JEERNODDHARANA MAHAKUMBHABHISHEKAM
[Article Released for the occasion
of Jeernoddharna Kumbhabhishekam Ceremony of Sri Ganesha Temple, Nashville by
N. R. Srinivasan, August 2018]
Cosmologist,
and physicists had shown that meditating in a pyramid will aid one to receive
more cosmic energy than meditating in an ordinary room. In fact it gives 3
times more cosmic energy to the meditator. The angle of the apex of the pyramid
should be 52 degrees and 51 minutes and the building should be cardinally
positioned. A crystal placed in the apex will distribute the cosmic energy all
around the meditation chamber or room.
The ancient
temples in South India were constructed in such a way that the cosmic energy
from space could reach the devotees who goes to worship at the temple. Kalasas
(Cupolas) in temple Gopuram are planned with this objective in view taking care
of the material used and design and are also charged spiritually as well as
recharged periodically.
Kumbhabhishekham,
also known as Samprokshanam
(Kudamuzhukku in Tamil) is a Hindu temple ritual that is believed to
homogenize, synergize and unite the mystic powers of the deity. Kumbha means
the Head and denotes the Shikhara or Crown of the Temple (usually on the
Gopuram) and Abhisekham or Prokshanam is ritual bathing. Kumbhabhishekham is
widely celebrated as a festival in South Indian Temples. A Mahaa Kumbhabhishekam is performed in a grand fashion every twelve years to
honor and renew the spiritual powers of the deity in the temple. A
Kumbhabhishekam can also be performed
annually for a temple deity.
The sole purpose of Jeernoddhara
Kumbabhishekam or Samprokshanam, is for repairing of the temple. It occurs once in
10 to 15 years, depending on the temple’s tradition. Repair includes fixing of
damaged statues, walls, ceilings, paintings, as well as cleaning of temple tank
and the temple, and the replacement of grains in the Kalasam as well as
polishing it. This will ensure a good health of the structure and the
environment.
The purpose of filling grains in the Kalasam
is to make the temple tower/gopuram withstand lightning and use it for storage
of grains for use in times of scarcity and famine. The grains along with metal of the Kalasas
are believed to be act as natural lightning conductor, which reduce the impact
on the structures. For this reason, the Kumbham is also designed to have a
pointed edge facing the sky. Sometimes, addition of new Mandapas, expansion of space
or addition of deities is also done as part of Kumbhabhishekam. Hindus worship the Supreme in many forms of which “Prathima Upaasana” and
“Praatika Upasana” are widely prevalent. One should begin life by seeking God
at least in one object (Saligraama, Linga, Sculpture, Sri Chakra etc.) through
concentration, which is the rationale behind “Prathima Upasana”, concentration through the medium of consecrated
idol or symbol. The other form of worship is the meditation through sound
symbols, like “OM”. Both these forms are conveniently practiced in Temples,
where one can feel the presence of God (Sannidhyam)
that leads one’s thoughts to greater heights in a spiritual atmosphere. The sun
rays contain a lot of heat energy. If we keep a piece of cloth in the sun it
does not catch fire. But, if we place a lens and focus the sunrays on the piece
of cloth, after sometime it will catch fire. Similarly, in order to get the
grace of omnipresent Lord, we have to build temples where we can focus the
power of the Lord in a consecrated idol. The process of the consecration is
called “Praana Pratishta”. The
devotee or the learned Priest, on behalf of the devotee, performs “Aatma pooja” first, that is, he
meditates on his inner-Self encased in his body. By appropriate mantras he
first purifies his body including his life forces (praanas) and his sense
organs. The vital airs and the organs of perception and activity animating in
him as the microcosm of the universe, which is the macrocosm, are transferred
by gestures to the accompaniment of mantras on to the idol or the image,
wherein the manifestation of the supreme (ishta
devathas) is devoutly invoked. The following prayer is uttered before the
“Praana Pratishta”: “Svaatma-samstham
ajam suddham twaa-madhya Parameswara Aranyaa-miva havyaasam moortau
aavaahayaam-yaham” “Oh Lord of the world, you are unborn and pure; Thou art
in my heart; I invoke you in my concentration even as fire in “aarani‟ wood
comes out by friction. The “Aagama” texts deals with the manner of conducting
the Kumbhabhishekam ceremony (pouring the consecrated waters on the deity and
the temple Gopurams (steeples)) at the end of “Praana Prathista” periodically which consists of a group of
rituals beginning with the selection of site up to and including the
installation of the deity.
