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Temples of Kerala

2006-06-22T22:11:00.000-07:00

INTRODUCTION TO THE TEMPLE

THE SREE KRISHNA TEMPLE

AMBALAPUZHA

ALLEPPEY-688561

PHONE:0477 272090

PARTHASARATHY AND BALAKRISHNA

DISCRIPTION OF THE TEMPLE

Among the lush green landscape and gently swaying coconut palms lies Ambalapuzha. Situated 12 KM south of Alleppey. Ambalapuzha literally means Temple River. And located here is a very special Sri Krishna Temple. So special that the sweetness can be tasted in the Paal Payasam (sweet milk porridge), the offering made to the Lord. The Lord is worshipped here as Parthasarathy the Divine charioteer of Arjuna. In this form He gave the world The Bhagavad Gita, the most revered Text of Hindus.

MAIN DEITY

The Idol is installed by Saint Vilwamangala and faces east. The Lord has a whip in one hand and

a Conch in the other and dressed in the attire of the Divine Charioteer-Parthasarathi. He is also worshipped here as Balakrishna-The Divine Child

OTHER DEITIES

Idols of Ganapathi and Nagadevatha are installed under a huge Banyan Tree in front of the Temple.Guruvayurambalam is the place where the idol of Lord Guruvayurappan was once kept for a short time. This was in 965M.E during the invasion of Tipu Sultan. (The invading army of Tipu Sultan were plundering Temples and destroying Idols and Statues .To protect the Idol it was for a brief time kept in this Temple).

FESTIVALS

There is a 10 day festival from March-April and has a large number of dance performances.

LEGEND

When Saint Vilwamangala visited Ambalapuzha Chembakasseri Raja the King of Ambalapuzha took the Saint for a river excursion. The beautiful rhythm in the boat created by the river and the oarsmen together with the serenity of the place had a magical effect on the Saint. From the banks the lilting air brought fragrances of different flowers and the divine sound of the flute. The Saint in all his awareness knew that it was Krishna. Following the sound they reached the spot to realize that the music was coming out from a Banyan Tree. The Saint had the vision of Krishna inside the Tree. He instructed the King to build a Temple and to make an enchanting statue. .When the time to install the Idol came, the Namboodhiri of Putamana Illam was called in to perform the ritual. The learned Tantri found a defect in the statue and therefore refused to continue with the ceremony. The King was extremely disappointed. The people questioned the verdict of the Namboodhiri. The enraged Namboodhiri took an iron rod and hit the statue. It broke and to the amazement of everyone around a frog jumped out of the broken statue and water started gushing out. The original idol of Parathasarathy was brought from the nearby village. It was re-installed in the Ambalapuzha Temple with the help of Saint Vilwamangala.. This happened on the Thiruvonam day of the Mithuna month in the year 769KE (1584-85 AD)

DESIGN

No info.

GENERAL INFORMATION

LOCATION

Ambalapuzha is situated 12 KM from Alleppey.The nearest railway station is Tiruvalla.The closest airport is at Kochi-76 KM.Alleppey with her back waters and canals holds a water carnival and boat race every year on Independence Day.

WHERE TO STAY

There are good lodges and hotels in Alleppey

TEMPLE MANAGEMENT AND ADDRESS.

The Temple is managed by the Devasam Board

The Sri Krishna Temple

Ambalapuzha

Phone: 0477 272090

POOJA DETAILS

	Pooja rate (Rs)	Pooja rate incl articles (Rs)
Ganapathy homam	15	45
Ashtadivya Ganapathy homam	50	151
Bhagavathy seva	51	151
Thrisathi archana	10	10
Sahasranama archana	10	10
Ashtothrarchana	5	5
Mudhrasjaya homam	21	50
Muzhukappu	35	35
Arakappu	25	25
Chandana abhishekam	51	51
Kalabha abishekam	225	225
Thulabharam	23	23
Choru unnu	11	15
Namakkaranam	11	11
Vidhya arambam	11	11
Pooja vyppu	5	5
ksheera dhara	35	35
Jala dhara	7	7
Thakidu pooja	10	10
Mala pooja	5	5
Para idu	57	60
Rudra abhishekam	8	15
Basura charthu	11	11
Raktha pushpanjali	10	11
Neeranjanam	5	12
Karuka homam	8	15
Paneer, milk, ghee, basmam, kumkum, tender coconut, honey, oil abhishekam	5	5
Vella !/4 litre	3	7
Sarkara payasam ¼ lt	3	10
Pal payasam ¼ lit	3	10
Idichu pizhinja payasam ¼ lit	3	13
Kadum payasam ¼ lit	3`	13
Aravana ¼ lit	9	30
Appam ¼ lit	3	3
Ada ¼ lit	3	3
Mothakam ¼ lit	3	3
Namaskaram	3	3
Thrimadhuram	3	3
Chirappu	51	51
Adima	25	25
Kuthiyodam	25	25
Garudan Thookkam	25	25
Uthsava bali	501	501
Pushpabishekam	225	225
Madha parivarthanam	500	500
Chavirakku	10	10
Thalapoli	10	10
Kalamezhuthum pathum	50	50
Javahanam	15	15
Irattithadi	11	44
Thali	7	28
Panchamirtha abizhekam	10	10
Kavadi Nirappu	15	15
Agni kavadi	25	25
Suthyam	55	55
Kathakali	225	225
Kalasam	5	5
Nava kalasam	45	45
25 kalasam	155	125
Satha kalasam	500	500
Sahasra kalasam	5000	5000
108 kalasam	25	25
Sathrusatha kalasam	50	50
Guruthi	11	11
Kaivada guruti	5	5
Chathrastharu	201	201
Pradhal	250	250
Punyaham	Lakshardhana	2
	Pidipanam	551
	Vahanam ezhunalippu	10
	Ayilya pooja	150
	7	15
Niramala	51	51
Kettu nira	10	10
Prathima samarpanam	10	10
Swayamvara archana	10	11
Panchakaryam / ghee Jabichu kodukke	10	10
Theeyattu	25	25
Chanthattam	640	700
Vadamala	10	10
Natesa alangaram	120	150
Bhagyasooktha archana sathrusamhara Pushpanjali mrithyanja archana	10	11
Palayum kayuram nadakkuvaikkunnathinu	5	5
Charadu japam	5	5
Thadam nivedhyam	5	5
Vivaham	480	500

CHENGANOR MAHADEVA TEMPLE

INTRODUCTION TO THE TEMPLE.

THE CHENGANOOR MAHADEVA TEMPLE

CHENGANOOR PO

ALLEPPEY DISTRICT

PHONE:0479 450555

SHIVA AND PARVATI

DESCRIPTION OF THE TEMPLE.

This Temple is located in Chenganoor-Alleppey district and is one of the 18 Shaktipeetas in the CountryThe Shiva Linga is 3.5 feet in length and the idol of Goddess Parvati made out of Panchaloha is about 2.5 feet high and decked with dazzling jewels. Pushpanjali is one of the famous Poojas and is performed to the Goddess and done for 41 days.. Poojas are also done to ward off evil influences. Built on 6 acres of land it is one of the biggest Temple in Kerala

MAIN DEITY.

Both the images of the Lord Shiva and Goddess Parvati are enshrined in a circular Srikovil .The Shivalinga is three and a half feet high and faces east. The Linga is enveloped in a golden covering or Kavacha. This is made in the Ardhanari or half-man-half-woman form. The image of Goddess Chenganoor Bhagavati faces west and placed behind the Lord’s Garbhagriha is two and a half feet in height and made of Panchaloha .The Goddess is shown with the Varamudra on her right hand and the Abhayamudra on the left hand. The deity is decked with various dazzling jewels.

OTHER DEITIES

Near the western Gopuram there is a mini shrine dedicated to Lord Krishna.

There are also other shrines here dedicated to Ganapati,Neelasiva,Sthaleesa,Dharmashastha,Ganga and Gangadhara..

FESTIVALS.

Thriputtu Aarattu is a famous ritual conducted monthly.This is performed when the Devi has her periods.

The Deity is taken in procession on a Female Elephant during Dhanu Masam Festival (Dec-Jan).

Navrathri is another important Festival in the month of Thulam (Oct-Nov).

The Shivarathiri is observed in a grand manner in the month of Kumbam (Feb-Mar).

The Chitra Pournami is celebrated during Medam (Apr-May).

LEGENDS.

The legend from antiquity portrays the importance of the harmony shared by the Male and the Female aspect of Energies .This symbolic interpretation shows the violent turmoil when the Divine nexus is disturbed by Ahahamkhara or ego. When Daksha Prajapati the Father of Sati conducted a Pooja. He invited all the Gods except Lord Shiva. This offended Sati and the disrespect given to Her Lord and Husband was unbearable. To save Honor and maintain the code of respect for Her Lord She immolated herself through Yogic Powers .When Shiva heard about the incident He was seized with fury. He destroyed the whole clan of Daksha.Then the Lord started the dance of destruction in His fury to destroy the Universe. To stop the terrible wrath Lord Vishnu split the body of Sati which was carried by Shiva. The body fell in 18 different places.These places are known as Shakthipeethas.The reproductive organ fell in Chenganoor.The Deity here gets her monthly periods.

TEMPLE ARCHITECTURE.

The Temple is one of the biggest in Kerala built on six acres of land. With entrances from east and west.

At the eastern entrance there is a huge three tired Gopuram or Tower.

The Temple is surrounded by a massive Prakara.The main entrance takes you to the Anakottil or the spacious elephant shed. Next to it is the Koothambalam.(Area for any cultural performance)

Right in front of the Koothambalam is the Dhwajasthambam or Flag Mast which is gold plated. Then comes the Balikalpura followed by the Mukhamandapam.

