Today is the 2nd day of #Navratri2020
Over the last two years, I had written about sets of Carnatic kritis composed by Muthuswamy Dikshithar during #Navratri
#Thread
Over the last two years, I had written about sets of Carnatic kritis composed by Muthuswamy Dikshithar during #Navratri
#Thread
In 2018, we spoke about the Kamalaamba Navavaranas.
The Navavaranas are 9 Kritis (Compositions) by Muthuswamy Dikshithar.
The Navavaranas are 9 Kritis (Compositions) by Muthuswamy Dikshithar.
https://twitter.com/jeysundhar_d/status/1050333783986073600
The kritis are dedicated to Kamalamba/Kamalambigai, the Goddess of the Thyagaraja Temple at Thiruvaroor. 
As Dikshithar was a Srividya Upasaka, each kriti was also dedicated to a different level (Avarana) of the Sri Chakra, which has a total of 9 levels, hence Navavaranas.
The thread eventually became an Indian Express article. indianexpress.com/article/opinio…
Last year, I wrote about the Navagraha kritis, also composed by Muthuswamy Dikshithar.
https://twitter.com/jeysundhar_d/status/1178228251468034052
Each of the kritis is dedicated to one Graha of the horoscope.
Since 2020 has been what it has been, and since most of our travel plans, including pilgrimages have not been happening, I thought for #Navratri2020 I will write about 9 temples of Tamil Nadu.
Tamil Nadu has 1000s of temples. Which ones to pick? On what grounds? Why these and not these?
Yes, these are all valid questions!
Yes, these are all valid questions!
For obvious reasons, I have attempted to choose Devi temples that are well-known (we should do a separate thread for the 100s of temples that are more obscure).
At the same time, I have also attempted to choose temples where the form of Devi has aspects similar to the Nava Durga, the nine forms of Devi worshipped during #Navaratri
What are these Navadurga forms? Here you go!
In order, they are:
1. Shailaputri
2. Brahmacharini
3. Chandraghanta
4. Kushmanda
5. Skandamata
6. Katyayini
7. Kaalratri
8. Mahagauri
9. Siddhidhatri.
In order, they are:
1. Shailaputri
2. Brahmacharini
3. Chandraghanta
4. Kushmanda
5. Skandamata
6. Katyayini
7. Kaalratri
8. Mahagauri
9. Siddhidhatri.
We would be looking at one temple every day, where the aspects of the deity share similarities with the Durga (from the Nava Durga) of that day.
Since we're a day late (yes, as always 😅), we'll do two today.
Let's get started!
Let's get started!
Day 1: Shailaputri
The daughter of the mountain! Shailaputri, as Parvati, is the daughter of the Parvata Raja!
The daughter of the mountain! Shailaputri, as Parvati, is the daughter of the Parvata Raja!
With her forehead adorned by Chandra and her hands holding the Trishula and Kamala, she is the personification of serenity, riding the Vrishabha.
So, which form of the Devi in which temple of Tamil Nadu is Shailaputri?
Of course, it is our very own Meenakshi, the Queen of Madurai!
How?
How?
Meenakshi is born as the daughter of Malayadhwaja Pandian, the Pandya King of Madurai.
In his realm are the Podhigai Hills, also known as Dakshina Kailasam.
In his realm are the Podhigai Hills, also known as Dakshina Kailasam.
So, as the daughter of Malayadhwaja Pandya, Meenakshi is also Shailaputri.
Here's the Meenakshi Amman temple of Madurai.
Here's the Meenakshi Amman temple of Madurai.
A slight tangent to talk about the city our Queen Meenakshi rules!
Madurai is one of the oldest, continuously inhabited cities in the world.
Today, it is considered the point from which South Tamil Nadu begins.
Madurai is one of the oldest, continuously inhabited cities in the world.
Today, it is considered the point from which South Tamil Nadu begins.
The city's name finds mentions all across classical Tamil literature, especially Madurai Kanchi of the Pathu Pattu of the Sangam era.
Madurai Kanchi talks about the city, its administration, the temples, social life and various other aspects and is a rich source of historical information.
Madurai is also the city that is called Naan Maada Koodal, or the meeting of the four streets.
The old city spread in concentric patterns, with the Meenakshi Temple at its center.
The old city spread in concentric patterns, with the Meenakshi Temple at its center.
Based on literary evidence, the temple seems to have existed from before antiquity!
But the present structure is more recent.
Of course, "recent" in the Indian context is still at least a 1000 years!
But the present structure is more recent.
Of course, "recent" in the Indian context is still at least a 1000 years!
Sadayavarman Kulasekara Pandya is believed to have built most of the older parts of the temple that we have today.
The earliest inscription in the present temple is from 1194 CE and refers to his donation for lighting lamps.
The earliest inscription in the present temple is from 1194 CE and refers to his donation for lighting lamps.
Like most old temples of Tamil Nadu, Madurai too was subjected to the tyrannical attack of both Malik Kafur and Muhammad bin Tughluq.
The temple wealth was looted and various parts of the temple destroyed.
The temple wealth was looted and various parts of the temple destroyed.
After MB Tughluq started his experiments and lost control of territories in the south, the Madurai Sultanate was established and reigned for almost half a century.
Literary evidence of later centuries suggests worship was suspended and temples lost their glory.
Literary evidence of later centuries suggests worship was suspended and temples lost their glory.
The Madurai Sultanate was dismantled by Kumara Kampanna of the Vijayanagar Empire.
This is chronicled by his wife Gangamma Devi in the Sanskrit work Madura Vijayam.
