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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
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
Shopping Stadsfeestzaal
The "Stadsfeestzaal" from Antwerp was in earlier years an event hall for different occasions. A bookfair or a Christmasfair, exhibitions, studentparties,... A big fire in 2000 destroyed the whole "Stadsfeestzaal".
It took 7 years to rebuild this spectacular location. It was reopened as a shopping mall in October 2007.
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
I seek refuge in Allah from Satan, the outcast.
In the name of Allah, the Beneficent, the Merciful.
Allah’s peace be upon Prophet Muhammad (S.A.W), the glorious Prophet of Islam, and on his Companions and his followers.
TASAWWUF
"There is no doubt that Tasawwuf is an important branch of Islam. The word itself may have been derived form the Arabic word "Soof" (Wool) or from "Safa" (cleanliness), but its foundation lies in one’s personal sincerity in seeking Allah’s nearness and trying to live a life pleasing to Him. Study of the Quran, the Hadith, and the practical life of the holy Prophet Muhammad (S.A.W) and his faithful Companions provide unmistakable support to this reality." (Hazrat Moulana Allah Yar Khan (R.A)
SUFISM, AN ESSENTIAL PART OF ISLAM
Doubts exist not only in the minds of the Muslim faithful but also among the Ulema, notably the exoteric about Tasawwuf and its votaries. Often they lead to misunderstanding, as if Shariah and Tariqah were two separate entries, or that Tasawwuf was some obscure discipline foreign to Islam, or that it was altogether above the established laws and injunctions of our Religion. To help remove these misgivings and to reassure seekers, as well as scholars, our Sheikh Hazrat Moulana Allah Yar Khan (R.A), Sheikh Silsila Naqshbandia Awaisia, wrote Al-Jamal Wal Kamal, Aqaid-O-Kamalaat Ulmai-e-Deoband, Binat-e-Rasool (S.A.W), Daamad-e-Ali (R.A), Dalael-us-Salook, Ejaad-e-Mazhab Shia, Hayat-un-Nabi (S.A.W), Hayat Barzakhia, Ilm-o-Irfan, Niffaz-e-Shariat Aur Fiqah-e-Jaferia, Saif-e-Owaisi, Shikast-e-Ahdai Hussain and Tahkeek Halal Haram books.
BIOGRAPHY
Sheikh Allah Yar Khan was born in Chakrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The very year, he met Shaykh Abdul Rahim, who took him to the shrine of Shaykh Allah Deen Madni. By Divine Will his spiritual connection was right away established with the saint of the 10th century Hijra (sixteenth century) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years. In 1962 he was directed to carry out the propagation of Prophetic blessings - a noble mission that he accomplished with singular enthusiasm and devotion for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss as per his/her sincerity and capacity. Shaykh Allah Yar Khan's mission produced men and women of deep spiritual vision and distinction.
Although Hazrat Moulana Allah Yar Khan (R.A) have lived a major portion of his life as a scholar, with the avowed mission of illuminating the truth of Islam and the negation of fallacious sects, and this would appear quite removed from Tasawwuf, yet the only practical difference between the two, namely the use of the former as a media to expound the truth, and the latter to imbue people with positive faith. Nevertheless, people are amazed that a man, who until the other day, was known as a dialectician and a preacher of Islam, is not only talking of Mystic Path, but is also claiming spiritual bonds with the veteran Sufi Masters of the Past. This amazement is obviously out of place in the view of Quranic injunction: This is the bounty of Allah which He gives to whom He wills. (62:4)
THE PURIFICATION OF THE SOUL
The purification of the soul always formed part of the main mission of the Prophets; that is, the dissemination and propagation of the Devine Message. This responsibility later fell directly on the shoulders of the true Ulema in the Ummah of the last Prophet Muhammad (S.A.W), who, as his genuine successors, have continued to shed brave light in every Dark Age of materialism and sacrilege. In the present age of ruinous confusion, the importance of this responsibility has increased manifold; of the utter neglect of Islam by Muslims has not only driven them to misery, but also grievously weakened their bonds of faith in Allah and His Prophet Muhammad (S.A.W). The decay in their belief and consequent perversion in their conduct has reached a stage that any attempt to pull them out of the depth of ignominy and the heedless chaos of faithlessness, attracts grave uncertainties and apprehensions rather than a encouraging will to follow the Shariah, to purify the soul and to reform within. The Quranic Verse: Layers upon layers of darkness… (24:40) provides the nearest expression of their present state.
SHARIAH & SUFISM
Any action against the Sunnah (Prophet’s way of life) cannot be called Sufism. Singing and dancing, and the prostration on tombs are not part of Sufism. Nor is predicting the future and predicting the outcome of cases in the courts of law, a part of Sufism. Sufis are not required to abandon their worldly possessions or live in the wilderness far from the practical world. In fact these absurdities are just its opposites. It is an established fact that Tazkiyah (soul purification) stands for that inner purity which inspires a person’s spirit to obey the holy Prophet Muhammad (S.A.W). If a false claimant of Sufism teaches tricks and jugglery, ignoring religious obligations, he is an impostor. A true Sheikh will lead a believer to the august spiritual audience of the holy Prophet Muhammad (S.A.W). If you are fortunate enough to be blessed with the company of an accomplished spiritual guide and Sheikh of Sufism, and if you follow his instructions, you will observe a positive change in yourself, transferring you from vice to virtue.
ISLAM, AS A COMPLETE CODE OF LIFE
Islam, as a complete code of life or Deen, was perfected during the life of the Holy Prophet Muhammad (S.A.W). He was the sole teacher and his mosque was the core institution for the community. Although Islam in its entirety was practiced during that blessed era, the classification and compilation of its knowledge into distinct branches like ‘Tafsir’ (interpretation of the Quran), Hadith (traditions or sayings of the holy Prophet- SAWS), Fiqh (Islamic law), and Sufism (the soul purification) were undertaken subsequently. This Deen of Allah passed from the holy Prophet Muhammad (S.A.W) to his illustrious Companions in two ways: the outward and the inward. The former comprised the knowledge defined by speech and conduct, i.e., the Quran and Sunnah. The latter comprised the invisible blessings or the Prophetic lights transmitted by his blessed self. These blessings purified the hearts and instilled in them a passionate desire to follow Islam with utmost love, honesty and loyalty.
WHAT’S SUFISM
Sufism is the attempt to attain these Barakah (Blessings). The Companions handed down Prophet Muhammad (S.A.W) teachings as well as blessings to the Taba’een. Their strong hearts were capable of infusing these blessings into the hearts of their followers. Both aspects of Islam were similarly passed on by the Taba’een to the Taba Taba’een. The compilation of knowledge and its interpretation led to the establishment of many schools of religious thought; famous four being the Hanafi, the Hanbali, the Maliki, and the Shafa'i, all named after their founders. Similarly, in order to acquire, safeguard and distribute his blessings, an organized effort was initiated by four schools of Sufism: The Naqshbandia, the Qadria, the Chishtia, and the Suharwardia. These schools were also named after their organizers and came to be known as Sufi Orders. All these Orders intend to purify the hearts of sincere Muslims with Prophetic lights. These Sufi Orders also grew into many branches with the passage of time and are known by other names as well. The holy Quran has linked success in this life and the Hereafter with Tazkiyah (soul purification). He, who purified, is successful. (87: 14) Sufi Orders of Islam are the institutions where the basics of Tazkiyah (soul purification) and its practical application are taught. They have graded programs in which every new seeker is instructed in Zikr-e Lisani (oral Zikr) and is finally taught the Zikr-e Qalbi (Remembrance in heart).
ZIKR-E QALBI
However, in the Naqshbandia Order, Zikr-e Qalbi is practiced from the very beginning. Adherence to the Sunnah (Prophet’s way of life) is greatly emphasized in this Order, because the seeker achieves greater and quicker progress through its blessings. The essence of Zikr is that the Qalb should sincerely accept Islamic beliefs and gain the strength to follow the Sunnah with even greater devotion. ‘If the heart is acquainted with Allah and is engaged in His Zikr; then it is filled with Barakaat-e Nabuwwat (Prophetic blessings) which infuse their purity in the mind and body. This not only helps in controlling sensual drives but also removes traces of abhorrence, voracity, envy and insecurity from human soul. The person therefore becomes an embodiment of love, both for the Divine and the corporeal. This is the meaning of a Hadith, “There is a lump of flesh in the human body; if it goes astray the entire body is misguided, and if it is reformed the entire body is reformed. Know that this lump is the Qalb”.’
PAS ANFAS
Recent History Khawajah Naqshband (d. 1389 CE) organized the Naqshbandia Order at Bukhara (Central Asia). This Order has two main branches – the Mujaddidia and the Owaisiah. The former is identified with Sheikh Ahmed Sirhindi, known as Mujaddid Alif Sani (literally: reviver of the second Muslim millennium), a successor to Khawajah Baqi Billah, who introduced the Order to the Indo- Pakistan sub-continent. The Owaisiah Order employs a similar method of Zikr but acquires the Prophetic blessings in the manner of Khawajah Owais Qarni, who received this beneficence from the Holy Prophet Muhammad (S.A.W) without a formal physical meeting. The Zikr employed by the Naqshbandia is ‘Zikr-e Khafi Qalbi’ (remembrance of Allah’s Name within the heart) and the method is termed ‘Pas Anfas’, which (in Persian) means guarding every breath. The Chain of Transmission of these Barakah, of course, emanates from the holy Prophet- SAWS.