Beyond that is the circular Srikovil which has a copper roof..

The image of Lord Shiva faces east, and that of Bhagavati the Goddess faces west. The Goddess is installed behind the garbhagriha of the Lord. The wodden pillars and exteriors of the temple are adorned with beautiful carvings.

GENERAL INFORMATION.

HOW TO REACH

Chengannoor is well connected by bus and train. The nearest bus and railway stations are 2 km away from the temple. The nearest airport is 80 km away at Cochin.

WHERE TO STAY

Chengannur is a small town but one can get fairly decent accommodation there. Kottayam town is 20 km away and has many good lodges and hotels.

GENERAL

TheTemple is managed by the Devaswom board through the Administrative Officer

The Chenganoor Mahadeva Temple

Chenganoor PO

Alleppey district Kerala State

Phone – 0479 450555

POOJA DETAILS

Ganapathy homam

45-00

Bhagavathy seva

151-00

Shanka abhishekam

11-00

Rakthapushpanjali

25-00

Jaladahara

64-00

Rudraabhishekam

15-00

ksheeradhara

155-00

Chorrunnu

15-00

Muzhukappu kizhakkenada – Devi(east)

95-00

Muzhukappu Padinjar nada(west)

80-00

Mruthunjaya homam

51-00

Karuka homam

15-00

Aiyilyam for nagaraja

15-00

Nirapara

60-00

Thulabharam	23-00
Swayamvara pushpanjali	21-00
Kalabha abhishekam	225-00
Charadu pooja	5-00
Thagedu pooja	10-00
Adithya namaskaram	11-00
Chirappu	51-00

KADAMPUZHA BHAGAVATHY TEMPLE.

INTRODUCTION TO THE TEMPLE.

SREE KADAMPUZHA BHAGAVATHI TEMPLE

KADAMPUZHA-676553

MALAPPURAM DIST.

PHONE:0494-615790

BHAGAVATHY

DISCRIPTION OF THE TEMPLE

Kadampuzha is a small village in Mallapuram district and known for the Bhagavathy Temple.The uniqueness of this Temple is the absence of the Idol .The intense Divine Energy of the Goddess was consecrated by Adi Shankara in a small hole. In fact it was so intense The Saint installed Lord Narasimha facing south and Lord Sudarsana facing north to sustain the force. Only then were people able to access the Divine Mother and worship her. The Temple Is closed after 6 pm.

THE MAIN DEITY

The Pooja for the main Deity is done in a Garbhagriha in the Sanctum Santorum. There is no Idol of the Goddess. Instead the Poojas are performed through the hole where the Goddess was consecrated by Adi Shankara and is about 6 cm in diameter. A Thidambu’ made of Panchaloha is placed to represent the Goddess.

OTHER DEITIES.

On either side of the Goddess inside the Sanctum Sanctorum Poojas are performed to Lord Ganesha and Mahavishnu. As there are no Idols representing them the Poojas are done by Sankalpa (Imagining the Divine Presence). Outside the Sanctum Sanctorum the Idol of Lord Narasimha and Sudarsana is installed on a raised platform. To the north of the temple is Goddess Naga Kanya . Outside the Prakara near the southern entrance is Shasta (Ayyappa idol).

FESTIVALS

After a Deva Prasana done in 1974 it revealed that no Festivals should be conducted here. However to commemorate the event of the manifestation of the Goddess in this spot which is said to have taken place here, the Karthika day in Vrishchika Month (Nov – Dec) is observed as Prathishta Dinam or installation day. The Poomoodal (covering with flowers) is the most important ritual to honor the goddess. The Poomoodal ceremony is booked in advance. .Only one family is allowed to worship at that time and this ritual done only one day in a year ,bookings have been made for this offering up to the year 2016.

LEGEND

Adi Shankara in his quest for reality and truth traveled far and wide searching for Gurus and learning from the Unlimited Knowledge bestowed on all by Mother Nature.The Saint through meditation had awakened his spiritual perceptions. His Divine Vision had opened. Lord Shiva wanted to test Shankara’s spiritual ability. So He sent his consort Goddess Parvati to show her presence. As She approached, Adi Shankara could see the glow coming from the East. The powerful glow did not allow the Saint to get close. The Saint contemplated on the Goddess and prayed for Her Darshan. The glow began to diminish and disappeared into a hole in the ground. It was Goddess Kirata Parvati in her Twarita Bhava (expression of speed). He worshipped that spot after covering the hole with a leaf. As the disciples found the power to be too intense, the saint installed Lord Narasimha facing south and Lord Sudarsana facing north to sustain the power so that devotees could offer Poojas. What is strange is that both these Deities are in a single Idol. Only Adi Shankara could have consecrated them on the same idol .Since than the Goddess has been showering her Divine Blessings to all her devotees.

TEMPLE ARCHITECTURE

There is no Idol inside the Sanctum Sanctorum and there are no Ornamental Towers (Gopuras or Enclosures) as in other Major Temples.

GENERAL INFORMATION

Several buses ply to Kadambuzha from Calicut which is 50 km away. The nearest railway station is at Kuttipuram which is 11 km from the Temple. There are buses from railway station to the Temple regularly. The nearest airport is at Calicut.

WHERE TO STAY?

In Calicut there are several good hotels and lodges for accommodation.

GENERAL

The Temple opens at 6.30 am and closes at 1 pm. It reopens at 3 pm and is closed by 6 pm. The Temple affairs are managed by HR & CE through an Executive Officer. An Embarandiri does the pooja here. Temple address:

Sree Kadampuzha Bhagavathi Devaswam

Kadampuzha – 676553

Malappuram District-Kerala State

Phone: 0494 615790

POOJA DETAILS:

1001 Archana	Rs.500-00	101 Archana	Rs.50-00
501 Archana	Rs.250-00	51 Archana	Rs.25-00
201 Archana	Rs.100-00	21 Archana	Rs.10-00

VAZHIPADU AND RATES

Muttarukkal	0-60	Payasam	5-00
Rakthapushpanjali	1-50	Appam	10-00
Dehapushpanjali	1-00	Katinapayasam (250 ml)	20-00
Thriklalpooja	10-00	Chooroon	5-00
Vilakkumala	1-00	Thrimadhuram	3-00
Nryvillakku	2-00	Kettunira	2-00
Ganapathi Homam	6-00	Niramula	300-00
Mala pooja (Malayidal)	1-00	Poonaoodal (no booking)	251-00
Sadana pooja		One day pooja	501-00
		Kedavilakku	25-00

GURUVAYUR-LORD KRISHNA

INTRODUCTION TO THE TEMPLE

THE ADMINISTAR

GURUVAYUR 680 101

KERALA STATE

TEL:0487 556660

LORD KRISHNA

DISCRIPTION OF THE TEMPLE

Guruvayoor is 31 km from Trichurr town. The greatness of the Temple is mainly because of the unique charm of the idol enshrined in the Sanctum Sanctorum.The Idol is said to be carved out of Patalanjana sila and therefore is very sacred. It was installed by the Guru of the Gods Brihaspati and Lord of the Wind - Vayu,to be worshipped by devotees for salvation.Hence the name Guruvayurappan.The Deity is considered as the Divine Healer.The first feeding of rice to children is done here.(Anna Prasna)

MAIN DEITY

The Idol of Lord Guruvayoorappan is enshrined in the Sanctum Sanctorum.The Idol with a captivating countenance and an infectious smile has four Hands and stands facing east.The Upper Hands carries the Conch) and Disc.In the lower Right Hand the Lord carries the Lotus and the Mace in the Left Hand.

OTHER DEITIES.

Behind the main shrine there is a small shrine dedicated to Lord Vinayaka. In the northeast there is a temple of Goddess Bhagavathi. There is also a Shasta (Ayyappa) temple in the southeast corner.

FESTIVALS

The Annual Festival is conducted In the month of Kumbha (Feb-Mar) It goes on for ten days.A colorful elephant race is held. Hundreds of Elephants run through the street to finally reach the final finishing line-The Temple.

Next is Vishu which is in Meda Masam (usually on the 14^th April) Devotees throng the Temple on the previous night to have the Darshan of the Lord on the dawn of Vishu Day

.Ashtamirohini the Birthday of Lord Krishna which falls in the Chingam month (Aug-Sept) is celebrated with great fanfare.

LEGEND

According to the Puranas the Idol at Guruvayoor was first worshipped by Sri Mahavishnu. He handed it over to Brahma the creator. Kashyapa was given this by Brahma. Kashyapa in his next birth as Vasudeva worshipped the Lord together with his wife Devaki..Then it was worshipped by their Son Lord Krishna Himself. Before leaving the earth Krishna instructed his devotee Udhava to hand over the idol to Brihaspati and Vayu so that it could be placed in a suitable place where everyone could come and worship.

Both Brihaspati an Vayu searched everywhere to find a suitable place.They reached the present temple spot and saw Lord Shiva doing penance. Shiva advised them to to install the Idol.and moved to a nearby place called Mammiyoor along with His consort. Thereafter Brihaspati and Vayu installed the idol for regular worship as per the injunction of the scriptures.Hence the name Guruvayupura or Guruvayur..

TEMPLE ARCHITECTURE

The Temple is surrounded by high walls.There are Two Towers on the Eastern and Western sides.On entering the Eastern Tower one reaches the Ballikallu dedicated to Brihaspati and Vayu.Right in front of it is the Dhwajasthamba.There is a Koothambalam on the south eastern corner which is meant for entertainment.In the vast courtyard there are several rooms for storing, cooking etc.Opposite to the Main Temple is Vathilmadom.Next to it there is a big Mandapam.Which leads to the Sanctum Sanctorum.

