ब्रह्मपिण्डसंसुतिविज्ञान गुर्वर्थत्व (brahmapiṇḍasaṃsutivijñāna gurvarthatva - Macro and Micro Cosmological significance)

पञ्चमहाकृत्यानि (pañcamahākṛtyāni – five cosmic acts)

    According to Saivism, the महेश्वर तत्त्व (maheśvara tattva – supreme controller principle) symbolizing the क्रियाशक्ति (kriyāśakti – executive force) is responsible पञ्चमहाकृत्यानि (pañcamahākṛtyāni – five cosmic acts) viz. सृष्टि (sṛṣṭi – creation), स्थिति (sthiti  - sustenance), संहार (saṁhāra –dissolution), तिरोभाव / तिरोधान (tirobhava /tirodhāna  – veiling) & अनुग्रह (anugraha - grace). The following verses in the திருமந்திரம் (tirumantiram), very clearly articulates the concept of पञ्चमहाकृत्यानि (pañcamahākṛtyāni – five cosmic acts)

Original	Transliteration	Translation
படைப்பும் அளிப்பும் பயில்இளைப் பாற்றும் துடைப்பும் மறைப்பும்முன் தோன்ற அருளும் சடத்தை விடுத்த அருளும் சகலத்து அடைத்த அனாதியை ஐந்தென லாமே	paḍaippum aḻippum payil inaip pāṛṛum tuḍaippum maṛaippumun tOnṛa aruḻum saḍattai viḍutta aruḻum sagalattu taḍaitta anātiyai aindena lāmE	Creation, Preservation, and Dissolution (that for Jivas grant rest from birth and death whirl) Obfuscation and Grace (That redeem Jiva after life below). These four sakala souls, He filled; All these acts five, Beginingless His are. -Translation by B. Natarajan
Tamil Reference : திருமந்திரம் (tirumantiram) (2418)

In Saivism, these five functions are considered as शुद्ध तत्त्व (śuddha tattva – pure principles) and symbolized by the पञ्चनन शिव मूर्ति  (pañcanana śiva mūrti – five headed Shiva iconography) viz.सद्योजात (sadyojāta), वाम देव (vāma deva), अघोर (aghora),  तत्पुरुष (tatpuruṣa)  &  ईशान (īśāna) respectively. The earliest references to these occurs in the महा नारायण उपनिषद् (mahā nārāyaṇa upaniṣad) section of the तैत्तिरिय आरन्यक (taittiriya āranyaka) belonging to the कृष्ण यजुर् वेद संहित (kṛṣṇa yajur veda saṁhita), wherein they are referred to as the पञ्चब्रह्म मन्त्र (pañcabrahma mantra). Interestingly, from a theosonic perspective, the term पञ्चवक्त्र (pañcavaktra) is also popularly used to denote the पञ्चब्रह्म मुखानि (pañcabrahma mukhāni – five divine faces) as it is believed that revealed the wisdom of वेद (veda) using five-fold means viz. विधि (vidhi - rules), मन्त्र (mantra - incantation), नामधेय (nāmadheya - appellation), निशेध (niśedha - control) & अर्थवाद (arthavāda - interpretation). The following is a popular imagery of the same

    In other texts, these five faces are also called as the पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces) or simply as पञ्चमुखि (pañcamukhi – five faces). The लिङ्ग पुराण (liṅga purāṇa), for example, very beautifully glorifies the पञ्चमुखि (pañcamukhi – five faces)

Original	Transliteration	Translation
दम्ष्ट्राकरालं अत्युग्रं ज्वालमाल संवर्तम्। रक्तश्मश्रुं जटायुक्तं चोत्तरे विद्रुमाप्रभम्॥ प्रसन्नं वामदेवाख्यं वरदं विश्वरूपिणम्। पश्चिमं वदनं तस्य गोक्षिरधवलं सुभम्॥ मुक्ताफलमयैर् हारैर् भूषितं तिलकोज्ज्वलम्। सद्योजातमुखं दिव्यम् भास्करस्य स्मरारिणः॥	tasya pūrvaṁ mukhaṁ pīṭaṁ prasannaṁ puruṣatmakam| aghoraṁ dakṣinaṁ vaktraṁ nīlāñjanacayopamam|| damṣṭrākarālaṁ atyugraṁ jvālamāla saṁvartam| raktaśmaśruṁ jaṭāyuktaṁ cottare vidrumāprabham|| prasannaṁ vāmadevākhyaṁ varadaṁ viśvarūpiṇam| paścimaṁ vadanaṁ tasya gokṣiradhavalaṁ subham|| muktāphalamayair hārair bhūṣitaṁ tilakojjvalam| sadyojātamukhaṁ divyam bhāskarasya smarāriṇaḥ||	His face is yellow, serene , the form of Purusha. His south face is Aghora, comparable to a heap of collyrium, Terrific with protruding teeth, very fierce, surrounded by garland of flames. In the north the face has red beard, matted hair, the colour of the coral, is serene called Vamadeva, bestower of boons, having all forms. His west face has the colour of cow’s milk, is beautiful adorned with pearl necklaces, brightened by a forehead mark; that is the Divine Sadyojata face of the resplendent Shiva.
Sanskrit Reference : लिङ्ग पुराण (liṅga purāṇa) (2.19.9-12)

    Interestingly,  in front of the sacred அகத்தியர்கூடம் / अगस्त्यकूट (agattiyarkūṭam / agastyakūṭa – Agastya peak) which is part of the பொதிகை மலைத்தொடர்  / पौतलक गिरिजाल (podigai malaittoḍar / pautalaka girijāla –  bettigo  mountain range), amidst the dense forests of the along the மேற்க்குத்தொடர்ச்சிமலைத்தொடர் (mēṟkkuttoṭarccimalaittoṭar – western-ghats mountain-range) in the  southern part of  Indian peninsula viz.  (Tamil Nadu & Kerala), there lies the naturally from சுயம்புபஞ்சமுகசிவலிங்க  மாமலை  / स्वयंभूपञ्चमुखशिवलिङ  महामेरु (suyambupañcamukacivaliṅga  māmalai / svayaṃbhūpañcamukhaśivaliṅa mahāmeru – self-existing five-faced Shivalinga grand-mountain). The image of which is given below,

The पञ्चब्रह्म मुखानि (pañcabrahma mukhāni – five divine faces) motif of शिव (śiva) very beautifully symbolizes these पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts). Each of these पञ्चब्रह्म मुखानि (pañcabrahma mukhāni – five divine faces) are pointing to different cardinal directions atnd similarly they correspond to the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts). The following verses from the शिवपुराण (śivapurāṇa) very beautifully states thus,

Original	Transliteration	Translation
सृष्टिः स्तिथिश् च संहारस् तिरोभावोऽप्य् अनुग्रहः। पञ्चेमे जगत्कृत्यं नित्यसिद्धम् अजाच्युतौ॥ सर्गः संसारसंरंभस् तत्प्रतिष्टा स्थितिर् मता। संहारो मर्दनं तस्य तिरोभावस् तदुत्क्रमः॥ तन्मोक्षोऽनुग्रहस्तन् मे कृत्यम् एवं हि पञ्चकं। सर्गादि यच्चतुष्त्यं संसार परिज्र्ंभनं॥ पञ्चमं मुक्तिहेतुर् वै नित्यं मयि च सुस्थिरं। तदिदं पञ्चभूतेषु दृष्यते मामकैर् जनैः॥ सृष्टिर् भूमौ स्थितिस् तोये संहारः पावके तथा। तिरोभावोऽनिले तवदानुग्रह इवांबरे। सृजयते दरया सर्वं अद्भिः सर्वं प्रवर्द्धते। अर्द्यते तेजसा सर्वं वायुना चापनियते। व्योम्ना तु गृह्यते सर्वं ज्ञेयं एवं एवं हि सूरिभिः॥ पञ्चवक्त्रं इमं वोढुम् ममास्ति मुखपञ्चकम्। चतुर्दिक्षु चतुर्वक्त्रं तन्म्ध्ये पञ्चमं मुखम्॥ युवाभ्यां तपसा लब्धम् एव कृत्यद्वयं सुतौ। सृष्टिथ्यभिधं भाग्यम् मत्तः प्रित्ताद् अतिप्रियम्॥ तयो रुद्रमहेशाभ्यां अन्यत्कृत्यद्वयं परम्। अनुग्रहाख्यं केनापि लब्धुं नैव हि शक्यते॥	sṛṣṭiḥ stithiś ca saṁhāras tirobhāvo'py anugrahaḥ| pañceme jagatkṛtyaṁ nityasiddham ajācyutau|| sargaḥ saṁsārasaṁraṁbhas tatpratiṣṭā sthitir matā| saṁhāro mardanaṁ tasya tirobhāvas tadutkramaḥ|| tanmokṣo'nugrahastan me kṛtyam evaṁ hi pañcakaṁ| sargādi yaccatuṣktyaṁ saṁsāra parijrṁbhanaṁ|| pañcamaṁ muktihetur vai nityaṁ mayi ca susthiraṁ| tadidaṁ pañcabhūteṣu dṛṣyate māmakair janaiḥ|| sṛṣṭir bhūmau sthitis toye saṁhāraḥ pāvake tathā| tirobhāvo'nile tavadānugraha ivāṁbare| sṛjayate darayā sarvaṁ adbhiḥ sarvaṁ pravarddhate| ardyate tejasā sarvaṁ vāyunā cāpaniyate| vyomnā tu gṛhyate sarvaṁ jñeyaṁ evaṁ evaṁ hi sūribhiḥ|| pañcavaktraṁ imaṁ voḍhum mamāsti mukhapañcakam| caturdikṣu caturvaktraṁ tanmdhye pañcamaṁ mukham|| yuvābhyāṁ tapasā labdham eva kṛtyadvayaṁ sutau| sṛṣṭithyabhidhaṁ bhāgyam mattaḥ prittād atipriyam|| tayo rudramaheśābhyāṁ anyatkṛtyadvayaṁ param| anugrahākhyaṁ kenāpi labdhuṁ naiva hi śakyate||	Creation, maintenance, destruction, concealment, grace, these five are my actions regarding the world, which are eternally accomplished, O Brahman and Vishnu. Creation is the beginning of the world rebirths, maintenance is its stabilization, Destruction is the crushing of it . Concealing is its passing forward, grace is the final release of it. That is the five actions. Four of them starting with creation, Manifest the world of its rebirths, the fifth is the cause of release And is eternally well stable in me. My followers see all that in five elements: Creation in earth, maintenance in water, destruction in fire, Concealment in wind and grace in space. Everything is created with Earth, everything grows with water, Is burnt with fire, is brough together with space. Sages know everything of that. To carry on this I have five faces., four in the four directions, The fifth in the center. By your penance, O my sons, From me who is satisfied you have detained two of those actions, Your share is called creation and maintenance., the most agreeable. Other two have been obtained by Rudra and Mahesha. The action called Grace cannot be entrusted to anyone.
Sanskrit Reference : शिवपुराण (śivapurāṇa) (8.1-10)

Again, from an anthropocentric theological perspective, as laid down in various शैव आगम शास्त्र (śaiva āgama śāstra) each of these पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) correspond to specific देह अङ्ग (deha aṅga – body organ). The following verses in the विद्यापादः (vidyāpādaḥ - wisdom section) from the famous पौश्करागम (pauśkarāgama): 

Original	Transliteration	Translation
ईशान शेकरी स च पुंववक्तराघोरहृतस्थला। वामगुह्या च सद्याङ्गी हारिणी जननी तथा॥ रोधयित्रीति तिसृभिश्शाक्तिभिः कल्पितेन्द्रिया। अष्टावेता यश्स्विन्यः ईशानाद्यास्तु शूलिनः॥ आसां वीर्यं विभगश्च स्वरूपेणोच्यते द्विजाः। ईशानी परमकाष्ठा शेकरत्वेन कल्पिता॥ जगत्पूरण हेतुत्वात्बिन्दोनार्दादि वृतिभिः। वव्त्रेण सांयतस्तस्य पुमानववत्रं इतीर्यते॥ घोरोमलादि संसारस्तद्विविशोधयिता विभुः। अघोर इति विख्यातः सद्भावोयं सलक्षणः॥ हृदयञ्चापि सद्भावो यस्मात्तस्मात्तदेव् हि। वोमस्यतु रहस्यत्वात् सूक्ष्मत्वाद् दृक्क्रियात्मकः॥ कर्ता विश्वस्य पुत्रादि कार्येषु जनकं यतः। वामो गृह्यस्ततश्चायं शास्त्रेऽस्मिन् समंतो बुधाः॥ स्वस्येच्छामात्रतस्तस्य स्वशक्ति प्रसरात्मिकाम्। मूर्तिमासादयेद्यस्मात् सद्योमूर्तिस्ततस्स्मृतः॥	īśāna śekarī sa ca puṁvavaktarāghorahṛtasthalā| vāmaguhyā ca sadyāṅgī hāriṇī jananī tathā|| rodhayitrīti tisṛbhiśśāktibhiḥ kalpiteindriyā| aṣṭāvetā yaśsvinyaḥ īśānādyāstu śūlinaḥ|| āsāṁ vīryaṁ vibhagaśca svarūpeṇocyate dvijāḥ| īśānī paramakāṣṭhā śekaratvena kalpitā|| jagatpūraṇa hetutvātbindonārdādi vṛtibhiḥ| vavtreṇa sāṁyatastasya pumānavavatraṁ itīryate|| ghoromalādi saṁsārastadviviśodhayitā vibhuḥ| aghora iti vikhyātaḥ sadbhāvoyaṁ salakṣaṇaḥ|| hṛdayañcāpi sadbhāvo yasmāttasmāttadev hi| vomasyatu rahasyatvāt sūkṣmatvād dṛkkriyātmakaḥ|| kartā viśvasya putrādi kāryeṣu janakaṁ yataḥ | vāmo gṛhyastataścāyaṁ śāstre'smin samaṁto budhāḥ|| svasyecchāmātratastasya svaśakti prasarātmikām| mūrtimāsādayedyasmāt sadyomūrtistatassmṛtaḥ||	Isana mantra assumes the form of head; Tatpurusha mantra assumes the form of face; Aghora mantra assumes the form of heart and chest; Vamadeva mantra assumes the form of privy part (guhya); Sadyojāta mantra assumes the form of feet and other parts. Apart from these, there are three more mantras- Harini, Janani and Rodhayitri. These three mantras constitute the essential internal instruments(karana) of the form of Sadasiva. O, the twice-born Sages! all these eight Saktis are the highly adorable Saktis of Paramesvara. O,the twice-born Sages!, now I will tell you the greatness and inexhaustible power of these Saktis and the process in which these Saktis constitute different parts of the form of Sadasiva, with all the essential details. Isana is the unexcellable, unsurpassable and the ultimate sphere of the Lord Paramesvara. Therefore, this Sakti is considered to constitute the ultimate part of a form, namely the head. The Mantra-sakti which fills up and harmonizes the entire range of the universe through the proliferation and spreading of the sound principle(nada) arising from the bindu is known as Tatpurusha. By this virtue and by its quality of being equal to the facial portion, this Tatpurusha mantra is considered to constitute the face of that form. The repeated phenomenon of birth death which is due to anava mala and other bonds, is very dreadful. The Mantra-sakti which exists as alienated and anti-phased to the dreadful samsara is known as Aghora(non-deradful;calm). Such Sakti is pervasive. Its innate nature is to remain in its own existential awareness. Since the heart is of the the nature of such existential awareness, Aghora-manra is considered to constitute the chest(hrudaya) part of the form. Vama mantra is of the nature of being very subtle, secret and unseen and of the power of knowing and doing. Moreover, this Vama is the enabling power for the creation of the world and the creative power behind the progeny and others. O, the learned Sages! by virtue of these significant characteristics, it is maintained in this Agama that this Vama mantra constitures the secret and privy part of the form of Sadasiva. The mantra which, by its mere will, instantaneously assumes various forms is known as Sadyojāta mantra. Its own Saktis are spread and strewn in the forms assumed by this mantra. By virtue of this power of form-generation, Sadyojāta mantra is considered to constitute the feet and other parts of the form of Sadasiva. -translation source internet
Sanskrit Reference : पौश्करागम विद्यापादः (pauśkarāgama vidyāpādaḥ) (56-64)

The following table summarizes these पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) and maps them to the respective देवत (devata – deity) associated with the कृत्य (kṛtya  -  function).