SPIRITUAL BAI’AT (OATH OF ALLEGIANCE
It is necessary in all Sufi Orders that the Sheikh and the seekers must be contemporaries and must physically meet each other for the transfer of these blessings. However, the Naqshbandia Owaisiah Order goes beyond this requirement and Sufis of this Order receive these Barakah regardless of physical meeting with their Sheikh or even when the Sheikh is not their contemporary. Yet, it must be underscored that physical meeting with the Sheikh of this Order still holds great importance in dissemination of these Barakah. Sheikh Sirhindi writes about the Owaisiah Order in his book ‘Tazkirah’: ‘It is the most sublime, the most exalted, and the most effective…and the highest station of all others is only its stepping stone.’ By far the greatest singular distinction of the Naqshbandia Owaisiah Order is the honor of Spiritual Bai’at (Oath of Allegiance) directly at the blessed hands of the holy Prophet Muhammad (S.A.W).
SHEIKH HAZRAT MOULANA ALLAH YAR KHAN (R.A)
The Reviver Sheikh Allah Yar Khan was born in Chikrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The same year, he met Sheikh ‘Abdul Rahim, who took him to the shrine of Sheikh Allah Deen Madni. By Divine Will his spiritual connection was immediately established with the saint of the 10th century Hijra (sixteenth century CE) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years, after which he was directed to undertake the propagation of Prophetic blessings - a noble mission that he accomplished with singular zeal and dedication for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss commensurate with his/her sincerity and capacity. Sheikh Allah Yar Khan’s mission produced men and women of deep spiritual vision and eminence. He authored eighteen books, the most distinguished being Dalael us-Sulook (Sufism - An Objective Appraisal), Hayat-e Barzakhiah (Life Beyond Life) and Israr ul- Haramain (Secrets of the two holy Mosques). He was undoubtedly one of the most distinguished Sufi saints of the Muslim Ummah and a reviver of the Naqshbandia Owaisiah Order. He passed away on 18 February 1984 in Islamabad at the age of eighty.
THE CHAIN OF TRANSMISSION OF NAQSHBANDIA OWAISIAH
1. Hazrat Muhammad ur-Rasool Allah (Sall Allah-o Alaihi wa Sallam), 2. Hazrat Abu Bakr Siddiq (Radhi Allah-o Unho), 3. Hazrat Imam Hassan Basri (Rahmat Ullah Alaihi), 4. Hazrat Daud Tai (Rahmat Ullah Alaihi), 5. Hazrat Junaid Baghdadi (Rahmat Ullah Alaihi), 6. Hazrat Ubaid Ullah Ahrar (Rahmat Ullah Alaihi), 7. Hazrat Abdur Rahman Jami (Rahmat Ullah Alaihi), 8. Hazrat Abu Ayub Muhammad Salih (Rahmat Ullah Alaihi), 9. Hazrat Allah Deen Madni (Rahmat Ullah Alaihi), 10. Hazrat Moulana Allah Yar Khan (Rahmat Ullah Alaihi).
THE SPIRIT OR RUH
The spirit or Ruh of every person is a created reflection of the Divine Attributes and it originates in Alam-e Amar (Realm of Command). Its food is the Light of Allah or the Divine Refulgence, which it acquires from the Realm of Command through the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him), whose status in the spiritual world is like that of the sun in the solar system. The Quran refers to him as the ‘bright lamp’. Indeed, he is the divinely selected channel of all Barakah. All Exalted Messengers themselves receive these Barakah from him.
LATAIF
The human Ruh also possesses vital organs like the physical body; through which it acquires its knowledge, food and energy. These are called Lataif (singular Latifah: subtlety). Scholars of various Sufi Orders have associated them with specific areas of the human body. The Naqshbandia Owaisiah Order identifies these Lataif as follows. First - Qalb: This spiritual faculty is located within the physical heart. Its function is Zikr. Its strength increases one’s capacity for Allah’s Zikr. Second – Ruh: The site of this Latifah, which is a distinct faculty of the human Ruh, is on the right side of the chest at the level of Qalb. Its primary function is concentration towards Allah. Third – Sirri: This is located above the Qalb and functions to make possible Kashf. Forth – Khaffi: This is located above the Ruh and functions to perceive the omnipresence of Allah. Fifth – Akhfa: This is located in the middle of chest, at the centre of the first four Lataif and makes it possible for the Ruh to perceive the closeness of Allah, Who is closer to us than our own selves. Sixth – Nafs: This Latifah is located at the forehead and functions to purify the human soul. Seventh – Sultan al-Azkar: This Latifah is located at the top centre of the head and serves to absorb the Barakah of Allah into the entire body, so that every cell resonates with Zikr.
FIVE EXALTED MESSENGERS OF GOD
There are Five Exalted Messengers among the many known and unknown Messengers of Allah. They are Hazrat Muhammad, Hazrat Nuh (Noah), Hazrat Ibrahim (Abraham), Hazrat Musa (Moses), and Hazrat Esa (Jesus), peace be upon them all. Hazrat Adam is the first Prophet of Allah and the father of mankind. Each Latifah is associated with a particular Prophet. The Barakah and lights from Hazrat Adam (peace be upon him), descend on the first Latifah Qalb; its lights are reflected from the first heaven and are yellowish. The second Latifah is associated with Hazrat Nuh and Hazrat Ibrahim (peace be upon them). Its lights descend from the second heaven and appear as golden red. The lights descending upon the third Latifah are from Hazrat Musa (peace be upon him) and are white. One the fourth Latifah, the lights of Hazrat Esa (peace be upon him) descend from the fourth heaven and are deep blue. The fifth Latifah receives its Barakah directly from the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him). The lights associated with this Latifah are green, descend from the fifth heaven, and overwhelm all the first four Lataif. The Lights descending upon the sixth and seventh Lataif are the Divine Lights, whose color and condition cannot be determined. These are like flashes of lightening that defy comprehension. If Allah blesses a seeker with Kashf, he can observe all of this. The vision is slightly diffused in the beginning, but gradually the clarity improves.
SULOOK
Stages of the Path After all seven Lataif of a seeker have been illuminated with Divine Lights through Tawajjuh of the Sheikh and his Ruh has acquired the ability to fly, the Sheikh initiates its journey on the sublime Path of Divine nearness. The Path is known as Sulook, and its stages are not hypothetical imaginations but real and actually existing stations on the spiritual Path. These are also referred to as Meditations, because a seeker mentally meditates about a station while his/her Ruh actually ascends towards it. The first three stations that form the base of whole Sulook are described as; Ahadiyyat, a station of Absolute Unity of Divinity. It is above and beyond the seven heavens. It is so vast a station that the seven heavens and all that they encompass are lost within Ahadiyyat as a ring is lost in a vast desert. Its lights are white in color. Maiyyat station denotes Divine Company, ‘He is with you, wherever you might be.’ This station is so vast that Ahadiyyat along with the seven heavens beneath are lost within it as a ring is lost in a desert. Its lights are green in color. Aqrabiyyat station denotes Divine Nearness, ‘He is nearer to you than your life- vein.’ Again, Aqrabiyyat is vast as compared to Maiyyat in the same proportion. Its lights are golden red and are reflected from the Divine Throne. It is indeed the greatest favor of Almighty Allah that He blesses a seeker with an accomplished Sheikh, who takes him to these sublime stations. The final station that a seeker attains to during his/her lifetime becomes his/her Iliyyeen (blessed abode) in Barzakh and his/her Ruh stays at this station after death.
ZIKR
Why is Zikr Necessary for Everyone? Allah ordains every soul in the Quran to Perform Zikr. This not only means reciting the Quran and Tasbeeh but also Zikr-e Qalb. It is only through Zikr-e Qalbi that Prophetic Lights reach the depths of human soul and purify it from all vice and evil. Zikr infuses a realization of constant Divine Presence and a seeker feels great improvement in the level of sincerity and love towards Allah and the holy Prophet- SAWS. Such levels of sincerity, love and feelings of Divine Presence can never be obtained without Zikr. It would be a mistake to believe that Zikr may be a requirement only for the very pious and virtuous people. Zikr provides the Prophetic blessings which are in effect the life line of every human soul. It transforms even the most corrupted humans into virtuous souls by bringing out the best in them. The fact is that Zikr is the only way to achieve true contentment and satisfaction in life. The holy Quran has pointed to this eternal fact that it is only through Zikr Allah that hearts can find satisfaction. Such satisfaction and peace are the ultimate requirements of every person, regardless of religion, race and ethnicity. Practicing Zikr regularly removes all traces of anxiety and restlessness, and guides the human soul to eternal bliss and peace.