General Information

GENERAL INFORMATION

HOW TO REACH

Guruvayoor is 31 km from Trichur. There is a railway and bus station which is 1 km away from the temple. The nearest airport is at Cochin, 115 km away.

WHERE TO STAY

The temple administration has provided lodging facilities near the temple. Apart from that several good lodges and hotels are available in Guruvayoor.

TEMPLE ADDRESS

The Temple is managed by the Guruvayoor devaswom through the administrator

The Administrator

Guruvayoor Devaswom

Guruvayoor 680 101

Tel: 0487 556660

POOJA DETAILS

1	Palpayasam	10-00
2	Neipayasam	10-00
3.	Sarkarapayasam	10-00
4.	Rice nivedyam	7-00
5	Appam	10-00
6	Ada	10-00
7	Avil	5-00
8	Thrimaduram	5-00
9	Butter neyvedyam	6-00
10	Sugar and plantain	5-00
11	Undamala	20-00
12	Thirumudimala	10-00
13	Nirmala	75-00
14	Annaprasam (Choroon)	10-00
15	Bhagavathi Azhal	7-00
16	Butter after japam	2-00
17	Kelikkayyu	2-00
18	Archana purushasooktham	2-00
19	Archana ashtotharam	3-00
20	Archana sahasranamam	4-00
21	Alankaram with kalabham (6 ball)	1800-00
22	Kalabham (1 ball)	300-00
23	Kalabham ( 1 packet)	5-00
24	Ghee lamp	1-00
25	For lighting the lamps in the Sreekovil with ghee	200/1870-00
26	Thali pooja	2-00
27	Oil abhishekam (1/4 litre)	15-00
28	Malar nivedyam (1/4 litre)	2-50
29	Marriage	100-00
30	Ashtapathi (one chapter)	2-00
31	Geetha (one chapter)	2-00
32	Bhagavatham (one chapter)	2-00
33	Bhagavatha sapthaham	750-00
34	Narrayaneeyam (one dasaka)	2-00
35	Gayathri Neiapam	0-60
36	Ganapathi archana	2-00
37	Sastha archana	2-00
38	Lalitha sahasranama	3-00
39	Palada Prathaman	70-00
40	Irattipayasam	70-00
41	Namaskaram (approximate)	4000-00
42	Athazam (approximate)	4000-00
43	Udayasthamana pooja (for booking	15000-00
44	Ahassu	1000-00
45	Illumnation	12500-00
46	Illumination in the Bhagavathi temple	950-00
47	Krishnattam	1500-00
48	Malayidal for sabarimala	1-00
49	Kettunira for sabarimala	1-00
50	Thulabaram (thattil panam)	1-00
51	Anayoottu	4000-00
52	Gopooja	250-00
53	Gopreethi	10-00
54	Maintenance of elephants	Any amount
55	Airoopam	Any amount
56	Prasada oottu	Any amount
57	Vehicle pooja Two wheeler / three wheeler Four wheeler / jeep/car etc	250-00 50-00 100-00
58	Vidyarambham	1-00
59	Saptha Sudhi abhishekam	202-00
60	Saptha Sudhi abhishekam (minimum)	2-00
61	Vedarayanam	500-00

SPECIAL OFFERINGS

Tulabharam : Substances equal to the weight of the devotee is offered.

Annaprasana : The first feeding ceremony of the child.

Chittuvalakku : The outside of the Temple is decorated with lamps.

Vaakachartu : The ceremonial bathing before decorating the Idol.

Udayastamana pooja :The Pooja from sunrise to sunset.

Alroopan : Offering small images of God in gold or silver.This is done to ward off defects in the various limbs of the body.

Cosmic Dancer

2006-06-22T22:09:00.000-07:00

INTRODUCTION TO THE TEMPLE

Arulmigu Nataraja Swamy Temple

Deity: Lord Nataraja

Location: Chidambaram, Cuddalore District

DESCRIPTION OF THE TEMPLE

This Temple is one of the principal Shaivite places of worship, and one among the Pancha Bhoota Sthalam. The element represented is cosmic space, and is portrayed by the Chidambara Rahasayam, the concept of Form Less (Aroopam). The Dancing form of Nataraja placed in the Chit Sabha or the Room of Wisdom here, interprets the 5 manifestions of Creation, Preservation, Destruction. Illusion and Liberation.

MAIN DEITY

The main Deity is placed in the Chit Sabha, and is seen here performing the Ananda Tandava (The Dance of Bliss). The drum in the hand performs the act of Creation, the hand bestowing grace is Benediction, the fire in the other symbolizes Destruction, the leg trampling the dwarf-Liberation and Grace, and the complete form represents Preservation.. This dance also represents the Mantra of the 5 syllables ‘Nama Shivaya’. ‘Unmai Vilakkam’ describes that the syllables represent the feet, lips, shoulder, face and head. The ‘Tiruvasi’ or the ornamental covering encircling the form of Nataraja is said to be Omkara (The sound of OM), also explained in ‘Unmai Vilakkam’.

The Chidambaram Rahasyam is to the right of the Sabha Nayaka in the Chit Sabha, covered by a curtain that is drawn to show the Aarati. There are no images here, and only a golden garland of Bilva leaves is seen. Here the Lord is worshipped in the formless appearance, the empty space signifying the belief that God is present in every aspect of the Universe.

The five leading Nataraja Sabhas are the Kanaka Sabha (Hall of gold) which is here, The Rajata Sabha (Hall of silver) at Madurai, The Ratna Sabha (Hall of rubies) is in Tiruvalangadu near Chennai, the Hall of Copper or the Tamara Sabha in Tirunelveli and Chitra Sabha (Hall of pictures) in Kutralam.

OTHER DEITIES

There are many Shrines here, and some of the prominent one’s are-

On the left side of the Sanctum Sanctorum is the beautiful Shrine for Goddess Shivakamasundri and is located on the western side of the sacred tank, the Shiva Ganga. There is a small Shrine for Chitragupta (The account keeper of Yama Dharma Raja- the Lord of Death) and perhaps the only one in the country. The Devi Mahatmya (The Glory of the Goddess) is seen painted on the passage, but because of constant movement of devotees here, is in a damaged state. A granite pillar here is carved with much intricacy that it resembles wood. The idol of the Goddess facing east has eyes radiating grace.

The Mukkuruni Vinayaka Shrine in the southwest corner has a huge Ganesha about 8 feet tall. There is a similar idol of the Lord carved out of a single stone at the Basaveswara Temple in Basavangudi in Bangalore.

Adjacent to the western Gopuram is the Karapaga Vinayaka. This idol with 7 arms is seen here in a dancing pose. Legend says that Ganesha revealed himself to Sage Duruvasa in this dancing form here.

The Shrine of Balasubramanium is located in the inner side of the western Gopuram. In the ‘Aippasi’ month, a festival called Skanda Shashti is held here and Soora Samhara (Slaying of the Asura) is celebrated in the South Car street.

The Madurai Somasundara Shrine is in the outer circuit. North of this Shrine is the Tirumala Vinayaka Shrine, also known as Orraikal Mandapa Vinayaka.

The enchanting chariot shaped Shrine for Lord Shanmukha has carvings of wheels and elephants. It was erected by a Pandian King, and hence the Deity is known here as Pandaya Nayaga. The idol here has 6 faces and 12 arms, and is seated on His divine peacock and has his consorts, Valli and Devayani on either side.

In the Shrine called Shanmugan Sannadi in the north, also has Dharma Raja (Yama), and to the east from here is the Nava Linga Shrine.

In the Nitya Sabha is the Shrine for Sarabeswara-an aspect of Lord Shiva assumed to subdue the fury of Narasimha. There is a vivid mention of this Form of the Lord in Mantra Shastra.

Next to the Chit Sabha that faces south, is the Shrine of Govindraja Perumal facing east. This is perhaps the only Temple where Shiva and Vishnu idols can be seen from one point.

The 5 Sabhas (halls) are the Chitambalam, Ponnambalam, Perambalam, Nritya Sabha and the Rajya Sabha.

The Chitrambalam or the Chit Sabha is the place where Lord Nataraja performs the Ananda Tandava. At Ponnambalam, 6 poojas are done to the Spatika Linga and the sacred bath to the Ratnasabapathy (This is a small idol of Lord Nataraja, and made of precious gems) is performed here.

The Perambalam or the Deva Sabha is the place where the Pancha Moorti (5 Deities are Somaskanda, Shivananda Nayaki, Vinayaka, Subramanium and Chandraeswar) is placed.

Nritya Sabha is the place where the Lord performed the Oordhva Tandava. His image is placed here.

The 1000 Pillar Hall is the Rajya Sabha. During the Ani and Margazhi Festival the Utsav Moorti of Lord Nataraja is taken around. At night the Deity is placed here and is bathed only at dawn.

This Temple has 10 sacred pools. They are the Shiva Ganga, Paramananda Kupam, Viyaghrapada Thirta, Ananta Thirta, Nagacheri, Brahma Thirta, Shivapriyai, Pulimadu, Kuyya Thirta, and Virupar Kadal. The most sacred is the Shiva Ganga.

FESTIVALS

The Temple has many Festivals and some of the important one’s are-

Two grand Festivals are celebrated in a year during the month of Marghazi Tiruvathirai (Dec-Jan) and Ani Uttiram (Jun-Jul).