This is chronicled by his wife Gangamma Devi in the Sanskrit work Madura Vijayam.
Most of the Meenakshi temple we see today, was built after this, by the Vijayanagar Empire and subsequently by the Nayaks of Madurai, during Viswanatha Nayaka and Thirumala Nayaka,
The Aayiram Kaal Mandapam (1000-pillared hall) of the temple, for example, was built by Ariyanatha Mudaliar, the Prime Minister of Viswanatha Nayaka.
That's been a long digression into history.
Getting back to the Sthala Puranam of the temple.
Getting back to the Sthala Puranam of the temple.
Our beloved Meenakshi, dear daughter of Maladhwaja Pandiyan goes on a Digvijaya (conquest), subduing all challengers.
Eventually she meets Sundareswara, the handsome Lord (and from whom I get my name😃😃)
Eventually she meets Sundareswara, the handsome Lord (and from whom I get my name😃😃)
It is love at first sight!
The wedding is held at the bride's place, in Madurai!
Meenakshi Thirukkalyanam (the wedding of Meenakshi to Sundareswara) is one of the most important festivals of the city.
The wedding is held at the bride's place, in Madurai!
Meenakshi Thirukkalyanam (the wedding of Meenakshi to Sundareswara) is one of the most important festivals of the city.
The scene depicting Vishnu giving his sister in marriage to Sundareswara is one of the most popular sculpture motifs in temples of Tamil Nadu.
It is also ubiquitous in wedding halls, for obvious reasons.
It is also ubiquitous in wedding halls, for obvious reasons.
Sundareswara could be the Mappillai/Damaad! But the people of Madurai would always refer to the temple as that of their Queen.
It is always the Meenakshi Amman Temple! 😂😂
It is always the Meenakshi Amman Temple! 😂😂
Please read this wonderful thread by @MadhuKcvn on the inscriptions found in the Meenakshi Amman temple. threadreaderapp.com/thread/1248607…
#Navratri is incomplete without songs!
If it was Muthuswamy Dikshithar for the last two years, today we will listen to a song composed by Muttaiah Bhagavathar, dedicated to the Mother of Madurai!
Mathey Malayadhwaja in Ragam Kamaas.
If it was Muthuswamy Dikshithar for the last two years, today we will listen to a song composed by Muttaiah Bhagavathar, dedicated to the Mother of Madurai!
Mathey Malayadhwaja in Ragam Kamaas.
Another rendition of the same kriti by Ranjani-Gayatri (Thank you @wtfex)
That brings us to the end of Day 1 dedicated to Shailaputri/ Meenakshi.
We will try to end the thread for each day with a song dedicated to the deity.
We will try to end the thread for each day with a song dedicated to the deity.
Since we are a day behind, shall we try to catch up?
Let's start with the Devi for Day 2!
Let's start with the Devi for Day 2!
Day 2: Brahmacharini
Brahmacharini is an ascetic, walking barefoot (as compared to Shailaputri on the Vrishabha), with an Aksharamala and Kamandala in her hands
Brahmacharini is an ascetic, walking barefoot (as compared to Shailaputri on the Vrishabha), with an Aksharamala and Kamandala in her hands
Where else is Devi found with Aksharmala in her hand?
Where would you expect Devi to be barefoot?
How about on a serene beach with the seas washing her feet?
Where would you expect Devi to be barefoot?
How about on a serene beach with the seas washing her feet?
On the southern tip of the Indian subcontinent, overlooking the Bay of Bengal, Arabian Sea and the Indian Ocean, Devi Kanyakumari stands, holding an Aksharmala in her hands!
Why is Kanyakumari a Kanya? Where is her consort?
The Sthala Puranam (as with all Sthala Puranams) is quite interesting!
The Sthala Puranam (as with all Sthala Puranams) is quite interesting!
Banasura, with his suppression of the Devas, created major imbalances in Nature.
But nobody could challenge him, because of the powerful boons he had received.
Only a Kanya could kill him!
But nobody could challenge him, because of the powerful boons he had received.
Only a Kanya could kill him!
When Nature is imbalanced, who else do you go to but Prakriti Herself!
Devi manifested herself as a Kanya on the southern tip of India.
Devi manifested herself as a Kanya on the southern tip of India.
However, as an ascetic, involved in penances dedicated to Lord Shiva, Kanyakumari was far from the aggression needed to take on Banasura.
Enter Narada!
Enter Narada!
Long story short, it was arranged that Shiva would marry her!
Shiva started from Suchindram (located nearby), the previous evening, hoping to reach Kanyakumari in time for the Muhurta.
Shiva started from Suchindram (located nearby), the previous evening, hoping to reach Kanyakumari in time for the Muhurta.
As expected, Shiva's entourage, with the other Gods, Devas, Rishis and his Ganas, took quite a while to gather around.
The journey was quite slow.
The journey was quite slow.
As they were nearing the destination, Narada decided to stir the pot further.
He crowed like a rooster, making the procession believe that daybreak had happened.
He crowed like a rooster, making the procession believe that daybreak had happened.
So according to them, the Brahma Muhurtam, when the wedding was to happen, had already passed. It was too late.
They turned around and went back, hoping to re-schedule.
They turned around and went back, hoping to re-schedule.
When Devi learnt of this, she was livid with anger.
Snubbed and insulted, she destroyed all the decorations and preparations kept for the wedding ceremony.
Snubbed and insulted, she destroyed all the decorations and preparations kept for the wedding ceremony.
