Chidambaram Temple Paintings Renovations

Chidambaram-Temple-Paintings-Renovations

Chidambaram Paintings and Drawings that enthrall the mind.

Article: Prema Narayanan

Photos: S. Devarajan

• சக்தி விகடன் - 17 Jan, 2017 Issue
• திருத்தலங்கள்
Posted Date : 06:00 (Jan/03/2017)

In Thillai Ambalam surrounded by Thillai Forest, Thillai Tree is Sthala Virutsam (Sacred Tree of the Temple). The temple and the property around it spreads to 43 acres. There are many art works. The premises house Nataraja.
 Famous historical art works, several-hundred-years old are in the 1000-pillar Mandapam (Hall), Sri Sivakami Sundari Sanctum, and Nandi Mandapam behind Nataraja’s sanctum (= Cit-Sabah = Hall of Consciousness).
 A year before the Kumbabishekam (consecration), renovation of the Canopy Paintings behind Nataraja Sanctum took place. Sixteen paintings over 1000 years old depicting the ancient history of Chidambaram are among the rare paintings. These paintings originally drawn with Herbal colors were deteriorating.  On the recommendation of Dikshithars, under the guidance of the most famous antique painter Silpi’s pupil Painter Padmavasan, pictures and portraits were drawn with new brightness and grandness.  Mr. Padmavasan stayed in Temple grounds in Chidambaram Koil for many months, bought Kerala herbal colors and redrew on Singapore Canvas Fabric the ancient 16 paintings in living colors to last for many hundred thousands of rupees.

These framed paintings on fireproof plates were overlaid on the original drawings.  Artist Padmavasan without compromising on the ancient grandeur of the drawings, drew paintings with natural colors with wonderful results.  Annamalai University Professor Rajasomasekara Dikshithar serving as the head priest spoke to the reporter about this. 

“The temple drawings were the ancient Fresco art. The paints and the colors were all natural. For example, the green color is obtained from flora.”

The drawings were over 1000 years old. They were drawn between 3rd to 8th century.  It can be asserted with certainty these drawings were prior to 12th century.
The time of Fresco drawings as proof of the art of painting attest to the establishment of the temple.
Around the Nataraja Sanctum, there are about over 100 drawings. They are thematic drawings based on an idea or a story. Many temples have drawings with natural colors of events from Ramayana. Chittanna gateway has drawings depicting Jain religious ideas. Likewise, there are drawings depicting the rise of Chidambaram, the story of Manickavasakar, Saiva Samaya Kuravar, Saiva worship and practice.

The drawings in Nandi Mandapam behind Sri Nataraja Sanctum were in ruins. Renovation of paintings were done in time for the Kudamuzakku festival in May 2015 for Re.150,000.

Drawing the sacred forms of deities and temple depictions were entrusted to the famous Spiritual Artist Padmavasan. Staying in the temple premises for about a year, he brought his service to fruition eminently.  Without sacrificing their uniqueness and intrinsic beauty, he drew them with natural colors.  All the drawings without deviating from their old charm came again into the visual perception of the devotees.
 In Sri Sivakama Sundari Amman shrine, the beautiful drawings are in a state of ruination.  Consecration is expected soon in that temple.  We formed a committee to discuss the renovation of drawings. Preparations are in progress.  Raja Somasekara Dikshithar observed, “Soon Amman Sannidhi drawings will get a new life.” He described some of the Pauranic events depicted in the drawings.

Māththiyanthaṇar gets Vyākkirapātham = Maththiyanthanar gets tiger foot.
Chidambara Puṛāna declares Adhimula Nathar Lingam’s sacred body was the residing deity in that place before Lord Nataraja. M
āththiyanthinar the devotee of Siva was collecting flowers in Nandavanam as ‘Pushpa Kainkaryam’ (flower-collecting as divine service) for daily puja. Every deed has its own Dharma. Likewise, Pushpa Kainkariyam has its Dharma.