The Tiruvathirai day is believed to be the favorite day of Shiva.This Festival has been mentioned in the classic literature and Hymns of the four Nayanmars. The unique feature of this 10day festival, is the idol of Manickavachaka (The Tamil Saint who composed Hymns in praise of Lord Shiva (Tiruvachagam) is taken to the Chit Sabha in the morning and evening, and Aarati is performed with the accompaniment of the Hymns of Thiruvembavai.

In the month of Ani the Temple flag is hosted 10 days in advance. From the 1^st day to the 8^th day the Festival Idols of Somaskanda, Sivananda Nayaki, Vinayaka, Subramanium and Chandraeswar (5 Deities) are taken around the streets every day in silver and golden vehicles. On the 9^th day the prime Deities, Nataraja, Shivakami and the 5 Deities are taken around in 5 Rathas.After which Lord Nataraja and Goddess Shivakami Ambal are seated in the 1000 pillar hall, are adorned and worshipped. At 1 PM the idols are taken to the Chit Sabha where it is said that the Lord and His consort perform the Tandava.

MONTHLY FESTIVALS

On Chittarai New Year day, Thiruvathirai Star, New Moon and other special occasions the Moorti of Lord Nataraja is bathed in the Shiva Ganga (The Sacred Tank here). Pradhosam, Fridays, Thiruvathirai, Karthigai, New Moon Day, Night Festivals are conducted,on all months of the Tamil calendar

LEGEND

There lived a Sage named Madyandinar who had a son called Maadyandinar. The Sage taught his son all the Vedas and Shastras. To gain more wisdom the Sage told the son to go to the Forest called Thillaivanam and pray to the Swayambhu Linga there.

Maadyandimar reached the forest and started the rituals to the Linga. The flowers which were offered had to be plucked before sunrise, otherwise were spoiled by the bees who drank their nectar and were in the far reaches of the trees. Maadyandimar prayed to Lord Shiva for Divine intervention from this predicament.

Lord Shiva endowed Maadyandimar with the limbs of the Tiger to climb the tall trees and night vision, which enabled him to see the flowers before sunrise. Maadyandimar came to be known as Vyaghrapada ( He who possessed the limbs of the Tiger) and the forest, Vyaghrapuram.

Aadi Shesha the Serpent of Maha Vishnu came to Vyaghrapuram through an underground passage and found Vyaghraprada doing penance near the Shiva Ganga (The Sacred tank in Chidambaram). Aadi Shesha’s earthly name was Patanjali (The one who descended), and had come here to witness the grandeur of Lord Nataraja’s cosmic dance. They both bathed in the Shiva Ganga and at the auspicious time as pretold by the Lord, granted them the visual exuberance of His Cosmic Dance (Ananda Tandava) along with His Consort Shivakami.

According to another legend written in the Nrithya Sabha, one of the halls in Chadambaram Temple, there was a dance contest between Lord Shiva and Goddess Kali here. Shiva is said to have raised His leg upwards to the sky in the Urudhuva Tandava posture, a typical male movement. Kali in true feminine modesty refused to perform the posture, and lost the contest. To honor the gesture of feminine etiquette and propriety there is the Thillai Kali Amman Temple in the out skirts of Chidambaram.

TEMPLE DESIGN

The Temple is spread over an area of 51 acres with; 4 imposing Towers (Gopuram) in the East, West, North and South and is over 135 feet tall. The base of the Tower is about 90 feet long and 60 feet wide. The top portion is shaped like a Pyramid. On both sides of the Raja Gopuram are intricate sculptures of Bharata Natyam Karanas. A granite wall 30 feet in height encloses the 4 Raja Gopurams. It was renewed during the reign of Veerappa Nayakkar and is known as the Veerappa Nayakkar wall.

In the outer area, at the northern end, is the 100 pillar Mandapam, and the very sacred Shiva Ganga Tank. This perhaps is one of the largest found in any Shiva Sthala and has finely cut steps all around. To the east of the beautiful chariot shaped Shrine of Lord Murugan is the 1000 pillar Mandapam, and this is where all the decorations for Lord Nataraja are done during the Ani and Margazhi festivals.

The 2^nd Prakara has the Nritya Sabha. Lord Shiva is said to have danced here with Goddess Kali. This Sabha is shaped like a chariot, and has wheels and horses. The northern area has a granite sculpture representing the holy tree of this Sthala (Thillai Tree). 63 Nayanmars, 26 images of Shiva and the Sree Chakra are painted on the opposite wall. The area of the Chit Sabha (Sanctum Sanctorum) and the Kanaka Sabha is known as the Ponnambalam. 9 golden Kalashas form the crest of the Chit Sabha. They represent the 9 different powers. The Ponnambalam rests on 64 wooden rafters, symbolizing 64 different art forms. The 21,699 tiles is said to be the daily breathe count of man, and the 72,000nails are the Nadis. The idol is placed a little to the left and not in the middle, this is said to represent the position of the human heart. The temple represents the body and the position of the idol, the heart. The 5 pillars indicate the 5 senses.

In the Kanaka Sabha, the 18 pillars symbolize the 18 Puranas; the 5 silver steps, the Panchaakshara and the 96 silver interstices denote the 96 different cults. The 10 pillars of the Brahma Pida are the 6 Shastras and the 4 Vedas. The Pranava and Sadashiva Pidas are installed as per the religious injunctions of the Chidambaram Rahsyam. The Spatika Linga (The white crystal Linga, and one among the 5 Lingas brought by Adi Shankara from Kailkash) that forms the crescent of Shiva’s crown, the gem decked Ratna Sabapathi, Svarnakala Bairavar and the Bali Vinayaka is kept here. To the right of Sabha Nayaka in the Chit Sabha is the Chidambaram Rahsyam.

General information

HOW TO REACH?

Chidambaram is 80 km from Kumbakonam. Buses are also available from Madurai (310 km) Trichy (182 km) and Chennai (250 km). The nearest Bus and Railway Station are 1 km away from the Temple. The nearest Airport is at Trichy (190 km).

WHERE TO STAY

There are good hotels and lodges available at Chidambaram.

The famous other Temple is The Thillai Kali Temple in the out skirts of Chidambaram

THE IDOLS IN KERALA TEMPLES

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The idol is a very important aspect of the Temple. This icon embodies
the presence and profile of the residing Deity.  The materials used vary
from stone, metal, wood and mud etc.

Indian Shilpa Shastras have three main styles, and are the Naagara,
Draavida and Vesara. The Naagara is prevalent in the regions between
Himalayas and the Vindhyas, the Draavida between the Krishna River and
Kanyakumari and the Vesara is ubiquitous in the areas amid Vindhyas and
Krishna.

Stone metaphors in Kerala are usually granite or laterite. Granite with
hard texture was generally used. The granite chosen for the idol is
termed as the Sila. They are classified as Purusha (Male), Sthree (Female)
and Napumsaka (Neutral). The Purusha Sila should resemble the shape of
the Arayaal (Fig Leaf) or Banyan leaf, with larger length and less
width. The Sthree Sila usually make a low resonance when hit and are cool
to touch and have a lesser content of ferrous ingredients.

The Napumsaka
has the distinctiveness of both Male and Female. The Purusha Sila are
for the Male Deities and the Sthree for the Female Divinities. The
Nampusaka Silas are used to sculpt the Peetham or the base of the idol. When
this type of stone is not available the Purusha Sila is used.

They are again categorized into Brahmana Sila. And is based on the
Chaathur Varnya, and is the granite having the colour of a white lotus.

The red or horse gram coloured granite is the Kshtathriya Sila.

Vaisya Sila is the green and yellow coloured granite

Black or having the colour of green gram, the Sudra Sila.

The dark black granite having more iron content is known as the Krishna
Sila, which is generally used for carving the idols and the Bali
Peetham.

The sound or tone of the stone when rapped is an imperative facet.

The Sila should also have a greater spark when chiseled, and one stone
should not be used for more than one Devatha or Bali Peetham.

The Shilipis or the sculptors believe that the chosen stone generally
have the power of the Devatha absorbed in them.

The sites where the granites are chosen are subjected to purifications
and the area is known as Sila Parigraha. Apparently there are three
places in Kerala purified by Parasurama, and is at Thrithala (Ottappalam),
Thiruvanchiyoor near Ettumanoor and Paandavanpaara (Chengannur).

The Granite from Omallur (Pathanamthita) predominantly has the Krishna
Sila

Most of the Vigraahams are made in Kunnamkulam, Brahmamangalam, and
Chengannur. Mylaati (near Nagercoil) and Kanya Kumari district of Tamil
Nadu are also centers for carved images.

A few important stone idols are seen at the Anantheswara Vinayaka
Temple in Madhur (Kasaragod), Krishna Temple at Thricchambalam, Subramanaya
Temple at Payyanur, Maha Vishnu Temple at Thirunelli, Rama Temple at
Thiruvilwamala, Guruvayur Temple, Bharathan Temple at Irinjalakuda,
Lakshmanan Temple at Mulakkulam, Krishna Temple at Ernakulam, Dhanwanthari
Temple at Cherathala, Aruvikkara Temple at Neyyattinkara etc

Stone Sculptures can be seen on the Aadhisthana, motifs, pillars,
balustrades, Koothambalam, and Dwaara Paalakas etc.

Stone idols are relatively less in Kerala. This may well be since
copious wood is available and the problem of transportation of the granite
stones, considering the large numbers of rivers intersecting in Kerala.

Metal icons dates back to the 5th century AD. The Matsya Purana (450
AD) has descriptions on the technique of casting bronze idols. The images
at the Thiruvanthapuram Museum in particular of Maha Vishnu belong to
the Pallava period (4th–5th    century AD).