At this point, Narada tempted Banasura to woo the Goddess!
You see how the Trilokasanchari was literally the Deus Ex Machina in several of these stories!
You see how the Trilokasanchari was literally the Deus Ex Machina in several of these stories!
When Banasura approached the Goddess, this only added fuel to her fury!
Bana stood no chance. He was immediately destroyed!
Bana stood no chance. He was immediately destroyed!
As her anger subsided, she chose to reunite with her consort Shiva.
Her Kanya form remained in Kanyakumari at the Bhagavathy Temple.
Her Kanya form remained in Kanyakumari at the Bhagavathy Temple.
With her penchant for penance, it is not surprising that ascetics have gravitated towards the Kanyakumari temple.
Swami Vivekananda visited the temple, was overwhelmed with devotion for Devi and swam across the sea to meditate on a rock.
The Vivekananda Memorial sits here.
Swami Vivekananda visited the temple, was overwhelmed with devotion for Devi and swam across the sea to meditate on a rock.
The Vivekananda Memorial sits here.
Let's conclude today's thread with a composition sung by Pithukuli Murugadas.
Devi Kanyakumari -
Devi Kanyakumari -
Day 3: Chandraghanta
With her forehead adorned by the half-moon, Chandraghanta is ten-armed carrying weapons, Aksharamala, Kamala and Kamandala.
Her hands are in Abhaya-Varada Mudra. She rides the tiger, rushing to protect her devotees.
With her forehead adorned by the half-moon, Chandraghanta is ten-armed carrying weapons, Aksharamala, Kamala and Kamandala.
Her hands are in Abhaya-Varada Mudra. She rides the tiger, rushing to protect her devotees.
Where has Devi rushed to protect her devotee, with the moon involved?
Yes, today we will be looking at Abirami, the Goddess of Thirukkadaiyur!
Because, when devotees need Abhaya, can Abirami be far away?
Because, when devotees need Abhaya, can Abirami be far away?
This is the Amirtaghateswarar-Abirami Temple at Thirukkadaiyur.
Let's take a tangent and look at the Sthala Puranam of the temple.
Since he was not worshipped before Samudra Manthan, a miffed Ganesha hid the pot of Amruta, the Amruta Ghata here.
Since he was not worshipped before Samudra Manthan, a miffed Ganesha hid the pot of Amruta, the Amruta Ghata here.
He performed Abhishekam for his parents, with the Amruta from the Ghata. Hence, Amritaghateswara.
But there's a more interesting part of the Sthala Puranam!
The story of the evergreen 16-year old sage!
But there's a more interesting part of the Sthala Puranam!
The story of the evergreen 16-year old sage!
Yes! Markandeya was born to his parents Mrikandu and Marudamati, not too far from Thirukkadaiyur!
Shiva offered them an average child with a long life, or a brilliant child but with a ephemeral 16 years!
Shiva offered them an average child with a long life, or a brilliant child but with a ephemeral 16 years!
The dilemma they must have been through!
After all, the mother, as Thiruvalluvar would say, would feel greater happiness than that of child-birth, upon hearing that her son is a true Master!
But would that mean losing him at 16?
After all, the mother, as Thiruvalluvar would say, would feel greater happiness than that of child-birth, upon hearing that her son is a true Master!
But would that mean losing him at 16?
Eventually, both parents went with it!
Thus was born Markandeya, the exemplary scholar-sage who was destined to die at 16.
Unsurprisingly, his parents kept this a secret from him.
Thus was born Markandeya, the exemplary scholar-sage who was destined to die at 16.
Unsurprisingly, his parents kept this a secret from him.
Time flies!
Soon, Markandeya was nearing the end of his life. Even if his parents weren't vocal about it, their faces made it obvious.
Something was eating them!
Soon, Markandeya was nearing the end of his life. Even if his parents weren't vocal about it, their faces made it obvious.
Something was eating them!
So, the boy asked them to break it to him, only for them to break down completely in front of him.
Slowly, through the tears and wailing, they told him that the lamp of his life was going to be extinguished.
His reaction was a shocker! To them!
Slowly, through the tears and wailing, they told him that the lamp of his life was going to be extinguished.
His reaction was a shocker! To them!
The enlightened Markandeya was least affected. He brushed away the news as an eventuality that was inevitable.
But, in their love for him, his parents persisted.
All the wisdom in the world does not withstand the tears of your parents.
But, in their love for him, his parents persisted.
All the wisdom in the world does not withstand the tears of your parents.
So, the young Markandeya told them not to worry.
"Lord Shiva will protect me! He never turns down his devotees! You'll see!", he added looking at the incredulous look on their faces.
"Lord Shiva will protect me! He never turns down his devotees! You'll see!", he added looking at the incredulous look on their faces.
The destined day arrived. Markandeya bid farewell to his parents, promising to return.
He walked into the shrine of the Amritaghateswara and sat in prayer in front of the Lingam!
He walked into the shrine of the Amritaghateswara and sat in prayer in front of the Lingam!
Yama sent his foot-soldiers to get Markandeya. Little did he know that the boy was under the protection of Lord Shiva Himself!
They obviously failed.
They obviously failed.
Unfazed, Yama sat on his mighty steed and rode down to Thirukkadaiyur.
He tried to convince the boy to come with him.
Markandeya was too deep in meditation to be disturbed!
He tried to convince the boy to come with him.
Markandeya was too deep in meditation to be disturbed!
This was it! Yama cannot wait forever. He commanded that Markandeya depart with him.
