AARIDRA DARISANAM NIGHT—DANCE IN DEVOTION TO SIVA
The first picture of Nataraja & stars photo was taken by NASA. This formation of stars happens only during Thiruvadirai Nakshathiram once in a year. NASA is wondering how is this happening. And that shows the power of God Shiva
5/29/16, 8:32:28 AM: A Vino: Thiruvadirai Nakshathiram is Lord Siva own Nakshathiram.
Tandava symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death.
APPENDIX
Nataraja:
Symbolism Behind the Lord of Dance
Posted by The Editor | Aug 15, 2015 | India Divine.Org
The
inner meaning of this Symbol is very grand and poetic, and to enter into, and
understand it, will certainly be deemed a privilege by those who are striving
to realise for themselves the truths of mysticism. Before entering into the
meaning itself let me digress a little in narrating the legend, which explains
the occasion for Siva’s sacred dance at Chidambaram.
Vishnu
arose one day from his slumber, and repaired to the Sacred Mount Kailas, there
to pay reverence to the supreme Siva, Who told him, that, in the neighbouring
forest of Taruka there were multitudes of heretical Rishis or devotees,
dwelling with their wives, and puffed up with the pride of their learning, and,
who regarded themselves as independent of His authority. It was the intention
of Siva, to visit this forest, in order to ascertain the state of the Rishis
there, and to teach them a lesson. He accordingly asked Vishnu to accompany Him
in the guise of a woman, and the two – Siva as a mendicant, with the usual
insignia including the bowl for the collection of alms, and Vishnu as His wife
– entered the forest.
As
soon as the two entered the Darukavana as man and wife, the Rishis’ wives were
seized with an unspeakable frenzy of passion for the mendicant, while the
Rishis were equally infatuated by the woman that followed Him – Vishnu in
disguise.
A
fierce wrath soon raged throughout the hermitage. The Rishis speedily perceived
that the mendicant and his wife, who possessed such a mysterious power of
attraction, were not what they seemed. They became ashamed of their ecstasies,
of evil desire, and, gathering in a body, pronounced fierce imprecations upon
the couple. But the Divine visitors remained unharmed. They then dug a
sacrificial pit and proceeded to burn oblations, in view to ensure the destruction
of the unwelcome intruders.
As
a result of the sacrificial rites, a fierce tiger came out of the sacrificial
fire and sprang at Siva; who, smiling gently, seized it with His sacred hands,
and, with the nail of His little finger, ripped off its skin, and, wrapped it
round Himself like a soft silken garment. This is the origin of Siva’s
tiger-skin mantle.
Undiscouraged
by the failure, they renewed their sacrificial offerings, and from the
altar-fire came out a monstrous serpent, which He seized and wreathed round His
neck, where it has since hung forever; and then began His mystic dance.
At
last, a monster named Musalaka (the club-bearer), in the shape of a black
dwarf, hideous and malignant, rushed upon Him, brandishing a club, with eyes of
fire. Upon him, the Lord pressed the tip of His sacred foot, and broke his
back, so that he writhed on the ground. Thus with His last foe prostrate, Siva
resumed the dance of which all the gods were witnesses, while His hosts sang
enthusiastic choruses.
The
Rishis, parched with the heat of their own sacrificial fires, faint with the
fury of their anger, and, overwhelmed with the splendor of the heavens opening
around them fell to the ground as dead, and then rising, worshipped the known
God, acknowledging themselves His faithful devotees.
Now
entering into the vital part of the symbolism, Nataraja means the “Lord of the
Stage”* [* The expression ‘Nataraja’ does not mean “Lord of the stage”; it
means only ‘Master-actor’, or ‘Prince of actors’. The idea, ‘Lord of the stage’,
corresponds to the Sanskrit compound ‘Nata-ranga-raja’, and not to ‘Nata-raja’.
The synonyms, Natesa, Natesvara and Nataraja, indicates that the Lord is the
Chief actor (=Sutradhara) in the drama of the Prapancha, that He is the
Nimitta-karana of the Manifested Universe.
The
idea is that the world is a stage, which presents the vision and activity of
life, through the power of the omnipresent God, the unseen Lord of the stage.
He represents the teacher or guru whose one of the most important functions is,
to enforce his teachings by example; and this idea is the key-note to the
Nataraja symbol.