Pancha Loha (Alloy of 5 Metals and are copper, tin, silver, gold and
iron) idols are very common, and include the main idol, Archana Vigraham
and the Sree Bali Vigraham. The largest Pancha Loha idol probably is at
Airaanikkulam (Trichur District), this icon of Lord Shiva weighs
1000kg.The smallest is the idol of Ganesha at the Vinayaka Temple at
Pattathumogaru in Kasargode District. Another special feature is this idol is
not fixed on the Peetham (Base) in the Sanctum Sanctorum.

The opening of the idols eyes (Nethra Unmeelana) is done only during
the consecration ceremony.

Other principal Pancha Loha idols are Subramanaya (Maniyoor),
Annapoorneswari (Cherukunnu), Lokanaar Kavu (Vadakara), Ayyappan Swamy
(Sabarimala) etc.

A recent evolution in style is the golden hue on the idol. These idols
resplendent with mystical aura when lamps are lit in front of them.

The Temples of Kerala have exquisite wooden carvings in most of the
Temple Prakaara (Enclosures). The idols made in wood are very rare. Five
types of wood are generally used, and are Charalam, Thinduka or Panachi,
Teak, Varikkaplavu (Jack Wood) and Devathaaram.

The idols are usually preserved by anointing them with a liquid
obtained by distilling the bark and roots of Teak. This distilled liquid is
called Chaanth, and the ceremony of smearing the idol is known as
Chaanthaattam. The Chaanthaattam is an important offering Vazhipad (Offering).

Some of the Temples having wooden idols are the Thirumandhamkunnu Sree
Bhagavati Temple (Ernad), Arakkurissi Udayarkunnu Bhagavati Temple
(Mannarkkad), Manappullikkavu Bhagavati Temple (Palakkad),
Thirukaacchamkurissi Maha Vishnu Temple (Payyalore, Chittur), Thripallavur Bhagavati
and Kotokkad Bhagavati Temple (Alathur), Paramekkavu Bhagavati Temple
(Trichur), Kodungallur Bhagavati, Chettikulangara Bhagavati Temple
(Mavelikkara), Paravati and Ganesha Shrines at the Kottarakkara Shiva Temple
and Chamundi Devi Temple (Thiruvanthapuram) etc.

The woodcarvings in Temples can also be seen on the Sree Kovil,
Namaskara Mandapam, Naalambalam, Vilakkumatam, Koothambalam, and Gopuram etc

The Balikal Mandapams of South Kerala generally have carvings on the
ceiling.


The Katu Sarkkara Bimba Vidhaana is a unique technique of idol
formation.  Katu Sarkkara is a resolute paste made out of indigenous herbs and
plants (Katu) and crystallized sand or gravel (Sarkkara). This blending
of these materials is done as per Tantra Shastras, an ancient Text.
This concoction is made with flawless care as the idol has to be protected
from termites, insects etc. It takes about sixty days to complete this
progression.

The first feature is making the skeleton or Soolam of the Bimba (Idol).
High quality wood is used to make the skeleton, and the measurement
vary for different Deities as mentioned in the Tantra Shastras.

The Ashta Bandhana Lepana is the process of pasting the different parts
of the skeleton. For this honey, a type of tree gum, jaggery, Kaavi
(Red Ochre), oil and ghee are mixed in an earthen pot and heated.

The next aspect is Naadi Bandhaana, or creating the Naadis or nerves.
The construction of nerves of the human body on the idol is done with
the fibers of the coconut husk.

According to tradition the seven important Naadis or the Saptha Naadis
constitute the Sushumma, Ida, Pingala, Poosha, Yasawani, Sankhini, and
Kuhu are shaped on the idol. The Sushumma represents the spinal cord
and extends from the Mooladhara (Base) to the Sahasraa (Top of the head),
and passes through the Bhroo Madhyam (Forehead). The Ida is then woven
on the right and the Pingala on the left of the Sushumma.

One of the three yarns of the Ida goes to the left nostril, and of the Pingala goes
to the right nostril and the ears. The yarns connected to the ear are
known as the Poosha and Yaswani. The Sakhini is connected to the navel,
and the Kuhu is fixed to the Guda (Anus).

The Mrtth Lepana or well-treated mud (Mrtth) is coated after the Naadi
Bandhaana. The soil is taken from three different sources. Dry land
represents (Vaatha), marshy land (Kapha) and sandy land (Pittha).

Dirt, stones plants and roots etc are removed and the mud is washed
thoroughly. Then three different Kashayam (Tonic) are prepared and mixed
with the different soil in earthen pots for a period of ten days. The
mud is dried and then mixed with the Thriphala Kashayam again for ten
days and dried. River sand with barley, wheat and the leaves of the
Kaasavu (Memecylon Edule) The mixture is then blended with tender coconut
water and kept for another ten days, and is stirred daily.
Equal amounts of Thiruvattapasa, Kuntharikkam, Guggulu, and Chenchalyam
are then added.

This fused mud is mixed with honey and put in cow milk curds for seven
days.

A mixture of identical amounts of dried ginger, pepper and Thippali is
prepared and added to the mud along with honey, ghee and milk.

The mixture is then well ground.
Equal quantities of Plavin Pasa and the kernel of the Koovalam fruit
are added together with a little oil. Saffron powder, sandalwood,
camphor, Akil, Kottam and Gorochana are mixed and ground in Kaasavu oil.
Kasthoori (musk) is added to a powdered mixture of gold, silver, purified
sand from riverbanks or seashore, mud from the crab hole, mud from the
farmer’s plough, bull’s hooves and elephant’s tusks and Ganga water. This
mixture is than added to the mud concoction.

The Kashayam made from the bark of the Illippa (Bassia Longifolia) tree
is added and kept for five days. This is then well ground.

Coconut husk equaling a quarter of the mud mixture is added together
with the gum of Koovalam and Plavu (Jack Fruit) trees.

This mixture is then pounded for ten days and applied on the skeleton
of the Bimbha (Idol).
There are specific proportions and measurements for every liquid and
material that is added to the mud, and stringent care is taken to ensure
this.

Pure silk smeared with gum is wrapped on the Bimbha to protect the
Mrtth.

Equal proportions of river sand, black sand, black stones or gravel
from riverbanks and Kozhipparal are powdered and ground daily for a period
of one month in the Kashayam of the Thriphala, gum from jackfruit tree
and Koovalam. A thin coating is applied on the Bimbha. This process is
known as Kalkka. This process can be used to create ornaments and
decorations.

The Sankh powder gives the idol a white colour.

These types of idols are not subjected to Abhishekam.

These are very rare and the most conspicuous is the main idol at the
Anantha Padmanabha Swamy Temple at Thiruvanthapuram, which is about 18
feet long. In the same Temple is the idol of Vishwaksena, the
Nirmaalyadhaari of Vishnu in this style.

Some of the other Katu Sarkkara is at the Bhadra Kali idols at Maatayi
(Kannur), Panayannarkavu (Thiruvalla), and Malayalapuzha (Kochencherry)
etc.

Clay idols or Venkali images are also rare in Kerala. This style is
usually seen at the borders of the State.

Mud images are very few. The most famous perhaps is the icon at the
Mahathara Maha Lingeswara Temple at Adoor. This is about three feet high,
and is said to be made by Krishna. The idol is now covered with copper
sheets. The others are at the Parvati Parameswari Temple at Thalassery,
Mariamman Bhadra Temple, at Vythiri etc.

The idol at the Vallabha Temple at Thiruvalla is made of Anjanakall,
mud, Darbha and a type of resin. After the Abhishekam, the idol is gently
sponged with a Thoorth (Hand Loom Towel).

Some of the idols are also made in laterite stone.

There are certain traditional impressions and resemblances, which are
generally seen on the idols.

                Part                                                             
Shape

Forehead                                                          
Moon on the Ashthami day

Eye Brows                                                        
Bow

Eyes                                                                  
Lotus Petal, Bilva Leaf, Bow or Fish

Pupil                                                                  
Full Moon or Circle

Nose                                                                  
Sesamum Flower, Seed or Bitter Gourd

Face                                                                   
Egg, Mango, Gingili Seed, Full Moon
                                                                          
Or blossomed Lotus

Ear                                                                      
Conch, Shell of Amara Bean

Tooth                                                                   
Pearl or Jasmine Bud
Mouth                                                                 
Oyster Shell

Neck                                                                   
The Valam Piri or Right Twisted
                                                                            
Conch

Shoulder                                                              
Bamboo or Sugarcane Base
                                                             
Arm                                                                     
Joints of the Arm resemble the nodes
                                                                              
Sugarcane or Bamboo

Palm                                                                     
Inner area of the Palmyra Fruit and
                                                                            
Fingers in the shape of the end of the
                                                                            
Cows Tail

Finger                                                                
Well Fish

Nail                                                                    
Parrots Beak or Crescent


Trunk                                                              
Bull Face

Breast                                                               
Flower Bouquet, Water Whirl, Elephant
                                                                          
Forehead, Lotus Bud, Tender coconut
                                                                          
or Pot
Nipple                                                                
Naava Mani (Small Bell) that is used
                                                                    for
Poojas

Stomach                                                              
Leaf of Peepal Tree

Navel                                                                  
Water Whirl

Folds in the Stomach                                              Waves

Waist                                                                  
Small Drum

Buttock                                                               
Head of the Cobra or the Leaf of the
                                                                           
Peepal Tree

Loins                                                                  
Heap of Sand

Thigh                                                                   
Plantain Stem or Elephant Trunk

Knee                                                                     
Crab

Leg                                                                       
Varaal Fish





Foot                                                                      
Tortoise


Toes                                                                      
Millipede

Ayurveda

2006-06-22T21:56:00.000-07:00

AYURVEDA THE DIVINE MEDICINE

Ayurveda is a holistic system of healing which evolved among the Brahmin sages of ancient India some 3000-5000 years ago. There are several aspects of this system of medicine which distinguish it from other approaches to health care:

1. It focuses on establishing and maintaining balance of the life energies within us, rather than focusing on individual symptoms.