Before anyone could blink, the boy rushed into the shrine and hugged the Lingam!
Before anyone could blink, the boy rushed into the shrine and hugged the Lingam!
Yama wasn't going to be discouraged by such gestures!
He threw his Pasa on Markandeya, and the Lingam!
The more he pulled, the more fervent Markandeya's chant went!
He threw his Pasa on Markandeya, and the Lingam!
The more he pulled, the more fervent Markandeya's chant went!
Yama pulled with all his force, creating an abrasion on the Lingam.
Out rose Shiva! After all, he is Mrityunjaya!
Out rose Shiva! After all, he is Mrityunjaya!
Can even Yama stand up to the God of the Three Worlds?
Shiva subdued Kala, becoming Kalakala and Kalantaka!
Shiva subdued Kala, becoming Kalakala and Kalantaka!
When Shiva rushes to protect his devotees, can Shakti be far behind?
Of course not.
Abirami is the better half of Amritaghateswara, after all!
Of course not.
Abirami is the better half of Amritaghateswara, after all!
So, now we come to the story of Abirami Bhattar!
Abirami Bhattar was born Subramanian! Overcome with his devotion for Abirami and singing her praise all day, he came to be known as Abirami Bhattar!
Abirami Bhattar was born Subramanian! Overcome with his devotion for Abirami and singing her praise all day, he came to be known as Abirami Bhattar!
One fine day, the Maratha Serfoji Raja of Thanjavur visited the temple.
Finding our dear Subramanian indifferent to his presence, the King got curious about him.
Finding our dear Subramanian indifferent to his presence, the King got curious about him.
While one called him a madman, another praised him as a Parama Bhakta of Abirami!
The king wanted to know which one was true. He decided to find out for himself.
The king wanted to know which one was true. He decided to find out for himself.
King: "You, man! Here, look at me! Yes, I'm talking to you!"
Abirami Bhattar: "Abirami is glorious! Abirami is great! Abirami is all!"
K: "I'm the ruler of Thanjavur and I am talking to you!"
AB: "Abirami rules the entire universe and she also talks to me!"
Abirami Bhattar: "Abirami is glorious! Abirami is great! Abirami is all!"
K: "I'm the ruler of Thanjavur and I am talking to you!"
AB: "Abirami rules the entire universe and she also talks to me!"
King: "Do you even hear what I'm saying? Ok, forget that. Tell me, will the moon rise tonight?"
AB: "Abirami is graceful! Abirami is the Poornachandrika, she is the full moon!"
K: "What?"
AB: "WHAT?! FULL MOON!"
The king took that to be AB's answer!
AB: "Abirami is graceful! Abirami is the Poornachandrika, she is the full moon!"
K: "What?"
AB: "WHAT?! FULL MOON!"
The king took that to be AB's answer!
Unfortunately, it was a Amavasya, the new moon night.
Forget about full moon, the moon was not going to be seen at all!
Forget about full moon, the moon was not going to be seen at all!
The King decided to teach Abirami Bhattar a lesson. One that he would not forget.
"If the moon does not rise in the sky by dusk, you will be burnt to death!"
"FULL MOON" said Bhattar.
"If the moon does not rise in the sky by dusk, you will be burnt to death!"
"FULL MOON" said Bhattar.
A giant pyre was prepared.
From the ceiling, a large disc was hung by 100 ropes.
The king had Bhattar board the disc.
He was given two options.
From the ceiling, a large disc was hung by 100 ropes.
The king had Bhattar board the disc.
He was given two options.
"Apologise for the misdemeanor and admit that you were wrong about the moon. OR fall on the burning fire and die."
Deep in devotion, Bhattar repeated, "FULL MOON!"
Some of Bhattar's well-wishers tried to reason with the king. He would have none of it.
Deep in devotion, Bhattar repeated, "FULL MOON!"
Some of Bhattar's well-wishers tried to reason with the king. He would have none of it.
Having tried that, they now tried to wake Bhattar up from his trance.
The realisation of what was about to happen, finally dawned upon Bhattar!
But then, just like Markandeya, Bhattar was not bothered!
The realisation of what was about to happen, finally dawned upon Bhattar!
But then, just like Markandeya, Bhattar was not bothered!
He boarded that stool, and watched the fire being lit right under him.
"Devi is Poornachandrika! There will be a full moon" he asserted!
"Devi is Poornachandrika! There will be a full moon" he asserted!
Dusk was nearing. The fire started burning. The king stood there watching.
As all this was happening, Bhattar broke into a song!
As all this was happening, Bhattar broke into a song!
"Like the rising red rays", he went, singing Abirami's praise!
The songs he sung that day are known as Abirami Anthadhi!
Each song begins from the last word of the previous song, hence Antha -> Adi!
The songs he sung that day are known as Abirami Anthadhi!
Each song begins from the last word of the previous song, hence Antha -> Adi!
Song after song, went Bhattar.
The king decided to use this as a timer mechanism! At the end of each song, he would cut one of the ropes, thus bringing the disc lower every time.
The king decided to use this as a timer mechanism! At the end of each song, he would cut one of the ropes, thus bringing the disc lower every time.
By now, Bhattar started sweating, not out of fear, but from the heat rising from the flames below!
In his mind, there was no doubt! A full moon would rise!
In his mind, there was no doubt! A full moon would rise!
But then, Devi is also a Rasika! She had immersed Herself into the melody of Bhattar's music!
It took Her a while to notice that more than 70 of the 100 ropes had been cut!