The
legend teaches that He subdues and wraps round Him, like a girdle, the feline
fury of human passion. The guile and malice of mankind He transmutes into His
necklace. One of His feet is planted over and crushes the giant – the endless
illusion or monster of human depravity, while the other is raised upward to aid
and comfort those who are shrouded in Maya, and enable them to realise His
eternal fellowship.
The
little drum in one of His right hands, expresses the idea of His being the
Preceptor or Guru, and means also to indicate that He holds in the hollow of
His hand the dispensation of the entire Prapancha, the cause of all the world,
to be folded or unfolded at His own will. The deer on one side is the mind,
because the latter leaps and jumps from one thing to another as unsteadily as
that animal.
On
His head, He wears the Ganges, that is
to say, the Chit-Sakti or Wisdom which is most cool and refreshing; the Moon
representing the ethereal light and blissfulness of the Atman or Self. The
second right hand representing the idea of Peace, indicates the blessed
calmness of Wisdom. In one of the left hands is held Agni (fire), which
represents the idea that the truth of the Guru’s teachings can only be fully
understood on practical realization in one’s inner experience.
The
place of the dance – the theater – is the Tillaivanam (=Daruka-vana); in other
words, the body is spoken of as the Vanam (forest), because of the multitude of
its components. The platform (=boards) in that theatre, is the
cremation-ground, the place where all passions, and the names and forms that
constitute the vision of the world, are dissolved – pure consciousness devoid
of attachment to anything outside, and free from all taint of illusion.
he
above are some of the leading features of the symbol*.The allegory, as
interpreted above, cannot be said to be on the track of correct solution. Yet,
as an attempt, it is commendable, although for real light, one should search
the Agamantic classics.
The
Guru teaches that Maya – the illusion of the world – should be crushed down,
that the deer-like mind should be left behind, and ahankara (egoism) destroyed,
and that man should ascend to the regions of pure consciousness, free from
passion and deception, and enjoy the true bliss.
Viewed
in the light of this inner meaning, Sri Nataraja is no more a meaningless idol,
an effigy in stone or copper, but a symbol of the highest import, an incentive
to pure inspiration and elevation.
Posted by The Editor | Aug 15, 2015 | India Divine.Org
The idea is that the world is a stage, which presents the vision and activity of life, through the power of the omnipresent God, the unseen Lord of the stage. He represents the teacher or guru whose one of the most important functions is, to enforce his teachings by example; and this idea is the key-note to the Nataraja symbol.
The legend teaches that He subdues and wraps round Him, like a girdle, the feline fury of human passion. The guile and malice of mankind He transmutes into His necklace. One of His feet is planted over and crushes the giant – the endless illusion or monster of human depravity, while the other is raised upward to aid and comfort those who are shrouded in Maya, and enable them to realise His eternal fellowship.
The little drum in one of His right hands, expresses the idea of His being the Preceptor or Guru, and means also to indicate that He holds in the hollow of His hand the dispensation of the entire Prapancha, the cause of all the world, to be folded or unfolded at His own will. The deer on one side is the mind, because the latter leaps and jumps from one thing to another as unsteadily as that animal.
On His head, He wears the Ganges, that is to say, the Chit-Sakti or Wisdom which is most cool and refreshing; the Moon representing the ethereal light and blissfulness of the Atman or Self. The second right hand representing the idea of Peace, indicates the blessed calmness of Wisdom. In one of the left hands is held Agni (fire), which represents the idea that the truth of the Guru’s teachings can only be fully understood on practical realization in one’s inner experience.
The place of the dance – the theater – is the Tillaivanam (=Daruka-vana); in other words, the body is spoken of as the Vanam (forest), because of the multitude of its components. The platform (=boards) in that theatre, is the cremation-ground, the place where all passions, and the names and forms that constitute the vision of the world, are dissolved – pure consciousness devoid of attachment to anything outside, and free from all taint of illusion.
he above are some of the leading features of the symbol*.The allegory, as interpreted above, cannot be said to be on the track of correct solution. Yet, as an attempt, it is commendable, although for real light, one should search the Agamantic classics.
The Guru teaches that Maya – the illusion of the world – should be crushed down, that the deer-like mind should be left behind, and ahankara (egoism) destroyed, and that man should ascend to the regions of pure consciousness, free from passion and deception, and enjoy the true bliss.