2. It recognizes the unique constitutional differences of all individuals and therefore recommends different regimens for different types of people. Although two people may appear to have the same outward symptoms, their energetic constitutions may be very different and therefore call for very different remedies.

3. Ayurveda is a complete medical system which recognizes that ultimately all intelligence and wisdom flows from one Absolute source (Paramatman). Health manifests by the grace of the Absolute acting through the laws of Nature (Prakriti). Ayurveda assists Nature by promoting harmony between the individual and Nature by living a life of balance according to her laws.

4. Ayurveda describes three fundamental universal energies which regulate all natural processes on both the macrocosmic and microcosmic levels. That is, the same energies which produce effects in the various galaxies and star systems are operating at the level of the human physiology--in your own physiology. These three universal energies are known as the Tridosha.

5. Finally, the ancient Ayurvedic physicians realized the need for preserving the alliance of the mind and body and offers mankind tools for remembering and nurturing the subtler aspects of our humanity. Ayurveda seeks to heal the fragmentation and disorder of the mind-body complex and restore wholeness and harmony to all people.

The Three Doshas

The Five Elements

Everything in the universe is made up of combinations of the Five Elements (Pancha Mahabhutas). This includes the human being which also acquires a soul or spirit. These five elements are known as:

Space or Akasha
Air or Vayu
Fire or Tejas
Water or Apa
Earth or Prithvi

These five elements, it should be understood, derive from and are expressions of an unmanifest and undifferentiated Creative Principle, which is One. These five elements are to be understood in a material sense as well as a subtle sense. By earth we are to understand not only the terrain of our planet or the iron in our red blood cells and spleen, but also the quality of steadfastness of mind, strength of one’s moral fiber, one’s slow and quiet undeterred advancement towards a goal, and the resistance to the manifestations of others. By water we mean to imply the cohesive aspects of reality which flows into and holds things together, perfectly and simply witnessed in the ubiquitous H20 molecule. And the other elements too were intended by the ancient vaidyas (physicians) to communicate the essential universal principle inherent in a particular element. By fire we mean the universal force in nature that produces heat and radiates light; it is our passion to pursue despite obstacles and delays; it is what burns away the cloak of ignorance (avidya) and allows the Truth to shine with brilliance. Fire removes doubt from the mother-substance of human heart and replaces it with joy. Air is that transparent, rarefied, kinetic force which sets the universe in motion; it moves the blood through the vessels, wastes from the body, thoughts through the mind; it moves the birds to warmer climates in winter, it moves the planets around their suns. Space is the subtlest of all elements which is everywhere and touches everything; in the mind it is the vessel which receives all impressions, in the heart space accepts love; space is receptivity and non-resistance to what is true.

Thus these Five Subtle Elements (Pancha Mahabhutas) form the basis for all things found in the material creation, from a grain of sand to the complex physiology of every human being. Balancing these elements in just the right way for each unique individual is the key to maintaining health and treating disease should it arise, whether it be physical, mental, or spiritual.

The Tridosha

The five elements can be seen to exist in the material universe at all scales both organic and inorganic, from peas to planets. When they enter into the biology of a living organism, man for example, they acquire a biological form. This means that the five elements are coded into three biological forces which govern all life processes. These three forces are known as the three doshas, or simply thetridosha.. The tridosha regulates every physiological and psychological process in the living organism. The interplay among them determines the qualities and conditions of the individual. A harmonious state of the three doshas creates balance and health; an imbalance, which might be an excess (vrddhi) or deficiency (ksaya), manifests as a sign or symptom of disease.

The three doshas are known as Vata, Pitta , and Kapha.

You can think of these three doshas as fundamental biological energies which regulate all the life processes of an individual. And as we will discuss later, although all individuals are made up of these same three energies, we all have them in unique proportions. The doshas obtain their qualities by virtue of their elemental composition as we can see in the simple diagram below.

Each of the three doshas is composed of two elements as shown here:

Elements Composing The Tridosha

Vata
Space (Akasha)
Air (Vayu)

Pitta
Fire (Tejas)
Water (Apa)

Kapha
Water (Apa)
Earth (Prithvi)

Thus, Vata is composed of space and air, Pitta of fire and water, and Kapha of water and earth.. Vata dosha has the mobility and quickness of space and air; Pitta dosha the metabolic qualities of fire and water; Kapha dosha the stability and solidity of water and earth. Interestingly, the Sanskrit entomology of the word dosha gives it the meaning of “blemish, that which darkens”. This alerts us to the fact that when in balance these force are life-supporting but when imbalanced they are the agents of disease and misery.

THE HINDU SCRIPTURES

2006-06-22T21:52:00.000-07:00

Sanskrit was the standard language for most of the ancient Hindu Scriptures.

The literature can be classified under six conventional and four worldly sections.

The six conventional scriptures are: Srutis, Smritis, Itihasas, Puranas, Aagamas and Darsanas.

The four worldly writings are: Subhashitas, Kavyas, Natakas and Alankaras.

The Scriptures

Srutis

The Srutis are the Vedas, or the Aamnaya. It is alleged that these Scriptures were handed to the Hindus through Spiritual Perception, and known as Apaurusheya is without an author.

Vedas are the perpetual truths revealed by God to the great ancient Rishis of India.

Lord Brahma, the Creator, imparted this divine knowledge to the Rishis.

The Vedas are eternal. They are without beginning and end.

The Four Vedas and Their Sub Divisions

The Vedas are divided into the Rig-Veda, the Yajur-Veda, the Sama-Veda and the Atharva-Veda.

The Yajur-Veda is again divided into two parts, the Sukla and the Krishna.

The Krishna or the Taittiriya is more ancient, and the Sukla or the Vajasaneya is a later revelation to sage Yajnavalkya from the resplendent Sun God.

The Rig-Veda is divided into twenty-one sections, the Yajur-Veda into one hundred and nine sections, the Sama-Veda into one thousand sections and the Atharva-Veda into fifty sections. In all, the whole Veda is thus divided into one thousand one hundred and eighty sections.

Each Veda consists of four parts: the Mantra-Samhitas or Hymns, the Brahmanas or the explanations of Mantras and rituals, the Aranyakas and the Upanishads.

The Mantra-Samhitas are hymns in praise of the Vedic God for attaining material prosperity in life and happiness in the after life. They are musical poems comprising of prayers, hymns and incantations addressed to various deities, both subjective and objective. The Mantra portion of the Vedas is useful for the Brahmacharins.

The Brahmana segment is the text that interprets the Samhitas, and how to perform sacrificial rites They are the specific incantations used in the Yajna or the sacrificial ritual.

The Aranyakas are the books on philosophical interpretations of the rituals and are intended for the Vanaprasthas or Hermits who take Sanyasa and live in Aranaya or forest.

The Upanishads are the most important portion of the Vedas. And contain the quintessence of the knowledge section of the Vedas. The philosophy of the Upanishads is transcendental, advanced and reveal Spiritual Truth.

The Upanishads speak of the identity of the individual soul and the Supreme Soul. They reveal the most subtle and deep spiritual truths. The Upanishads are very useful for Sannyasins

The subject matter of the whole Veda is divided into Karma-Kanda, Upasana-Kanda and Jnana-Kanda.

The Karma-Kanda or Ritualistic Section deals with various sacrifices and rituals. The Upasana-Kanda or the Worship-Section deals with various kinds of worship or meditation.

The Jnana-Kanda or Knowledge-Section deals with the highest knowledge of Nirguna Brahman.

The Mantras and the Brahmanas constitute Karma-Kanda; the Aranyakas Upasana-Kanda; and the Upanishads Jnana-Kanda.

The Mantra-Samhitas

The Rig-Veda Samhita is the oldest and the best. This book of immortal Mantras embodies the greatest truths of existence, and is perhaps the greatest treasure in all the scriptural literature of the Hindus. The priests who recite these Mantras are known as the Hotri.

The Yajur-Veda Samhita is mostly in prose, and is used by the Adhvaryu, the Yajur-Vedic priest, for superfluous explanations of the rites in sacrifices, supplementing the Rig-Vedic Mantras.

The Sama-Veda Samhita is inspired from the Rig-Vedic Samhita and is sung by the Udgata, the Sama-Vedic priest during sacrificial rites.

Brahma, the Atharva-Vedic priest, supervises and corrects any thing wrong that are committed by the other three priests during the Yagna, belons to the Atharva-Veda .

The Brahmanas and the Aranyakas

There are two Brahmanas in the Rig-Veda—the Aitareya and the Sankhayana.

“The Rig-Veda,” according to Max Muller, “is the most ancient book of the world. The sacred hymns of the Brahmanas stand unparallel in the literature of the whole world; and their preservation might well be called miraculous.” (HISTORY OF ANCIENT SANSKRIT LITERATURE)

The Upanishads are the concluding portions of the Vedas. The teachings based on the Upanishads are the Vedanta.

The most important Upanishads are Isa, Kena, Katha, Prasna, Mundaka, Mandukya, Aitareya, Taittiriya, Chhandogya, Brihadaranyaka, Kaushitaki, Svetasvatara and Maitrayani.