It took Her a while to notice that more than 70 of the 100 ropes had been cut!
Bhattar stood there, his legs on the disc that was hanging by the last few ropes!
Image courtesy : Google (as with all images)
Image courtesy : Google (as with all images)
Bhattar kept singing song after song, not once losing the thread of the Anthaadi, with the last word of the song becoming the first word of the next!
His songs described Devi Abhirami, the grace and divine beauty of the Tripurasundari!
Notice Abhirami's spectacularly circular earrings!
When Devi's ears were lost in Bhattar's music, of what use were those earrings?
When Devi's ears were lost in Bhattar's music, of what use were those earrings?
She gently removed one of the earrings and let it float to the sky!
And there it shone, bright and circular, as the full moon adorning the sky!
And there it shone, bright and circular, as the full moon adorning the sky!
The king realised that Abirami Bhattar was a true devotee, who was to be honored, not punished.
What about Bhattar, you ask?
What happened may have been a miracle to the king and the crowd gathered.
To Bhattar, it was in line with his faith in his mother, Abirami!
What about Bhattar, you ask?
What happened may have been a miracle to the king and the crowd gathered.
To Bhattar, it was in line with his faith in his mother, Abirami!
Irrespective of what happened, he completed the 100 stanzas of the Abhirami Anthaadi.
You can read them here: hindutemplefacts.wordpress.com/tag/abirami-an…
You can read them here: hindutemplefacts.wordpress.com/tag/abirami-an…
Thanks to both Amritaghateswara and Abirami, rushing to save the lives of their devotees, Thirukkadaiyur temple is known as a kshetra for old couples to celebrate their Ugraratha Shanti and Bhimaratha Shanti!
May the divine couple bless their devotees with a long, healthy life!
May the divine couple bless their devotees with a long, healthy life!
While not from the Abirami Anthadi, this is a cinematic portrayal of the story of Abirami Bhattar, sung in the majestic voice of TM Soundararajan
And to those wanting to listen to learn Abirami Anthadi, here's the full text rendered clearly by Seegazhi Govindarajan!
It is possibly the best rendition to follow with the text!
It is possibly the best rendition to follow with the text!
Due to unforeseen circumstances, I'm not able to continue this thread.
Hopefully Devi will give me the strength to complete it soon.
Thank you for reading!
Hopefully Devi will give me the strength to complete it soon.
Thank you for reading!
Continuing with the thread!
Day 4: Kushmanda
She is the warmth of the universe and glows with the radiance of the Sun!
Day 4: Kushmanda
She is the warmth of the universe and glows with the radiance of the Sun!
Devi, in this form, holds various weapons, but most significantly, she holds a Kamandala and the Amritaghata (the pot of Amrit) to nourish the universe!
So, which form of the Devi in Tamil Nadu, has aspects similar to Kushmanda?
Hint: She was the War Goddess of the Early (Sangam) Cholas.
Hint: She was the War Goddess of the Early (Sangam) Cholas.
It is our very own Vekkali Amman, who resides in Uraiyur (Trichy), the capital of the Sangam Cholas.
Crowned with flames (remember Kushmanda is the warmth of the universe), she sits on a Peetham, with Her right leg folded, a posture to convey tremendous Yogic energy.
Notice what Devi is holding in her lower left hand.
Notice what Devi is holding in her lower left hand.
Just like Kushmanda holds the Amritaghata to nourish the universe with its nectar, Vekkali Amman holds an Akshaya Patra, an endless source of food.
Devi sits in a small but charming temple with decked courtyards and prakarams.
She faces north, hence the significance associated with being the deity the Cholas worshipped before going to war.
She faces north, hence the significance associated with being the deity the Cholas worshipped before going to war.
There's an interesting story associated with Devi, Thaayumanavaswami (Mathrubhooteswara, the Shiva in the Rockfort Temple), and Saramamunivar.
And that is also part of the Sthala Purana of the temple.
And that is also part of the Sthala Purana of the temple.
Saramamunivar, a sage who lived in Trichy, set up a small garden to get flowers for worshipping Shiva.
However, a local thief would pick all the flowers before the sage and sell it at the court.
However, a local thief would pick all the flowers before the sage and sell it at the court.
Law-abiding as he was, Munivar went and complained to the king. But we know that the king is the ultimate beneficiary of the theft, so he paid little heed.
Munivar appealed to the higher authority, in this case, Shiva himself.
Munivar appealed to the higher authority, in this case, Shiva himself.
Upset at his devotee being slighted, Shiva turned west (from east). Uraiyur faced a large sandstorm as a result of his rage.
The people of Trichy made a beeline towards Devi. After all, Kushmanda is also the flower, Kusuma, for bees to flock to.
The people of Trichy made a beeline towards Devi. After all, Kushmanda is also the flower, Kusuma, for bees to flock to.
Devi acknowledged their plight. She looked at Shiva.
Look at her! The vatsalyam towards devotees bright on her face!
Can Shiva say no to her? Can anyone? Of course not.
Look at her! The vatsalyam towards devotees bright on her face!
Can Shiva say no to her? Can anyone? Of course not.
As retribution for making her people homeless, Devi refuses to have a roof over her head even today.
The Vekkali Amman temple has beautiful courtyards and prakarams. But her shrine is open to the sky.
The Vekkali Amman temple has beautiful courtyards and prakarams. But her shrine is open to the sky.
After all, like Kushmanda, the warmth of the universe, our Vekkali Amman too wants to be graced by the sun.