Viewed in the light of this inner meaning, Sri Nataraja is no more a meaningless idol, an effigy in stone or copper, but a symbol of the highest import, an incentive to pure inspiration and elevation.
Chidambara Rahasyam--The Secret that abounds Chidambaram Temple
4) Temple roof is made of 21600 gold sheets which denote the 21600 breaths taken by a human being every day (15 x 60 x 24 = 21600)
5) These 21600 gold sheets are fixed on the Gopuram using 72000 gold nails which denote the total number of Nadis (Nerves) in the human body. These transfer energy to certain body parts that are invisible.
6) Thirumoolar states that man represents the shape of Shivalingam, which represents Chidambaram which represents Sadashivam which represents HIS dance!
7) "Ponnambalam" is placed slightly tilted towards the left. This represents our Heart. To reach this, we need to climb 5 steps called "Panchakshara padi " "Si, Va, Ya, Na, Mah " are the five Panchaaksharee mantras. (Namah Sivaaya)
There are 4 pillars holding the Kanakasabha representing the 4 Vedas.
9) 9 Kalasas on the Golden Roof represent the 9 types of Sakthi or Energies of Parasakti
The 6 pillars at the Artha Mantapa represent the 6 types of Saastras.
The 18 pillars in the adjacant Mantapa represent 18 Puranas. Scriptures say it takes eighteen steps to reach the Lord. One has to climb eighteen steps in Sabari Malai or Puri Jagannath (padinettu padi)
10) The dance of Lord Nataraja is described as Cosmic Dance by Western Scientists.
Science is propounding now what has been stated in scriptures thousands of years ago!
Thiruvathira Festival in Kerala – Thiruvathirai in Dhanur Masam in Kerala
Thiruvathirai festival is observed on the Thiruvathira Nakshatra day in the Malayalam month of Dhanu Masam (December – January). Thiruvathirai Festival 2021 date is December 19. Thiruvathirai is also the name of a famous dance form of Kerala and it is performed on the day. The festival is mainly dedicated to Lord Shiva and there are two popular beliefs – one is that on the day Kamadeva was burned to ashes by Lord Shiva. Another legend is Lord Shiva’s return to the world after ending harsh austerities and tapas that he was performing after the death of Goddess Sati.
The festival is dedicated exclusively to the women folk and reminds one of the enviable positions that women enjoyed in Kerala society during the medieval period. The government of India cultural departments writes about the festival
From prehistoric times, Malayalee woman enjoyed an enviable position in the society, and she was practically the mistress of her house. The elevated position she occupied at home and in the society had distinguished her from and in the society had distinguished her from her neighbors and influenced to a considerable extent the social structure, customs and religious practices of the people. The culmination of this phenomenon is clearly visible in setting apart one of the three great festivals of Kerala viz. Thiruvathira, exclusively for womenfolk, for which a parallel can hardly be found in any section of the Indian Society.
All the rituals and pujas are dedicated to Lord Shiva.
On the Thiruvathira day women fast and avoid rice meal and eat only preparations of wheat. Other food items include plantain fruits, tender coconuts, etc. They also chew betel and redden their lips.
The first Thiruvathira coming after the marriage of a girl is known as Puthen Thiruvathira or Poothiruvathira. This was celebrated on a grand scale earlier but today most people skip the functions.
Oonjal Attam, swinging on an oonjal (swing) is an item of amusement on the day.
On Thiruvathira night, women keep vigil for Shiva and perform Thiruvathira kali or Kaikottikali. They stand in a circle around lighted brass lamp, and dance each step at the rhythm of the songs they sing, clapping their hands.
Another popular custom on the day is known as the Pathirappoochoodal, meaning wearing of flowers at midnight. At the midnight of Thiruvathira, an image of Lord Shiva is placed at the central courtyard and flowers, plantains and jaggery are offered to the deity. They then perform Kaikottikali around the deity. Flowers are taken from the offering and worn by them.
Several dishes from tubers are prepared on the day and one of the most famous dishes is the Thiruvathira Puzhukku made from elephant yam and other locally available tubers.
The neighboring state of Tamil Nadu celebrates the Ardhra Darshan on the day – it is the festival dedicated to the Nataraja dance of Shiva.
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