#	कृत्य (kṛtya - function)	Description	ब्रह्म मुख (brahma mukha- Divine face)	कर्त (karta - actor)	दिक् (dik - direction)	देह अङ्ग (deha aṅga – body organ)
1	ஆக்கல் / सृष्टि (ākkal/ sṛṣṭi – creation / manifestation)	Represents the act of படைத்தல் (paḍaittal– emanation) of the phenomenal universe (effect) from Himself (cause) by self will.	सद्योजात (sadyojāta)	ब्रह्म (brahma)	पश्चिम / மேற்க்கு (paścima / mEṛkku - west)	पाद (pāda - foot)
2	காத்தல் / स्थिति (kāttal / sthiti - sustenance)	The act of maintenance and growth of the emanated effect (universe)	वामदेव (vāmadeva)	विष्णु (viṣṇu)	पूर्व / கிழக்கு (pūrva / kizhakku - east)	गुह्य (guhya - genetals)
3	அழித்தல் / संहार (azhittal / saṁhāra –dissolution)	The act of destruction or dissolution of the phenomenal universe	अघोर (aghora)	रुद्र शिव (rudra śiva)	दक्षिण / தெற்கு (dakṣiṇa / teṛku - south)	हृदय (hṛdaya - heart)
4	மறைத்தல் / तिरोभाव (maṛaittal / tirobhāva - veiling)	The act of veiling or concealing.	तत्पुरुष (tatpuruṣa)	सदाशिव (sadāśiva)	उत्तर / வடக்கு (uttara/ vaḍakku –north)	वक्त् / मुख (vaktra / mukha - face)
5	அருளல் / अनुग्रह (aruḻal / anugraha - grace)	Finally, bestowing spiritual emancipation to the souls	ईसान (īsāna)	महेश्वर (maheśvara)	शीर्ष / உச்சி (śīrṣa / ucci - top)	शिर (śira - head)

Again, श्री अभिनवगुप्त (śrī abhinavagupta) who is considered to be one of the greatest परमाचार्य (paramācārya – chief preceptors) advocating the पराद्वैत वाद (parādvaita vāda – doctrine of supreme nonduality) in the काश्मिरि शिव दर्शन (kāśmiri śiava darśana) in the समयदीक्षा प्रकाशनम् (samayadīkṣā prakāśanam) section of his तन्त्र सार (tantra sāra) also reiterates about the दिक् (dik - direction) of the पञ्चब्रह्म मुखानि (pañcabrahma mukhāni – five divine faces)

Original	Transliteration	Translation
तत्र परमेश्वरस्वातन्त्रयमेव मूर्त्याभासन्या दिक्तत्त्वमदभास्यति तत्र चित् प्रकाश एवं मध्यम्। तत् इतरप्रविभाग प्रवृत्ते। प्रकाशस्वीकार्य मूर्धवम्। अतथा भूतमधः प्रकाशन सम्मुखीनं पूर्वम्। इदरद्परम्। सम्मुखीभूतप्रकाशात्वाद् अनन्तरं तत्प्रकाशाधारारोह स्थानं दक्षिणम् अनुकूल्यात् तत् सम्मुखं त्ववभास्यत्वाद उत्तरम् इति देव चतुष्टयम्।	tatra parameśvarasvātantrayameva mūrtyābhāsanyā diktattvamadabhāsyati tatra cit prakāśa evaṁ madhyam| tat itarapravibhāga pravṛtte| prakāśasvīkārya mūrdhavam| atathā bhūtamadhaḥ prakāśana sammukhīnaṁ pūrvam| idaradparam| sammukhībhūtaprakāśātvād anantaraṁ tatprakāśādhārāroha sthānaṁ dakṣiṇam anukūlyāt tat sammukhaṁ tvavabhāsyatvāda uttaram iti deva catuṣṭayam|	There it is the supreme independence of the Almighty God, which manifests the concept of direction (east, west etc.) through the manifestation of forms (in space). There in it is the psychic self-luster of consciousness which is taken as the centre, because all other variations start from that point. The entity acceptable to such luster as it ‘I’ is taken as the upper side (or zenith). That which stands in contrary position, is termed as downward or lunar rite (nadir). That being in front of Prakasha is east and that standing reversely to it is west. That which lies just close to the one standing face to face with prakasha, is dakshina or right (that is south), just on account of it being favorable to prakasha. That lying opposite to it , and being just an object of manifestation (by prakasha), is, on such account, termed as north. There are the four directions. - Translation by Gautam Chaterjee
Sanskrit Reference : तन्त्र सार (tantra sāra)

Please be noted that such concept पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) is not just confined to शैव संप्रदाय (śaiva saṁpradāya – shiva tradition) alone as it is an integral part of श्री वैष्णव संप्रदाय (śrī vaiṣṇava saṁpradāya). For example, in the श्री लक्ष्मी तन्त्र (śrī lakṣmī tantra) an important text belonging to the sacred पञ्चरात्र आगम (pañcarātra āgama), Her Holiness the Goddess Herself testifies this by explaining it to  महऋषि शकर (mahaṛṣi śakara).   

Original	Transliteration	Translation
		śrī; 1 am the eternal, independent śakti of nārāyaṇa, the source of all achievement, the mysterious goddess, continuously engaged in creating. O king of the gods, I have five ever existing functions, viz. tirobhāva, sṛṣṭi, sthiti, saṁhṛti and anugraha. O śakara, hear a systematic description of these functions. -translation by Sanjuka Gupta
Sanskrit Reference : श्री लक्ष्मी तन्त्र (śrī lakṣmī tantra) (12.12-14)

    An interesting point to observe in the above verse is that unlike in the conventional order, here the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) is stated to begin with the तिरोभाव कृत्य (tirobhāva kṛtya – veiling function). When superficially looking at it, this sequencing may seem to be somewhat odd. However, the following explanation will help us understand the concept better

The harmony in the Divine Cosmology of the intrinsic relationship between matter (particle) & energy (wave) is very beautifully explained by the Saivite genius, which describes the end to end management of the entire process of the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts). Please remember that although there is a logical sequence in these phases, specifically between सृष्टि (sriśti – creation), स्थिति (sthiti - sustenance) & संहार (saṁhāra –dissolution), yet holistically speaking there is no time sequence among them. This fact is explained by ஸ்ரீ அருணந்தி சிவாசாரியார்  (sri aruṇandi sivācāriyār) in the following verses from the சுபக்கம் / स्वपक्ष (supakkam / svapakṣa – own part) of the சிவஞான சித்தியார்  (sivajñāna siddiyār)

Original	Transliteration	Translation
இத்தையோடு , ஈசர் , சாதாக்கியம் , சத்தி , சிவன்கள் ஐந்தும் சுத்த தத்துவம் ; சிவன்தான் சுதந்திர வடிவம் ஆகும் ; நித்தம் என்று உரைப்பர் ; காலம் நீங்கிய நிலைமையாலே வைத்தியர் , முற்பிற்பாடு வருவித்தார் கருமத்தாலே	ittaiyOḍu, īsar, sadākkiyam, satti, sivaṅgaḻ aindum sutta taṭtuvam; sivantan sudandira vaḍivam āgum; nittam enṛu uraippar; kālam nīṅgiya nilaimaiyālE vaittilar, muṛpiṛpāḍu varuvittār karumattālE	These five Forms of Sivam, Sakti &c., form His Five-self-luminous Bodies. As these Siva-Tatwas are in existence before the generation of Time itself, these may be said to be eternal (Nitya). The order is not order in Time, therefore, but order in manifestation of Gnana and Kriya Saktis -Translation J.M. Nallasamy Pillai
Tamil Reference: சிவஞான சித்தியார் சுபக்கம் (sivajñāna siddiyār supakkam) (86/1.3.6)

This is a very important concept that we must fully understand before proceeding further. In fact, even according to modern cosmological physics, before the Big Bang, that is, before time t=0 there was no time sequence as even time itself did not exist and hence sequencing of events is considered अनिर्वचन्य (anirvacanya - indeterminable). Moreover, as already discussed, modern cosmology is already speculating about cyclical models of time according to which before the महास्पुत्कार (mahāsputkāra - Big Bang), there must have been a महामृणाति (mahāmṛṇāti - Big Crunch) wherein the whole universe collapsed (withdrew) itself black-hole encapsulated by महातिरोधान (mahātirodhāna - cosmic sensorship). Simply stated, the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) forms an eternally repetitive cycle. ஸ்ரீ மாதவ சிவஞான முனிவர் (sri mādava sivajñāna munivar) in his famous உரை (urai - commentary) on the above verses, further explains the concept thus:

Original	Transliteration	Translation
அவ்வவ் வியாபாரங்கட்கு இடமாய் ஐவகைப்பட்டு மேர்கூறிப் போந்த அவ்வப்பெயரே பெயராக உடையனவாம் சுத்த ததுவம் ஐந்தும் அவ் இறைவனுக்குச் சுதந்திரமாகிய அதிட்டானமும் ஆம். முன்பின்னாக நிகழும் ஞானசக்தி கிரியா சக்திகளின் வியாபார பேதம் பற்றி இவற்றிறிகு முற் பிற்பாடு கூறப்படினும், இவ்வைந்தும் தோன்றிய பின்னர்த் தோன்றுவதாய் கால ததுவம் இவற்றது தோற்றத்திற்கு ஏது ஆகாமயின் காலம் முற்பிற்பாடு கூறுதல் செல்லாது, காலவரையறையைக் கடண்து நிறலால்; அதுபற்றி இவை சிவனுக்கு நிட்ய அதிட்டானம் என்று உரைக்கப்படும்.	avvav viyābāraṅgaṭku iḍamāi aivagaippaṭṭu mErkūṛip pOnda avvappeyarE peyarāga uḍaiyanavām sutta tatuvam aindum av iṛaivanukkuc sudandiramākiya adiṭṭānamum ām. munpinnāga nigazhum nānasakti kiriyā saktigaḻin viyābāra bEdam paṛṛi ivaṛṛiṛiku muṛ piṛpāḍu kūṛappaḍinum, ivvaindum tOnṛiya pinnart tOnṛuvadāi kāla tatuvam ivaṛṛadu tOṛṛattiṛku Edu ākāmayin kālam muṛpiṛpāḍu kūṛudal sellādu, kālavaraiyaṛaiyaik kaḍaṇdu niṛalāl; adupaṛṛi ivai sivanukku niṭya atiṭṭānam enṛu uraikkappaḍum.
Tamil Reference: சிவஞான சித்தியார் சுபக்கம் உரை (sivajñāna siddiyār supakkam urai) (86/1.3.6)

To use a software programmer’s jargon, such eternal play of being & becoming is an on-going  cyclic pattern forming an infinite loop involving  the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) explained earlier; and in accordance with the Divine Will of महा माया शक्ति (mahā māyā śakti), each of these  functions are performed by पञ्च ब्रह्माणि (pañca brahmāṇi - fivefold divinities) as further explained by the परमाचार्य (paramācārya) in the very next verse from the above quoted scripture,

Original	Transliteration	Translation
जगत् सूत धाता हरिरवति रुद्रः क्षपयते तिरस्कुर्वन्नेतत् स्वम् अपि वपुर् इशस्तिरियति। सदापूर्वः सर्वं तदिदमनुगृहणाति च शिवस् तवज्ञाम् आलम्ब क्षणचलितयोर् भ्रूलतिकयोः॥	jagat sūta dhātā hariravati rudraḥ kṣapayate tiraskurvannetat svam api vapur iśastiriyati| sadāpūrvaḥ sarvaṁ tadidamanugṛhaṇāti ca śivas tavajñām ālamba kṣaṇacalitayor bhrūlatikayoḥ||	The Dhātṛ creates the world; Hari sustains it; Rudra destroys it, īśa causes his own form to disappear as well; while Sadāśiva, in pursuance of the mandate from Thy slightly-knit creeper – like eyebrows, blesses all this . -translation by Pandit S Subramaniya Shastri & Srinivasa Aiyangar
Sanskrit Reference : सौन्दर्य लहरी (saundarya laharī) (24)

Interestingly, a similar mapping of the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) with specific deities is also provided by the revered saint தவத்திரு மனவாசகம் கடந்தார் (tavattiru manavāsagam kaḍandār) in உண்மை விளக்கம் (uṇmai viḻakkam), considered to be one of the important சைவ சித்தாந்த சாத்திரம் (saiva siddānta sāttiram)

Original	Transliteration	Translation
படைப்பன் அயன் அளிப்பன் பங்கயக்கண் மாயன் துடைப்பன் உருத்திரனும் சொல்லில் - திடப்பெறவே என்றும் திரோபவிப்பர் ஈசர் சதாசிவரும் அன்றே அநுக்கிரகர் ஆம்	paḍaippum aḻippum payil inaip pāṛṛum tuḍaippum maṛaippumun tOnṛa aruḻum saḍattai viḍutta aruḻum sagalattu taḍaitta anātiyai aindena lāmE	Brahma evolves; the lotus-eyed Vishnu sutains; Redra resplves; undergo experience Mahesh always conceals; Sadasiva, as of yore; grants grace. It is said that they function thus, even thus. Translation by Dr. B. Ramachandran
Tamil Reference : உண்மை விளக்கம் (uṇmai viḻakkam) (9)

The iconography of சிவ தாண்டவம் (siva tāṇḍavam - Dance of Siva) is another popular poetic expression encapsulating very complex laws behind these पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) represented by five different dance forms of Shiva, as explained in the following verses

Original	Transliteration	Translation
ஆன நடம் ஐந்து அகள சகளத்தர் ஆன நடம் ஆடி ஐங் கருமத்து ஆக ஆன தொழில் அருளால் ஐந் தொழில் செய்தே தேன் மொழி பாகன் திரு நடம் ஆடுமே	āna naṭam aindu agaḻa sagaḻattar āna naḍam āḍi ainkarumattāga āna tozhil aruḻāl aintOzhil seidE tEn mozhi pāgan tirunaḍam āḍumE	This formless one takes form and performs five dances; that dance is done to perform five actions; The five actions are performed with the knowledge of shakti; The one having the honey-tongued partner does the sacred dance. -Translation by T.N Ganapthy
Tamil Reference : திருமந்திரம் (tirumantiram) (2727)

Mythologically, these dances are performed on பஞ்ச சபைகள் (pañca sabaigaḻ - five stages /  platforms) which are terrestrially located in the the following temples respectively

Again, each of these dance stages are correspondingly mapped to ஐந்தெழுத்து மந்திரத்தின்  ஓரெழுத்து அக்ஷரம் / एकलिपि अक्षर पञ्चाक्षर मन्त्रस्य (aindezhuttu mandirattin Orezhuttu akśaram / ekalipi akṣara pañcākṣara mantrasya – one lettered syllable of five-lettered mantra). An important point to remember is that, when we refer to पञ्च ब्रह्माणि (pañca brahmāṇi - fivefold divinities) performing these पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) they do not refer to five different देवत (devata – deities), rather they are different aspects of the same पर ब्रह्म (para brahma – absolute divinity). This fact is very categorically reiterated by திருவருட்பிரகாச இராமலிங்க வள்ளலார் (tiru aruṭpirakāsa irāmaliṅga vaḻḻalār) in the following verses

Original	Transliteration	Translation
படைத்தல் முதல் ஐந்தொழில் புரிந்திலங்கும் பரம்பர ஒளி	paḍaittal mudal aindohil purin tilaṅgum parampara oḻi
Tamil Reference : திரு அருட்பா (tiru aruṭpā) (3999)

Interestingly, this  पर अंबर तेजस् / பர அம்பர ஒளி (para aṃbara tejas / para ambara oLi – transcendent sky light) corresponds to different objects in the imagery of the महा ताण्डव नटराजस्य  (mahā tāṇḍava naṭarājasya naṭarājasya- cosmic dance of Nataraja). The following table provides a quick summary of these mappings.