The Upa-Vedas

There are four Upa-Vedas or subsidiary Vedas and are Ayurveda (Science of Medicine), the Dhanurveda (The Science of War), the Gandharva Veda (The Science of Music) and the Arthasastra (The Science of Meaning).

The Vedangas

There are six Angas or explanatory Texts, to the Vedas. They are the Siksha and Vyakarana of Panini, the Chhandas of Pingalacharya, the Nirukta of Yaska, the Jyotisha of Garga, and the Kalpas (Srauta, Grihya, Dharma and Sulba) written by various Rishis.

Siksha is the Science that deals with pronunciation and accent. The text of the Vedas is arranged in various forms or Pathas. The Pada-patha gives each word its separate form.

The Krama-patha connects the word in pairs.

Vyakarana is Sanskrit grammar. Panini’s books are most famous. Without knowledge of Vyakarana, you cannot understand the Vedas.

Chhandas is the science of Prosody or Versification. The most utilized among the Chhandas or metre is the Anushtup. The 8 syllable feet in a verse.

Nirukta is etymology or the study of or the derivation and development of a Vedic word in form and meaning.

Jyotisha deals with astronomy and astrology and the influence of the constellation of the planets on humans.

Kalpa is the method of performing the ritual. The Srauta Sutras explain the ritual of sacrifices. The Sulba Sutras are about measurements, which are necessary for laying out the sacrificial ground and the Grihya Sutras, concern domestic life, and the Dharma Sutras deal with ethics, customs and laws, also belong to Kalpa.

The Pratishakhyas, Padapathas, Kramapathas, Upalekhas, Anukramanis, Daivatasamhitas, Parishishtas, Prayogas, Paddhatis, Karikas, Khilas and Vyuhas are the elaborations of the Kalpa Sutras.

Among the Kalpa Sutras, the Asvalayana, Sankhyana and the Sambhavya belong to the Rig-Veda.

The Mashaka, Latyayana, Drahyayana, Gobhila and Khadira belong to the Sama-Veda.

The Katyayana and Paraskara belong to the Sukla Yajur-Veda.

The Apastamba, Hiranyakesi, Bodhayana, Bharadvaja, Manava, Vaikhanasa and the Kathaka belong to the Krishna Yajur-Veda.

The Vaitana and the Kaushika belong to the Atharva-Veda.

The Smritis

Next in significance to the Sruti are the Smritis or derivative scriptures. These are the ancient sacred law-codes of the Hindus dealing with the Sanatana-Varnasrama-Dharma. They supplement and explain the ritualistic injunctions called Vidhis in the Vedas.

The Smriti Sastra is founded on the Sruti. The Smritis are based on the teachings of

The Vedas and stands next in authority to the Sruti. It explains Dharma, and lays down the laws, which regulate Hindu national, social, family and individual obligations.

The Texts called Smritis are the law books or Dharma Sastras. The laws for regulating Hindu society from time to time are coded in the Smritis. The Smritis have lain down definite rules and laws to guide the individuals and communities in their daily conduct and to regulate their manners and customs.

Manu Smriti and Yajnavalkya Smriti are universally accepted in the present time as authoritative works all over India. Yajnavalkya Smriti is chiefly consulted in all matters of Hindu Law. Even the Government of India is applying some of these laws.

There are eighteen main Smritis or Dharma Sastras. The most important are those of Manu, Yajnavalkya and Parasara. The other fifteen are those of Vishnu, Daksha, Samvarta, Vyasa, Harita, Satatapa, Vasishtha, Yama, Apastamba, Gautama, Devala, Sankha-Likhita, Usana, Atri and Saunaka.

The laws of Manu are intended for the Satya Yuga, Yajnavalkya are for the Treta Yuga; Sankha and Likhita are for the Dvapara Yuga; and the laws of Parasara are for the Kali Yuga.

The Itihasas

The Valmiki-Ramayana, the Yogavasishtha, The Mahabharata and the Harivamsa. These books symbolize the Vedas, in a simpler manner and are known as the Suhrit-Sammita or the Friendly Treatises, while the Vedas are called the Prabhu-Sammita or the Commanding Treatises with great authority. These works explain the great universal truths in the form of historical narratives, stories and dialogues. These are very interesting volumes and are liked by all, from the inquisitive child to the intellectual scholar.

The Itihasas give us beautiful stories of absorbing interest and importance, through which all the fundamental teachings of Hinduism and indelibly overwhelm the mind.

The common man cannot comprehend the high abstract philosophy of the Upanishads and the Brahma Sutras.

Hence, the Sages Valmiki and Vyasa wrote the Itihasas for the benefit of common people. The same philosophy is presented with analogies and parables for the common man to understand.

Sri Valmiki wrote the Ramayana in twenty-four thousand verses.

The Bhagavad-Gita is the most esteemed jewel of Hindu literature. It is a universal gospel and ranked among the sacred literatures of the world.

The Puranas

Vyasa is the compiler of the Puranas

The Puranas were written to popularise the religion of the Vedas. They contain the essence of the Vedas.

The Eighteen Puranas

There are eighteen main Puranas and an equal number of subsidiary Puranas or Upa-Puranas. The main Puranas are: Vishnu Purana, Naradiya Purana, Srimad Bhagavata Purana, Garuda Purana, Padma Purana, Varaha Purana, Brahma Purana, Brahmanda Purana, Brahma Vaivarta Purana, Markandeya Purana, Bhavishya Purana, Vamana Purana, Matsya Purana, Kurma Purana, Linga Purana, Siva Purana, Skanda Purana and Agn Purana.

Of these, the first six are Sattvic Puranas and exalt Vishnu;

The next six are Rajasic and venerate Brahma.

And the last six are Tamasic and they praise Siva.

The best known among the Puranas are the Srimad Bhagavata and the Vishnu Purana. The most popular is the Srimad Bhagavata Purana.

Next comes Vishnu Purana and Markandeya Purana, and a part of the latter is well known to all Hindus as Chandi, or Devimahatmya.

Worship of God as the Divine Mother is its theme. The Hindus read Chandi extensively on sacred days and particulary on Navaratri (Durga Puja) days.

The Srimad Bhagavata Purana and the Ten Avataras

The Srimad Bhagavata Purana is a chronicle of the various Avataras of Lord Vishnu. There are ten Avataras of Vishnu.

The ten Avataras are: Matsya (The Fish), Kurma (The Tortoise), Varaha (The Boar), Narasimha (The Man-Lion), Vamana (The Dwarf), Parasurama (The warrior Brahmin and the destroyer of the Kshatriya race), Ramachandra (The hero of Ramayana), Sri Krishna, The teacher of the Bhagavad Gita, Buddha (The prince-ascetic, founder of Buddhism) and Kalki (The hero riding on a white horse, who is to come at the end of the Kali-Yuga).

The Upa-Puranas

The eighteen Upa-Puranas are: Sanatkumara, Narasimha, Brihannaradiya, Sivarahasya, Durvasa, Kapila, Vamana, Bhargava, Varuna, Kalika, Samba, Nandi, Surya, Parasara, Vasishtha, Devi-Bhagavata, Ganesa and Hamsa.

The Aagamas

Another class of popular scriptures is the Aagamas. The Aagamas are theological treatises and practical manuals of divine worship and include the Tantras, Mantras and Yantras.

These treatises explain the worship of God in the idol form in Temples through 4 ways. They are Jnana or Knowledge, Yoga or Concentration, Kriya or Esoteric Ritual and Charya or Exoteric Worship. They also give elaborate details about Ontology, Cosmology, Liberation, Devotion, Meditation, Philosophy of Mantras, Mystic Diagrams, Charms and Spells, Temple-Building, Image-Making, Domestic Observances, Social Rules, Public Festivals, etc.

The Aagamas are divided into three sections: The Vaishnava, the Shaiva and the Shakta. The Vaishnava Agamas or Pancharatra Agamas glorify Vishnu as God.

The Shaiva Agamas venerate Shiva as God and have given rise to an important school of philosophy known as Shaiva-Siddhanta, which prevails in South India, particularly in the districts of Tirunelveli and Madurai.

The Shakta Agamas or Tantras exalt God as the Mother of the Universe, under the many names of Devi.

The Aagamas do not derive their authority from the Vedas, but are not antagonistic to them. They are all Vedic in spirit and character. That is the reason why they are regarded as authoritative.

The Vaishnava Aagamas

The Vaishnava Aagamas are of four kinds: the Vaikhanasa, Pancharatra, Pratishthasara and Vijnanalalita.

The Brahma, Saiva Kaumara, Vasishtha, Kapila, Gautamiya and the Naradiya are the seven groups of the Pancharatras. The Naradiya section of the Santi-Parva of the Mahabharata is the earliest source of information about the Pancharatras.

Vishnu is the Supreme Lord in the Pancharatra Agamas. The Vaishnavas regard the Pancharatra Agamas to be the most authoritative. They believe that Lord Vishnu revealed these Agamas.

Narada-Pancharatra says: “Everything from Brahma to a blade of grass is Lord Krishna.” This corresponds to the Upanishad declaration: “Every thing is Brahman—Sarvam Khalvidam Brahma.”

There are two hundred and fifteen of these Vaishnava texts. Isvara, Ahirbudhnya, Paushkara, Parama, Sattvata, Brihad-Brahma and Jnanamritasara Samhitas are the important ones.

The Shaiva Agamas

The Shaivas recognize twenty-eight Agamas, of which the foremost one is Kamika. The Aagamas are also the basis of Kashmir Shaivism, which is called the Pratyabhijna system. The later works of Pratyabhijna system show a distinct leaning to Advaitism.