A song dedicated to Vekkali Amman
A song dedicated to Vekkali Amman
Day 5: Skandamata
As motherly as it may seem, don't forget that Skanda is the Deva Senapati, the leader of the armies of the Devas.
And Devi is his mother!
As motherly as it may seem, don't forget that Skanda is the Deva Senapati, the leader of the armies of the Devas.
And Devi is his mother!
She appears riding on a ferocious lion, but with her hands holding Skanda and assuring her devotees as Abhaya!
Unlike for the other days, it was difficult for me to select an analogous form of the Devi!
After all, where is she not the loving and caring mother?
After all, where is she not the loving and caring mother?
Should we talk about Periyanayaki, the Devi from the Brahmapureeswarar temple of Seerkazhi?
Isn't she the one who nourished crying Sambandar as her own child, making him Gnanasambandar?
Isn't she the one who nourished crying Sambandar as her own child, making him Gnanasambandar?
Or should we talk about Akhilandeswari, the Devi of the Jambukeswara temple of Tiruvanaikovil?
Interestingly, while Jambukeswara is named so after the sthala vriksha being the Jambuka tree, Devi has no such limitations.
She is Akhilandeswari, the Goddess of the entire universe!
She is Akhilandeswari, the Goddess of the entire universe!
Since we spoke about Vekkali Amman of Uraiyur yesterday, let's talk about Akhilandeswari today (They are both part of Tiruchirapalli now).
Here's the Jambukeswarar-Akhilandeswari temple of Tiruvanaikkovil.
Here's the Jambukeswarar-Akhilandeswari temple of Tiruvanaikkovil.
While not as expansive as the Srirangam Ranganathaswamy temple next door, the Akhilandeswari temple is a sculptor's delight!
Just look at the ornamentation on the pillar. Can you believe this was done on hard stone, with a chisel?
Just look at the ornamentation on the pillar. Can you believe this was done on hard stone, with a chisel?
If you visit on a week day (Except Friday) and before the noon pooja (more on that later), you will have the temple practically to yourself.
Imagine being here with an Odhuvaar singing the Tevaram!
Imagine being here with an Odhuvaar singing the Tevaram!
The Akhilandeswari temple is very old, with the basic structure supposed to have been built by Kochengan Chola, from the Sangam age!
In fact, the Sthala Puranam of the temple is also the story of the great Chola himself!
In fact, the Sthala Puranam of the temple is also the story of the great Chola himself!
Observe this panel.
Shiva is worshipped by three different entities. There's Devi Akhiandeswari, but also an elephant, and a spider (notice the spider's web right above the Lingam).
Shiva is worshipped by three different entities. There's Devi Akhiandeswari, but also an elephant, and a spider (notice the spider's web right above the Lingam).
Both the spider and the elephant (as Devi herself) worshipped Shiva in their own way.
Every day, the spider would weave a web to roof the Lingam, and prevent dried leaves from littering it.
Every day, the spider would weave a web to roof the Lingam, and prevent dried leaves from littering it.
And every day, the elephant would bring water from Kaveri to conduct abhishekam for the Lingam.
However, the elephant's worship would also destroy the roof of cobwebs the spider had built.
However, the elephant's worship would also destroy the roof of cobwebs the spider had built.
Things went on this way, until the spider decided to take matters into his own eight legs!
He entered the ear of the elephant, killing it and himself in the process.
He entered the ear of the elephant, killing it and himself in the process.
While the elephant attained Moksha, the spider was reborn, but this time as the Chola king, Ko Chengan Chola!
He built grand temples on both sides of the Kaveri river! But there's a twist! None of these temples had sannidhi entrances tall enough for elephants to enter!
He built grand temples on both sides of the Kaveri river! But there's a twist! None of these temples had sannidhi entrances tall enough for elephants to enter!
The Jambukeswarar temple at Tiruvanaikkovil is one of those temples!
The shrine of Jambukeswarar is a little below ground level where is worshipped by the waters of the Kaveri through the year (It's the Appu (water) sthalam of the Panchabhootha kshetrams).
The shrine of Jambukeswarar is a little below ground level where is worshipped by the waters of the Kaveri through the year (It's the Appu (water) sthalam of the Panchabhootha kshetrams).
Getting back to Akhilandeswari, she is supposed to have worshipped Shiva as a disciple here.
Therefore, this is one of the Upadesa sthalas, and no Thirukkalyanam happens here (unlike the Meenakshi Thirukkalyanam we spoke about in Madurai).
Therefore, this is one of the Upadesa sthalas, and no Thirukkalyanam happens here (unlike the Meenakshi Thirukkalyanam we spoke about in Madurai).
However, there is something unique to this temple. The Uchi kaala (noon) pooja.
It is believed that Devi comes to worship Shiva. The priest of the temple dresses himself as Devi Akhilandeswari and conducts the pooja.
After the pooja, a black cow (kaaram pasu) is fed.
It is believed that Devi comes to worship Shiva. The priest of the temple dresses himself as Devi Akhilandeswari and conducts the pooja.
After the pooja, a black cow (kaaram pasu) is fed.
Here's a video capturing the Uchi Kaala poojai. Devi coming from her shrine, accompanied by music, to Jambukeswarar shrine for the worship.
Part of the legend is it that, Adi Sankara adorned Devi with two thadangams as ear rings. Notice them in this picture.
Sankara also installed a Prasanna Ganapathy shrine right opposite Devi's in order to rein in her ugram.
How can Devi be angry with Ganapathy, or any of us?
She is after all, not only Skandamata, but AKhilandeswari, mother to us all!