#	தொழில் /कृत्य (tozhil / kṛtya - act)	Description	சபை / सभा (sabai / sabhā - stage)	ஸ்தலம் / स्थल (stalam / sthala - site)	தாண்டவம் / ताण्डव (tāṇḍavam / tāṇḍava - dance)	எழுத்து / अक्षर (ezhuththu / akṣara - syllable)
1	ஆக்கல் / सृष्टि (ākkal/ sṛṣṭi – creation / manifestation)	The डमरु / உடுக்கை (ḍamaru / uḍukkai – small drum) held by the right posterior hand represents emanation of the परनाद / பர நாதம் (paranāda / paranādam - supreme sound)	இரத்தின சபை / மணிமன்றம் (irattina sabhai/ maṇimanṛam)	திருவாளங்காடு (tiruvāḻaṅgādu)	காளிகா தாண்டவம் / कालिका ताण्डव (kāḻikā tāṇḍavam / kālikā tāṇḍava)	ந / न (na)
2	காத்தல்/ स्थिति (kāttal / sthiti - sustenance)	The right anterior hand with supinated upright palm in अभय मुद्र (abhaya mudra — fear not symbol)	கனக சபை / பொற்சபை (kanaga sabai / poṛsabai)	சிதம்பரம் (cidambaram)	ஆனந்த தாண்டவம் / आनन्द ताण्डव (ānanda tāṇḍavam / ānanda tāṇḍava)	ம / म (ma)
3	அழித்தல் / संहार (azhittal / saṁhāra –dissolution)	left posterior hand with flame.	இரசத சபை / வெள்ளி சபை (irasada sabai / veḷ sabai)	மதுரை (madurai)	சந்தியா தாண்டவம் / सन्ध्या ताण्डव (sandiyā tāṇḍavam / sandhyā tāṇḍava)	சி / शि (si / śi)
4	மறைத்தல் / तिरोभाव (maṛaittal / tirobhāva - veiling)	Anterior hand pointing down to left foot-- jīva's refuge	தாமிர சபை (tāmira sabai)	நெல்லையப்பர் (nellaiyappar)	முனி தாண்டவம் / मुनि ताण्डव (muni tāṇḍavam / muni tāṇḍava)	வ / व (va)
5	அருளல் / अनुग्रह (aruḻal / anugraha - grace)	Grace, planted right foot.	சித்திர சபை (sittira sabai)	குற்றாலம் (kuṛṛālam)	கௌரி தாண்டவம் / गौरी ताण्डव (gauri tāṇḍavam / gaurī tāṇḍava)	ய / य (ya)

Sometimes based on the nature of कर्मफलनाम् (karmaphalanām – fruits of karma), the காத்தல் தொழில் / स्थिति कृत्य (kāttal tozhil / sthiti kṛtya  - sustenance act) is further classified into two types and accordingly there are two different types of dances associated with them in the शैवागम शास्त्र (śaivāgama śāstra) like कामिकागम (kāmikāgama), अजीतागम (ajītāgama), कार्णागम (kārṇāgama) as well as in शिल्पशास्त्र (śilpaśāstra) like the famous शिल्पस्ङ्ग्रह  (śilpasṅgraha)  & वास्तुशास्त्र  (vāstuśāstra) like the मयमत (mayamata) etc.  

#	Type of தொழில் /कृत्य (tozhil / kṛtya - act)	தாண்டவம் / ताण्डव (tāṇḍavam / tāṇḍava - dance)
1	இன்பக்காத்தல் தொழில் / सुख स्थिति कृत्य (inbakkātttal tozhil / sukha sthiti kṛtya – joy sustenance act)	புஜங்கலளித நடனம் / भुजङ्ग ललित नटन (bujaṅgalaḻita naṭanam / bhujaṅga lalita naṭana – elegant snake dance)
2	துன்பக்காத்தல் தொழில் / दुःख स्थिति कृत्य (tunbakkāttal tozhil / duḥkha sthiti kṛtya – sorrow sustenance act)	புஜங்கத்திராச தாண்டவம் / भुजङ्गत्रास ताण्डव (bujaṅgattirāsa tāṇḍavam / bhujaṅgatrāsa tāṇḍava frightening snake dance)

 

With this sub-classification, the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) is sometimes interpreted as षट्महाकृत्यानि  (ṣaṭmahākṛtyāni – six cosmic acts) as testified by திருபோரூர் சிதம்பர சுவாமிகள் (tiruppOrūr sidamabara suvāmigaḻ) in his பஞ்சதிகார விளக்கம்  (pañcadikāra viḻakkam - exposition of five-fold control).

Original	Transliteration	Translation
சடமதனிற் சிருட்டி திதி சங்காரம் நிகழுந் தகுமுயிரில் திரோபாவம் அநுகிரகங் தங்கும் திடமுறுமத் திதியிரண்டாஞ் சுகதுண்பம் அருத்துஞ் செய்தியினம் முறையாற் செய் தொழிலாறா மவையுள் படிடருனற் சிருட்டியினிற் சுகம் அருத்துந் திதியிற் பகரும் அநுக் கிரகத்திற் பன்னலுறும் உயிர்க்குக் கடிதலில் இன் பாந்துன்பத் திதி சங்கா ரத்திற் கழறுதிரோ பாவதிற் காணுந்துன்பம் ஆமே..	saḍamadaniṛ siruṭṭi tzhitzhi saṅgāram nigazhun tagumuyiril tirObāvam anugiragaṇg taṅgum tiḍamuṛmat titiyiraṇḍāñj sugattuṇbam aruttuñj seidiyinam muṛaiyāṛ sei tozhilāṛā mavayuḻ paḍitarunaṛ siruṭṭiyiniṛ sugam aruttun titiyiṛ  pagarum anuk giragattiṛ pannaluṛum uyirkkuk kaḍitalil in bānuntunbat titi saṅgārattiṛ kazhaṛutirO bāvatiṛ kāṇuntunbam āmE
Tamil Reference : பஞ்சதிகார விளக்கம் (pañcadikāra viḻakkam) (27)

Thus, as indicated above the  divine act of manifestation involving the above functionalities is beautifully symbolized to corresponds to अङ्गानि श्री नटराज मूर्तिनाम् (śrī naṭarāja mūrtinām aṅgāni – organs of Lord-of-dance iconography),  as testified below by திருமூலர் (tirumūlar) viz.

Original	Transliteration	Translation
அரன்துடி தோற்றம் அமைத்தல் திதிஆம் அரன்அங்கி தன்னில் அறையின் சங் காரம் அரன்ஊற் றணைப்பில் அமருந்திரோ தாயி அரன்அடி என்றும் அனுக்கிரகம் என்னே.	arantuḍi tOṛṛam amaittal titiyām aran angi tannil aṛaiyiṛ saṅgāram aran uṛṛu aṇaippil amarum tirOtāyi aranaḍi enḍrum anuggiragam ennE.	Hara’s drum is creation Hara’s hand gesturing protection Hara’s fire is dissolution Hara’s foot planted down is concealment Hara’s foot, raised in dance, is grace abiding. -Translation by Ananda K Coomaraswamy
Tamil Reference : திருமந்திரம் (tirumantiram) (2799)

We have already discussed on this, while talking about the esoteric science of temples. Please refer back to the same for further details.  An almost similar mapping is provided by the revered saint திருவதிகை  மணவாசகம்  கடந்தார் (tiruvadigai manavāsagam kaḍandār) in his famous work titled உண்மை விளக்கம் (uṇmai viḻakkam), an important சைவ சித்தாந்த மெய்கண்ட சாத்திரம் (saiva siddānta meikaṇḍa sāttiram)

Original	Transliteration	Translation
தோற்றம் துடி அதனில் தோயும் திதி அமைப்பில் சாற்றியிடும் அங்கியிலே சங்காரம் - ஊற்றமா ஊன்று மலர்ப்பதத்தில் உற்றதிரோதம் முத்தி நான்ற மலர்ப்பதத்தே நாடு	tOṛṛam tuḍi adayum titi amaippil sāṛṛiyiḍum aṅgiyilE saṅgāram - ūṛṛumā ūnṛu malarpadattil uṛṛatirOdam mutti nānṛa malarppadattE nāḍu	Creation starts from the Drum. Protection proceeds from the Hand of Hope. The fire produces destruction. From the Foot holding down proceeds Droupavam; the Foot held aloft gives mukti -Translation by T.N. Ramachandran
Tamil Reference : உண்மை விளக்கம் (uṇmai viḻakkam) (36)

Again, the revered saint திரு  குமரகுருபர  சுவாமிகள் (tiru kumaragurubara suvāmigaḻ) even more poetic account of the correspondence between पञ्चमहाकृत्यानि च महाटाण्डव श्री नटराजस्य (pañcamahākṛtyāni ca mahāṭāṇḍava śrī naṭarājasya - fivefold functions and cosmic dance of Lord of Dance), as illustrated in the following verses

Original	Transliteration	Translation
பூமலி கற்பகப் புத்தேள் வைப்பும் நாமநீர் வரைப்பி னானில வளாகமும் ஏனைப் புவனமு மெண்ணீங் குயிரும் தானே வகுத்ததுன் றமருகக் கரமே தனித்தனி வகுத்த சராசரப் பகுதி அனைத்தையுங் காப்பதுன் னமைத்தபொற் கரமே தோற்றுபு நின்றவத் தொல்லுல கடங்கலும் மாற்றுவ தாரழல் வைத்ததோர் கரமே ஈட்டிய வினைப்பய னெவற்றையு மறைத்துநின் றூட்டுவ தாகுநின் னூன்றிய பதமே அடுத்தவின் னுயிர்கட் களவில்பே ரின்பம் கொடுப்பது முதல்வநின் குஞ்சித பதமே	pūmali karpaga puttEḻ vaippum nāma nīr varaippil nānila vaḻāgamum Enai buvanamum eṇṇīṅguyirun tānE vagutadan damarukkaramE tanittani vagutta sarāsarap paguti anaittayum kāppadu un amainda poṛkaramE. tOnṛubu ninṛavat tolluk kaḍaṅgalum māṛṛuvadu ārahal vaittatOr karamE īṭṭiya vinaipayan evaṛṛaiyum maṛaittu ninṛu ūṭṭuvadām nin ūnṛiya padamE aḍutta innuyirgaṭku aḻavil pErinbam koḍuppadu mudalva nin kunjida padamE.	O my Lord, Thy hand holding the sacred drum has made and ordered the heavens and earth and other worlds and innumerable souls. Thy lifted hand protects both the conscious and unconscious order of thy creation. All these worlds are transformed by Thy hand bearing fire. Thy sacred foot, planted on the ground, gives an abode to the tired soul struggling in the toils of causality. It is Thy lifted foot that grants eternal bliss to those that approach Thee. These Five-Actions are indeed Thy Handiwork - -translation by Ananda K Coomaraswamy
Tamil Reference : சிதம்பர முமணிக்கோவை (ciambara mumaṇikkOvai) (1-12)

In fact, in cosmological terms, these पञ्चमहाकृत्यानि च महाटाण्डव श्री नटराजस्य (pañcamahākṛtyāni ca mahāṭāṇḍava śrī naṭarājasya - fivefold functions and cosmic dance of Lord of Dance) forms the main crux of cosmic governance of the universe and as cited below, saint மாணிக்கவாசகர் (māṇikka vāsagar) in his திரு அண்டப் பகுதி (tiru aṇḍappagudi) very beautifully and scientifically eulogizes the cosmic significance of the same.

Original	Transliteration	Translation
அண்டப் பகுதியின் உண்டைப் பிறக்கம், அளப்புஅரும் தன்மை, வளப் பெரும் காட்சி ஒன்றனுக்கு ஒன்று நின்ற எழில் பகரின் நூற்று ஒரு கோடியின் மேற்பட விரிந்தன; இல் நுழை கதிரின் துன் அணுப் புரைய, சிறிய ஆகப் பெரியோன். தெரியின் வேதியன் தொகையொடு மால் அவன் மிகுதியும், தோற்றமும், சிறப்பும், ஈற்றொடு புணரிய மாப் பேர் ஊழியும், நீக்கமும், நிலையும், சூக்கமொடு, தூலத்து, சூறை மாருதத்து எறியது வளியின் கொட்கப் பெயர்க்கும் குழகன் முழுவதும் படைப்போன் படைக்கும் பழையோன்; படைத்தவை காப்போன் காக்கும் கடவுள்; காப்பவை கரப்போன்; கரப்பவை கருதாக் கருத்துடைக் கடவுள்; திருத்தகும் அறுவகைச் சமயத்து அறுவகையோர்க்கும் வீடு பேறு ஆய், நின்ற விண்ணோர் பகுதி கீடம் புரையும் கிழவோன்; நாள்தொறும் அருக்கனில் சோதி அமைத்தோன்; திருத்தகு மதியில் தண்மை வைத்தோன்; திண் திறல் தீயில் வெம்மை செய்தோன்; பொய் தீர் வானில் கலப்பு வைத்தோன்; மேதகு காலில் ஊக்கம் கண்டோன்; நிழல் திகழ் நீரில் இன்சுவை நிகழ்ந்தோன்; வெளிப்பட மண்ணில் திண்மை வைத்தோன் என்று என்று, எனைப் பல கோடி, எனைப் பல பிறவும், அனைத்துஅனைத்து, அவ்வயின் அடைத்தோன். அஃதான்று	aṇḍap pagudiyin uṇḍaipp piṛakkam aḻapparum tanmai vaḻapperum kāṭci onṛanukku onṛu ninṛa ezhil pagarin nūṛṛoru kOḍiyin mEṛpaḍa virindana il nuzhai kadirin tun aṇuppuraiyac siṛiyavāgap peṛiyOn teriyin vEdiyin togaiyoḍu mālavan migudiyum tOṛṛamum siṛappum īṛṛoḍu puṇariya māpEr ūzhiyum nīkkamum nilaiyum sūkkamoḍu tūlattuc sūṛai mārudattu aṛiyadu vaḻiyiṛ koṭgap peyarkkum kuzhagan muzhuvadum paḍaipOṛ paḍaikkum pazhaiyOn paḍaittavai kāppOṛ kākkum kaḍavuḻ kāppavai karappOn karappavai karudāk karuttaḍaik kaḍavuḻ tiruttagum aṛuvagai samayattu aṛuvagaiyOṛkkum vīḍupErāi ninṛa viṇṇOr pagudi kīḍam puriyum kizhavOn nāḻtoṛum arukkaniṛ sOdi amaittOn tiruttagu madiyil tanmai vaittOn tiṇtiṛal tīyin venmai seidOn poitīr vāniṛ kalappu vaitOn mEdagu kālin ūkkam kaṇḍOn nizhaltigazh nīril insuvai nigazhndOn veḻippaḍa maṇṇil tiṇmai vaittOn enṛu enṛu enaipala kOḍi enaipala piṛavum anaittu anaittu avvayin aḍaittOn.	The developement of the sphere of the elemental universe, Its immeasurable nature, and abundant phenomena, If one would tell their beauty in all its particulars, As when, more than a hundred millions in number spread abroad, The thronging atoms are seen in the ray that enters the house, So is He the GREAT ONE, Who exists in the minutest elements. If you would know Him, BrahmA and the rest with MAl, His greatness, source, glory, and end, Conjoined with His eternity, His extent, His abiding essence, His subtile ant palpable manifestations They sought to understand. As the rush of a mighty whirlwind The Beauteous One drave them far in whirling course ! He is the Ancient One, Who creates the Creator of all; He is the God, Who preserves the Preserver of things created; He is the God, Who destroys the Destroyer; But, thinking without thought, regards the things destroyed. To the six sacred sects with their six diverse kinds of men He is the attainment of deliverance; and Source of being to the heavenly ones He is the Possessor of all, Who resembles an insect. Day by day He to the sun its lustre gave. In the sacred moon He placed its coolness; Kindled in the mighty fire its heat; In the pure ether placed pervasive power; Endued the ambiant wind with energy; To the streams that gleam in the shade their savour sweet, And to the expanded earth with its strength He gave; For ever and aye, me and millions other than me, All in their several cells hath He enclosed. -Translation by (Rev) G.U. Pope
Tamil Reference : திருவாசகம் (tiruvāsagam) (3.1-3.28)

षाष्ठब्रह्ममुख (ṣāṣṭhabrahmamukha – sixth divine face) 

Please be noted that noble saints like திருமூலர் (tirumūlar) highlight that there is a  षाष्ठब्रह्ममुख (ṣāṣṭhabrahmamukha – sixth divine face) called अधोमुख (adhomukha – downward face) that is hidden and is a passive observer , while the remaining five are the active participants in the Divine Drama.  In other words, the former represents the निष्कल / निर्गुण वपुस् परमशिवस्य (niṣkala / nirguṇa vapus paramaśivasya – undivided / attributeless aspect of supreme divinity), while the latter (i.e. remaining five together) represents the शकल / सगुण वपुस् परमशिवस्य (śakala / saguṇa vapus paramaśivasya – divided / attributed aspect of supreme divinity). In terms of occidental (western) philosophy, they correspond to the “noumenal being” and the “phenomenal becoming” respectively. As these two represent the static and dynamic aspects of existence, they can also be referred as the அரங்கம் / சபை (araṅgam / sabai – stage/ platform) where the திருகூத்து (tirukūttu -sacred dance) is performed. In other words, the சித்சபை / चित्सभा (citsabai / citsabhā – gnostic stage) serves as the साक्षि चैतन्य क्षेत्र (sākṣi caitanya kṣetra – witness-consciousness field) where the परमानन्दमय ताण्डव शक्तेः (paramānandamaya tāṇḍava śakteḥ - supreme blissful frantic dance of energy) takes place.

