the US Navy's AD Skyraider but almost as fast as a jet fighter of its time – yet more reliable and rugged for low level operations in direct range of small caliber weapons.

 

The USMC was immediately interested, while the USN declined the proposal (even though much of the V-381’s insights were re-used in the V-406). Compared with the AU-1, the XA3U featured many detail improvements. One of these distinctive modifications was a new cockpit with a bubble canopy. Thanks to the different internal layout of the aircraft the cockpit could be moved forward by about 3', eliminating the abysmal field of view from the F4U's cockpit on the ground and during deck landings. Another significant change was a cruciform tail. This new arrangement had become necessary in order to avoid damage and turbulences from the hot turboprop efflux - the latter's exhaust was bifurcated and placed in the fuselage flanks, slightly deflected downwards and right at the wings' trailing edge, where the residual thrust from the engine helped during liftoff. The characteristic tail arrangement also became the source of the aircraft's official name, the 'Sea Scorpion'.

 

Armament consisted of four 0.79 in (20 mm) M2 cannon with 250 RPG in the wings, plus a total of fifteen hardpoints under fuselage and wings for a wide range of ordnance and a total weight of 8,000 lb (3,600 kg). The landing gear retracted backwards into the wings, rotating 90°, and the tail wheel with an attached arrester hook was fully retractable, too. The T-56 turboprop with 4.050 hp (2.977 kW) replaced the R-2800 radial and its complex compressor installment, driving a four-blade Hamilton propeller on the XA2U.

 

In June 1954 the first XA3U prototype made its maiden flight. Initial flights tests showed a very good performance at low and medium altitude, but directional stability was rather poor and the fin area had to be enlarged, resulting in the X3AU-1. Another new feature became a reversible six blade propeller of smaller diameter, which would improve reaction time to throttle input. In this guise, the A3U-1 entered series production and USMC service in early 1956, just in time to take the place of the AU-1 which was phased out in 1957.

But, by that time, the technical development had already rendered the A3U at least questionable, if not obsolete, so only a single batch of 45 aircraft was ordered and eventually built. Types like the North American FJ-4 Fury or the Douglas A4D Skyhawk offered a better performance as well as a nuclear strike capability that the A3U lacked, even though the turboprop aircraft was popular because of its ruggedness and good low altitude handling.

With its sophisticated design the A3U served well in its intended shipborne CAS role. In 1958 the machines were upgraded to carry AGM-12 Bullpup missiles, becoming subsequently designated A3U-2. Up to four missiles could be carried under the wings, plus a guidance pod that was carried on one of the outermost wing hardpoints.

 

The A3Us were deployed during several occasions, including Cuba from 1959 to 1960 to protect Americans during the Cuban Revolution, Thailand in May-July 1962 to support the government's struggles against Communists as well as Operation Power Pack in 1965 in Haiti to prevent a second Communist nation on America's doorstep.

 

Anyway, no A3U actually fired in anger, their main task had rather been sabre-rattling and representing the USMC with dramatic weapon loads at low altitude. Since ever more potent aircraft entered the USMC, like the F-4 Phantom II, the Sea Scorpion's career ended already in 1968 – and despite its usefulness in the theatre of operations, the A2U was not deployed to Vietnam.

  

General characteristics:

Crew: 1 pilot

Length: 33 ft 8 in (10.2 m)

Wingspan: 41 ft 0 in (12.5 m)

Wingspan, folded: 17 ft 0.5 in (5.2 m)

Height: 14 ft 9 in (4.50 m)

Empty weight: 11,968 lb (5,429 kg)

Loaded weight: 18,106 lb (8,213 kg)

Max. takeoff weight: 25,000 lb (11,340 kg)

 

Powerplant:

1× Allison T-56-A-6 turboprop engine, rated at 4.050 hp (2.977 kW)

plus approximately 750 lbs of thrust from the exhaust

 

Performance:

Maximum speed: 446 mph (717 km/h) at 26.200 ft (using emergency power)

Stall speed: 89 mph (143 km/h) clean

Range: 1,316 mi (1,144 nmi, 2,115 km) on internal fuel

Service ceiling: 41,500ft (12,649 m)

Rate of climb: 3,870ft/min (19.7 m/s) at sea-level

 

Armament:

4 × 0.79 in (20 mm) M2 cannon with 250 RPG in the wings

15 hardpoints for a total of up to 8,000 lb (3,600 kg) of ordnance, including bombs,

torpedoes, mine dispensers, unguided rockets, and gun pods

  

The kit and its assembly:

Well, this Frankenstein creation was actually spawned by the rather simple idea of a turboprop-powered F4U, following a discussion at whatifmodelers.com concerning my “Turbo Fury” conversion and the potential of T-56 engine nacelles from a C-130 on other aircraft. After three Turbo Furies I still had a final T-56 resin nacelle left in the stash (from OzMods), and eventually tackled this project with the idea of an AU-1 replacement for the USMC in the mid Fifties.