The process of homogenizing,
synergizing and uniting the mystique powers of the Murti (vigraha ore icon) of
the Lord constitutes “Kumbhaabhishekam”. “Kumbha‟ means head and denotes
“Shikara‟ or crown of the temple. On the appointed day and at the auspicious
time(subha muhurtam) fixed thereto,
the “Kumbha‟ is bathed with the charged sanctified holy waters in the
sanctified pots and by a mystique process the life forces (Praanic powers)
trickle down a silver wire and enter the Deity installed in the sanctum
sanctorum of the temple.
“Kumbhabhishekam‟ consists of a
number of rituals that may extend from one to nine days. “Navaaham sowkhyadam proktam saptaaham devikam param, Panchaaham
saantikam proktam, trayaaham tu sivapriyam; Ekaaham rogasaantyartam tasmat
sampoojaye Sivam” Nine days of ceremony will bring in well-being; seven
days will please Devi (Goddess); Five days will bring peace. Three days will
please the Lord Siva. One day will cure you of all diseases, so it is said and
therefore worship accordingly.
The “Pratishta‟ ritual begins with “Karshana”,
ploughing done when the temple site is selected, followed by “Vaastupooja‟ and finally
Kumbhabhishekam. After the consecration, the image in the sanctum is no more
looked upon as a stone image. Now it is the Lord Himself worshipped in all
“His‟ powers and “Glory‟.
The Aagama shastras, ordain
performance of a “punar-uddhaarana kumbhabhishekam” of every temple once in
twelve years. Sometimes, major repair works have to be carried out to the
temple at this time, then it is called “Jeernod-dhaarana Kumbhabhishekam”.
Apart from maintaining the temple in good repair, Kumbabhishekam aims to purify the temple
premises ritually. It also seeks to renew the
sanctity of the deity in the temple. The basic idea is that the deity in the
temple, for all purposes, is a person who needs to be purified and recharged
periodically.
Apart from that Kumbabhishekam is
considered essential as a purification measure necessitated by occurrence of an
earth quake; or appearance of comet; or damage to the temple tower by
lightening or fire or other reason; famine; floods; disturbance or
damage caused to the image in the sanctum; or occurrence of death within
the temple premises; or defilement caused to the temple in any other
manner etc. when the temple is running out of its power.
A Kumbhabishekam can also be
performed at times of draught, when it
seeks to be rid of calamities,
famine and terrible omens (durbiksha
durnimittadi ghoraanam shantidam).
This ritual is required to be
performed to all the deities, in the garbha-grihas of all temples in a temple
complex. Through the medium of an elaborate chain of Yaagas and Yagnas (fire
sacrifices) the full potency of infused powers (Sannidhyam) is restored to the idols at the appropriate Muhurtam
(time) on an auspicious day. Through the redress of genuine difficulties and
grievances of the discerning and deserving devotees, the inherent and infused
spiritual powers of the installed idols are diminished over a period of time.
It is also possible that through unintended deficiencies (apacharaas) while conducting of poojas, prayers, aaraadhanaas etc.,
to the installed deities in the sanctum sanctorum, by either, in the absolute
merits and physical purity of the performing priests or in the improper
pronunciation and recital of the prescribed number of mantras or a host of
other related factors, the installed idol’s omnipotence (sannidhya) gets progressively diminished and demand rejuvenation or
restoration. This is the purpose with which Kumbhabhishekam is done
periodically. The Kumbhabhishekam ceremony consists of the erection of
Balaalayam, japas, chants of Vedas, sanctifying Kalasaas (pots of water), Homas
and Yagnas. The finale is the pouring of the sanctified water from the kalasas
over the stupis (steeple) on the top
of the central Vimaana or the sanctum sanctorum, the gopurams and the main and
other deities, by the priests.