In fact, साक्षीः (sākṣīḥ – witness) is glorified as the पञ्चदश शुभनामन् ईश्वरस्य (pañcadaśa śubhanāman īśvarasya – fifteenth sacred name of God), according to श्री विष्णुसहस्रनामस्तोत्रं (śrī viṣṇusahasranāmastotraṃ).

Original	Transliteration	Translation
पूतात्मा परमात्मा च मुक्तानां परमा गतिः। अव्ययः पुरुषः साक्षी क्षेत्रज्ञोऽक्षर एव च॥	pūtātmā paramātmā ca muktānāṁ paramā gatiḥ| avyayaḥ puruṣaḥ sākṣī kṣetrajño'kṣara eva ca||	The pure-self, the supreme self, and the supreme goal of the emancipated, the unchanging, person, the witness, the knower of the field and the undecaying
Sanskrit Reference : श्री विष्णुसहस्रनामस्तोत्रं (śrī viṣṇusahasranāmastotraṃ) (2)

श्री आदिशंकराचार्य (śrī ādiśaṃkarācārya) in his famous भाष्य (bhāṣya - commentary) on the above text, further explains the esoteric significance of this sacred name ‘साक्षीः (sākṣīḥ – witness)’ by declaring thus: 

Original	Transliteration	Translation
साक्षाद् अव्यवधानेन स्वरूपबोधेन ईक्षते पश्यति सर्वमिति साक्षी। 'साक्षादृष्टरि संज्ञायाम्' (पा सू १।२।४९) इति पाणिनिवचनाद् इनिपत्रययः।	sākṣād avyavadhānena svarūpabodhena īkṣate paśyati sarvamiti sākṣī। 'sākṣādṛṣṭari saṃjñāyām' (pā sū 1।2।49) iti pāṇinivacanād inipatrayayaḥ।	Because he cognizes by his own wisdom (Bodha) everything directly with no veil between. According to the Panini Sūtras the word ' sākṣī' is derived from ‘sa’+’akṣi’, meaning ‘the direct cognizer’. -translation by Sri R. Anantakrishna Shastri
Sanskrit Reference : श्री विष्णुसहस्रनामस्तोत्रं शंकरभाष्य (śrī viṣṇusahasranāmastotraṃ śaṃkarabhāṣya) (2.15)

In fact, this concept is very beautifully visualized by the creative genius in the iconography of श्री दक्षिण काली (śrī dakṣiṇa kālī) wherein the परमानन्दमय ताण्डव शक्तेः (paramānandamaya tāṇḍava śakteḥ - supreme blissful frantic dance of energy) is performed on the शव परमशिवस्य (śava paramaśivasya – corpse of supreme shiva) by none other thanपराशक्ति (parāśakti – supreme/cosmic energy). The former is called प्रकाश (prakāśa - brightness) while the latter is विमर्श (vimarśa - broadcast) called according to पराद्वैत त्रिकशैव दर्शन (parādvaita trikaśaiva darśana – transcendent nonduality of trifold auuspiscioys philosophy),

Although, the dance seems to be ferocious, yet it is also a kind of परमानन्द ताण्डव (paramānanda tāṇḍava – supreme frantic bliss dance) as the साक्षि चैतन्य क्षेत्र (sākṣi caitanya kṣetra – witness-consciousness field) ensures the same. This fact is testified by श्री पराशरभट्टाचार्य (śrī parāśarabhaṭṭācārya) in his famous भाष्य (bhāṣya - commentary) on the sacred name ‘साक्षीः (sākṣīḥ – witness)’

Original	Transliteration	Translation
एवं तान् आनन्दयन् स्वयमपि तृप्यन् साक्षात्करोति इति साक्षी। साक्षादृष्टरि संज्ञायाम् इति इनः। विशिनष्टि हि मुक्तप्राप्यम् 'ब्रहमणा विपश्चिता' इति विविधं पश्यत् चित्त्वं हि विपश्चित्वं।	evaṃ tān ānandayan svayamapi tṛpyan sākṣātkaroti iti sākṣī। sākṣāt dṛṣṭari saṅjāyāṃ iti inaḥ। viśinaṣṭi hi muktaprāpyam 'brahamaṇā vipaścitā' iti vividhaṃ paśyat cittvaṃ hi vipaścitvaṃ।	Sākṣī – He who sees them all directly. Bhagavan (god) is known as sākṣī (witness) because he directly sees the muktas (liberated) enjoy the Bliss, He has bestowed and He is also happy seeing them full of joy. The suffix ‘in’ is added to the root according to a grammatical rule to form a noun to show that the person is direct eye-witenss to a particular act. The object of attainment by the mukta, viz. Brahman, is specially delineated by the Sruti as ‘Brahman the Omniscient’. Omiscience is explained as knowledge capable of cognizing all things of varied nature. -translation by Sri U.Ve.A.Srinivasaraghavachar Swamy
Sanskrit Reference : श्री विष्णुसहस्रनामस्तोत्रं पराशरभाष्य (śrī viṣṇusahasranāmastotraṃ parāśarabhāṣya) (2.15)

Thus, here in this capacity, शिवप्रकाश (śivaprakāśa – auspiscious lustre) assumes the निर्व्यापार द्रष्ट्ट भावन (nirvyāpāra draṣṭṭa bhāvana – passive observer role) who is not bound or affected by the actions of the play. He acts as pure सभा / क्षेत्र (sabhā / kṣetra – stage/ field) wherein the திருவிளையாடல் (tiruviḻaiyāḍal – divine play) is enacted.  In terms of modern science, it is the आकश क्षेत्र (ākaśa kṣetra - vacuum field/space) hosting the शक्ति ताण्डव नादबिन्दुनाम् (śakti tāṇḍava nādabindunām - energy dance of wave-particles). This theme has very ancient roots. In fact, in my opinion, the following मन्त्र (mantra – hymn) from one of the oldest Hindu scriptures viz. ऋग् वेद संहित (ṛg veda saṁhita) testifies the same.

Original	Transliteration	Translation
ञ्चरे चक्रे परिवर्तमाने तस्मिन्ना तस्थयुर्भुवनानि विश्वा। तस्य नाक्षस्तप्यते भूरिभारः सनादेव न शीर्यते सनाभिः॥	evaṃ tān ānandayan svayamapi tṛpyan sākṣātkaroti iti sākṣī। sākṣāt dṛṣṭari saṅjāyāṃ iti inaḥ। viśinaṣṭi hi muktaprāpyam 'brahamaṇā vipaścitā' iti vividhaṃ paśyat cittvaṃ hi vipaścitvaṃ।	All the worlds rest, in the five spoked revolving wheel. The axle bearing the heavy load is not damaged. Its only hub, though ancient, does not wear out. -translation by R.L. Kashyab
Sanskrit Reference : ऋग् वेद संहित (ṛg veda saṁhita) (1.164.13)

Here, the परिवर्त चक्र (parivarta cakra – revolving wheel) denotes the संसार चक्र (saṁsāra cakra – metomosychosis cycle), also called as the महा काल चक्र (mahā kāla cakra – cosmic time cycle) and its five spokes represents the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts), while the axle and hub represents the शक्ति / प्रकृति तत्त्व (śakti/ prakṛti tattva – dynamic principle) & शिव / पुरुष तत्त्व (shiva/ puruṣa tattva – static principle) respectively. Alternatively the  former can be expressed as a function of काल (kāla - time) while the latter as an aspect of देश (deśa – space/ field). In other words, all the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) in the phenomenal world occurs in space-time i.e. temporal events / milestones in देश (deśa – space/ field).

Please recollect that in Newtonian cosmological terms, the देश (deśa – space)  here in terms of अधोमुख (adhomukha – downward face) corresponds to absolute space which is defined by Isaac Newton /

 “Absolute space, in its own nature, without reference to anything external, remains always similar and unmovable”.

In simple words, it acts as the சபை / सभा (sabai / sabhā - stage) where the drama of cosmic motions are enacted.  Moreover, Newton also recognizes that such absolute space is actually a hidden concept which cannot be directly observable by the sense but can only be verified mathematically.  In fact to quote him,

“It is indeed a matter of great difficulty to discover and effectually to distinguish the true notions of particular bodies from the apparent, because the parts of that immovable space in which those motions are performed do by. no means come under the observations of our senses”

However, please remember that although in the capacity of शिव तत्त्व (shiva tattva – static principle), देश (deśa – space) remains pure and unstained, yet it is not an isolated जड तत्त्व (jaḍa tattva – inert principle) as it is tightly interconnected with the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts), in the capacity of शक्ति तत्त्व (śakti tattva – dynamic principle). That is, the same ब्रह्मम् (brahmam – divinity) continuously involves in these acts. In fact, this is why, देश (deśa – space/ field) is depicted as the hidden अधोमुख (adhomukha – downward face) which is underlying the पञ्चब्रह्म मुखानि (pañcabrahma mukhāni – five divine faces). Thus, देशकाल अनुबन्ध (deśakāla anubandha – spacetime continuum) is the primary principle in cosmology as testified in the following aphorism from the ancient Tamil treatise ஐந்திரம் (aintiram)

Original	Transliteration	Translation
காலமும் களமும் மூலம் உணர்த்தும்	kālamum kaḻamum mūlam uṇarttum	Both time and space will reveal the nature of the primal space or the primal absolute point of evolution. Translation Dr. S.P. Sabharathnam
Tamil Reference : ஐந்திரம் (aintiram) (57)

In other words, all the motions (actions) viz. the पञ्च महाकृत्यानि  (pañca mahākṛtyāni – five cosmic acts) are merely relative phenomena occurring in देश (deśa – space/ field). In this context, the space here corresponds to the Albert Einstein’s General Relativistic Model wherein all material phenomena are distortions of space-time gravity. 

We shall discuss the technicalities behind देशकाल अनुबन्ध (deśakāla anubandha – spacetime continuum), in the light of modern cosmology in a shortwhile. For now, just remember that देशकाल अनुबन्ध (deśakāla anubandha – spacetime continuum) is the माया सभा (māyā sabhā - magic stage) where the पञ्च महाकृत्य ताण्डव (pañca mahākṛtya tāṇḍava – dance of fivefold cosmic acts)  occurs.

As already highlighted earlier itself, the iconography of Lord Üò¾À¢Ã¡ý / ¿¼Ã¡ƒý (kooththapiraan / natarājan- the Lord of Cosmic Dance) has deep parallels with the modern cosmological discoveries in astrophysics. The परमशिव (paramaśiva - Infinite Being) who is known as the Üò¾À¢Ã¡ý / ¿¼Ã¡ƒý (kooththapiraan / natarājan-  Lord of Cosmic Dance), represents बिन्द (bindu - point particle or being) while Hisआनन्द ताण्डव चिदंबर नटराजस्य (ānanda tāṇḍava cidaṃbara naṭarājasya – bliss-dance of gnostic vacuum royal dancer) represents the नाद स्पन्दन (nāda spandana – vibrational waves). The माया सभा (māyā sabhā - magic stage) on which the divine act is performed is technically called as the चित्सभा / ज्ञानसभा (citsabhā /  jñānasabhā – gnostic stage / hall) aspect. That is why, this symbology is considered to be a perfect marriage of art and science, of poetry and philosophy as explained by Ananda K Coomaraswamy,

 “How supremely great in power and grace this dancing image must appear to all those who have striven in plastic forms to give expression to their intuition of Life!...No artist of today, however great, could more exactly or more wisely create an image of that Energy which science must postulate behind all phenomena…Nature is inert, and cannot dance until Siva wills it. He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! Matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fullness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry; but none the less, science.”

Thus, परमशिव (paramaśiva – supreme auspiciousness), here, denotes परब्रह्मन् (parabrahman) who is the निर्व्यापार सत्त्व (nirvyāpāra sattva – passive being), while the स्पन्द (spanda -  cosmic dance /eternal becoming) which is the व्यापारिन् भूय (vyāpārin bhūya – active becoming) and denotes माया शक्ति (māyā śakti – mystery/illusive force). In other words, Being is the latent potential energy, while becoming is the kinetic energy. The Saivite artistic genius has expressed these five functions as five different dance forms of परमशिव (paramaśiva – supreme auspiciousness), but also encapsulated all these functionalities within a single dance form as well.

 The नटराज (naṭarāja tāṇḍava –Dance King) who is the the नर्तक / கூத்தன் (nartaka / kūttan - dancer) in the iconography of नटराज ताण्डव (naṭarāja tāṇḍava – frantic Dance of Dance King), represents the निर्व्यापार सत्त्व (nirvyāpāra sattva – passive being) while ताण्डव (naṭarāja tāṇḍava – frantic dance) which is a kind of नाट्य /கூத்து (nāṭya / kūttu - dance) symbolizes the व्यापारिन् भूय (vyāpārin bhūya – active becoming). The latter is also the ब्रह्म लीला मायाशक्तेः (brahma līlā māyāśakteḥ - divine play of mystery force), symbolized as महेश्वरी (maheśvarī) -  His beloved consort. Thus, the former represents the निश्कल ब्रह्मन् (niśkala brahman – undifferntiated divinity), while latter represents the शकल ब्रह्मन् (śakala brahman – differentiated divinity); and in such a process of cosmological evolution, शक्ति तत्त्व (śakti tattva – kinetic / becoming aspect) appears to take more dominant role encapsulating the शिव तत्त्व (śiva tattva – potential/ being aspect) within Her. In fact, that is why, She is also called by the name शिवकामसुन्दरी / शिवकामी (śivakāmasundarī / śivakāmī -auspicious loving beauty / auspicious beauty).  In my opinion is she is also சிவாகமி (sivāgami -indweller of auspiciousness) since she is ‘encapsulating Shiva within Herself’. परमाचार्य श्री आदि शंकर भगवद्पाद (paramācārya śrī ādi śaṁkara bhagavadpāda) in his mystical masterpiece सौन्दर्य लहरी (saundarya laharī), very beautifully expresses this concept by singing thus, 

Original	Transliteration	Translation
त्वया हृवा वामं वपुरपरितृप्तेन मनसा शऱ्इरार्धं शंभोरपरमति शङके हृत्मभूत्। तथा हि त्वद्रूपं सकलमरुणाभं त्रिनयनं कुचाभ्यामानम्रम् कुतिल शशिचूदालमुकुतम्॥	tvayā hṛvā vāmaṁ vapuraparitṛptena manasā śairārdhaṁ śaṁbhoraparamati śaṅake hṛtmabhūt| tathā hi tvadrūpaṁ sakalamaruṇābhaṁ trinayanaṁ kucābhyāmānamram kutila śaśicūdālamukutam||	I fancy that the other (half) as well, of Shambhu’s frame has been absorbed by Thee, with Thy mind, not satisfied with having absorbed the left one; for, this, Thy form, is entirely of a red colour, has three eyes, is slightly bent with (the weight of) the breasts, and wears over its crown the crescent moon. -translation by Pandit S Subramaniya Shastri & Srinivasa Aiyangar
Sanskrit Reference : सौन्दर्य लहरी (saundarya laharī) (23)

पिण्डाण्ड ताण्डव (piṇḍāṇḍa tāṇḍava – microcosmic dance)

The next important point to understand is that the शिवताण्डव (śivatāṇḍava - Dance of Siva)  is not only a macro-cosmic event but is also very much an eternally immersive experience at the microcosmic scale. The revered saint திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (tiru aruṭpirakāsa irāmaliṅga vaḻḻalār) in his உரை நடை பகுதி (urainaḍai pagudi – prose section) as part of his உபதேச குறிப்புகள் (upadEsa kuṛippugaḻ - advisory notes) while discussing about ஞான சபையும் நடராஜரும் (jñāna sabaiyum naṭarājarum – gnostic hall and king of dance) describes the esoteric meaning of the நடராஜ தத்துவம் (naṭarāja tattuvam) in Hinduism, as follows,

Original	Transliteration	Translation
ஞானசபை யென்பது ஆன்மப் பிரகாசம். அந்தப் பிரகாசத்திற்குள்ளிருக்கும் பிரகாசம் கடவுள். அந்த உள்ளொளியின் அசைவே நடனம். இவற்றைத்தான் சித்சபை அல்லது ஞானசபை என்றும், நடராஜர் என்றும், நடனம் என்றும் சொல்லுகிறது	jñāna sabai enbadu ānmap pirakāsam. anda pirakāsatiṛkuḻ irukkum pirakāsam kaḍavuḻ. anda uḻoḻiyin asaivE naḍanam. ivaṛṛai dān siṛsabai alladu jñāna sabai enṛum, naṭarājar enṛum naḍanam enṛum sollugiṛadu.	The Gnostic-hall refers to the soul’s lustre and God is the (indwelling) lustre within that lustre. This internally vibrating light is only (called) the dance. These are called gnostic hall or wisdom hall and lord of dance or dance (respectively)
Tamil Reference : திருவருட்பா: உரை நடை- உபதேச குறிப்புகள் (tiruvaruṭpā: urai naḍai - upadEsa kuṛippugaḻ)

What is referred here as the உள் ஒளியின் அசைவு / अन्तरङ्ग ज्योति स्पन्दन (uḻ oḻiyin asaivu / antaraṅga jyoti spandana – internal vibrating light) is actually the पिण्डाण्ड मात्र स्पन्दन (piṇḍāṇḍa mātra spandana – microcosmic quantum vibration) which is actually occurring in स्वजान्तर्यामि आकाश (svajāntaryāmi ākāśa – one’s own inner space) which is inseparably associated with the आत्म चैतन्य (ātma caitanya - self-consciousness). In fact, it is called as the चिताकाश (citākāśa – consciousness space / gnostic vacuum).  It is the अन्तर् प्रेष / आत्म स्पन्दन (antar preṣa / ātma spandana – inner urge / self throb)  which manifests as the vacuum fluctuation in the चितंबर (citaṁbara – mindfield) where space begins to materialize itself  in various forms, as testified below

Original	Transliteration	Translation
கோட்டியல் வடிவும் புள்ளியும் குறியும் நீட்டுறும் இயல்பாய் நிகழும் நெரியே	kOṭṭiyal vaḍivum puḷyum kuṛiyum nīṭṭuṛum iyalbāi nigazhum neriyE	Within the primal space itself, first there occurs internally an urge as “let me become like this”; this urge turns into a point (dot); and thence occurs manifestation of forms conditioned by enclousres of lines limitations etc. This is how enduring process of manifestation of forms takes place. - Translation Dr. S.P. Sabharathnam
Tamil Reference : ஐந்திரம் (aintiram) (54)

The आत्म स्पन्दन / नाद (ātma spandana / nāda  – self throb) begins its creative journey by first formalizing as a अपरिमाण/अरूप बिन्दु (aparimāṇa /arūpa bindu – dimensionless/formless point) and then further materializing into all other forms of matter, charecterized by the पञ्चभूत अवस्थानि (pañcabhūta avasthāni – five material phases). This आत्म स्पन्दन (ātma spandana – self throb) is the सूक्षम नटन (sūkṣama naṭana – subtle dance) referred by the saint here. Of course, the same also manifests itself as the नाद स्पन्दन  (nāda spandana – sonic vibration), technically called as திருமந்திரம் (tirumantiram) by saint திருமூலர் (tirumūlar).