 

Anyway, with such a modernized version in mind, new ideas popped up – e.g. square wing tips. When I found a pair of leftover outer wings from a Matchbox A3D Skyknight (and they matched up well in shape and size, even the wing profile!) things unfolded into something … different.

 

The basis for this project was an Italeri F4U-5 from 1994 (a very nice kit!), even though in the later Revell re-boxing. The Skyknight wings replaced the F4U’s outer wings and added about 1” total wingspan to the kit. In order to compensate for this, I thought about moving the tail fin further back, but eventually implanted a completely new and slightly longer tail section from an A.W. Meteor night fighter (also Matchbox), because it perfectly extends the F4U’s fuselage lines! Consequently, the original tail wheel well had to be closed and moved backwards.

 

Another idea was to move the cockpit forward and lower the rear fuselage, for a more up-to-date bubble canopy. The OOB cockpit from the F4U was kept but placed under a new opening – more or less located where the F4U’s main fuselage tank would have been. The ejection seat is new, too, and the canopy comes from a vintage NOVO Supermarine Attacker. The whole spine was cut away and re-sculpted with putty, as well as the fuselage section around the canopy.

 

For the new resin T-56, the front end of the fuselage was cut away and lots of putty and sculpting created a new transition between the narrower Herc engine with its oval diameter and the round F4U fuselage.

The spinner comes from the OzMod engine set, but the propeller blades were scratched: these once belonged to a vintage Airfix D.H. Mosquito kit. The rather massive, single blades were cut off, their originally round tips squared and then glued onto the resin spinner. A metal axis and a styrene adapter inside of the resin engine were added as adapters, allowing a free spin.

 

Once the fuselage and the wings were mated, the horizontal stabilizers had to be added. The F4U parts could not be used because of their round tips, and they had become just too small for the bigger airframe. Implants had to be used once more, and in this case the stabilizers are the outer wing sections from a heavily rivet-infected 1:100 Breguet Alize from Heller. Odd, but they had just the right shape and chord length for the new position.

 

After these had been fitted, the fin turned out to be too small for the new and overall bigger aircraft. Finding a solution was not easy, and I eventually added a new fin tip, a part from a Revell (FROG) P-39 stabilizer, maybe 30 years old!

 

In order to make the intended CAS role believable a LOT of hardpoints were added, all taken from an old Airfix/Heller A-1E Skyraider. The ordnance is an iron bomb mix, IIRC these come from a Monogram A-10 and a Matchbox A-7D.

 

Anyway, building this monstrosity was massive kitbashing work, and the whole thing evolved rather gradually: What started as a simple engine swap and maybe some cosmetic surgery ended up in multiple body transplants and a bigger aircraft than originally envisaged, kind of a ‘Skyraider 2.0’.

  

Painting and markings:

Nothing truly fancy, rather the standard USN high-viz livery with Light Gull Grey (FS 36440, Modelmaster enamel) upper surfaces and white undersides and rudders. Compared to the USN, the USMC machines would be rather timid and less flamboyant concerning marking colors, so I only added a little red trim to the fin and around the cockpit. The landing gear and the respective wells were kept in white, like the undersides, with bright red trim around the edges, and the cockpit is Zinc Chromate Green.

 

The decals were puzzled together from the scrap box. Since almost and surface details was lost due to the massive bodywork on fuselage and wings, I painted some panel lines with a pencil and emphasized them with lighter, dry-brushed panel shadings. The effect, at least from some distance, turned out much better than expected! Additionally, some wear and dirt was simulated through a light black in wash. Soot stains, esp. around the jet exhausts, were created with grinded graphite, and some dry painting with silver was done on the leading edges. Finally, everything was sealed under a coat of matt acrylic varnish.

  

Well, what was to simply become a turboprop-powered F4U turned into something …different. The A3U looks exotic, but not bad or implausible – the thing reminds me of the offspring between a Ju 87 dive bomber and a Westland Whirlwind fighter, and there’s some Fairey Firefly an Il-2 single-seater lineage to it, too? As a positive aspect, this kitbash model reminds IMHO at first glance only remotely of the F4U that it once was, so I think the whiffing work is quite effective. :D

Dedicated in April of 1931 as "Preston Glenn Field." According to "Campbell Chronicles and Family Sketches," George Preston Glenn was one several former students of Lynchburg High School who were killed while serving in France during World War I, and whose names were inscribed on a plaque on the wall of the (old) E.C. Glass High School in 1922. Also, an old Danville newspaper ("The Bee") article from April 30, 1931 documents a air fatality which occurred at the new Lynchburg airport immediately prior to its dedication. The article notes that Glenn was a pilot who died in France during WWI, and also mentions that Glenn was a member of an military unit known as the Musketeers.