We by ourselves should collect flowers by our hands, that too thinking of the Bhagavan.  The religious duty or obligation is purity in collection and laying of the flowers on the deity. Maththiyanthinar wanted to pluck the flowers by reaching the upper branches before the honeybees step (land) on them to imbibe the honey.  The flowers visited and sucked by the bees are said to have been contaminated with their saliva. Purity is lost. The right time to pluck flowers is early in the morning in Brahma Muhurtam (4:30-6AM) before the bees come in swarms to imbibe the sap.  Maththiyanthanar supplicated to Siva to offer him a suitable body to climb the tree in the dark and pluck the flowers.  Siva immersed in the devotion of his Bhakta made up his mind to confer on him the grace.

Siva conferred on Maththiyanthinar the tiger feet to climb the trees, sharp eyes of the tiger to see the distant flowers and an acute sense of smell as in a tiger to follow the scent of the flowers. These sensory attributes of a tiger in Mathithiyanthinar gave him the eponymous name, ‘Vyākkira pāthar (Tiger-foot)

Patanjali – Ananda Tandavam (dance) because of Vyakkirapaathar.

Vyakkirapathar and Patanjali (Avatara of Serpent Sessa, the bed of Perumal in Milk Ocean) performed severe austerity in Thillaivanam (Forest of Thillai trees) to witness the Ananda Natanam in Kailas as enjoyed by Devas and Munis, and pay homage to Siva. Siva, happy at their austerity, came down from Kailas and performed Ananda Tandavam in Thaipūsam (Full moon day in mid-January to Mid-February) on a Thursday, Amirtha Siddhiyoga Virushapa Lagna.

They beseeched Siva to come down to Chidambaram for the people to receive benefits from watching the Dance of Siva as they did. They further begged Siva to appear in his Dancing Pose. Siva-Nataraja, assenting to their request, came down with 3000 Bhutha-Ganas to Chidambaram on the day of full moon in the month of Thai.

அதையே  ஆனந்தத் தாண்டவ ஓவியம் விவரிக்கிறது.
 The drawing explicates the Siva Dance: Ananda Tandavam (Ecstatic Dance of Siva).

The Inner Abider (Siva) in the human form of Pitchadanar went to Deva-Taruka-Vanam, subdued the Rishis (forest-dwelling sages), caused removal of their arrogance and self-conceit and impressed on them that soulful love and devotion only could lead them to Bhagavan. All these events were depicted in paintings here.  In the month of Margazi, Thiruvathiri Dharsana festival on the 8th day (January 9, 2017) will be celebrated; the devotees can see Bhagavan Nataraja going on a procession as Pitchadanar.

Let us go to the Chidambaram Koil, the treasure of paintings and drawings, obtain Dharsan of Ananda Tandava Murthy and attain supreme bliss in this auspicious month.

படங்கள்: எஸ்.தேவராஜன்

Photos: S. Devarajan

Thillai’s Wonders

Devotees of Siva assert Koil means Chidambaram.

In Siva temples, Sivalingam is the primary deity. But in Chidambaram, Nataraja is the fixed Deity (மூலவர்).  Chidambaram has the distinction because it is the only temple where Mūlavar (Fixed) becomes the processional deity (Uṛtsavar) twice in a year. Of the five Elemental Temples, the Sky Temple is Chidambaram. This temple offers Mukti (Liberation), upon Dharsan.  

Standing on Sannidhi’s Heart Lotus (location in temple to see the deity) a devotee can see both deities at one time, left eye seeing Vishnu Perumal and right seeing Siva. This arrangement is seen nowhere else.

Nataraja’s right side presents a screen. On the rocky wall behind the screen, a Vilva garland hangs.  A devotee can obtain Dharsan of two congruous discs Sri and Siva on the wall.  Sri is Ambal or Sakti and Siva is the Inner Abider (இறைவன்). Above them are puṉuku and javvātu (புனுகு, ஜவ்வாது) Civet perfumes applied a long time ago, still seen now.