Original	Transliteration	Translation
திருமந் திரமே சிதம்பரந் தானுந் திருமந் திரமே சிறந்த உபாங்கந் திருமந் திரமே திருக்கூத்தின் செய்கை திருமந் திரமே திருமேனி தானே	tirumantiramE cidambaran tānum tirumantiramE siṛandha upāṅgan tirumantiramE tirukūttin seigai tirumantiramE tirumEni tānE
Tamil Reference : திருமந்திரம் (tirumantiram) (3101)

The உள் ஒளியின் அசைவு / अन्तरङ्ग ज्योति स्पन्दन (uḻ oḻiyin asaivu / antaraṅga jyoti spandana – internal vibrating light) in terms of the सूक्षम माणुष्य रचनाशारीर/शरीरशास्त्र (sūkṣama māṇuṣya racanāśārīra/śarīraśāstra – subtle human autonomy / physiology) corresponds to the अनाहत शब्द (anāhata śabda – unstruck sound) the locus of whose pulsation is in the हृदय चक्र (hṛdaya cakra – heart center) along which the कुण्डलिनी शक्ति (kuṇḍalinī śakti – encapsulated energy) flows, when awakened. Please recollect that this अन्तर्ब्रह्माण्डाकाश (antarbrahmāṇḍākāśa - inner cosmic space) according to दहरालयविद्या (daharavidyā – science of the quantum/micro field), as explained in the छान्दोग्योपनिषद् (chāndogyopaniṣad), at the microcosmic level, the मानुष्यकदेह अस्ति क्षेत्रं (mānuṣyakadeha asti kṣetraṃ - human body is the field), technically called as the ब्रह्मपुर (brahmapura –  Divine City), wherein God resides concealed within its हृदयस्थल स्थूलशरीरे (hṛdayasthala sthūlaśarīre – heart locus in the gross body) which maps to the अनाहतचक्र अन्तरेण सूक्षमशरीरे (anāhatacakra antareṇa sūkṣamaśarīre – unstruck-sound centre within the subtle body)

Original	Transliteration	Translation
हरिः ॐ अथ यदिदमस्मिन्ब्रह्मपुरे दहरं पुण्डरीकं वेशं दहरोऽस्मिन्नन्तराकाशस्तस्मिन्यदन्तस्तदन्वेष्टव्यं तद्वाव विजिज्ञास्तिव्यमिति॥	hariḥ oṃ atha yadidamasminbrahmapure daharaṃ puṇḍarīkaṃ veśaṃ daharo'sminnantarākāśastasminyadantastadanveṣṭavyaṃ tadvāva vijijñāstivyamiti॥	Hari OM. There in the city of Brahman, there is a mansion within the shape of a tiny lotus with a small inner Akasha in it. That which exists within it should be inquired into; that indeed one should desire to know. -translation by V. Panoli
Sanskrit Reference : छान्दोग्योपनिषद् (chāndogyopaniṣad) (8.1.1)

श्री आदिशंकराचार्य भगवत्पाद (śrī ādiśaṃkarācārya bhagavatpāda) as part of his famous भाष्य (bhāṣya - commentary) on the above text further explains thus: 

Original	Transliteration	Translation
अथान्तरं यदिदं वक्ष्यमाणं दहरमल्पं पुण्डरीकसदृशं वेशमेव वेशम् द्वारपालादिमच्वत्; अस्मिन् ब्रह्मपुरे ब्रह्मणः परस्य पुरं राज्ञोऽनेकप्रकृतिमद्यथा पुरं तथेदमनेकेन्द्रियमनोबुद्धिभिः स्वभायर्थकारिभिर्युक्तमिति ब्रह्मपुरम्। पुरे च वेशम् राज्ञो यथा तथा तस्मिन् ब्रह्मपुरेशरीरे दहरं वेशम् ब्रह्मण उपलब्ध्याधिष्ठानमित्यर्थः यथा विष्णोः शालग्राम्। अस्मिन् हि स्वविकारशुङ्गे देहे नामरूपव्याकरणाय प्रविष्टं सदाख्यं ब्रह्म जीवेनात्मनेत्युक्तम्। तस्मादस्मिन्हृदयपुण्डरीके वेशमन्युपंसहृतकरणैर्वाह्यविपयविरक्तैर्विशेषतो ब्रह्मचर्यसत्यसाधनाभ्यां युक्तैर्वक्ष्यमाणगुणवद्धयायमानैब्रह्मोपलभ्यत् इति प्रकरनार्थः। दहरोऽल्पतरोऽस्मिन्दहरे वेश्मिन् वेश्मनोऽल्पत्वात्त दन्तर्वर्तिनोऽल्पतरत्वं वेश्मनोऽन्तराकाश आकाशाख्यं ब्रह्मः। आकाशो वै नामेति हि वश्यति। अकाश इवाशरीरत्वात्सूक्षमत्वसर्वगतत्वसामान्याञ्च। तस्मिन्नाकाशाख्ये यदनर्मध्ये तदन्वेष्टव्यम्। तद्वाव तदेव च विशेषेण जिज्ञासितव्यं गुर्वाश्रयश्रवणाद्युपायैरन्विषय च साक्षात्करणीयमित्यर्थः॥	athāntaraṃ yadidaṃ vakṣyamāṇaṃ daharamalpaṃ puṇḍarīkasadṛśaṃ veśameva veśam dvārapālādimacvat; asmin brahmapure brahmaṇaḥ parasya puraṃ rājño'nekaprakṛtimadyathā puraṃ tathedamanekendriyamanobuddhibhiḥ svabhāyarthakāribhiryuktamiti brahmapuram। pure ca veśam rājño yathā tathā tasmin brahmapureśarīre daharaṃ veśam brahmaṇa upalabdhyādhiṣṭhānamityarthaḥ yathā viṣṇoḥ śālagrām। asmin hi svavikāraśuṅge dehe nāmarūpavyākaraṇāya praviṣṭaṃ sadākhyaṃ brahma jīvenātmanetyuktam। tasmādasminhṛdayapuṇḍarīke veśamanyupaṃsahṛtakaraṇairvāhyavipayaviraktairviśeṣato brahmacaryasatyasādhanābhyāṃ yuktairvakṣyamāṇaguṇavaddhayāyamānaibrahmopalabhyat iti prakaranārthaḥ। daharo'lpataro'smindahare veśmin veśmano'lpatvātta dantarvartino'lpataratvaṃ veśmano'ntarākāśa ākāśākhyaṃ brahmaḥ। ākāśo vai nāmeti hi vaśyati। akāśa ivāśarīratvātsūkṣamatvasarvagatatvasāmānyāñca। tasminnākāśākhye yadanarmadhye tadanveṣṭavyam। tadvāva tadeva ca viśeṣeṇa jijñāsitavyaṃ gurvāśrayaśravaṇādyupāyairanviṣaya ca sākṣātkaraṇīyamityarthaḥ॥	Then, there is a small mansion, the description of which will follow and which bears the semblence of a tiny lotus. Because there are guards at the enterance, it is like a mansion. In this city of Brahman – the city of Brahman or the Supremem is Brahmapuram. Just like a palace of a king which has many courtiers, this city (body) is possessed on=f many sensory organs, mind and intellect ever ready to attend the needs of the master. Hence it is Brahmapuram. Just as there is a palace of kings in the city, so also, in the body which is called the city of Brahman, there is a small mansion, i.e., a place for the perception of Brahman, even as Salagrama stone is for the perception of Vishnu. It is said already that Brahman called Sat has entered as Jivatman into the body which is its own modification like a sprout, in order to manifest name and form. Therefore, for those who have withdrawn the senses, who have become dispassionate to external objects, which are endowed specially with such means as continence, truth and the rest, and also with the qualities to be mentioned hereafter, and who meditate on that abode which is the lotus of the heart, there follows the perception of the Brahman. This is the meaning of the sesction. Dahara means small. In this small mansion – because the mansion is small that which exists within, i.e. the inner Akasha called Brahman is smaller than the mansion. ‘The Self called Akasha is certainly the revealer of name and form’ (8.14.1). Thus the Shruti shall speak later. Because incorporeity, subtlety and all-pervasiveness form the common features. (Brahman is like Akasha). That is tobe inquired into what exists in that which is called Akasha. That alone one should seek to know particularly, that is to say , with the help of instruction of the teacher and through means such as hearing and the rest, one is to inquire into and realize it. -translation by V. Panoli
Sanskrit Reference : छान्दोग्योपनिषद् शंकरभाष्य (chāndogyopaniṣad śaṃkarabhāṣya) (8.1.1)

In fact, according to orthodox शैवमत संप्रदाय (śaivamata saṃpradāya - Saivite theological tradition) in Tamil Nadu, the term கோயில் (kOyil - temple) is synonymous with சிதம்பரம் (cidambaram -  gnostic stage). This term, சிதம்பரம்/चिदंबरम् (sidambaram/ cidaṃbaram), in turn is derived from the terms சித் / चित् (cit - consciousness) and அம்பரம் / अंबर (aṃbaram - stage) wherein former represents क्षेत्रं (kṣetraṁ - field) while latter denotes the क्षेत्रज्ञक्षेत्रस्य (kṣetrajñakṣetrasya – cognizer of field) who is the अन्तर्यामि ब्रह्मन् (antaryāmi brahman – indwelling divinity), also called as the अङ्गुष्ठमात्र पुरुष (aṅguṣṭhamātra puruṣa – soul having the size of a thumb) in the कटोपनिषद् (kaṭopaniṣad)

Original	Transliteration	Translation
अङ्गुष्ठमात्रः पुरुषो मध्य आत्मनि तिष्ठति। ईशानो भूतभव्यस्य न ततो विजुगुप्सते। एतद्वै तत्॥ अङ्गुष्ठामात्रः पुरुषो ज्योतिरिवाधूमकः। ईशानो युतभव्य्स्य स एवाद्य स उ श्वः॥ एतद्वै तत्॥ अङ्गुष्ठमात्रः पुरुषोऽन्तरात्मा सदा जननां हृदये संनिवष्टः। तं स्वाच्छरीरात्प्रवृहेनमुञ्जादिवेपीकां धैर्येण। तं विद्याच्छुक्रममृतं तं विद्याच्छुक्रममृतमिति॥	aṅguṣṭhamātraḥ puruṣo madhya ātmani tiṣṭhati। īśāno bhūtabhavyasya na tato vijugupsate। etadvai tat॥ aṅguṣṭhāmātraḥ puruṣo jyotirivādhūmakaḥ। īśāno yutabhavysya sa evādya sa u śvaḥ॥ etadvai tat॥ aṅguṣṭhamātraḥ puruṣo'ntarātmā sadā jananāṃ hṛdaye saṃnivaṣṭaḥ। taṃ svāccharīrātpravṛhenamuñjādivepīkāṃ dhairyeṇa। taṃ vidyācchukramamṛtaṃ taṃ vidyācchukramamṛtamiti॥	The Purusha, of the size of a thumb, dwells in the body. (Realizing Him as) the Lord of the past and the future, one does not (hence forward) want to protect oneself. This verily is that (though seekest). The Purusha of the size of a thumb is like a sokeless fire and is the Lord of the past and the future. He certainy exists now and shall certainky exists tomorrow. This verily is that (though seekest). Purusha of the size of a thumb, the inner Self is ever seated in the heart of the living beings. One should with steadiness, separate Him from one’s own body as stalk from the Munja grass. One should know him as pure and immortal; One should know him as pure and immortal. -translation by V.Panoli
Sanskrit Reference : कटोपनिषद् (kaṭopaniṣad) (2.1.12, 2.1.13,2.3.17)

Thus, here, the term சிதம்பரம் / चिदंबरम् (sidambaram / cidaṃbaram – gnostic hall) is actually referring to the சிற்றம்பலம் (ciṛṛaṃbalam– small /tiny stage) which is located within the small dark narrow space inside the हृदय स्थल (hṛdaya sthala - heart centre). This पिण्डाण्ड अकाश (piṇḍāṇḍa akāśa – microcosmic space) is technically called as दहराकाश (daharākāśa – quantum vacuum). Similarly, the श्वेताश्वतर उपनिषद् (śvetāśvatara upaniṣad) also very categorically states as to how the अङ्गुष्ठमात्र पुरुष (aṅguṣṭhamātra puruṣa – soul having the size of a thumb)

Original	Transliteration	Translation
अङ्गुष्टमात्रः पुरुषोऽन्तरात्मा सदा जनानां हृदये सन्निविष्टः। हृदा मनीषा मनसाभिकलृप्तो य एतद् विदुरमृतास्ते भवन्ति॥	aṅguṣṭamātraḥ puruṣo'ntarātmā sadā janānāṁ hṛdaye sanniviṣṭaḥ| hṛdā manīṣā manasābhikalṛpto ya etad viduramṛtāste bhavanti||	Assuming a form the size of a thumb by virtue of intellect, emotion, .imagination and will, the Infinite Being dwells in the hearts of creatures as the inner self. Those who realize this become immortal. -translation by Swamy Tyagisananda (RKM Order)
Sanskrit Reference : श्वेताश्वतर उपनिषद् (śvetāśvatara upaniṣad) (3.13)

परमाचार्य श्री अभिनवगुप्त (paramācārya śrī abhinavagupta) in his famous वार्त्तिक (vārttika - gloss) on the sacred मालिनीविजयोत्तरतन्त्र (mālinīvijayottaratantra) which in turn is one amongsth the three important texts constituting the sacred सिद्धयोगेश्वरीमततन्त्र (siddhayogeśvarīmatatantra), further explains thus:

Original	Transliteration	Translation
अनियन्त्रितसद्भावाद् भावभेदैकभागिनः। यत् प्राग् जातं महाज्ञानम् तद् रश्मिभरवैभवम्॥ ततं तादृक् स्वमायीयहेयोपादेयवर्जितम्। विततीभावनाचित्ररश्मितामात्रभेदितम्॥ अभिमर्शस्वभावम् तद् धृदयं परमेशितुः। तत्रापि शक्त्या सततं स्वात्ममय्या महेश्वरः॥ यदा संघट्टं आसाद्य समापत्तिं पराम् व्रजेत्। तदास्य परमं वक्त्रम् विसर्गप्रसारस्पदम्॥ अनुत्तरविकासोद्यज्जगदानन्दसुन्दरम्। भाविवक्त्राविभागेन बीजम् सर्वस्य यत् स्थितम्॥ हृत्स्पन्दादृपरासारनिर्नामोर्म्यादि तन् मतम्। एतत् परं त्रिकं पूर्वं सर्वशक्त्यविभागवत्॥ अत्र भवसमुल्लासशङ्कासंकोशविच्युतिः। स्वानन्दलीनात्मात्रमात्रिच्चाकर्मदृक्त्रयम्॥ तथा च गुरुवः शैवदृष्टाव् इत्थं न्यरूपयन्। स यदास्ते चिदाह्लादमात्रानुभवतल्लयः॥ तदिच्छा तावती ज्ञानम् तावत् तावत् क्रिया हि सा। सुसूक्ष्माशक्तित्रित्यसामरस्येन वर्तते॥ चिद्रूपाह्लादपरमस् तदाभिन्नो भवेद् इति।	aniyantritasadbhāvād bhāvabhedaikabhāginaḥ। yat prāg jātaṃ mahājñānam tad raśmibharavaibhavam॥ tataṃ tādṛk svamāyīyaheyopādeyavarjitam। vitatībhāvanācitraraśmitāmātrabheditam॥ abhimarśasvabhāvam tad dhṛdayaṃ parameśituḥ। tatrāpi śaktyā satataṃ svātmamayyā maheśvaraḥ॥ yadā saṃghaṭṭaṃ āsādya samāpattiṃ parām vrajet। tadāsya paramaṃ vaktram visargaprasāraspadam॥ anuttaravikāsodyajjagadānandasundaram। bhāvivaktrāvibhāgena bījam sarvasya yat sthitam॥ hṛtspandādṛparāsāranirnāmormyādi tan matam। etat paraṃ trikaṃ pūrvaṃ sarvaśaktyavibhāgavat॥ atra bhavasamullāsaśaṅkāsaṃkośavicyutiḥ। svānandalīnātmātramātriccākarmadṛktrayam॥ tathā ca guruvaḥ śaivadṛṣṭāv itthaṃ nyarūpayan। sa yadāste cidāhlādamātrānubhavatallayaḥ॥ tadicchā tāvatī jñānam tāvat tāvat kriyā hi sā। susūkṣmāśaktitrityasāmarasyena vartate॥ cidrūpāhlādaparamas tadābhinno bhaved iti।	The supreme awareness that has arisen before (all others) from the unlimited (ground) that contains all things in their pure non-duality is manifested all-pervading in the plenitude of its powers, sharing the nature of that ground, (still) free of the hierarchy of goals that it will be appropriate (at lower levels), differentiated only inasmuch as the radiance it emits is diffracted in the process of its expansion. This, whose nature is the power, of the representation itself, is the heart (hṛdayam) of Shiva. In this state he attains the highest non-duality by experiencing intimate union with the power that is eternally one with his nature. When this occurs, the 'highest' face arises, the ground in which absolute potential (viśargaḥ) flows. It is the seed of the universe, beautiful with all-embracing bliss (jagadānandaḥ) that surges up in the expansion of the ultimate, holding in non-duality all the 'faces' that will subsequently emerge. It is this that is meant (in the scriptures) by such terms as the Heart (hṛta), the subtle motion (spandaḥ), the vision (dṛka), the all-embracing [power] (para), the Essence (sāram), the Nameless (nirnāma), and the wave (ūrmiḥ). This is the ultimate triad (of the Trika), the prior (state) that holds all (other) powers within its unity. Here the contradiction caused by the inhibition of consciousness through the emergence of (differentiated) entities has fallen away, and the three (powers) that are conscious subject's (mātṛ) will, cognition and action have become nothing but the subjects state of immersion in his own bliss (svanandalīnata). The master (somānanda) taught this, when he declared in his śivadṛṣṭi (1.3-4) "When one rests immersed in the experience of the unmingled bliss of one's consciousness, then one's will, cognition and action are no more (than that experience). One exists as the fusion of these three powers in their subtlest form. At that time one is undivided, completely immersed in the bliss that is consciousness (cidrūpahlada)." -translation by Alexis Sanderson
Sanskrit Reference : मालिनीविजयोत्तरवार्त्तिक (mālinīvijayottaravārttika) (1.15-23)

குமாரசிவம் (kumārasivam)

Please recollect our earlier discussion that in addition to the पञ्चब्रह्म मुखानि (pañcabrahma mukhāni – five divine faces) that are responsible for the पञ्चमहाकृत्यानि (pañcamahākṛtyāni – five cosmic acts), there is a षाष्ठब्रह्म मुख (ṣāṣṭhabrahma mukha – sixth divine face) which is called as the अधोमुख (adhomukha – downward face) that is hidden and is a निर्व्यापार दृष्ट्ट (nirvyāpāra dṛṣṭṭa - passive observer), while the remaining five are the व्यापृत भागिनः (vyāpṛta bhāginaḥ - active paticpants) as part of the दैवलीला (daivalīlā – divine play). It is this षाष्ठब्रह्म मुख (ṣāṣṭhabrahma mukha – sixth divine face) which is referred by परमाचार्य श्री अभिनवगुप्त (paramācārya śrī abhinavagupta) as the “तदास्य परमं वक्त्रम् विसर्गप्रसारस्पदम् (tadāsya paramaṃ vaktram visargaprasāraspadam - When this occurs, the 'highest' face arises, the ground in which absolute potential flows)”. The eminent Indologist and subject matter expert, further explains thus in his famous article ‘Commentary on the opening verses of the Tantrasara of Abhinavagupta’, as part of his foot-notes to his above translation:

 Abhinavagupta uses the term face (vaktram) here because his context is an exposition of the process through which  consciousness concieves and manifests the streams of Shaiva revelation, their emergence being traditionally associated with the five faces of Sadāśiva. These five faces are equated in the mālinīvijayottaravārttika with the aspects of Shiva’s power, the streams being presented as the natural expressions of Shivahood in these aspects. The heart is the sixth or the highest face; and has embodiment of absolute potential it is seen as the source of the non-dualsitic teachings of the Trika.
 

 And according to कौमार मट संप्रदाय (kaumāra maṭa saṁpradāya), this हृदय स्थल (hṛdaya sthala - heart centre) in the हृदय स्थल (hṛdaya - heart), is referred as a குகை / गुहा (gugai / guhā - cave) and its अङ्गुष्ठमात्र अन्तर्यामि ब्रह्मन् (aṅguṣṭhamātra antaryāmi brahman – indwelling divinity having the size of a thumb) is called as குருகுகன் / குகேசன் (gurugugan / gugEsan – cave god/guru) who is popularly theologized as திருமுருகன் (tirumurugan). தவதிரு பாம்பன் சுவாமிகள் (tavatiru pāmban suvāmigaḻ) in the following verses from his esoteric epoch making masterpiece தகராலய ரகசியம் (dagarālaya ragasiyam) very beautifully explains the concept thus,

Original	Transliteration	Translation
பிண்டமாம் உருவிற்குனடு நடுநிலையாகப் பேச உள் இதயமாம் புண்டரீக மலர்குள்ளே அருள்புரி பரைப்பொருளாய் இறா. அண்டருன்தெரி அரிய சூக்குமமாய் அகண்ட வ்யோமம் ஒன்றுண்டு. அடை சிவம் பிரமம் என்று உழருடைய பாவலர் அறைவரே. பிரமம் என்னும் ஒரு சிவம் இருந்து ஒளி பெருகளின் புதை சிவபுரம பிரமம் மாபுரம் என்றும் ஆசறு பேழ் அம்போருகம் உண்மையால் நரலல் அற்று ஒளிர் புண்டரீகபுரம் எனவும் சொன்ன இண்டையைப் பரவும் அப்புரமென்றும் ஓதுவர் பழியில்லா அறிவாலரே. அவ்வ(அ)ம் போருகம் உள் நிலாவிடும் அகண்ட அம்பரம் ஞானமாய்த் தவலின்றி அதி நுண்மை மாண்புடன் தான் இருத்தலினால் அதைச் செவ்விதாய சிதம்பரம், பரதேசு, உறும் தகராலயம் எவ்வ நூறு பொன்னம்பலம், குகன் எந்தை ஆடரங்கு என்னலாம்	piṇḍamām uruviṛkaṇḍu naḍunilaiyāga pEsa uḻ idayamām puṇḍarīga malarkkuḻḻE aruḻpuri paraipporuḻāi, iṛā aṇḍarunderi ariya sūkkamamāi agaṇḍa viyOmam onuṇḍu adai sivam biramam enu uazhuḍaiya pāvalar aṛaivare. biramam ennum oru sivam irundu oḻi perugaḻin pudai sivapuram biramam māpuram enum āsau pEzh ambOrugam uṇmaiyāl naralal aub oḻir puṇḍarīgapuram enavum sonna iṇḍaiyaip paravum appurmenum oduvar pazhiyillā aivālarE. avva(a)m pōrukam uḷ nilāviṭum akaṇṭa amparam ñāṉamāyt tavaliṉṟi ati nuṇmai māṇpuṭaṉ tāṉ iruttaliṉāl ataic cevvitāya citamparam, paratēcu, uṟum takarālayam evva nūṟu poṉṉampalam, kukaṉ entai āṭaraṅku eṉṉalām
Tamil Reference : தகராலய ரகசியம் (dagarālaya ragasiyam) (1.4-6)

ஸ்ரீமத் பாம்பன் சுவாமிகள் (srimad pāmban suvāmigaḻ) in the சதானந்த சாகரம் (sadānanda sāgaram) his which is his famous auto-commentary on the above verses, further explains thus: 

Original	Transliteration	Translation
பிண்டமாகிய தேகத்திற்க்கு மத்திய நிலையாகச் சொல்லுதற்குள்ள உள்ளிடத்து இருடயமென்னும் புண்டரீகப் பூவிங்கண் சராசமானைத்தும் புரந்தருள் தயாசிந்துவாகிய பராசத்தியை நீகாப்பொருளாய்ச் சாகாதேவர்களாலும் அறிதர்குறிய சூக்கமுமாய்யுள்ள அகண்டாகாசமொன்றுள்ளது. அதனையே சிவமென்றும், பிரமம் என்றும் அறிவுடைய புலவர்கள் கூறுவர்… குற்றமில்லாஅறிவுடைச் சான்றோர் பிரம்ம்மென்னும் ஒப்பற்ற சிவமிருந்து (தீர்க்கதரிசிகட்க்கு நாளுக்கு நாள்) அதிகரிக்கும் பிரகாசத்துடன் (வெளிப்பட்டு) நிற்றலாற் (பிண்டமாகிய இச்) சரீரத்தைச் சிவபுரமெனவும், பிரம மகாபுரமெனவும், குற்றமற்ற மேன்மைட்டாங்கிய (இருதய) தாமரை மலர் இருத்தலால் ஒலித்தலின்றி விளங்கும் புண்டரீகபுரமெனவும் சொல்லப்பட்ட தாமரை மலரை, (அனைவருந்) துதித்து வழிபடதக்க அந்தச் சிவபுரம் பிரமப்புரம் புண்டரீகபுரமெனவுஞ் சொல்லுவர்… அத்தகைய இருதய தாமரை மலர்க்குள் பிரகாசிக்கும் அகண்டாகாசமானது சித்து வடிவாக எத்திறக்குறையுமின்றி அதிசூக்கமத்தோடும் மாட்சியோடும் இருக்கும் காரணத்தினால் அதனை நலமுடைத்தாய சிதமெனறும், பரமென்றும் பரதேசமென்றும், உள் உற்ற தகராலயமென்றும், துக்கத்தை யர்வே ஒழிக்கும் பொன்னம்பலமென்றும் குகதேவனாகிய எம்முடைய பிதா திருனடனஞ்ச்செய்யும் அரங்கென்றும் கூறலாம்.	piṇḍamāgiya dēgattiṛkku maddiya nilaiyāgac solludaṛkuḻḻa uḷḍattu irudayamennum puṇḍarīgap pūvinkaṇ sarāsaramanaittum purandaruḻ dayāsinduvāgiya parāsattiyai nīṅgāp poruḻāi sāgāt d ē vargaḻālum aṛidarkkariya sūkkamamāuyuḻḻa agaṇḍākāsamonṛuḻḻadu. adanaiyE sivanenṛum biramamenṛum aivudaiya pulavargaḻ kūṛuvar… kuṟṟamillā'aṟivuṭaic cāṉṟōr piram'm'meṉṉum oppaṟṟa civamiruntu (tīrkkataricikaṭkku nāḷukku nāḷ) atikarikkum pirakācattuṭaṉ (veḷippaṭṭu) niṟṟalāṟ (piṇṭamākiya ic) carīrattaic civapurameṉavum, pirama makāpurameṉavum, kuṟṟamaṟṟa mēṉmaiṭṭāṅkiya (irutaya) tāmarai malar iruttalāl olittaliṉṟi viḷaṅkum puṇṭarīkapurameṉavum collappaṭṭa tāmarai malarai, (aṉaivarun) tutittu vaḻipaṭatakka antac civapuram piramappuram puṇṭarīkapurameṉavuñ colluvar… attakaiya irutaya tāmarai malarkkuḷ pirakācikkum akaṇṭākācamāṉatu cittu vaṭivāka ettiṟakkuṟaiyumiṉṟi aticūkkamattōṭum māṭciyōṭum irukkum kāraṇattiṉāl ataṉai nalamuṭaittāya citameṉaṟum, parameṉṟum paratēcameṉṟum, uḷ uṟṟa takarālayameṉṟum, tukkattai yarvē oḻikkum poṉṉampalameṉṟum kukatēvaṉākiya em'muṭaiya pitā tiruṉaṭaṉañcceyyum araṅkeṉṟum kūṟalām
Tamil Reference : தகராலய ரகசியம் - சதானந்த சாகரம் (dagarālaya ragasiyam - sadānandasāgaram) (1.9,1.10)

Foe more details on Lord முருகன் (murugan)  and his  Spiritual Significance please take a look at my blog given below: 

Spiritual Significance of Lord முருகன் (murugan) and His festivals

Please remember that this अनाहतचक्र ताण्डव (anāhatacakra tāṇḍava – unstruck center dance) with its which in biophysical terms is performed at the हृदय आश्रय (hṛdaya āśraya – heart locus) and this as we already observed corresponds to தில்லை சிதம்பரம் (tillai cidambaram) in terms of the बहिरङ्ग दिव्य देश ब्रह्माण्डे (bahiraṅga divya deśa brahmāṇḍe – external sacred space in the macrocosm). Of course, this dance which is technically called as ईशान ताण्डव (īśāna tāṇḍava), is not the only पिण्डाण्ड ताण्डव (piṇḍāṇḍa tāṇḍava – microcosmic dance), as each one of the षटाधार चक्राणि (ṣaṭādhāra cakrāṇi – six base centres) through which the जीवाकर्शिक कुण्डलिनी शक्ति (jīvākarśika kuṇḍalinī śakti – biomagnetic coiled energy) flows has its own share of पिण्डाण्ड ताण्डव (piṇḍāṇḍa tāṇḍava – microcosmic dance). And as already, observed our Hindu genius have ritually consecrated through the प्राणाग्निहोत्र प्रतिष्ठा यज्ञ (prāṇāgnihotra pratiṣṭhā yajna – vital-breath fire invocation ceremony), each of type of such दिव्य नटन (divya naṭana – divine dance), at different दिव्य देशाः शिवालयेषु (divya deśāḥ śivālayeṣu - sacred spaces in Shiva temples) across the country. For example, the following picture illustrates such a mapping between the अन्तरङ्ग दिव्य देशाः (antaraṅga divya deśāḥ - internal sacred spaces) wherein such a दिव्य नटन (divya naṭana – divine dance) is performed by the अन्तर्यामि नटराज (antaryāmi naṭarāja – indwelling dance king) and their corresponding बहिरङ्ग दिव्य देशाः (bahiraṅga divya deśāḥ - external sacred space) wherein the अर्चावतार नटराज (arcāvatāra naṭarāja - iconographic dance king).  In fact, we can even extend it into three fold scopes of phenomenal existence viz. ब्रह्माण्ड चिदंबरम् (brahmāṇḍa cidaṃbaram - macro-cosmic vacuum consciousness), देवालय  चिदंबरम् (devālaya  cidaṃbaram - temple vacuum consciousness), पिण्डाण्ड चिदंबरम् (piṇḍāṇḍa  cidaṃbaram - microcosmic vacuum consciousness). In the following picture I have tried to visually symbolize the same for our easier understanding.   