How can Devi be angry with Ganapathy, or any of us?
She is after all, not only Skandamata, but AKhilandeswari, mother to us all!
We conclude today's part of the thread with what is perhaps my favorite kriti in Dwijavanthi.
Akhilandeswari - by Bombay Jayashree.
Akhilandeswari - by Bombay Jayashree.
Before we begin today's part of the thread, don't miss out this wonderful thread by @MadhuKcvn on the inscriptions in the Jambukeswarar-Akhilandeswari temple. threadreaderapp.com/thread/1246792…
Day 6: Katyayani
Katyayani is the form Devi took to destroy Mahishasura and protect the Devas.
So, this one's easy. We will be looking at Mahishasura Mardhini today!
Katyayani is the form Devi took to destroy Mahishasura and protect the Devas.
So, this one's easy. We will be looking at Mahishasura Mardhini today!
Devi Katyayani, as Mahishasura Mardhini, is Simhavahini.
Since I said that all temples in this thread are from Tamil Nadu, you must be wondering, where in TN is there a temple to Mahishasura Mardhini.
Don't worry! The Pallavas have you covered!
Don't worry! The Pallavas have you covered!
Nestled in the sea-washed shores of Mamallapuram, the city of the mighty wrestler Mamalla, sits the Mahishasura Mardhini Mandapa!
A distinctly Pallava structure complete with the characteristic Simha stambhas (Lion pillars) on the Mukha Mandapa, the larger Mandapa faces east.
But of greater interest to us today, is the Mahishasura Mardhini panel of the Mandapa.
Here it is in all its glory!
Here it is in all its glory!
This is probably one of the most dynamic depictions of the scene.
A silent salute to the Pallavas for this veritable wonder of worksmanship!
A silent salute to the Pallavas for this veritable wonder of worksmanship!
I am in love with the creator of this masterpiece.
So, I'm going to take a dive down history and sit next to the sculptor as he envisions this panel part by part.
Please indulge me in this!
So, I'm going to take a dive down history and sit next to the sculptor as he envisions this panel part by part.
Please indulge me in this!
"This is a piece of hard rock, literally a part of a cave.
No dynamite, or drill. How do you intend to carve anything on this?"
"Oh, you see this chisel? There's my hammer waiting. Let's get to work!"
No dynamite, or drill. How do you intend to carve anything on this?"
"Oh, you see this chisel? There's my hammer waiting. Let's get to work!"
What amazes me is not just the magnificent scale in relief!
Look at the magnitude and depth of the carving in this angle!
Every curve you see, every trough, every depression, is ROCK that has been carved OUT of the stone!
Look at the magnitude and depth of the carving in this angle!
Every curve you see, every trough, every depression, is ROCK that has been carved OUT of the stone!
If the chisel sinks in a centimeter more than it's supposed to, it's not only the stone that's ruined. It's the ENTIRE cave. You can't go pick another stone.
You will have to go look for another cave to carve your masterpiece!
It's a once-in-a-lifetime chance! No mistakes!
You will have to go look for another cave to carve your masterpiece!
It's a once-in-a-lifetime chance! No mistakes!
The entire panel is around 8 feet tall and 15 feet long.
Now that we are sufficiently awed by the macro, let's get down to the details!
Now that we are sufficiently awed by the macro, let's get down to the details!
Since this picture is reasonably hi-res, I will use it for our thread. Let's ignore the watermark.
Thank you, Alamy!
Thank you, Alamy!
There is so much activity happening in this relief!
Let's start with Mahishasura's side!
Let's start with Mahishasura's side!
Mahisha is defiant.
Look at the way he holds his gada! The right hand is gripping it firmly, while the left supports it as if to say, "I'm ready! Bring it on!"
Look at the way he holds his gada! The right hand is gripping it firmly, while the left supports it as if to say, "I'm ready! Bring it on!"
And why would he not be over-confident!
His opponent is much smaller in size!
(Look at the way the sculptor has carved Mahisha as much taller standing on the ground than Devi sitting on the lion!)
His opponent is much smaller in size!
(Look at the way the sculptor has carved Mahisha as much taller standing on the ground than Devi sitting on the lion!)
Even if Mahisha's confident, his soldiers have gotten the memo.
This is Katyayani Devi Herself, riding the lion into battle!
Look at how this one has already turned tails!
This is Katyayani Devi Herself, riding the lion into battle!
Look at how this one has already turned tails!
The one below him has understood the situation even better. He has already given up arms and is on the ground.
The one below him has understood the situation even better. He has already given up arms and is on the ground.
Now, if you go back and look at this angle of the relief, their movement becomes even more apparent.
They are not just running away from battle, they are running from the Mandapa as well!
They are not just running away from battle, they are running from the Mandapa as well!
Mahishasura is still holding on. After all, he still has a parasol (chhatri) on his head.
With one leg bent away, his other leg is still firm, ready to battle on!
Let's take a moment to appreciate the detailing on his dhoti!
With one leg bent away, his other leg is still firm, ready to battle on!
Let's take a moment to appreciate the detailing on his dhoti!
But all of Mahishasura's efforts are of no use. This is Devi he is facing! And has she come alone? Nope!
She has given ample opportunity to all the Ganas to fulfill their responsibility!
She has given ample opportunity to all the Ganas to fulfill their responsibility!
Let's now look at the left side of the relief!
Right below Devi's feet is a gana, knees bent for a firmer footing. His bow is taut. He is pulling an arrow to fire on the enemy!