The South Indian Shaivism, the Shaiva Siddhanta and the Kashmir Shaivism, regard these Aagamas as the authority, besides the Vedas.

Each Agama has Upa-Agamas. Of these, only fragmentary texts of twenty exist. Lord Shiva is the central God in the Shaiva Agamas. They are suitable to this age, Kali Yuga.

The Shakta Agamas

There is another group of scriptures known as the Tantras. They belong to the Shakta cult. They glorify Shakti as the World-Mother. They dwell on the Shakti (energy) aspect of God and prescribe numerous aspects of ritualistic worship of the Divine Mother in various forms. There are seventy-seven Aagamas. These are very much like the Puranas in some respects. The texts are usually in the form of dialogues between Shiva and Parvati.

Tantra is an important work. The Aagamas teach several occult practices some of which confer powers, while the others bestow knowledge and freedom. Shakti is the creative power of Lord Siva.

Shaktism is really a supplement to Shaivism.

Among the existing books on the Agamas, the most famous are the Isvara-Samhita, Ahirbudhnya-Samhita, Sanatkumara-Samhita, Narada-Pancharatra, Spanda-Pradipika and the Mahanirvana-Tantra.

The Six Darsanas

These are the intellectual section of the Hindu writings, while the first four are intuitional, and the fifth inspirational and the sixth, emotional. Darsanas are schools of philosophy based on the Vedas.

The Agamas are theological. The Darsana literature is philosophical. The Darsanas are meant for the erudite scholars who are endowed with acute acumen, good understanding, and power of reasoning and subtle intellect. The Itihasas, Puranas and Agamas are meant for the masses.

Shad-darsana—the six Darsanas or ways of seeing things, usually called the six systems or six different schools of thought. The six schools of philosophy are the six instruments of true teaching or the six demonstrations of Truth. Each school has developed Veda in its own way. Each system has its Sutrakara, i.e., the Great Rishi who systematised the doctrines of the School and put them in short aphorisms or Sutras.

The Shad-Darsanas (the six schools of philosophy) or the Shat-Sastras are:

NYAYA, founded by Gautama Rishi

VAISESHIKA by Kanada Rishi

SANKHYA by Kapila Muni

YOGA by Patanjali Maharshi

PURVA MIMAMSA by Jaimini

UTTARA MIMAMSA or VEDANTA by Badarayana or Vyasa.

The Darsanas are divided into three pairs of aphoristic compositions, which explain the philosophy of the Vedas in a rationalistic method of approach. They are the Nyaya and the Vaiseshika, the Sankhya and the Yoga, and the Mimamsa and the Vedanta. Each set of Sutras has got its Bhashya, Vritti, Varttika, Vyakhyana or Tika and Tippani.

Sutra

Svalpaksharam-asandigdham

Saravad-visvatomukham

Astobham-anavadyam cha

Sutram sutravido viduh

A Sutra or an aphorism is a short formula with the least possible number of letters, without any ambiguity or doubtful assertion, containing the very essence, embracing all meanings, without any stop or obstruction and absolutely faultless in nature.

The Sutrakara or the composer of the aphorisms is said to be as happy as one would be while getting the first male child, if he is able to reduce one letter in his abstruse Sutra of far-fetched words and ideas.

The best example of the greatest and the most perfect of Sutra literature is the series of aphorisms called the Ashtadhyayi composed by Panini.

Panini is the father of all Sutrakaras from whom all others seem to have borrowed the method of composition. The Sutras are meant to explain a big volume of knowledge in short assertions suitable to be kept in memory at all times.

The six Vedangas and the six systems of Hindu philosophy form the twelve sets of Sutra literature of the world. In addition to these, there are later compositions like the Narada-Bhakti Sutras, the Sandilya-Bhakti Sutras, etc., which also wish to assume an equal form with the famous Sutras mentioned above.

Bhashya

Sutrartho varnyate yatra

Padaih sutranusaribhih

Svapadani cha varnyante

Bhashyam bhashyavido viduh

A Bhashya is an elaborate explanation, a commentary on the Sutras, with word-by-word meaning of the aphoristic precepts, their running translation, together with the individual views of the commentator or the Bhashyakara. The best and the exemplary Bhashya in Sanskrit literature is the one written by Patanjali on the Vyakarana Sutras of Panini.

This Bhashya is so very famous and important that it is called the MAHABHASHYA and its celebrated author is specially called the BHASHYAKARA.

Patanjali is the father of Bhashyakaras.

The next important Bhashya is the one on the Mimamsa Sutras written by Sabara-Swamin who learnt the art from Patanjali’s commentary.

Shankara wrote the third important Bhashya on the Brahma Sutras, in close following with the Sabara-Bhashya.

Vatsyayana, Prasastapada, Vijnanabhikshu, Vyasa, Sabara and Shankara wrote the Bhashyas on the six sets of aphorisms dealing with Indian philosophy of the Vedanta or Brahma Sutras and Bhashyas, like those of Ramanuja, Madhva, Vallabha, Nimbarka, etc.

Vritti

Sadvrittih Sannibandhana

A Vritti is a short glossary explaining the aphorisms in a more elaborate way, but not as extensively as a Bhashya. An example is Bodhayana’s Vritti on the Brahma Sutras.

Varttika

Uktanuktaduruktanam

Chinta yatra pravartate

Tam grantham varttikam prahuh

Varttikajnavichakshanah

A Varttika is a work where a critical study is made of that which is said and left unsaid or imperfectly said in a Bhashya, and the ways of making it perfect by supplying the omissions therein, are given. Examples are the Varttikas of Katyayana on Panini’s Sutras, of Suresvara on Shankara’s Upanishad-Bhashyas, and of Kumarila Bhatta on the Sabara-Bhashya on the Karma-Mimamsa.

Vyakhyana or Tika

A Vyakhyana is a running explanation in an easier language of what is said in the original, with little elucidations here and there.

The Vyakhyana, particularly a Kavya, deals with eight different modes of dissection of the Sloka like Pada-Chheda, Vigraha, Sandhi, Alankara, and Anuvada etc.

This forms an important aspect in the study of Sanskrit Sahitya Sastra. An Anu-Vyakhyana—like the one written by Sri Madhva—is a repetition of what is already written, but in greater detail.

The Anuvada is merely a running translation or statement of an abstruse text of the original. Tika is only another name for Vyakhyana.

The best Vyakhyanas are of Vachaspati Misra on the Darsanas, especially on Shankara’s Brahmasutra-Bhashya.

Tippani

Tippani is just like a Vritti, but is less orthodox. It is an explanation of difficult words or phrases occurring in the original.

Examples are Kaiyata’s glossary on the Mahabhashya of Patanjali, Nagojibhatta’s glossary on Kaiyata’s glossary, or Appayya’s glossary on Amalananda’s glossary on the Bhamati of Vachaspati Misra.

Other Scriptures

The Tevaram and the Tiruvachakam which are the hymns of the Shaiva saints of South India, the Divya-Prabandham of the Alvar saints of South India, the songs of Kabir, the Abhangas of Tukaram and the Ramayana of Tulasi Das—all of which are the outpourings of great realized souls—are wonderful scriptures. They contain the essence of the Vedas.

The Secular Writings

The Subhashitas

The Subhashitas are wise sayings, instructions and stories, either in poetry or in prose. Examples are Bhartrihari’s verses, the Subhashita-Ratna-Bhandagara and Somadeva Bhatta’s Katha-Sarit-Sagara or Kshemendra’s Brihat-Katha-Manjari.

The Panchatantra and the Hitopadesa also belong to this category.

The Kavyas

These are highly erudite compositions in poetry, prose or both. The greatest of poetical Kavyas are those of Kalidas (The Raghuvamsa and Kumarasambhava), Bharavi (The Kiratarjuniya), Magha (The Sisupalavadha), Sri Harsha (The Naishadha).

The best prose Kavyas in the whole of Sanskrit literature were written by Bhattabana (The Kadambari and Harshacharita), the great genius in classical Sanskrit. Among those containing both poetry and prose, the Champu-Ramayana and the Champu-Bharata are most famous. These are all wonderful masterpieces, which will ever remain to lionize India’s literary caliber.

The Natakas

These are marvelously pedagogic dramas embodying the Rasas of Sringara, Vira, Karuna, Adbhuta, Hasya, Bhayanaka, Bibhatsa and Raudra. It is told that none can write on the ninth Rasa, viz., Santi. It is attainable only on final Liberation. The best dramas were written by Kalidasa (Sakuntala), Bhavabhuti (Uttara-Rama-Charita), and Visakhadatta (Mudrarakshasa).

The Alankaras

These are grand rhetorical texts, treating of the science of perfection and beauty of ornamental language and of effective composition with elegance and force, both in poetry and in prose. These are the fundamentals of Sanskrit Sahitya, even superior to the Kavyas and the Natakas. The best Alankara-Granthas are those of Mammata (Kavyaprakasa) and Jagannatha (Rasagangadhara).

These constitute the entirety of Sanskrit literature—sacred and secular. The Sruti is the root; the Smritis, Itihasas and Puranas are the trunk; the Agamas and Darsanas are the branches; and the Subhashitas, Kavyas, Natakas and Alankaras are the flowers of India’s Culture.

The Smritis, the Itihasas, the Puranas, the Agamas and the Darsanas are only developments of the Veda. Their ultimate source is the Veda. Their one common aim is to enable man to annihilate his ignorance and attain perfection, freedom, immortality and eternal bliss through knowledge of God or the Eternal. Their purpose is to make man like God and one with Him.