  

The noble saint திருமூலர் (tirumūlar) refers to such கூத்து (kūttu- dance) as the பொன்தில்லைக் கூத்து (poṉtillaik kūttu – golden tillai dance)

Original	Transliteration	Translation
அண்டங்கள் ஒரேழும் அம்பொற்பதியாகப் பண்டை ஆகாசங்கள் ஐந்தும் பதியாகத் தெண்டினில் சத்தி திரு அம்பலமாகக் கொண்டு பரஞ்சோதி கூத்து கந்தானே.	aṇṭaṅkaḷ orēḻum ampoṟpatiyākap paṇṭai ākācaṅkaḷ aintum patiyākat teṇṭiṉil catti tiru ampalamākak koṇṭu parañcōti kūttu kantāṉē	The seven universes as His golden abode, The five elements, sky and the rest as pedestal The central Kundalini Sakti as Divine Hall Thus in rapture He danced, He that is Cosmic Light -translation by Dr. B. Natarajan
Tamil Reference : திருமந்திரம் (tirumantiram) (2749)

ஏழுதிரை ஒளிவழிப்பாடு (ēḻutirai oḷivaḻippāḍu – spectral screen light-worship)

Interestingly, the noble saint திருவருட்பிரகாச இராமலிங்க வள்ளலார் (tiruvaruṭpirakāsa irāmaliṅga vaḷḷalār) has modeled the सप्त ताण्डवानि (sapta tāṇḍavāni – seven dances) performed across all these three scopes of existence as ஏழுதிரை ஒளி வழிப்பாடு (ēḻutirai oḷi vaḻippāḍu – spectral screen light-worship) which is ritually performed at the சமரச சுத்த சன்மார்க சத்தியஞானசபை (samarasa sudda saṉmārga sattiyajñāṉacabai - pure universal hall of gnosis) which he himself modelled and consecrated as the उत्तर ज्ञान चिदंबरम् (uttara jñāna cidaṃbaram – vacuum consciousness of higher wisdom).

Here, the noble saint revived ஒளி வழிபாடு (oḷi vaḻippāḍu – Light worship) which is similar to the ancient practice of கந்தழி வழிபாடு (kandaḻi vaḻippāḍu) and popularized the மகா ஜோதி தரிசனம் (makā jōti darisaṉam) at the சமரச சுத்த சன்மார்க சத்தியஞானசபை (samarasa sudda saṉmārga sattiyajñāṉacabai - pure universal hall of gnosis) which was built in the holy city of வடலூர் (vadalūr). It symbolizes the महा विमर्शन (mahā vimarśana – grand revelation) of the sacred அருட்பெருஞ்சோதி (aruṭperuñjōti – vast grace light), also known as, ज्ञान प्रकाश (jñāna prakāśa – effulgent wisdom).

In a nutshell, this event constitutes the following process: There are ஏழு திரைகள் (Ezhu thiraigaL – seven screens) of different colors concealing light symbolizing the seven realms of phenomenal becoming, veiled by the layers of महा माया (mahā māyā - supreme mystery) concealing the noumenal being or the परब्रह्म (parabrahma - supreme divinity). As part of this event, each of these screens are removed one after the other when the inner light is made visible esoterically suggesting that when one transcends the phenomenal realms of relative consciousness, one attains the absolute consciousness..

In his famous அருட்பெருஞ்சோதி அகவல் (aruṭperuñjōti agaval) which is part of his magnum opus masterpiece of mystic poetry திருவருட்பா (tiruvaruṭpā) sings thus   

Original	Transliteration	Translation
கரைவின்மா மாயைக் கரும்பெருந் திரையால் அரைசது மறைக்கு மருட்பெருஞ் ஜோதி பேருறு நீலப் பெருந்திரை யதனால் ஆருயிர் மறைக்கு மருட்பெருஞ் ஜோதி பச்சைத் திரையாற் பரவெளி யதனை அச்சுற மறைக்கு மருட்பெருஞ் ஜோதி செம்மைத் திரையாற் சித்துறு வெளியை அம்மையின் மறைக்கு மருட்பெருஞ் ஜோதி பொன்மைத் திரையாற் பொருளுறு வெளியை அன்மையின் மறைக்கு மருட்பெருஞ் ஜோதி வெண்மைத் திரையான் மெய்ப்பதி வெளியை அண்மையின் மறைக்கு மருட்பெருஞ் ஜோதி கலப்புத் திரையாற் கருதனு பவங்களை அலப்புற மறைக்கு மருட்பெருஞ் ஜோதி	karaiviṉmā māyaik karumperun tiraiyāl araicatu maṟaikku maruṭperuñ jōti pēruṟu nīlap peruntirai yataṉāl āruyir maṟaikku maruṭperuñ jōti paccait tiraiyāṟ paraveḷi yataṉai accuṟa maṟaikku maruṭperuñ jōti cem'mait tiraiyāṟ cittuṟu veḷiyai am'maiyiṉ maṟaikku maruṭperuñ jōti poṉmait tiraiyāṟ poruḷuṟu veḷiyai aṉmaiyiṉ maṟaikku maruṭperuñ jōti veṇmait tiraiyāṉ meyppati veḷiyai aṇmaiyiṉ maṟaikku maruṭperuñ jōti kalapput tiraiyāṟ karutaṉu pavaṅkaḷai alappuṟa maṟaikku maruṭperuñ jōti	The Boundless Benevolen Jothi has hidden its soverignity with the grand black curtain of the great indispersable maya. The Boundless Benevolen Jothi has hidden the dear soul with a renowned grand blue curtain. The Boundless Benevolen Jothi has terifically hidden the cosmic space with a gree veil. The Boundless Benevolen Jothi has like a mother, hidden the space of mystic powers with red curtain. The Boundless Benevolent Jothi has hidden the space of the objects of human pursuit with a golden curtain. The Boundless Benevolent Jothi has closely hidden with a white veil the space which is the abode of absolute truth. The Boundless Benevolent Jothi has hidden all the cognized experiences to the grief (of the seeker) with a screen of mixed hue. -translation by Swami Saravanananda
Tamil Reference : திருவருட்பா: அருட்பெருஞ்சோதி அகவல் (tiruvaruṭpā: aruṭperuñjōti agaval) (6.2.407-413)

Thus, although this supreme शिवानन्द ताण्डव (śivānanda tāṇḍava – auspiscious bliss dance) is egternally happening all around us both at the scale of the ब्रह्माण्ड चिदंबरम् (brahmāṇḍa cidaṃbaram - macro-cosmic vacuum consciousness), as well as within the scale of our own पिण्डाण्ड चिदंबरम् (piṇḍāṇḍa cidaṃbaram - microcosmic vacuum consciousness), yet it is considered as a महारहस्य (mahārahasya – supreme secret)  which is hidden by ஏழுவகை மாயை திரைகள் (ēḻuvagai māyai tiraikaḷ - sevenfold mystery screens) listed above, by the स्वीय तिरोभाव /आवरण शक्ति (svīya tirobhāva /āvaraṇa śakti – one’s own veiling power). That is why, शिवानन्द ताण्डव (śivānanda tāṇḍava – auspiscious bliss dance) is also called as the चिदंबर रहस्य / சிதம்பர ரகசியம் (cidaṃbara rahasya / cidambara ragasiyam – vacuum consciousness secret) which can be seen only through the दिव्य ज्ञान चक्षुस् (divya jñāna cakṣus – divine wisdom eye)   

आज्ञाचक्र ताण्डव (ajñācakra tāṇḍava – command-centre dance) 

Of course, each of these अन्तर्यामि सप्तताण्डवानि (antaryāmi saptatāṇḍavāni- internal seven dances) has its own spiritual importance however, we will not be able to cover all of them now. We will only focus on the more important ones. I have already discussed about the अनाहतचक्र ताण्डव (anāhatacakra tāṇḍava – unstruck – centre dance), we shall next focus on आज्ञाचक्र ताण्डव (ajñācakra tāṇḍava – command-centre dance). 

சிதம்பரம் / சிற்றம்பலம் (cidambaram / tiru ciṛṛambalam), according to திருமூலர் (tirumūlar) is nothing else but our own सूक्षम देह (sūkṣama deha – subtle body) wherein the திருமந்திரம் (tirumantiram – sacred mantra) can be experienced as the திருக்கூத்து (tirukkūttu – sacred dance) performed. This again, in the anthropic perspective refers to the சிற்சபை /चित्सभा (ciṛsabai / citsabhā – gnostic stage) micro-cosmically experienced at the आज्ञाचक्र (ajñācakra – command centre) which in terms of our स्थूल देह (sthūla deha – gross body) is located भ्रूमध्य/புருவமத்தி (bhrūmadhya / puruvamaddi – between eyebrows). 

Original	Transliteration	Translation
நெற்றிக்கு நேரே புருவத் திடைவெளி உற்றுறுப்பார்க்கப் ஒளிவிடும் மந்திறம் பற்றுக்குப் ப்ற்றாய் பரமன் இருந்திடம் இற்றம்பலம்மென்று தெரிந்துகொண்டேனன்றே	neṟṟikku nērē puruvat tiṭaiveḷi uṟṟuṟuppārkkap oḷiviṭum mantiṟam paṟṟukkup pṟṟāy paramaṉ iruntiṭam iṟṟampalam'meṉṟu terintukoṇṭēṉaṉṟē	Straight within the fore-head Between the eye-brows Is the astral space vast; Peer, peer within there The luminous Mantra (Aum) will be; The place where they in yearning sought Him Is the place where He in yearning is; That verily is the Holy Temple of Chittambalam And there did I firm sit. -translation by Dr. B. Natarajan
Tamil Reference : திருமந்திரம் (tirumantiram) (2770)

    Further, திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (tiru aruṭpirakāca irāmaliṅka vaḷḷalār) in different parts of his magnum opus poetic masterpiece திரு அருட்பா (tiru aruṭpā) testifies that, in the microcosm, the சிதம்பரம் / திரு சிற்றம்பலம் (cidambaram / tiru ciṟṟambalam) is located at the நம் உடலின் சிரசு பகுதியிலுள்ள சுகாதீதவெளி நடு (nam uḍaliṉ sirasu pagudiyiluḷḷa sukātītaveḷi naḍu – supreme joy center in the head section of our body). For example, in the following verse from தனித் திருஅலங்கல் (taṉit tiru'alaṅgal) he states thus: 

Original	Transliteration	Translation
கலைவளர் முடிய தென்னைஆட் கொண்ட கருணையங் கண்ணது ஞான நிலைவளர் பொருள துலகெலாம் போற்ற நின்றது நிறைபெருஞ் சோதி மலைவளர் கின்றது அருள்வெளி நடுவே வயங்குவ தின்பமே மயமாய்த் தலைவளர் திருச்சிற் றம்பலந் தனிலே தனித்தெனக் கினித்ததோர் கனியே	kalaivaḷar muḍiya teṉṉai'āṭ koṇḍa karuṇaiyaṅ kaṇṇatu ñāṉa nilaivaḷar poruḷa tulakelām pōṟṟa niṉṟatu niṟaiperuñ cōti malaivaḷar kiṉṟatu aruḷveḷi naḍuvē vayaṅkuva tiṉpamē mayamāyt talaivaḷar tirucciṟ ṟampalan taṉilē taṉitteṉak kiṉittatōr kaṉiyē
Tamil Reference : திரு அருட்பா (tiru aruṭpā) (6.110.85)

Again, the following verse from நடராஜபதி மாலை (naṭarājapati mālai) also reiterates the same concept.

Original	Transliteration	Translation
அருள்நிலை விளங்குசிற் றம்பலம்எ னுஞ்சிவ சுகாதீத வெளிநடுவிலே அண்டபகி ரண்டகோ டிகளும் சராசரம் அனைத்தும்அவை ஆக்கல்முதலாம் பொருள்நிலைச் சத்தரொடு சத்திகள் அனந்தமும் பொற்பொடுவி ளங்கிஓங்கப் புறப்புறம் அகப்புறம் புறம்அகம் இவற்றின்மேல் பூரணா காரமாகித் தெருள்நிலைச் சச்சிதா னந்தகிர ணாதிகள் சிறப்பமுதல் அந்தம்இன்றித் திகழ்கின்ற மெய்ஞ்ஞான சித்திஅனு பவநிலை தெளிந்திட வயங்குசுடரே சுருள்நிலைக் குழலம்மை ஆனந்த வல்லிசிவ சுந்தரிக் கினியதுணையே சுத்தசிவ சன்மார்க்க நிதியே அருட்பெருஞ் சோதிநட ராஜபதியே	aruḷnilai viḷaṅkuciṟ ṟampalame ṉuñciva cukātīta veḷinaṭuvilē aṇṭapaki raṇṭakō ṭikaḷum carācaram aṉaittumavai ākkalmutalām poruḷnilaic cattaroṭu cattikaḷ aṉantamum poṟpoṭuvi ḷaṅki'ōṅkap puṟappuṟam akappuṟam puṟamakam ivaṟṟiṉmēl pūraṇā kāramākit teruḷnilaic caccitā ṉantakira ṇātikaḷ ciṟappamutal antamiṉṟit tikaḻkiṉṟa meyññāṉa citti'aṉu pavanilai teḷintiṭa vayaṅkucuṭarē curuḷnilaik kuḻalam'mai āṉanta valliciva cuntarik kiṉiyatuṇaiyē cuttaciva caṉmārkka nitiyē aruṭperuñ cōtinaṭa rājapatiyē
Tamil Reference : திரு அருட்பா (tiru aruṭpā) (6.97.1)

शक्तिपात ताण्डव (śaktipāta tāṇḍava – energy-flow dance)

As already observed, this is considered as the பொன்தில்லைக் கூத்து (ponthillaikkūttu – golden lustre thillai dance) alternatively called as the பொற்சிதம்பரக்கூத்து (poṛcidambarakūttu) wherein one can visualize the சோமசூரிய அக்னி ஒளி/सोमसूर्याग्निज्योति (sōmasūriya agṉi oḷi / somasūryāgnijyoti – lunisolar-thermal luminence). Of course, as its vibratory wavelength, is much subtler than the normal range of mundane human vision, hence the பொன்தில்லைக் கூத்து (ponthillaikkūttu – golden lustre thillai dance) could not be directly visualized using our mundane eye and needs the ஞானக்கண் /ज्ञानचक्षु (jñāṉakkaṇ/jñānacakṣu – wisdom eye) better known as the நெற்றிக்கண் / दिव्यचक्षु (neṟṟikkaṇ/divyacakṣu – divine eye) which can be only opened by the blessings of குருவருள் / திருவருள் (guruvaruḷ / tiruvaruḷ - guru/divine grace) technically, called in शैवागम (śaivāgama) as the சத்தினிபாதம் / शक्तिपात (sattinipādam / śaktipāta – energy flow) just as the पुन्य गङ्गा नदि (punya gaṅgā nadi – Holy ganges river) that streams down by the melting of the snow glaciers from the high peaks of the sacred Himalayan Mountains, theologized as the कैलाशमेरु (kailāśameru – Mount Kailash) which inturn corresponds to the द्वादशान्त शिखर सहस्रारपद्मस्य (dvādaśānta śikhara sahasrārapadmasya – twelwvethe edged summit of thousand petalled lotus).      