KHALIFA MAJAZEEN
Hazrat Moulana Allah Yar Khan (R.A), during his life time in 1974, presented a nomination list to Prophet Muhammad (S.A.W), during Maraqba, of expected Khalifa Majazeen for Silsila Naqshbandia Awaisia. Prophet Muhammad (S.A.W) approved some names, deleted some of the names, and added down the name of Major Ghulam Muhammad as also Khalifa Majaaz of Silsila Naqshbandia Awaisia (which was not previously included in the list)
The approved names at that time included:
1. Mr. Muhammad Akram Awan Sahib,
2. Mr. Sayed Bunyad Hussain Shah Sahib,
3. Mr. Major Ahsan Baig Sahib,
4. Mr. Col. Matloob Hussain Sahib,
5. Mr. Major Ghulam Muhammad Sahib of Wan Bhachran Mianwali,
6. Mr. Molvi Abdul Haq Sahib,
7. Mr. Hafiz Abdul Razzaq Sahib,
8. Mr. Hafiz Ghulam Qadri Sahib,
9. Mr. Khan Muhammad Irani Sahib,
10. Mr. Maolana Abdul Ghafoor Sahib,
11. Mr. Syed Muhammad Hassan Sahib of Zohb.
These Majazeen were authorized to; held Majalis of Zikar (Pas Anfas) in their respective areas, arrange Majalis of Zikar in neighboring areas, train them on the way of Sulook, prepare them for Spiritual Bai’at (Oath of Allegiance), and present them to Sheikh Hazrat Moulana Allah Yar Khan for Spiritual Bai’at at the Hand of Prophet Muhammad (S.A.W), in the life of Hazrat Moulana Allah Yar Khan (R.A), and were all equal in status as Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Presently we are following Hazrat Major ® Ghulam Muhammad Sahib, Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.
Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.
In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]
Other names[edit]
Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]
Vedas[edit]
The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.
The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]
The Ramayana version is closer to the stories told in the Puranas discussed below.
Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:
"We implore thee not for boons of enjoyment or wealth,
But for thy grace beatific, love and virtuous deeds."
According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;
His face shines a myriad rays light and removes the darkness from this world.[11]
The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:
Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.
Legends[edit]
Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)
Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.
His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.
In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)
He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]
As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.
Other parts of India[edit]
Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."
Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).
However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.
Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.
In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]
Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.
Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,
Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]
By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]
Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.
The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.
There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.
The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.
In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]
Kartikeya (Sanskrit Kārtikēya "son of Kṛttikā" Tamil: Kārttikēyaṉ) (/ˌkɑrtɪˈkeɪjə/), also known as Murugan, Skanda, Kumaran, Kumara Swami and Subramaniyan is the Hindu god of war. He is the Commander-in-Chief of the army of the devas and the son of Shiva and Parvati.
Murugan (Tamil Murukaṉ) is often referred to as Tamiḻ kaṭavuḷ ("god of the Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Indonesia, Malaysia, Singapore and Réunion. His six most important shrines in India are the Six Abodes of Murugan, temples located in Tamil Nadu.
In Bengal, Odisha and Maharashtra, he is popularly known as Kartikeya.
OTHER NAMES
The several names of Murugan of Tamil origin would include the following, Seyon, Senthil, Vēlaṇ, Kumāran ("prince, child, young one"), Svaminatha ("smart, clever"), Saravaṇa, Arumugam or Shanmuga ("having six faces"), Dandapani ("god with a club"), Guhan or Guruguha ("cave-dweller"), Subrahmanya, Kartikeya and Skanda "attacker". He was also known as Mahasena and the Kadamba dynasty worshiped him by this name.
HISTORICAL DEVELOPMENT
SANGAM TAMIL LITERATURE
The Tolkāppiyam, possibly the most ancient of the Tamil literature, mentions Ceyyavaṉ "the red one", who is identified with Murugan, whose name is literally Murukaṉ "the youth"; the three other gods referred in the Tolkāppiyam are Māyavaṉ "the dark one" (identified with Vishnu), Vēntaṉ "the sovereign" (identified with Indra) and Koṟṟavai "the victorious" (identified with Kali). Extant Sangam literature works, dated between the third century BCE and the fifth century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils." The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and. according to the Tirumurukāṟṟuppaṭai ( c. 400–450), attributed to the great Sangam poet Nakkirar, Murugan was the presiding deity of the kuṟiñci (hilly tracts). The Tirumurukāṟṟuppaṭai is a deeply devotional poem included in the Pattuppāṭṭu "ten idyls" of the age of the third Sangam. In the Tirumurukāṟṟuppaṭai, he is described as a god of eternal youth: "His face shines a myriad rays light and removes the darkness from this world".
Other Sangam period works in Tamil that refer to Murugan in detail include the Paripāṭal, the Akanaṉūṟu and the Purananuru.
VEDIC AND PURANIC LITERATURE
The Atharvaveda calls Kumāra Agnibhū because he is form of Agni, who held him in his hands when Kumāra was born. The Shatapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri Mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". Baudhāyana's Dharmasūtra calls Skanda Mahāsena "Having a Great Army" and Subrahmaṇya "beloved of Brahmins". The āraṇyaparvan (first section of the third book) of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya. The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.
HINDU EPICS
The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy a buffalo demon (mahishasura). In later mythology, the buffalo demon became the adversary of Durga.
Indra attacks Kartikeya as he sees the latter as a threat until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Anandamurti, in his master work on Shiva and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.
The Ramayana version is closer to the stories told in the Puranas below.
References to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumārasambhava. The Kushan Empire, which governed from what is today Peshawar, and the Yaudheyas, a confederation in the Punjab region, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Gupta Empire. The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:
Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. There were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.
PURANAS
Though slightly varying versions occur in the Puranas, they broadly follow the same pattern. By this period, the identification of Shiva/Rudra with Agni, that can be traced back to the Vedas and Brahmanas, had clearly made Kartikeya the son of Shiva.
The Skanda Purana narrates that Shiva first wed Dakshayani (also named Sati), the first incarnation of Adi Shakthi the granddaughter of Brahma, and the daughter of Daksha. Daksha was a Vishnu devotee and never liked Shiva, who symbolized destruction of evil, detachment, and who lives a simple life. Daksha publicly insults Shiva in a Yagna ceremony, and Dakshayani immolates herself. The Yagna is destroyed by Shiva's avatar Virabhadra. Virabhadra broke the sacrificial vessels, polluted the offerings, insulted the priests and finally cut off Daksha's head, trampled on Indra, broke the staff of Yama, scattered the gods on every side; then he returned to Kailash. Taraka believed that, because Shiva is an ascetic and his earlier marriage was conducted with great difficulty, his remarriage was out of the question, hence his boon of being killed by Shiva's son alone would give him invincibility.
The Devas manage to get Shiva married to Parvati (who was Dakshayani, reborn), by making Manmatha (also known as Kama), the God of love awaken him from his penance, but Manmatha incurred the Lord's wrath indicated by the opening his third eye – "Netri Kann", and being destroyed and resurrected. Shiva hands over his effulgence of the third eye used to destroy Manmatha to Agni, as he alone is capable of handling it until it becomes the desired offspring. But even Agni, tortured by its heat, hands it over to Ganga who in turn deposits it in a lake in a forest of reeds (sharavanam). Then Goddess Parvati, took the form of this water body as she alone is capable of taming the Tejas of Shiva, her consort. The child is finally born in this forest (vana) with six faces: eesanam, Tathpurusham, vamadevam, agoram, sathyojatham and adhomugam. He is first spotted and cared for by six women representing the Pleiades — Kritika in Sanskrit. He thus gets named Kartikeya. As a young lad, he destroys Tarakasur. He is also called Kumara (Tamil and Sanskrit for "youth").
LEGENDS
Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This led to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods).
SYMBOLISM
Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego. His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.
REGIONS OF WORSHIP
SOUTH INDIA
Murugan is often referred to as "Tamil Kadavul" "God of the Tamils" and is worshiped primarily in areas with Tamil influences. Subramanya is also a major deity among the Hindus of northern Kerala, Karnataka, Andhra Pradesh and Telengana. Rituals like nagaradhane are unique to Uttara Kannada region of Karnataka.
TAMIL NADU
In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy) He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".
As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.
WEST BENGAL
Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Kartikeya is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year. Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more. In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha.
ODISHA
Kumara Purnima, which is celebrated on the full moon day after Vijayadashami, is one of the popular festival dedicated to Kartikeya in Odisha.It is believed that unmarried girls worship Kartikeya on this day to get grooms handsome as Kartikeya. Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack, Jamadhar, Rekabibajar of Jajpur District and other parts in the state.
OTHER PARTS
Kartikeya Swami or locally called the Devta "Kelang Wazir" is worshipped near parts of Bharmour as their main deity at Chamba district of Himachal Pradesh. Situated at Kugti Village, which is 10-14 km from Bharmour is the major deity of the tribe Gaddi. The temple of Kartikeya Swami is visited every year by thousands of devotees when the trek is opened in the month of March-April.(Covered with snow in the winters)
Historically, Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."
Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephants. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).
However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. There is also a popular temple of Kartikeya called Kartik Swami Mandir in the Panchavati region of Nashik, Maharashtra. In Maharashtra too, women don't visit Kartik swami temple.
SRI LANKA
Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama). This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo (Murugan) reflecting the significance of Murugan in Sinhala Buddhism,
Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.
By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism. The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality. Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.
MALAYSIA
Lord Murugan is one of the most important deities worshipped by the Tamil Hindus in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thaipoosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.
MURUGAN TEMPLES
The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Chennimalai, Sivanmalai, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.
There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad, one in Bikkavolu, East Godavari district and one in Mopidevi,Krishna district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here.
The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.
MURUGAN TEMPLES IN AMERICA
In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America in Maryland, Washington DC region are popular. Thaipusam walk for Shiva Murugan Temple in Concord, USA is very pouplar and attracting many devotees from all over America. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan.
MURUGAN TEMPLES IN UK
In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan.
MURUGAN TEMPLES IN AUSTRALIA
In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan.
MURUGAN TEMPLES IN EUROPE
The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.
WIKIPEDIA
De toutes les églises de Rome, une seule est considérée comme étant la « mère et tête de toutes les églises » : la basilique Saint-Jean de Latran, cathédrale de Rome, siège du diocèse de la Ville.