Five Assembly Halls grace this temple: Chit sabhā conferring Dharsan by Mūlavar, Kanaka sabhā for ritual ablutions, Deva sabhā conferring Dharsan from Siva family deities, Raja sabhā comprising 1000 pillars Hall, and Nṛitya sabhā where Nataraja and Kali presented competitive dances.

Besides the Great Halls, Chidambaram Koil has entities based on the Pentad: five deities, five-syllable steps, five processional paths…

If the Earth is shaped as Virāṭa Puruṣa, every organ of His has a temple. His heart lies in Chidambaram. That is why in the Golden Hall (பொன்னம்பலம்), Nataraja abides on the left side.

Chidambaram is the only temple without a money collection receptacle (உண்டி). Likewise, there is no queue. The temple serves morning and evening meals for 1000 persons every day.  Eminence, excellence, superiority, greatness…: That is Sakasrabojan, 1000 meals.

Daily one Dikshithar performs according to injunctions ritual ablution of Chandramaulīsvarar (Spatika Lingam = Crystal Lingam) in the Golden Hall six times a day. He goes to the Hall with purity of body, mind and soul early in the morning to perform three morning ablutions of the deity and does not drink or eat for that duration. He should not leave the premises for any reason.  After midday meals, three ritual ablutions take place in the evening with applicable injunctions. The Dikshithars consider it as lifelong auspicious and privileged destiny and perform the rituals.

The jewels gifted by Tippu Sultan and Ramanathapuram Raja are kept in safe and used on special occasions.

செவ்வாய், 25 மார்ச் 2008 (12:04 IST) Sakthi Vikatan
What is the importance of the Sacred Tree inside the temple.
Sthala Virutsam  (Shrine Tree) means the deity self-created himself or herself in that a place adjacent to a tree. The native tree in that place was responsible for the appearance of Svambhu deity (self-existent deity), who remained in place unknown and undiscovered by people. A letdown (of milk) by kār-ām-pacu made it possible for the discovery of Svayabhu Linga (self-existent natural Lingam). The nearby tree is the Sthala Virutsam (Shrine tree).
காராம்பசு kār-ām-pacu.  கரு-மை + ஆம் + பசு. [M. kārāmbašu.] Cow with black tongue and nipple;
If a person circumambulates the tree, he will obtain the full benefits of  going around the Grbhagraham (Inner sanctuary). Only a few of the Vedic scholars can access the inner shrine. But anyone can go around the Shrine Tree.

A temple in Uththirakosha Mangai has an old Jujube tree (Zizyphus jujube). KAvappuli-Kandar meditated (under the tree), received vision of Siva and obtained a boon from him.
இலந்தை¹ ilantai , n. [K. elaci, M. ilanda.] Jujube-tree, m. tr., Zizyphus jujuba;

In many temples, there is a platform near the sacred tree. It is the traditional belief that Siddhars (mystics or perfected ones) sit on it. The deity’s śakti or power augments several folds because of the Siddhars. Because of their Tapas (austere penance) the temple’s strength improves. They perform penance under the sacred tree.
Virudhachalam Viruththakirīśvarar Temple’s sacred tree is Indian mesquite. The temple’s Vivasuththu Muni sits on the platform under the tree. Circumambulation of him is good enough.
Indian mesquite, m. tr., Prosopis spicigera.


A poem states you may antagonize Siva himself but not the grace-giving Siddha, blessed with the grace of Siva.

Sthala Virutsam has more Sakthi than the deity.

You go around Sthala Virutsam as many times as you can. It is enough to do it once.

http://tamil.webdunia.com/article/traditional-knowledge-in-tamil/ஸ்தல-விருட்சத்தின்-முக்கியத்துவம்-என்ன-108032500014_1.htm

 

This is Nataraja in CERN.