Right below Devi's feet is a gana, knees bent for a firmer footing. His bow is taut. He is pulling an arrow to fire on the enemy!
There are Ganas holding swords and shields and marching into the battle!
We could be in the middle of battle, but there are Ganas holding Chhatram (parasol) and Chaamaram (fly-whisk fan) for Devi.
There's even a Gana with great foresight, who has concluded that Devi is winning this battle.
See him carrying a plate of offerings to the party!
See him carrying a plate of offerings to the party!
In all the activity of the Ganas, don't miss this brave warrior here!
Dressed similar to Devi, she is there to fight as well!
While her legs are bent, her strong torso (don't miss the six-pack abs) is gearing up for action!
Dressed similar to Devi, she is there to fight as well!
While her legs are bent, her strong torso (don't miss the six-pack abs) is gearing up for action!
And what is she going to do?
Look at where her sword is! She is going to slice the body of the Asura who is falling from above.
Look at where her sword is! She is going to slice the body of the Asura who is falling from above.
Look at the composure on her face!
Look at the intensity in those abs!
Look at the intensity in those abs!
Now to Devi herself!
Like the Gana below her feet, she too holds a taut bow and is about to pick an appropriate arrow to hit Mahisha!
Like the Gana below her feet, she too holds a taut bow and is about to pick an appropriate arrow to hit Mahisha!
For a moment, forget that this is the heat of battle!
Let's look at the ornaments adorning Devi!
Oh! What a glorious and powerful sight this sculpture must have been when it was completed!
Let's look at the ornaments adorning Devi!
Oh! What a glorious and powerful sight this sculpture must have been when it was completed!
While all of Mahisha's side is running away, Devi is eagerly riding into battle, lion and Ganas with her!
Look at the mastery of the vision of that sculptor!
Look at the mastery of the vision of that sculptor!
The Mahishasura Mardhini episode is one of the most evocative and a sound reaffirmation of the victory of dharma over adharma.
While there are several sculptures capturing various scenes of the episode, this is one of my favorites!
While there are several sculptures capturing various scenes of the episode, this is one of my favorites!
The mane of the lion is typically Pallava style, with curled up hair, as you'd see in the Simha sthambhas in that Mandapa or even at the Rockfort temple in Trichy, parts of which are Pallava vintage!
Look at the magnificent beast roar into battle!
Look at the magnificent beast roar into battle!
In contrast, you find a very different lion here at the Mahishasura Mardhini sculpture at Rani ki Vav in Gujarat
I had written a very short thread on this sculpture.
https://twitter.com/jeysundhar_d/status/1180850382815162368
The two (Mamallapuram and Rani ki Vav) have to be seen in sequence.
The former captures the heat of battle just as the tide turns and the latter is the end of the battle with a defeated Mahishasura.
The former captures the heat of battle just as the tide turns and the latter is the end of the battle with a defeated Mahishasura.
I should perhaps write about the Olakkaneswara temple (and lighthouse) on top of the Mandapa, but that's for another day!
With that we come to the end of the thread for today!
Here's a sweet rendition of the immensely popular Mahishasura Mardhini Stotram!
Here's a sweet rendition of the immensely popular Mahishasura Mardhini Stotram!
Day 7: Kalaratri
Kalaratri is a fierce form of the Devi. She appears to defeat Sumbha and Nisumbha.
Unlike other forms, she rides a donkey.
Kalaratri is a fierce form of the Devi. She appears to defeat Sumbha and Nisumbha.
Unlike other forms, she rides a donkey.
So, which form of the Devi in Tamil Nadu would we be discussing today?
We'll be talking about the Vada Bhadrakali Amman in Thanjavur.
We'll be talking about the Vada Bhadrakali Amman in Thanjavur.
Why Vada Bhadrakali, you ask? Simply because it's Kalaratri?
If so, then why not the beloved Madhura Kali of Siruvachur? Or Kalikambal of Chennai?
If so, then why not the beloved Madhura Kali of Siruvachur? Or Kalikambal of Chennai?
Because the Vada Bhadrakali of Thanjavur is known as Nisumbha Soodhini Durga, the Durga who killed Nisumbha, in other words, Kalaratri!
Unlike the other temples we have seen so far, the Vada Bhadrakali temple is relatively small.
But it has a rich history to go with it!
PC: Tamilnadu-favtourism
But it has a rich history to go with it!
PC: Tamilnadu-favtourism
Vijayalaya Chola (850-870CE), the founder of the Imperial Chola dynasty (and the one who revived Chola fortunes after a long inter-regnum) captured Thanjavur from the Muttaraiyar clan.
Upon his victory, one of the first temples he built was to Nisumbha Soodhini Durga.
She was his war deity, the one he and the Cholas who followed him, worshipped before going into battle.
She was his war deity, the one he and the Cholas who followed him, worshipped before going into battle.
Even if the temple is small today, the Moola Moorthy is fierce and life-sized.
I'm not sure if there's any sthala puranam for why the head is tilted to the left.
I'm not sure if there's any sthala puranam for why the head is tilted to the left.
If the temple was patronised by the Imperial Cholas, can it be limited to Tamil Nadu?
The Vada Bhadrakali temple of Thanjavur inspired the construction of a Vada Bhadrakali temple in Singapore!
The Vada Bhadrakali temple of Thanjavur inspired the construction of a Vada Bhadrakali temple in Singapore!
Devi sits in Little India of Singapore, just as she sits in Thanjavur blessing her devotees!
We conclude today's part of the thread with a rendition of the Kalika Ashtakam
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