Cette église fondamentale du Catholicisme est propriété du Saint-Siège et fait donc partie du Vatican (même si elle ne se trouve pas sur le territoire du Vatican). C’est une des quatre basiliques majeures de Rome, et ne l’est pas que par la taille : 12 conciles y eurent lieu, dont 5 œcuméniques tout au long du Moyen-âge et de la Renaissance (1123, 1139, 1179, 1215 et de 1512 à 1516). C’est aussi au Latran que Charlemagne se fit baptiser, à Pâques en 774, ou que les fameux accords entre l’Eglise et l’Etat furent signés en 1929, les accords du Latran.
L’Archibasilique du Très Saint-Sauveur, plus connue sous le nom de Basilique de Saint-Jean de Latran, est l’église la plus ancienne de la ville, construite avant même Saint Pierre de Rome. L’empereur Constantin Ier (306-337) l’a fit construire, selon la légende, après avoir guéri d’une maladie en 313, et sera consacrée en 324 par le pape Sylvestre Ier. C’est l’église utilisée par le pape, lorsqu’il assume le rôle d’évêque de la Ville Éternelle. Elle est bâtie sur les anciens terrains d’une ancienne famille patricienne, les Laterani, qui donnèrent ainsi leur nom à l’église, Latran. Sainte Hélène, la mère de Constantin, chrétienne très fervente, avait fait cadeau des terrains au pape de l’époque, Melchiade.
Avant le renouveau de Saint-Pierre de Rome, à la Renaissance, le siège de la Chrétienté était au Latran. Pendant 1000 ans, du IVe au XIVe siècle, le pape y avait sa résidence, son siège, jusqu’à l’« exil » de Clément V à Avignon, en 1309. L’ancienne résidence papale est encore visible, le Palais de Latran, que l’on peut voir collé à la basilique, reconverti en musée par le pape Grégoire XVI. L’église avec tant de reconstructions, eu forcément des besoins financiers importants. Les rois de France contribuèrent au financement, depuis Louis XI au XVe siècle, de façon plus ou moins régulière suivant les aléas de l’Histoire, jusqu’en 1871. Henri IV, en échange de l’assurance des revenus provenant de l’Abbaye de Clairac pour le Latran, fut remercié avec une statue que l’on peut encore voir de nos jours, et le dirigeant français fut fait chanoine d’honneur. Aujourd’hui, le Président de la République, quel qu’il soit est ainsi systématiquement fait chanoine d’honneur de la basilique Saint-Jean de Latran.
L’église que nous pouvons admirer aujourd’hui date du XVIIe siècle, sous le pontificat d’Urbain V, et est la deuxième plus grande église de Rome, avec ses 130m de long. La façade blanche réalisée entre 1732 et 1735, toute en travertin, fut conçue par le Florentin Alessandro Galilei, avec les statues monumentales en son sommet. Ces statues de 7m de haut représentent Jésus, Saint Jean et Saint Jean-Baptiste, ainsi que les docteurs de l’église. La gigantesque porte de bronze est une porte antique, qui n’est autre que celle de l’ancienne Curie romaine ! Sur le fronton, nous pouvons y lire « omnium urbis et orbis ecclesiarum mater et caput », mère et tête de toutes les églises de la ville et du monde.
La structure intérieure de la basilique est l’œuvre de Francesco Borromini, exécutée en style baroque. Les travaux débutèrent lors de l’année sainte, le Jubilé de 1650, commandés par le pape Innocent X. Des 14 arcades originelles, il passa à 5, retravaillant ainsi totalement l’espace intérieur de la basilique, qui retrouva l’esprit de l’édifice antique, avec ses 5 nefs. Dans chaque niche de la nef, longue de 130m, nous pouvons voir les statues des apôtres qui regardent les fidèles venus à l’église. Ces statues furent sculptées entre 1703 et 1719. Les chapelles latérales sont également issues du génie de Borromini. Le jeu de lumières que Borromini a su créer est bluffant, avec la lumière qui rentre par les fenêtres, tels des puits de lumière. Cette lumière si spéciale renforce le coté sacré de cet endroit. Borromini conservera le sol, venu du Moyen-âge, et le plafond, en caissons peints et moulures dorées, du bois sculpté du XVIe siècle.
Le sol de la basilique mérite toute l’attention du monde. C’est un sol que l’on nomme de « cosmatesque ». Ce type de sol, fait d’innombrables morceaux de marbre, était typique de l’Italie du Moyen-âge, friande de ce type de mosaïque. Le nom vient de Laurent Cosma et de sa famille, les Cosmati, des artisans qui créèrent bon nombre de ces œuvres, en prélevant le marbre des ruines romaines antiques. Ces sols sont absolument splendides, m’impressionnant beaucoup plus que toutes les statues de l’église : on n’a pas l’habitude de marcher sur quelque chose de si beau, et son omniprésence donne cet aspect chaleureux à Saint Jean de Latran, bien différent des sols en pierre des cathédrales gothiques.
Of all the churches in Rome, only one is considered the "mother and head of all churches": the Basilica of St. John Lateran, cathedral of Rome, seat of the diocese of the City.
This fundamental church of Catholicism is property of the Holy See and therefore part of the Vatican (even if it is not located on Vatican territory). It is one of the four major basilicas of Rome, and it is not only because of the size: 12 councils took place, including 5 ecumenical throughout the Middle Ages and the Renaissance (1123, 1139, 1179, 1215 and from 1512 to 1516). It is also in the Lateran that Charlemagne was baptized, at Easter in 774, or that the famous agreements between the Church and the State were signed in 1929, the Lateran agreements.
The Archibasilica of the Most Holy Savior, better known as the Basilica of St. John Lateran, is the oldest church in the city, built even before St. Peter of Rome. Emperor Constantine I (306-337) had it built, according to legend, after curing a disease in 313, and will be consecrated in 324 by Pope Sylvester I. This is the church used by the pope when he assumes the role of bishop of the Eternal City. It is built on the old grounds of an old patrician family, the Laterani, which gave their name to the church, Lateran. St. Helena, the mother of Constantine, a very fervent Christian, had given the land to the pope of the time, Melchiade.
Before the revival of St. Peter's in Rome, during the Renaissance, the siege of Christendom was at the Lateran. For 1000 years, from the fourth to the fourteenth century, the pope had his residence, his seat, until the "exile" of Clement V in Avignon, in 1309. The former papal residence is still visible, the Lateran Palace , which can be seen stuck to the basilica, converted into a museum by Pope Gregory XVI. The church with so many reconstructions, had necessarily important financial needs. The kings of France contributed to the financing, since Louis XI in the 15th century, in a more or less regular way according to the vagaries of the History, until 1871. Henry IV, in exchange for the insurance of the revenues coming from the Abbey from Clairac to the Lateran, was thanked with a statue that can still be seen today, and the French leader was made canon of honor. Today, the President of the Republic, whoever he is is thus systematically made canon of honor of the basilica Saint-Jean of Lateran.
The church that we can admire today dates from the seventeenth century, under the pontificate of Urban V, and is the second largest church in Rome, with its 130m long. The white facade built between 1732 and 1735, all travertine, was designed by the Florentine Alessandro Galilei, with the monumental statues at the top. These statues 7m high represent Jesus, Saint John and Saint John the Baptist, as well as the doctors of the church. The gigantic bronze door is an ancient door, which is none other than that of the ancient Roman Curia! On the pediment, we can read "omnium urbis and orbis ecclesiarum mater and caput", mother and head of all the churches of the city and the world.
The inner structure of the basilica is the work of Francesco Borromini, executed in Baroque style. Work began during the holy year, the Jubilee of 1650, commissioned by Pope Innocent X. Of the 14 original arcades, he went to 5, thus completely reworking the interior space of the basilica, which found the spirit of the ancient building, with its 5 naves. In each niche of the nave, 130m long, we can see the statues of the apostles who watch the faithful coming to the church. These statues were carved between 1703 and 1719. The side chapels are also from the genius of Borromini. The play of lights that Borromini has created is stunning, with the light coming in through the windows, like skylights. This special light reinforces the sacred side of this place. Borromini will preserve the soil, from the Middle Ages, and the ceiling, in painted boxes and gilded moldings, carved wood of the sixteenth century.
The basilica floor deserves all the attention of the world. It is a soil that we call "cosmatesque". This type of floor, made of innumerable pieces of marble, was typical of medieval Italy, fond of this type of mosaic. The name comes from Laurent Cosma and his family, the Cosmati, craftsmen who created many of these works, taking marble from the ancient Roman ruins. These soils are absolutely splendid, impressing me much more than all the statues of the church: we are not used to walking on something so beautiful, and its omnipresence gives this warm aspect to Saint Jean de Latran, very different from the stone floors of Gothic cathedrals.
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
Kartikeya (Sanskrit Kārtikēya "son of Kṛttikā" Tamil: Kārttikēyaṉ) (/ˌkɑrtɪˈkeɪjə/), also known as Murugan, Skanda, Kumaran, Kumara Swami and Subramaniyan is the Hindu god of war. He is the Commander-in-Chief of the army of the devas and the son of Shiva and Parvati.
Murugan (Tamil Murukaṉ) is often referred to as Tamiḻ kaṭavuḷ ("god of the Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Indonesia, Malaysia, Singapore and Réunion. His six most important shrines in India are the Six Abodes of Murugan, temples located in Tamil Nadu.