Finbar with his father Ted (r.i.p) and his brothers Paul (r.i.p), george and Eddie

 

Frank Callary Song dedicated to Ted Furey soundcloud.com/frankcallerysongs/ted-fureys-flying-bodhran

 

ed Furey’s ‘Fly’ing Bodhrán

 

Well Ted Furey had a greyhound and it wasn't a bit shy

At winning cups at races, that's why he called it Fly.

At Harold's Cross or Shelbourne, or down in sweet Clonmel —

It was meant for greater glory, every punter there could tell.

 

He took her to the coursing and she loved to turn the hare,

To anything she put a paw, she did it with such flair.

But Fly, she met her maker and it broke Ted Furey's heart

He loved the skin of that great dog, and from it wouldn't part!

 

So upon a mound near Lissadell he took the skin off Fly,

And raised a cairn upon her bones and gave a little sigh.

Then back to Ballyfermot on the train from Sligo town,

Alone in that long carriage and no guard going up nor down.

 

Now Nora loved the dog, but didn't want it in the house,

Drawing rats or other vermin and every bloody mouse;

So to the shed poor Fly and Ted were sent with that strong smell;

But a master plan was forming — be the whistling, you could tell.

 

For three long days and three long nights he worked upon Fly's skin

You could hear the hammer tapping, like a fairy cobbler's din,

When he stepped into the sunlight, he'd a bodhrán in his hand

He rapped it with the knuckles, "Ah! Be Jaysus, now, that's Grand!

 

“You were solid at the coursing, and the toast of every track,

I'll have to find the quickest hand to beat upon your back!

Here Paul, I’ll lave it to ye, hold her tight and play her well,

Hould her back until you hit the straights, then let her go like hell!”

 

In Boyle, in County Sligo, they were playing at the fleadh

Paul was on the bodhrán, on the fiddle was the Da.

To play the sets for dancers, they were sitting on a wall

There was Dinny Delaney, Coleman, and that harper, Rory Dall.

 

There was a nephew of Ó Carolan, a piper of the best

And John Cash brought the Rowsomes, Maggie Barry was impressed;

No better band was ever heard, their first time at the Fleadh

and Tommy Moore he gave a song but didn't have the Nnagh!

 

Then in the field fornenst the wall, a hare put up her head,

The bodhrán leapt across the wall and left them all for dead,

Poor Paul went off in hot pursuit, but didn’t have the puff

He cried out to the speeding pair, “Ah! Jaysus, lads, enough!”

 

Well the hare she took a breather, against an ole Ash tree

And the bodhrán stood beside her, and dropped her arse to pee;

“Jaysus lads, yis have me beat, I haven’t run is years!”

And then that sound, it crossed the ground, the Bodhrán cocked its ears:

 

When it heard Ted Furey's fiddle, sure it stopped right in its tracks,

And it wasn't but a minute till it made its own way back.

Then Paul came panting after and sat down on the wall,

In a second they were playing as if they never left at all.

 

They then played Rakish Paddy and The Bucks of Oranmore,

With the poor ole bodhrán panting and Paul's ole knuckles sore;

Then the dancers on the platform turned to Fly and gave the nod —

To hear a bodhrán barking well they thought it very odd.

 

Then Fly took up the rhythm and she led Paul all the way,

Be Jaysus, that ole bodhrán, it sure as hell could play!

She had the dancers sweatin'! Ah! She danced them off their feet,

And she never missed a minim and she never missed a beat.

 

The rain came on quite heavy and the crowds they went away;

And each musician took the road, some other town to play

Ah! When was that? So long ago, I remember, with regret,

Ted Furey’s bodhrán pulsing there, I think I hear it yet!

 

Now in a shed in Ballyer, that poor old bodhrán stayed.

It wasn't played for many years, the skin was slack and frayed,

Till someone took it from the wall and gave it a quick slap,

And be Jaysus, in a second, ole Fly leapt in his lap.

 

O-- it played with such finesse — a thing of quality;

But after all, as you well know, it had a pedigree!

Upon the rim, though scratched and dim, the little legend read:

Me Mammy, she was Nora, and me Daddy, he was Ted!

 

Me Mammy, she was Nora, and me Daddy, he was Ted!

 

— © Frank Callery, September, 2018.

   

Dedicated to St. Seraphim of Sarov, the Eastern Orthodox Saint