BALAAALAYAM: During the
Jeernoddhaarana (renovation period), the divine presence of the Murtis (idols)
must be transferred to the holy waters contained in the Kalaasas. Pooja is done
to these Kalaasaas and Ustava deities (bronze idols taken out in processions).
The kalasaas remain in a miniature structure known as Balaalayam. “Baala” means
mini and “aalaya‟ means temple or structure in Sanskrit. During this time the
devotees will not be able to see or do poojas to the stone sculpted moola vigrahas (icons or Murtis). The
scheduled poojas will be done only to Utsava moortis. The divine presence of
the Lord will remain here until it is transferred back to the Moola vigrahas.
Scheduled Poojas to Moola vigrahas will start only on the Mahaa Kumbhaabhishekam
day. According to Kaarana-aagama, for this transfer to happen, depending on the
time required for the renovation (Jeernodharana), kalasaas with water may be
provided for a month long duration, a sword for two months, photo of a deity
for six months period, or a wooden carved figure for a year in the Balaalayam.
“Eka maasancha kumbhancha, dwou maasou
khadgamevacha, Shaan maasaaha pratimaachaiva, samvatsaram daaru bimbancha,
Baalaalaye pratishtitaha” Usually the kalasa of water is widely installed
as the renovation is done expeditiously.
During the Jeernoddharana
(restoration and renovation) time, important temple repair work is carried out
around the pedestals of the idols that are installed. During this process,
natural glue specially prepared consisting of eight ingredients called “Ashtabandhana” is used to cement the
idol firmly to the pedestal. Priests perform a special pooja called the “Ashtabandhana pooja” prior to the
construction work in the shrine around the vigrahas.
Ashta means 8 in Sanskrit and Bandhanam
means tying or fixing. Ashta- bandhanam is the process of affixing an idol to
its pedestal (peetham) with a clay-like paste made of 8 specific herbs mixed
with wood lac, limestone powder, resin, red ochre, beeswax and butter. The
paste is formed into long rolls about 2 cm thick and applied directly
around the base of the icon, so that the cemented joints become watertight.
This process is believed to keep the idol rejuvenated for a period of 12 years.
When the Bandhanam is performed with gold (Swarnabandhanam), the rejuvenating
power of the deity is believed to last for a period of 100 years
The '''Ashtabandhanam' paste is
pliable like rubber. Through repeated interactions with abhishekha dravyams -
materials used to bathe the deity during daily worship like water, milk,
buttermilk, sandal paste and oils - and atmospheric oxidants, the paste loses
its flexibility, becomes rigid and gets riddled with a lot of fissures. Through
these fissures, the abhisheka dravyams percolate and attack the Yantra embedded
under the peetham (pedestal, obliterating the Bijaksharamantras -- mantras of sacred syllables (bija) -- that are
inscribed on the Yantra, and this is believed to contribute to the lowering of
the Pranic spiritual power of the deity with the passage of time. Experienced Shilpis (temple sculptors) participate in this and are
graced with temple honors.
An “Aacharya‟ who is sufficiently
experienced in conducting such spiritual rituals is identified and the temple
management requests him to conduct the Kumbhabhishekam. Recitation of the Vedas
inside the temple premises is an important prerequisite for this ceremony. A Yagnasala
is built by the side of the main temple. Apart from the pedestal for the main
kalasa at the center of the yagna shala, five homa kundas (pots) are generally
prepared for the main deity, besides individual homa kundas for the other
deities. These five homakundas are intended for the five forms of fire- Sabhya,
Aahavaniya, Anvaharya, Garhapatya and Avasathya. The main kunda is sanctified
by the performance of the various homas. Along with the Kumbhabhishekam done to
the main deity, the same is being repeated to the other deities of the temple
simultaneously. Vimaana (steeple), Dwjasthamba (flag post) and Balipeetha
(sacrificial pedestal) abhishekams are also done at the same time. After this
ceremony is over, the priests come around, sprinkling this holy water over all
the devotees present. This is considered very auspicious and is called
“Prokshanam‟.
Homas, ordained in the Aagama
sastras, to be performed during this time, are performed with due ritualistic
care and attention. Poornahuti and Mahaa Deepa-aaradhana are performed at
the end of the proceedings. At the conclusion of the ceremony the power secured
by the performance of the various Homas are transferred to the main homakunda.