In Bengal, Odisha and Maharashtra, he is popularly known as Kartikeya.
OTHER NAMES
The several names of Murugan of Tamil origin would include the following, Seyon, Senthil, Vēlaṇ, Kumāran ("prince, child, young one"), Svaminatha ("smart, clever"), Saravaṇa, Arumugam or Shanmuga ("having six faces"), Dandapani ("god with a club"), Guhan or Guruguha ("cave-dweller"), Subrahmanya, Kartikeya and Skanda "attacker". He was also known as Mahasena and the Kadamba dynasty worshiped him by this name.
HISTORICAL DEVELOPMENT
SANGAM TAMIL LITERATURE
The Tolkāppiyam, possibly the most ancient of the Tamil literature, mentions Ceyyavaṉ "the red one", who is identified with Murugan, whose name is literally Murukaṉ "the youth"; the three other gods referred in the Tolkāppiyam are Māyavaṉ "the dark one" (identified with Vishnu), Vēntaṉ "the sovereign" (identified with Indra) and Koṟṟavai "the victorious" (identified with Kali). Extant Sangam literature works, dated between the third century BCE and the fifth century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils." The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and. according to the Tirumurukāṟṟuppaṭai ( c. 400–450), attributed to the great Sangam poet Nakkirar, Murugan was the presiding deity of the kuṟiñci (hilly tracts). The Tirumurukāṟṟuppaṭai is a deeply devotional poem included in the Pattuppāṭṭu "ten idyls" of the age of the third Sangam. In the Tirumurukāṟṟuppaṭai, he is described as a god of eternal youth: "His face shines a myriad rays light and removes the darkness from this world".
Other Sangam period works in Tamil that refer to Murugan in detail include the Paripāṭal, the Akanaṉūṟu and the Purananuru.
VEDIC AND PURANIC LITERATURE
The Atharvaveda calls Kumāra Agnibhū because he is form of Agni, who held him in his hands when Kumāra was born. The Shatapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri Mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". Baudhāyana's Dharmasūtra calls Skanda Mahāsena "Having a Great Army" and Subrahmaṇya "beloved of Brahmins". The āraṇyaparvan (first section of the third book) of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya. The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.
HINDU EPICS
The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy a buffalo demon (mahishasura). In later mythology, the buffalo demon became the adversary of Durga.
Indra attacks Kartikeya as he sees the latter as a threat until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Anandamurti, in his master work on Shiva and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.
The Ramayana version is closer to the stories told in the Puranas below.
References to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumārasambhava. The Kushan Empire, which governed from what is today Peshawar, and the Yaudheyas, a confederation in the Punjab region, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Gupta Empire. The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:
Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. There were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.
PURANAS
Though slightly varying versions occur in the Puranas, they broadly follow the same pattern. By this period, the identification of Shiva/Rudra with Agni, that can be traced back to the Vedas and Brahmanas, had clearly made Kartikeya the son of Shiva.
The Skanda Purana narrates that Shiva first wed Dakshayani (also named Sati), the first incarnation of Adi Shakthi the granddaughter of Brahma, and the daughter of Daksha. Daksha was a Vishnu devotee and never liked Shiva, who symbolized destruction of evil, detachment, and who lives a simple life. Daksha publicly insults Shiva in a Yagna ceremony, and Dakshayani immolates herself. The Yagna is destroyed by Shiva's avatar Virabhadra. Virabhadra broke the sacrificial vessels, polluted the offerings, insulted the priests and finally cut off Daksha's head, trampled on Indra, broke the staff of Yama, scattered the gods on every side; then he returned to Kailash. Taraka believed that, because Shiva is an ascetic and his earlier marriage was conducted with great difficulty, his remarriage was out of the question, hence his boon of being killed by Shiva's son alone would give him invincibility.
The Devas manage to get Shiva married to Parvati (who was Dakshayani, reborn), by making Manmatha (also known as Kama), the God of love awaken him from his penance, but Manmatha incurred the Lord's wrath indicated by the opening his third eye – "Netri Kann", and being destroyed and resurrected. Shiva hands over his effulgence of the third eye used to destroy Manmatha to Agni, as he alone is capable of handling it until it becomes the desired offspring. But even Agni, tortured by its heat, hands it over to Ganga who in turn deposits it in a lake in a forest of reeds (sharavanam). Then Goddess Parvati, took the form of this water body as she alone is capable of taming the Tejas of Shiva, her consort. The child is finally born in this forest (vana) with six faces: eesanam, Tathpurusham, vamadevam, agoram, sathyojatham and adhomugam. He is first spotted and cared for by six women representing the Pleiades — Kritika in Sanskrit. He thus gets named Kartikeya. As a young lad, he destroys Tarakasur. He is also called Kumara (Tamil and Sanskrit for "youth").
LEGENDS
Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This led to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods).
SYMBOLISM
Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego. His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.
REGIONS OF WORSHIP
SOUTH INDIA
Murugan is often referred to as "Tamil Kadavul" "God of the Tamils" and is worshiped primarily in areas with Tamil influences. Subramanya is also a major deity among the Hindus of northern Kerala, Karnataka, Andhra Pradesh and Telengana. Rituals like nagaradhane are unique to Uttara Kannada region of Karnataka.
TAMIL NADU
In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy) He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".
As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.
WEST BENGAL
Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Kartikeya is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year. Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more. In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha.
ODISHA
Kumara Purnima, which is celebrated on the full moon day after Vijayadashami, is one of the popular festival dedicated to Kartikeya in Odisha.It is believed that unmarried girls worship Kartikeya on this day to get grooms handsome as Kartikeya. Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack, Jamadhar, Rekabibajar of Jajpur District and other parts in the state.
OTHER PARTS
Kartikeya Swami or locally called the Devta "Kelang Wazir" is worshipped near parts of Bharmour as their main deity at Chamba district of Himachal Pradesh. Situated at Kugti Village, which is 10-14 km from Bharmour is the major deity of the tribe Gaddi. The temple of Kartikeya Swami is visited every year by thousands of devotees when the trek is opened in the month of March-April.(Covered with snow in the winters)
Historically, Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."
Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephants. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).
However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. There is also a popular temple of Kartikeya called Kartik Swami Mandir in the Panchavati region of Nashik, Maharashtra. In Maharashtra too, women don't visit Kartik swami temple.
SRI LANKA
Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama). This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo (Murugan) reflecting the significance of Murugan in Sinhala Buddhism,
Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.
By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism. The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality. Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.
MALAYSIA
Lord Murugan is one of the most important deities worshipped by the Tamil Hindus in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thaipoosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.
MURUGAN TEMPLES
The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Chennimalai, Sivanmalai, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.
There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad, one in Bikkavolu, East Godavari district and one in Mopidevi,Krishna district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here.
The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.
MURUGAN TEMPLES IN AMERICA
In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America in Maryland, Washington DC region are popular. Thaipusam walk for Shiva Murugan Temple in Concord, USA is very pouplar and attracting many devotees from all over America. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan.
MURUGAN TEMPLES IN UK
In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan.
MURUGAN TEMPLES IN AUSTRALIA
In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan.
MURUGAN TEMPLES IN EUROPE
The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.
WIKIPEDIA
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
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
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
De toutes les églises de Rome, une seule est considérée comme étant la « mère et tête de toutes les églises » : la basilique Saint-Jean de Latran, cathédrale de Rome, siège du diocèse de la Ville.
Cette église fondamentale du Catholicisme est propriété du Saint-Siège et fait donc partie du Vatican (même si elle ne se trouve pas sur le territoire du Vatican). C’est une des quatre basiliques majeures de Rome, et ne l’est pas que par la taille : 12 conciles y eurent lieu, dont 5 œcuméniques tout au long du Moyen-âge et de la Renaissance (1123, 1139, 1179, 1215 et de 1512 à 1516). C’est aussi au Latran que Charlemagne se fit baptiser, à Pâques en 774, ou que les fameux accords entre l’Eglise et l’Etat furent signés en 1929, les accords du Latran.
L’Archibasilique du Très Saint-Sauveur, plus connue sous le nom de Basilique de Saint-Jean de Latran, est l’église la plus ancienne de la ville, construite avant même Saint Pierre de Rome. L’empereur Constantin Ier (306-337) l’a fit construire, selon la légende, après avoir guéri d’une maladie en 313, et sera consacrée en 324 par le pape Sylvestre Ier. C’est l’église utilisée par le pape, lorsqu’il assume le rôle d’évêque de la Ville Éternelle. Elle est bâtie sur les anciens terrains d’une ancienne famille patricienne, les Laterani, qui donnèrent ainsi leur nom à l’église, Latran. Sainte Hélène, la mère de Constantin, chrétienne très fervente, avait fait cadeau des terrains au pape de l’époque, Melchiade.
Avant le renouveau de Saint-Pierre de Rome, à la Renaissance, le siège de la Chrétienté était au Latran. Pendant 1000 ans, du IVe au XIVe siècle, le pape y avait sa résidence, son siège, jusqu’à l’« exil » de Clément V à Avignon, en 1309. L’ancienne résidence papale est encore visible, le Palais de Latran, que l’on peut voir collé à la basilique, reconverti en musée par le pape Grégoire XVI. L’église avec tant de reconstructions, eu forcément des besoins financiers importants. Les rois de France contribuèrent au financement, depuis Louis XI au XVe siècle, de façon plus ou moins régulière suivant les aléas de l’Histoire, jusqu’en 1871. Henri IV, en échange de l’assurance des revenus provenant de l’Abbaye de Clairac pour le Latran, fut remercié avec une statue que l’on peut encore voir de nos jours, et le dirigeant français fut fait chanoine d’honneur. Aujourd’hui, le Président de la République, quel qu’il soit est ainsi systématiquement fait chanoine d’honneur de la basilique Saint-Jean de Latran.
L’église que nous pouvons admirer aujourd’hui date du XVIIe siècle, sous le pontificat d’Urbain V, et est la deuxième plus grande église de Rome, avec ses 130m de long. La façade blanche réalisée entre 1732 et 1735, toute en travertin, fut conçue par le Florentin Alessandro Galilei, avec les statues monumentales en son sommet. Ces statues de 7m de haut représentent Jésus, Saint Jean et Saint Jean-Baptiste, ainsi que les docteurs de l’église. La gigantesque porte de bronze est une porte antique, qui n’est autre que celle de l’ancienne Curie romaine ! Sur le fronton, nous pouvons y lire « omnium urbis et orbis ecclesiarum mater et caput », mère et tête de toutes les églises de la ville et du monde.
La structure intérieure de la basilique est l’œuvre de Francesco Borromini, exécutée en style baroque. Les travaux débutèrent lors de l’année sainte, le Jubilé de 1650, commandés par le pape Innocent X. Des 14 arcades originelles, il passa à 5, retravaillant ainsi totalement l’espace intérieur de la basilique, qui retrouva l’esprit de l’édifice antique, avec ses 5 nefs. Dans chaque niche de la nef, longue de 130m, nous pouvons voir les statues des apôtres qui regardent les fidèles venus à l’église. Ces statues furent sculptées entre 1703 et 1719. Les chapelles latérales sont également issues du génie de Borromini. Le jeu de lumières que Borromini a su créer est bluffant, avec la lumière qui rentre par les fenêtres, tels des puits de lumière. Cette lumière si spéciale renforce le coté sacré de cet endroit. Borromini conservera le sol, venu du Moyen-âge, et le plafond, en caissons peints et moulures dorées, du bois sculpté du XVIe siècle.
Le sol de la basilique mérite toute l’attention du monde. C’est un sol que l’on nomme de « cosmatesque ». Ce type de sol, fait d’innombrables morceaux de marbre, était typique de l’Italie du Moyen-âge, friande de ce type de mosaïque. Le nom vient de Laurent Cosma et de sa famille, les Cosmati, des artisans qui créèrent bon nombre de ces œuvres, en prélevant le marbre des ruines romaines antiques. Ces sols sont absolument splendides, m’impressionnant beaucoup plus que toutes les statues de l’église : on n’a pas l’habitude de marcher sur quelque chose de si beau, et son omniprésence donne cet aspect chaleureux à Saint Jean de Latran, bien différent des sols en pierre des cathédrales gothiques.
Of all the churches in Rome, only one is considered the "mother and head of all churches": the Basilica of St. John Lateran, cathedral of Rome, seat of the diocese of the City.
This fundamental church of Catholicism is property of the Holy See and therefore part of the Vatican (even if it is not located on Vatican territory). It is one of the four major basilicas of Rome, and it is not only because of the size: 12 councils took place, including 5 ecumenical throughout the Middle Ages and the Renaissance (1123, 1139, 1179, 1215 and from 1512 to 1516). It is also in the Lateran that Charlemagne was baptized, at Easter in 774, or that the famous agreements between the Church and the State were signed in 1929, the Lateran agreements.
The Archibasilica of the Most Holy Savior, better known as the Basilica of St. John Lateran, is the oldest church in the city, built even before St. Peter of Rome. Emperor Constantine I (306-337) had it built, according to legend, after curing a disease in 313, and will be consecrated in 324 by Pope Sylvester I. This is the church used by the pope when he assumes the role of bishop of the Eternal City. It is built on the old grounds of an old patrician family, the Laterani, which gave their name to the church, Lateran. St. Helena, the mother of Constantine, a very fervent Christian, had given the land to the pope of the time, Melchiade.
Before the revival of St. Peter's in Rome, during the Renaissance, the siege of Christendom was at the Lateran. For 1000 years, from the fourth to the fourteenth century, the pope had his residence, his seat, until the "exile" of Clement V in Avignon, in 1309. The former papal residence is still visible, the Lateran Palace , which can be seen stuck to the basilica, converted into a museum by Pope Gregory XVI. The church with so many reconstructions, had necessarily important financial needs. The kings of France contributed to the financing, since Louis XI in the 15th century, in a more or less regular way according to the vagaries of the History, until 1871. Henry IV, in exchange for the insurance of the revenues coming from the Abbey from Clairac to the Lateran, was thanked with a statue that can still be seen today, and the French leader was made canon of honor. Today, the President of the Republic, whoever he is is thus systematically made canon of honor of the basilica Saint-Jean of Lateran.
The church that we can admire today dates from the seventeenth century, under the pontificate of Urban V, and is the second largest church in Rome, with its 130m long. The white facade built between 1732 and 1735, all travertine, was designed by the Florentine Alessandro Galilei, with the monumental statues at the top. These statues 7m high represent Jesus, Saint John and Saint John the Baptist, as well as the doctors of the church. The gigantic bronze door is an ancient door, which is none other than that of the ancient Roman Curia! On the pediment, we can read "omnium urbis and orbis ecclesiarum mater and caput", mother and head of all the churches of the city and the world.
The inner structure of the basilica is the work of Francesco Borromini, executed in Baroque style. Work began during the holy year, the Jubilee of 1650, commissioned by Pope Innocent X. Of the 14 original arcades, he went to 5, thus completely reworking the interior space of the basilica, which found the spirit of the ancient building, with its 5 naves. In each niche of the nave, 130m long, we can see the statues of the apostles who watch the faithful coming to the church. These statues were carved between 1703 and 1719. The side chapels are also from the genius of Borromini. The play of lights that Borromini has created is stunning, with the light coming in through the windows, like skylights. This special light reinforces the sacred side of this place. Borromini will preserve the soil, from the Middle Ages, and the ceiling, in painted boxes and gilded moldings, carved wood of the sixteenth century.
The basilica floor deserves all the attention of the world. It is a soil that we call "cosmatesque". This type of floor, made of innumerable pieces of marble, was typical of medieval Italy, fond of this type of mosaic. The name comes from Laurent Cosma and his family, the Cosmati, craftsmen who created many of these works, taking marble from the ancient Roman ruins. These soils are absolutely splendid, impressing me much more than all the statues of the church: we are not used to walking on something so beautiful, and its omnipresence gives this warm aspect to Saint Jean de Latran, very different from the stone floors of Gothic cathedrals.
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food. At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
AS A CULTURAL AND NATIONAL SYMBOL
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
- Brigade of the Guards of the Indian Army uses Garuda as their symbol
- Elite bodyguards of the medieval Hoysala kings were called Garudas
- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
- Indonesian national airline is Garuda Indonesia.
- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
- Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
- The bird also gives its name to Hangard Aviation
- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings : Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc.[15] Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
AS A CULTURAL AND NATIONAL SYMBOL
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
- Brigade of the Guards of the Indian Army uses Garuda as their symbol
- Elite bodyguards of the medieval Hoysala kings were called Garudas
- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection
- Indonesian national airline is Garuda Indonesia.
- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator.[17] According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
- The bird also gives its name to Hangard Aviation
- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname there is a TV channel called Garuda. Suriname has a lot o people from Indonesia and Java. It is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
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
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
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
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 Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food. At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
AS A CULTURAL AND NATIONAL SYMBOL
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
- Brigade of the Guards of the Indian Army uses Garuda as their symbol
- Elite bodyguards of the medieval Hoysala kings were called Garudas
- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
- Indonesian national airline is Garuda Indonesia.
- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
- Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
- The bird also gives its name to Hangard Aviation
- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
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 Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food. At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
AS A CULTURAL AND NATIONAL SYMBOL
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
- Brigade of the Guards of the Indian Army uses Garuda as their symbol
- Elite bodyguards of the medieval Hoysala kings were called Garudas
- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
- Indonesian national airline is Garuda Indonesia.
- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
- Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
- The bird also gives its name to Hangard Aviation
- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
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
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
Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.
Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.
In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]
Other names[edit]
Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]
Vedas[edit]
The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.
The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]
The Ramayana version is closer to the stories told in the Puranas discussed below.
Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:
"We implore thee not for boons of enjoyment or wealth,
But for thy grace beatific, love and virtuous deeds."
According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;
His face shines a myriad rays light and removes the darkness from this world.[11]
The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:
Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.
Legends[edit]
Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)
Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.
His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.
In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)
He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]
As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.
Other parts of India[edit]
Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."
Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).
However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.
Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.
In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]
Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.
Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,
Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]
By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]
Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.
The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.
There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.
The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.
In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
I seek refuge in Allah from Satan, the outcast.
In the name of Allah, the Beneficent, the Merciful.
Allah’s peace be upon Prophet Muhammad (S.A.W), the glorious Prophet of Islam, and on his Companions and his followers.