Thereafter, rituals follow to transfer the divine power accumulated in the main
homakunda to the main kalasa installed at the center of the Yaagasala. The
sacred fire of the Homakunda is extinguished thereafter. Elaborate poojas are
conducted to kalasaas to energize the same with all the power. The highlight of
this process is bathing of the Vimaana (steeple) and all the deities from the water of the kalasaas, by the
priests.
On the appointed day and at an
auspicious time, the Kumbha is bathed with the charged and sanctified holy
waters in the sacrificial pot and, by a mystic process, these pranic powers
trickle down a silver wire and enter the deity installed inside the Garbagriha (sanctum sanctorum) of the temple. The deity,
which was until then only a granite sculptured stone image, is believed to
transform into a vibrant and vivid living representation of the Deva with
innate beatitude, grace and grandeur, conferring divine blessings on all
devotees.
The Aacharyas are the center of
attraction with their prominent turbans. Mahadeepa Aradhana to the sanctified
deities after the kumbhabhishekam, and performing Shodasopachara (sixteen steps) Pooja
is a memorable sight. Theertha, prasada distribution and “Annadaana ‟ (free
food distribution) bring down the curtain to the grand ritual of great
significance. Traditionally, the Kumbhabhishekam ceremony is followed by
special poojas for the benefit of society and mankind as a whole. Accordingly,
on the evening of this ceremony Kalyana utsavams (marriage ceremonies) are
performed followed by taking the deities in a procession. According to the
Aagama sastras that guide temple rituals “Mandala
Abhishekam” must be performed for over a month (normally 45 days) after the
completion of the Mahaa-Samprokshanam
or Maha Kumbhabhishekam. The Mandala pooja enhances the divine
presence in the consecrated (recharged) archana and moola (main) vigrahaas.
Kumbhabhishekam ceremony has everlasting effect on the society as a whole,
besides on devotees. Aagama sastras mention, “Sarvaroga nivrityartham, sarva yaaga phalapradam Sarva sampathkaram
nreenam putrapoutrabhi vardhanam,” It is conducted with the sole purpose of
eradicating all illness, obtaining good benefits from various Yagaas, deriving
rich benefits for the well-being and for the healthy propagation of the
progeny. The kumbhabhishekam brings all-round prosperity not only to any
particular group or devotees but also to the society as a whole. We are familiar
with the saying strongly promoted as the
part of Sanatana Dharma “Vasudheka kutumbakam‟ the whole world is
one family and vedic saying “Eko vipraha Bahuda vadanti‟, wise men
call the ONE (Supreme) by many names and forms.
According
to Aagama saastra, Kumbhabhishekam has to be performed once in 12 years. Kumbhabhishekam
recharges not only the spiritual power of the deity but also the Kumbha of the
temple tower, which is also surcharged with the same divine power as the deity.
This is done to benefit even those who are unable to visit the temple derive
the same spiritual merit by just beholding the temple tower.
Symbolically,
the Rajagopuram represents the feet of the deity. A devotee bows at the feet of
the Lord at the entrance as he steps into the temple and proceeds towards the
sanctum sanctorum, leaving behind the world of worries. On a cosmic level, the
temple tower acted as a lightning conductor in olden days, as it was the
highest structure in that area. And the towers on top of the altar where the
deities are installed, are comparatively shorter than Raja Gopuram and are
called Sannidhi (Altar) Gopuram or Vimanams. There is a saying in Tamil that
one should not live in a place where there are no temples.
Kalasams
are assembled set of concentric cone, cylinder and globe shaped metallic
structures which are installed on top of the Gopurams. The Sannidhi Gopurams or
Vimanams have just a single Kalasam, whereas the Rajagopurams have multiple
Kalasams. The Kalasams are usuallly made of an alloy of five metallic elements,
such as Copper, Gold, Silver, Brass and Lead. They are filled with seeds of
essential grains and pulses, such as paddy, millets, corn etc., and completely
sealed with special compounds. The seeds are very well preserved for years,
through natural irradiation from Sun, against infestation (from within the
grains) and decaying. In case of need the stored seeds from the Kalasams are to
be used for re-germination and raising crops.