TASAWWUF
"There is no doubt that Tasawwuf is an important branch of Islam. The word itself may have been derived form the Arabic word "Soof" (Wool) or from "Safa" (cleanliness), but its foundation lies in one’s personal sincerity in seeking Allah’s nearness and trying to live a life pleasing to Him. Study of the Quran, the Hadith, and the practical life of the holy Prophet Muhammad (S.A.W) and his faithful Companions provide unmistakable support to this reality." (Hazrat Moulana Allah Yar Khan (R.A)
SUFISM, AN ESSENTIAL PART OF ISLAM
Doubts exist not only in the minds of the Muslim faithful but also among the Ulema, notably the exoteric about Tasawwuf and its votaries. Often they lead to misunderstanding, as if Shariah and Tariqah were two separate entries, or that Tasawwuf was some obscure discipline foreign to Islam, or that it was altogether above the established laws and injunctions of our Religion. To help remove these misgivings and to reassure seekers, as well as scholars, our Sheikh Hazrat Moulana Allah Yar Khan (R.A), Sheikh Silsila Naqshbandia Awaisia, wrote Al-Jamal Wal Kamal, Aqaid-O-Kamalaat Ulmai-e-Deoband, Binat-e-Rasool (S.A.W), Daamad-e-Ali (R.A), Dalael-us-Salook, Ejaad-e-Mazhab Shia, Hayat-un-Nabi (S.A.W), Hayat Barzakhia, Ilm-o-Irfan, Niffaz-e-Shariat Aur Fiqah-e-Jaferia, Saif-e-Owaisi, Shikast-e-Ahdai Hussain and Tahkeek Halal Haram books.
BIOGRAPHY
Sheikh Allah Yar Khan was born in Chakrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The very year, he met Shaykh Abdul Rahim, who took him to the shrine of Shaykh Allah Deen Madni. By Divine Will his spiritual connection was right away established with the saint of the 10th century Hijra (sixteenth century) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years. In 1962 he was directed to carry out the propagation of Prophetic blessings - a noble mission that he accomplished with singular enthusiasm and devotion for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss as per his/her sincerity and capacity. Shaykh Allah Yar Khan's mission produced men and women of deep spiritual vision and distinction.
Although Hazrat Moulana Allah Yar Khan (R.A) have lived a major portion of his life as a scholar, with the avowed mission of illuminating the truth of Islam and the negation of fallacious sects, and this would appear quite removed from Tasawwuf, yet the only practical difference between the two, namely the use of the former as a media to expound the truth, and the latter to imbue people with positive faith. Nevertheless, people are amazed that a man, who until the other day, was known as a dialectician and a preacher of Islam, is not only talking of Mystic Path, but is also claiming spiritual bonds with the veteran Sufi Masters of the Past. This amazement is obviously out of place in the view of Quranic injunction: This is the bounty of Allah which He gives to whom He wills. (62:4)
THE PURIFICATION OF THE SOUL
The purification of the soul always formed part of the main mission of the Prophets; that is, the dissemination and propagation of the Devine Message. This responsibility later fell directly on the shoulders of the true Ulema in the Ummah of the last Prophet Muhammad (S.A.W), who, as his genuine successors, have continued to shed brave light in every Dark Age of materialism and sacrilege. In the present age of ruinous confusion, the importance of this responsibility has increased manifold; of the utter neglect of Islam by Muslims has not only driven them to misery, but also grievously weakened their bonds of faith in Allah and His Prophet Muhammad (S.A.W). The decay in their belief and consequent perversion in their conduct has reached a stage that any attempt to pull them out of the depth of ignominy and the heedless chaos of faithlessness, attracts grave uncertainties and apprehensions rather than a encouraging will to follow the Shariah, to purify the soul and to reform within. The Quranic Verse: Layers upon layers of darkness… (24:40) provides the nearest expression of their present state.
SHARIAH & SUFISM
Any action against the Sunnah (Prophet’s way of life) cannot be called Sufism. Singing and dancing, and the prostration on tombs are not part of Sufism. Nor is predicting the future and predicting the outcome of cases in the courts of law, a part of Sufism. Sufis are not required to abandon their worldly possessions or live in the wilderness far from the practical world. In fact these absurdities are just its opposites. It is an established fact that Tazkiyah (soul purification) stands for that inner purity which inspires a person’s spirit to obey the holy Prophet Muhammad (S.A.W). If a false claimant of Sufism teaches tricks and jugglery, ignoring religious obligations, he is an impostor. A true Sheikh will lead a believer to the august spiritual audience of the holy Prophet Muhammad (S.A.W). If you are fortunate enough to be blessed with the company of an accomplished spiritual guide and Sheikh of Sufism, and if you follow his instructions, you will observe a positive change in yourself, transferring you from vice to virtue.
ISLAM, AS A COMPLETE CODE OF LIFE
Islam, as a complete code of life or Deen, was perfected during the life of the Holy Prophet Muhammad (S.A.W). He was the sole teacher and his mosque was the core institution for the community. Although Islam in its entirety was practiced during that blessed era, the classification and compilation of its knowledge into distinct branches like ‘Tafsir’ (interpretation of the Quran), Hadith (traditions or sayings of the holy Prophet- SAWS), Fiqh (Islamic law), and Sufism (the soul purification) were undertaken subsequently. This Deen of Allah passed from the holy Prophet Muhammad (S.A.W) to his illustrious Companions in two ways: the outward and the inward. The former comprised the knowledge defined by speech and conduct, i.e., the Quran and Sunnah. The latter comprised the invisible blessings or the Prophetic lights transmitted by his blessed self. These blessings purified the hearts and instilled in them a passionate desire to follow Islam with utmost love, honesty and loyalty.
WHAT’S SUFISM
Sufism is the attempt to attain these Barakah (Blessings). The Companions handed down Prophet Muhammad (S.A.W) teachings as well as blessings to the Taba’een. Their strong hearts were capable of infusing these blessings into the hearts of their followers. Both aspects of Islam were similarly passed on by the Taba’een to the Taba Taba’een. The compilation of knowledge and its interpretation led to the establishment of many schools of religious thought; famous four being the Hanafi, the Hanbali, the Maliki, and the Shafa'i, all named after their founders. Similarly, in order to acquire, safeguard and distribute his blessings, an organized effort was initiated by four schools of Sufism: The Naqshbandia, the Qadria, the Chishtia, and the Suharwardia. These schools were also named after their organizers and came to be known as Sufi Orders. All these Orders intend to purify the hearts of sincere Muslims with Prophetic lights. These Sufi Orders also grew into many branches with the passage of time and are known by other names as well. The holy Quran has linked success in this life and the Hereafter with Tazkiyah (soul purification). He, who purified, is successful. (87: 14) Sufi Orders of Islam are the institutions where the basics of Tazkiyah (soul purification) and its practical application are taught. They have graded programs in which every new seeker is instructed in Zikr-e Lisani (oral Zikr) and is finally taught the Zikr-e Qalbi (Remembrance in heart).
ZIKR-E QALBI
However, in the Naqshbandia Order, Zikr-e Qalbi is practiced from the very beginning. Adherence to the Sunnah (Prophet’s way of life) is greatly emphasized in this Order, because the seeker achieves greater and quicker progress through its blessings. The essence of Zikr is that the Qalb should sincerely accept Islamic beliefs and gain the strength to follow the Sunnah with even greater devotion. ‘If the heart is acquainted with Allah and is engaged in His Zikr; then it is filled with Barakaat-e Nabuwwat (Prophetic blessings) which infuse their purity in the mind and body. This not only helps in controlling sensual drives but also removes traces of abhorrence, voracity, envy and insecurity from human soul. The person therefore becomes an embodiment of love, both for the Divine and the corporeal. This is the meaning of a Hadith, “There is a lump of flesh in the human body; if it goes astray the entire body is misguided, and if it is reformed the entire body is reformed. Know that this lump is the Qalb”.’
PAS ANFAS
Recent History Khawajah Naqshband (d. 1389 CE) organized the Naqshbandia Order at Bukhara (Central Asia). This Order has two main branches – the Mujaddidia and the Owaisiah. The former is identified with Sheikh Ahmed Sirhindi, known as Mujaddid Alif Sani (literally: reviver of the second Muslim millennium), a successor to Khawajah Baqi Billah, who introduced the Order to the Indo- Pakistan sub-continent. The Owaisiah Order employs a similar method of Zikr but acquires the Prophetic blessings in the manner of Khawajah Owais Qarni, who received this beneficence from the Holy Prophet Muhammad (S.A.W) without a formal physical meeting. The Zikr employed by the Naqshbandia is ‘Zikr-e Khafi Qalbi’ (remembrance of Allah’s Name within the heart) and the method is termed ‘Pas Anfas’, which (in Persian) means guarding every breath. The Chain of Transmission of these Barakah, of course, emanates from the holy Prophet- SAWS.
SPIRITUAL BAI’AT (OATH OF ALLEGIANCE
It is necessary in all Sufi Orders that the Sheikh and the seekers must be contemporaries and must physically meet each other for the transfer of these blessings. However, the Naqshbandia Owaisiah Order goes beyond this requirement and Sufis of this Order receive these Barakah regardless of physical meeting with their Sheikh or even when the Sheikh is not their contemporary. Yet, it must be underscored that physical meeting with the Sheikh of this Order still holds great importance in dissemination of these Barakah. Sheikh Sirhindi writes about the Owaisiah Order in his book ‘Tazkirah’: ‘It is the most sublime, the most exalted, and the most effective…and the highest station of all others is only its stepping stone.’ By far the greatest singular distinction of the Naqshbandia Owaisiah Order is the honor of Spiritual Bai’at (Oath of Allegiance) directly at the blessed hands of the holy Prophet Muhammad (S.A.W).
SHEIKH HAZRAT MOULANA ALLAH YAR KHAN (R.A)
The Reviver Sheikh Allah Yar Khan was born in Chikrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The same year, he met Sheikh ‘Abdul Rahim, who took him to the shrine of Sheikh Allah Deen Madni. By Divine Will his spiritual connection was immediately established with the saint of the 10th century Hijra (sixteenth century CE) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years, after which he was directed to undertake the propagation of Prophetic blessings - a noble mission that he accomplished with singular zeal and dedication for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss commensurate with his/her sincerity and capacity. Sheikh Allah Yar Khan’s mission produced men and women of deep spiritual vision and eminence. He authored eighteen books, the most distinguished being Dalael us-Sulook (Sufism - An Objective Appraisal), Hayat-e Barzakhiah (Life Beyond Life) and Israr ul- Haramain (Secrets of the two holy Mosques). He was undoubtedly one of the most distinguished Sufi saints of the Muslim Ummah and a reviver of the Naqshbandia Owaisiah Order. He passed away on 18 February 1984 in Islamabad at the age of eighty.
THE CHAIN OF TRANSMISSION OF NAQSHBANDIA OWAISIAH
1. Hazrat Muhammad ur-Rasool Allah (Sall Allah-o Alaihi wa Sallam), 2. Hazrat Abu Bakr Siddiq (Radhi Allah-o Unho), 3. Hazrat Imam Hassan Basri (Rahmat Ullah Alaihi), 4. Hazrat Daud Tai (Rahmat Ullah Alaihi), 5. Hazrat Junaid Baghdadi (Rahmat Ullah Alaihi), 6. Hazrat Ubaid Ullah Ahrar (Rahmat Ullah Alaihi), 7. Hazrat Abdur Rahman Jami (Rahmat Ullah Alaihi), 8. Hazrat Abu Ayub Muhammad Salih (Rahmat Ullah Alaihi), 9. Hazrat Allah Deen Madni (Rahmat Ullah Alaihi), 10. Hazrat Moulana Allah Yar Khan (Rahmat Ullah Alaihi).
THE SPIRIT OR RUH
The spirit or Ruh of every person is a created reflection of the Divine Attributes and it originates in Alam-e Amar (Realm of Command). Its food is the Light of Allah or the Divine Refulgence, which it acquires from the Realm of Command through the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him), whose status in the spiritual world is like that of the sun in the solar system. The Quran refers to him as the ‘bright lamp’. Indeed, he is the divinely selected channel of all Barakah. All Exalted Messengers themselves receive these Barakah from him.
LATAIF
The human Ruh also possesses vital organs like the physical body; through which it acquires its knowledge, food and energy. These are called Lataif (singular Latifah: subtlety). Scholars of various Sufi Orders have associated them with specific areas of the human body. The Naqshbandia Owaisiah Order identifies these Lataif as follows. First - Qalb: This spiritual faculty is located within the physical heart. Its function is Zikr. Its strength increases one’s capacity for Allah’s Zikr. Second – Ruh: The site of this Latifah, which is a distinct faculty of the human Ruh, is on the right side of the chest at the level of Qalb. Its primary function is concentration towards Allah. Third – Sirri: This is located above the Qalb and functions to make possible Kashf. Forth – Khaffi: This is located above the Ruh and functions to perceive the omnipresence of Allah. Fifth – Akhfa: This is located in the middle of chest, at the centre of the first four Lataif and makes it possible for the Ruh to perceive the closeness of Allah, Who is closer to us than our own selves. Sixth – Nafs: This Latifah is located at the forehead and functions to purify the human soul. Seventh – Sultan al-Azkar: This Latifah is located at the top centre of the head and serves to absorb the Barakah of Allah into the entire body, so that every cell resonates with Zikr.
FIVE EXALTED MESSENGERS OF GOD
There are Five Exalted Messengers among the many known and unknown Messengers of Allah. They are Hazrat Muhammad, Hazrat Nuh (Noah), Hazrat Ibrahim (Abraham), Hazrat Musa (Moses), and Hazrat Esa (Jesus), peace be upon them all. Hazrat Adam is the first Prophet of Allah and the father of mankind. Each Latifah is associated with a particular Prophet. The Barakah and lights from Hazrat Adam (peace be upon him), descend on the first Latifah Qalb; its lights are reflected from the first heaven and are yellowish. The second Latifah is associated with Hazrat Nuh and Hazrat Ibrahim (peace be upon them). Its lights descend from the second heaven and appear as golden red. The lights descending upon the third Latifah are from Hazrat Musa (peace be upon him) and are white. One the fourth Latifah, the lights of Hazrat Esa (peace be upon him) descend from the fourth heaven and are deep blue. The fifth Latifah receives its Barakah directly from the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him). The lights associated with this Latifah are green, descend from the fifth heaven, and overwhelm all the first four Lataif. The Lights descending upon the sixth and seventh Lataif are the Divine Lights, whose color and condition cannot be determined. These are like flashes of lightening that defy comprehension. If Allah blesses a seeker with Kashf, he can observe all of this. The vision is slightly diffused in the beginning, but gradually the clarity improves.
SULOOK
Stages of the Path After all seven Lataif of a seeker have been illuminated with Divine Lights through Tawajjuh of the Sheikh and his Ruh has acquired the ability to fly, the Sheikh initiates its journey on the sublime Path of Divine nearness. The Path is known as Sulook, and its stages are not hypothetical imaginations but real and actually existing stations on the spiritual Path. These are also referred to as Meditations, because a seeker mentally meditates about a station while his/her Ruh actually ascends towards it. The first three stations that form the base of whole Sulook are described as; Ahadiyyat, a station of Absolute Unity of Divinity. It is above and beyond the seven heavens. It is so vast a station that the seven heavens and all that they encompass are lost within Ahadiyyat as a ring is lost in a vast desert. Its lights are white in color. Maiyyat station denotes Divine Company, ‘He is with you, wherever you might be.’ This station is so vast that Ahadiyyat along with the seven heavens beneath are lost within it as a ring is lost in a desert. Its lights are green in color. Aqrabiyyat station denotes Divine Nearness, ‘He is nearer to you than your life- vein.’ Again, Aqrabiyyat is vast as compared to Maiyyat in the same proportion. Its lights are golden red and are reflected from the Divine Throne. It is indeed the greatest favor of Almighty Allah that He blesses a seeker with an accomplished Sheikh, who takes him to these sublime stations. The final station that a seeker attains to during his/her lifetime becomes his/her Iliyyeen (blessed abode) in Barzakh and his/her Ruh stays at this station after death.
ZIKR
Why is Zikr Necessary for Everyone? Allah ordains every soul in the Quran to Perform Zikr. This not only means reciting the Quran and Tasbeeh but also Zikr-e Qalb. It is only through Zikr-e Qalbi that Prophetic Lights reach the depths of human soul and purify it from all vice and evil. Zikr infuses a realization of constant Divine Presence and a seeker feels great improvement in the level of sincerity and love towards Allah and the holy Prophet- SAWS. Such levels of sincerity, love and feelings of Divine Presence can never be obtained without Zikr. It would be a mistake to believe that Zikr may be a requirement only for the very pious and virtuous people. Zikr provides the Prophetic blessings which are in effect the life line of every human soul. It transforms even the most corrupted humans into virtuous souls by bringing out the best in them. The fact is that Zikr is the only way to achieve true contentment and satisfaction in life. The holy Quran has pointed to this eternal fact that it is only through Zikr Allah that hearts can find satisfaction. Such satisfaction and peace are the ultimate requirements of every person, regardless of religion, race and ethnicity. Practicing Zikr regularly removes all traces of anxiety and restlessness, and guides the human soul to eternal bliss and peace.
KHALIFA MAJAZEEN
Hazrat Moulana Allah Yar Khan (R.A), during his life time in 1974, presented a nomination list to Prophet Muhammad (S.A.W), during Maraqba, of expected Khalifa Majazeen for Silsila Naqshbandia Awaisia. Prophet Muhammad (S.A.W) approved some names, deleted some of the names, and added down the name of Major Ghulam Muhammad as also Khalifa Majaaz of Silsila Naqshbandia Awaisia (which was not previously included in the list)
The approved names at that time included:
1. Mr. Muhammad Akram Awan Sahib,
2. Mr. Sayed Bunyad Hussain Shah Sahib,
3. Mr. Major Ahsan Baig Sahib,
4. Mr. Col. Matloob Hussain Sahib,
5. Mr. Major Ghulam Muhammad Sahib of Wan Bhachran Mianwali,
6. Mr. Molvi Abdul Haq Sahib,
7. Mr. Hafiz Abdul Razzaq Sahib,
8. Mr. Hafiz Ghulam Qadri Sahib,
9. Mr. Khan Muhammad Irani Sahib,
10. Mr. Maolana Abdul Ghafoor Sahib,
11. Mr. Syed Muhammad Hassan Sahib of Zohb.
These Majazeen were authorized to; held Majalis of Zikar (Pas Anfas) in their respective areas, arrange Majalis of Zikar in neighboring areas, train them on the way of Sulook, prepare them for Spiritual Bai’at (Oath of Allegiance), and present them to Sheikh Hazrat Moulana Allah Yar Khan for Spiritual Bai’at at the Hand of Prophet Muhammad (S.A.W), in the life of Hazrat Moulana Allah Yar Khan (R.A), and were all equal in status as Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Presently we are following Hazrat Major ® Ghulam Muhammad Sahib, Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).