Traditionally, the Kalasams are refurbished and refilled with new
selected grains, about once in 12 years. The Kalasam of temples, which is generally
the highest in a place, is filled with grains (Mixed
nine grains called navadhaanyam in Tamil as
-- Corn, Kezhvaragu, Thinai, Saamai,
Solam, Paddy, Horse-gram,
Kambu and Barley) and it acts as a safety bank for storage
of seeds when the place is flooded or damaged otherwise. That is why there is no rule that Kumbhabhishekam
should be performed once in 12 years only but can also be done every year.
These
Kalasam in form of inverted pot is one of the prominent symbol of temples. Most Kalasam are made of metal and some of
stone. View of Gopuram (Temple Tower) is one of the important
rituals of Hindu worship along with view of Kodimaram (Temple flag mast).
Elaborate Gopurams were built as worship of sky (element Aakaasa) above, these
Gopurams were topped with ornamental Kalasams. We all know Lord Siva is
worshiped as Akasa (Space), one of the Panchabhootas (five elements) in
Chidambaram!
Some
temples have 4 entrance towers which protect about 75,000 sq. meters on all
four sides. However, this is approximate numbers.
Orthodox
Hindus Kalasam will act as a lightning conductor however there is
no scientific basis for that claim. To prove that claim is wrong we can take
the incident of breaking of Kalasam at the Tanjore Big Temple due to lightning.
This incident happened on November 28, 2010, when lightning hit one of the
Kalasams on "Rajarajan Thiruvayil" got
damaged. By the way the "real" lightning conductor which was placed
on the "Keralandhagan vayil" (according to Archaeological Survey of
India sources) helped to minimize the damage. May be the grains filled were not
properly checked for quality and composition. More research work is needed
before rejecting the religious contention. claim that this
Indeed, the Kumbhabhishekam brings all
round prosperity not only to any particular group of devotees, but also to the
society as a whole. With above said, devotees who partake in this spiritual event
would also receive divine energy that permeates the temple. There are many
opportunities where the devotee can touch the Gopura Kalasas and perform some
of the pujas throughout the five day event. Kalasa
is of course the crowning glory of the temple. It symbolizes fulfillment,
plenty and peace; a sense of well-being. It stands for the temple, which itself
is a symbol. Symbolically, it is next to
the Sahasrara. Kalasa is placed
in position by a hollow rod that juts out of the center of the tower and runs
through the vase, the Kalasa. It is through thistube that the lanchana
‘tokens’ (cereals and precious stones) are introduced. One of the explanations
is the hallow tube represents the central channel of energy the Shushumna that
connects to the Sahasrara, the seat of consciousness, through the
Brahma-randra. This is completes the analogy of the temple to the Purusha of
the human form.
Through the active participation of the
community, the powers of the chanted mantras are multiplied thereby benefitting
the devotee and their community.
Sahasra
Kalasabhisekam
In
Vedas, Lord Vishnu tells Brahma that propitiation in the form of ablution with
1008 vessels, filled with holy water and other sacred materials, pleases Him
(Vishnu) exceedingly. Whoever witnesses Lord Vishnu, who is hailed as
Yajnapurusha, during this ablution with faith and devotion, obtains the fruits
of bathing in the sacred rivers like the Ganges, Godavari, Krishna and Kaveri.
The ceremony is equivalent to the great festivals such as Kumbha Mela on the
banks of the holy Ganges River. That is why people eagerly wait for the final
prokshana (sprinkling ceremony) and divine blessings from the priest.
Homam/Havan/Yajna
Homams are performed by offering ghee,
grains and spices to the fire accompanied by the chanting of mantras. Ganapati
Homam (to remove all obstacles), Sudarsana Homam (for peace and victory over
negative energies), Navagraha Homam (to alleviate malefic effect of Navagrahas and
to appease the Navagrahas), Vaastu Shanti Homam (for the worship of the
elements of nature and balance the forces that control the flow of energies),
Moola MantraHomam, oblations to the deities residing in the temple by chanting
the Moola Mantra of each deity. 108 Suhasinis
(ladies) perform Sri Lalitha Trishati
and Lakshmi Ashtotra Sata Nama Deepa Puja.