आज्ञा चक्र (ājñā cakra – command center) is the परम आधार स्थान (parama ādhāra sthāna – highest support position) within the பிண்டாண்டம் (piṇḍāṇḍa – microcosm) providing the highest state of सविकल्प /सबीज समाधि (savikalpa / sabīja samādhi – differentiated / seeded atonement). Here lies the legendary तडाग /பொய்கை (taḍāga / poigai - pond) called சரவணப்பொய்கை (saravaṇappoigai) which functions as the முச்சந்தி (muccandi – triple vertex) where the त्रिवेणी सङ्गम (triveṇī saṅgama – tribranch confluence) between இடகலை / इडकला (idagalai / iḍakalā), பிங்கலை /पिङ्गला (pingalai / piṅgalā) & சுழுமுனை / सुषुम्णा (suzhumunai /suṣumṇā). This transcendent realm is also referred as துரியாதீத்த பெருவெளி / பரவெளி (turiyātītta peruveḷi / paraveḷi – supreme transcendent space /vacuum)

உள் ஒளியின் அசைவு / अन्तरङ्ग ज्योति स्पन्दन (uḻ oḻiyin asaivu / antaraṅga jyoti spandana – internal vibrating light) is actually the पिण्डाण्ड मात्र स्पन्दन (piṇḍāṇḍa mātra spandana – microcosmic quantum vibration). The सप्तम ऋषि पत्नी (saptama ṛṣi patnī – wife of seventh sage) corresponds to the निराधार सहस्रार पद्म चक्र (nirādhāra sahasrāra padma cakra – unsupported thousand petaled lotus center) on the sacred महा मेरु (mahā meru - axis mundi), also known as, the कैलास पर्वत (kailāsa parvata - Mount Kailash). This is the abode of the highest spiritual consciousness referred as शब्द परब्रह्मन् / परवाक् (śabda parabrahman / paravāk – transcendent logos) and as अजप हंस मन्त्र (ajapa haṁsa mantra) in the abstract state of निश्कल शिव /निर्गुण ब्रह्मन् (niśkala śiva / nirguṇa brahman - undifferentiated / unqualified divinity). It is from here the highest पज्ञानमन्त्र विद्य्या (prajñāna mantra vidyā - transcendental theosonic wisdom) that streamed down as पष्यन्तिवाक् (paṣyantivāk - visible logos) symbolized as the sacred river गङ्गा (gaṅgā - Ganges) that flows from the शिखर परमशिवस्य (śikhara paramaśivasya – top of Supreme auspisciousness). The whole process behind this flow is very poetically described by the noble saint-poet ஸ்ரீ குமரகுருபரர் (srī kumaraguruparar) in his mystic masterpiece சிதம்பர மும்மணிக்கோவை (cidambara mummaṇikkōvai)

Theologically, the ஸ்ரீ நடராஜரின் சிரசு (srī naṭarājariṉ ciracu – head of sacred dance-king) is compared to ஆயிரம் இதழ்கள்கொண்ட செந்தாமரைக்காடு (āyiram itaḻkaḷkoṇṭa centāmaraikkāṭu – thousand petalled red-lotus). For example, the mystic saint poet மாணிக்கவாசகர் (māṇikkavācakar) in the canto titled “திருச்சதகம் (tiruchchadagam – sacred hundred)” as part of his magnum opus திருவாசகம் (tiruvasakam – divine verdict) eulogizes Him as “செந்தாமரைக்காடு அனைய மேனித் தனிச்சுடரே (centāmaraikkāṭu aṉaiya mēṉit taṉiccuṭarē - unique Radiance whose form blazes Like a forest of red lotuses)”. Similarly, the கங்கை நதி (gaṅgai nati – ganga river) which is held between the ஜடாமுடி (jaṭāmudi -mass of braided hair) corresponds to the வெள்ளையன்னப் பறவை (veḷḷaiyaṉṉap paṟavai – white egret bird) and the வென்பிறை (veṉpiṟai – white crescent) corresponds to the சங்கு (caṅku - conch) in the sacred river along with a பலதலைகள் செய்த பாம்பு (palatalaigaḷ koṇṭa pāmpu – multiheaded snake) in the same river.    

  Now, according to a popular legend, the பலதலைகள் செய்த பாம்பு (palatalaigaḷ koṇṭa pāmpu – multiheaded snake) started slightly breathing hot air which raised the water wave levels as well as began to dry the waters, in order to compensate the liquid levels, the சங்கு (caṅku - conch) released the அமுத நீர் (amuda nīr – ambrosial liquid) which began to stream down as the sacred watter falls. ஸ்ரீ குமரகுருபரர்  (srī kumaraguruparar) very beutifuly picturizes this episode in the following verses:

Original	Transliteration	Translation
இனமொக்கும் தொண்டரொடு என்னையும் ஆட்கொண்ட ஈசர் தில்லைக் கனம் ஒக்கும் கண்டத்து எம் கண்ணுதலார் சடைக் காடுகஞ்ச வனமொக்கும் மற்றம் அவ்வனத்தே குடிகொண்டு வாழும் வெள்ளை அனம் ஒக்கும் கங்கை அருகே வெண்சங்கு ஒக்கும் அம்புலியே. மின்வீழ்ந் தன்ன விரிசடைக் காட்டில் பன்மாண் துத்திப் பஃறலைப் பாந்தன் சிறுமூச்சில் பிறந்த பெருங்காற்று அடிப்ப விரிதிரை சுருட்டும் பொருபுனல் கங்கை படம்விரித் தாடும் அச் சுடிகை வாள் அரவின் அழல் கண் கான்ற அவ்ஆரழல் கொளுந்தச் சுழித்துஉள் வாங்கிச் சுருங்கச் சுருங்காது திருநுதல் கண்ணில் தீக்கொழுந்து ஓட உருகும் இன்னமுதம் உவட்டெழுந்து ஓடி அக் கங்கை ஆற்றின் கடு நிரப்பு ஒழிக்கும் திங்களம் கண்ணித் தில்லை வாண அன்பருக்கு எளியை	iṉamokkum toṇṭaroṭu eṉṉaiyum āṭkoṇṭa īcar tillaik kaṉam okkum kaṇṭattu em kaṇṇutalār caṭaik kāṭukañca vaṉamokkum maṟṟam avvaṉattē kuṭikoṇṭu vāḻum veḷḷai aṉam okkum kaṅkai arukē veṇcaṅku okkum ampuliyē… miṉvīḻn taṉṉa viricaṭaik kāṭṭil paṉmāṇ tuttip paḥṟalaip pāntaṉ ciṟumūccil piṟanta peruṅkāṟṟu aṭippa viritirai curuṭṭum porupuṉal kaṅkai paṭamvirit tāṭum ac cuṭikai vāḷ araviṉ aḻal kaṇ kāṉṟa avāraḻal koḷuntac cuḻittu'uḷ vāṅkic curuṅkac curuṅkātu tirunutal kaṇṇil tīkkoḻuntu ōṭa urukum iṉṉamutam uvaṭṭeḻuntu ōṭi ak kaṅkai āṟṟiṉ kaṭu nirappu oḻikkum tiṅkaḷam kaṇṇit tillai vāṇa aṉparukku eḷiyai...
Tamil Reference : சிதம்பர மும்மணிக்கோவை (cidambara mummaṇikkōvai) (13, 17.1-11)

Eventually it is this अमृत पूरित गङ्गाजल (amṛta pūrita gaṅgājala – ambrosia filled ganges water) that streams down and spreads across and wherever it flows throws is spiritually charged as an शक्ति चक्र (śakti cakra – energy center). According to the legend very beautifully summarized by श्री उमापतिशिवाचार्य (śrī umāpatiśivācārya) in his excellent eulogical treatise by name “श्री कुञ्चिताङ्घ्रिस्तव (śrī kuñcitāṅghristava)”, wherein the आचार्य कवि (ācārya kavi – preceptor poet) narrates the incident thus

Original	Transliteration	Translation
यल्लीलारब्धनृत्तप्रसृतवरजटाजूटसम्मदर्शवेगप्रद्यत्स्वर्गापगाम्भोजनितकणगणा यत्र यत्र प्रपेतुः। तेऽप्य् आसन् तत्र तत्र स्वजनिमममुखरा मूर्तयः क्षेत्रराजे तं देवं नन्दिमुख्यप्रमथगणवृतं कुञ्चिदाङ्घ्रिं भजेहं॥ आर्यावामांसभूषानवमणिगण भासंगवैवर्न्यनीलग्रीवालोकातिशण्किप्रसृतविषभयाक्रान्तदिक्पालवर्गम्। चूडाचन्द्राजिहीरषादरविवृतफणाकुण्डकीक चूडाचन्द्राजिहीरषादरविवृतफणाकुण्डलीकर्णलोलद्गण्गाकूलायमानस्वसटवरवनं कुञ्चिदाङ्घ्रिं भजेहं॥	yallīlārabdhanṛttaprasṛtavarajaṭājūṭasammadarśavegapradyatsvargāpagāmbhojanitakaṇagaṇā yatra yatra prapetuḥ। te'py āsan tatra tatra svajanimamamukharā mūrtayaḥ kṣetrarāje taṃ devaṃ nandimukhyapramathagaṇavṛtaṃ kuñcidāṅghriṃ bhajehaṃ॥ āryāvāmāṃsabhūṣānavamaṇigaṇa bhāsaṃgavaivarnyanīlagrīvālokātiśaṇkiprasṛtaviṣabhayākrāntadikpālavargam। cūḍācandrājihīraṣādaravivṛtaphaṇākuṇḍalīkarṇaloladgaṇgākūlāyamānasvasaṭavaravanaṃ kuñcidāṅghriṃ bhajehaṃ॥	When He playfully began His dance There proceeded from His twisted locks of hair As they beat against each other with increasing speed The waters of heavnly river breaking into spray; Wherever the spray drops fell Became an eminent place of pilgrimage And they turned into self-born lingas; That God who is surrounded by Nandikeśa and other Pramathas and Gaṇas, Whose foot is bent, I worship. The hoods of the snake that form His ear-rings Are spread wide to kindly catch The moon in His crest While the excellent forest of His hair Is parting to allow passage Got surging Gaṇgā; Him whose feet is curved, I worship. -translation by David Smith
Sanskrit Reference : श्री कुञ्चिताङ्घ्रिस्तव (śrī kuñcitāṅghristava) (111,163)

In fact, in occult yogic terms गङ्गा (gaṅgā - Ganges) corresponds to the सहस्रारपद्म अमृत (sahasrārapadma amṛta – ambrosial thousand-petalled lotus) manifest in its अवस्था द्रवरूपस्य (avasthā dravarūpasya  - state of liquid form) while its frozen state is the हिम (hima – snow) that is द्रवण / लय शिकरे हिमालयपर्वतस्य (dravaṇa / laya śikare himālayaparvatasya – melting from the peak of Himalayan mountain). In fact,etymologically the mountain range name ‘हिमालय पर्वत (himālaya parvata – snow-abode mountain)’ is derived from ‘हिम (hima - snow)’ , ‘आलय (ālaya – abode /temple)  & पर्वत (parvata - nountain) ’. Alternatively, the term ‘हिमालय (himālaya)’ can also be derived as ‘हिम (hima - snow)’ + ‘आ (ā – divine)’ + ‘लय (laya – melting)’. Here, as we observed हिम (hima - snow) symbolizes शीन/हिमार्त अमृत (śīna / himārta amṛta – frozen ambrosia). Thus, esoterically the term हिमालय (himālaya) symbolizes “divine frozen-ambrosial melting”. Interestingly, in terms of प्रतिकाविद्या नटराजस्य (pratikāvidyā naṭarājasya – iconography of Nataraja), the concept of लय अमृतस्य (laya amṛtasya – melting of nectar) is symbolized by the अर्धचन्द्र/இளம் பிறை (ardhacandra /iḷam piṟai – crescent moon) and its downstream flow as a जलपात (jalapāta - water fall) is symbolized by his जटाभार/ ஜடாமுடி (jaṭābhāra / jaṭāmudi -mass of braided hair). In terms of पतञ्जल योग दर्शन (patañjala yoga darśana – yoga philosophy of Patanjali) such a state of final attainment of शिव भोग (śiva bhoga – divine experience) is technically mapped to धर्ममेघ समाधि (dharmamegha samādhi – cloud (stream) of righteousness atonement) which, as we will be discussing in greater detail later, is the highest kind of निर्बीज /निर्विकल्प समाधि (nirbīja/nirvikalpa samādhi – seedless /non-imaginative atonement) based on निरालम्बन / निराधार योग (nirālambana / nirādhāra  yoga – union without support / base).

வாசியோகம் (vāsiyōgam) is one of the proven techniques for experiencing the same according to the occult school of பாலமார்கம் தமிழ் சித்தர் மரபு (bālamārgam tamiḻ siddar marabu – youthfulway tamil siddha tradition). For example, Lord திருமுருகன் (tirumurugan) Himself reveals thus to ஸ்ரீ அகத்திய முனிவர் (srī agattiya muṉivar) giving a very occult yogic explanation to the same episode just discussed.

Original	Transliteration	Translation
ஏற்றுவாள் கண்மணியே மகனேயென்று ஈசனுக்கு மேலாக இருக்கச்சொல்வாள் வாழ்துவா ளமுதமெல்லா முன்பேயீந்து வந்த வினை யற்றிடவே வாக்குமீவாள் மாற்றுவாள் பிறவிதனில் வரவொட்டாமல் மயக்க்மென்ற மாயையெல்லாம் வாங்கிககொல்வாள் ஏற்றுவா வீராறு தலதினூடே யென்மகலே என்றுச்சொல்லிக் கூறுவாளே	ēṟṟuvāḷ kaṇmaṇiyē makaṉēyeṉṟu īcaṉukku mēlāka irukkaccolvāḷ vāḻtuvā ḷamutamellā muṉpēyīntu vanta viṉai yaṟṟiṭavē vākkumīvāḷ māṟṟuvāḷ piṟavitaṉil varavoṭṭāmal mayakkmeṉṟa māyaiyellām vāṅkikakolvāḷ ēṟṟuvā vīrāṟu talatiṉūṭē yeṉmakalē eṉṟuccollik kūṟuvāḷē
Tamil Reference : சித்தர்பாடல்: சுப்பிரமணியர் ஞானம் 500 (siddarpāṭal: subbiramaṇiyar jñāṉam 500) (312)

Again, ஸ்ரீ காகபுஜண்டர்  (srī kākapujaṇṭar) another famous சித்தர் (siddar) belonging to that school has also touched upon it in the following verses from the same canto referred earlier ஞானம் 80 (jñāṉam 80 – wisdom 80).

Original	Transliteration	Translation
பார்க்கலாம் ஒருகாலை உயரத் தூக்கிப் பாடுவா னொருகாலைத் தாழ விட்டே ஏர்க்கையிலே மேல்நோக்குங் காலைக் கேளாய் என்மகனே மதியென்ப ததற்குப் பேரு கார்க்கையிலே கீழ்நோக்குங் காலை மைந்தா கண்டுபார் ரவியென்று கருத லாகும் மார்க்கமுடன் அண்டவுச்சி மேலே தானும் மகத்தான வன்னியிருப் பிடந்தான் பாரே. பாரப்பா இதையறியார் சித்தர் கூடிப் பார்தனிலே அறுபத்து நாலு யோகம் ஆரப்பா இருக்குமென்று வெவ்வே றாக அலைந்தலைந்து கெட்டவர்க ளனந்தங் கோடி நேரப்பா ராசாங்க யோகம் பார்த்து நிலையறிந்து கண்டவனே கோடிக் கொன்று வீரப்பா பேசாமல் மனக்கண் ணாலே விந்துவடா பாய்ந்ததலம் வெளியைக் காணே. காணாத காட்சியெல்லாங் கண்ணிற் கண்டு காகமடா புசுண்டரென்று பேரும் பெற்றேன் தோணாமல் நானலைந்து சிறிது காலம் துருவமென்ற பிரமத்தை யடுத்துக்கேட்க நாணாமல் அண்டவுச்சி தன்னி லேதான் நாடியே மனத்தாலே நாட்ட மாகக் கோணாமல் பாருமென்றே எனக்குச் சொல்லக் கூசாமல் மனமொன்றா யிருத்தி னேனே. இருத்தியே இருதயத்தில் மனமொன் றாக சுகபர மாம்பொருளை யிருத்தி யொன்றாய் நிருத்தியே வெகுகோடி கால மட்டும் நிருவிகற்பச் சமாதியிலே நிறைந்தெந் நாளும் பொருத்தியே லலாடக்கண் திறந்து பார்க்கப் பூலோக மெங்கு மொன்றாய் நிறைந்தென் மைந்தா! கருத்தொன்றாய் நிறுத்தியடா கபாடம் நீக்கிக் காரணத்தைக் கண்டுவிளை யாடுவாயே	pārkkalām orukālai uyarat tūkkip pāṭuvā ṉorukālait tāḻa viṭṭē ērkkaiyilē mēlnōkkuṅ kālaik kēḷāy eṉmakaṉē matiyeṉpa tataṟkup pēru kārkkaiyilē kīḻnōkkuṅ kālai maintā kaṇṭupār raviyeṉṟu karuta lākum mārkkamuṭaṉ aṇṭavucci mēlē tāṉum makattāṉa vaṉṉiyirup piṭantāṉ pārē. pārappā itaiyaṟiyār cittar kūṭip pārtaṉilē aṟupattu nālu yōkam ārappā irukkumeṉṟu vevvē ṟāka alaintalaintu keṭṭavarka ḷaṉantaṅ kōṭi nērappā rācāṅka yōkam pārttu nilaiyaṟintu kaṇṭavaṉē kōṭik koṉṟu vīrappā pēcāmal maṉakkaṇ ṇālē vintuvaṭā pāyntatalam veḷiyaik kāṇē. kāṇāta kāṭciyellāṅ kaṇṇiṟ kaṇṭu kākamaṭā pucuṇṭareṉṟu pērum peṟṟēṉ tōṇāmal nāṉalaintu ciṟitu kālam turuvameṉṟa piramattai yaṭuttukkēṭka nāṇāmal aṇṭavucci taṉṉi lētāṉ nāṭiyē maṉattālē nāṭṭa mākak kōṇāmal pārumeṉṟē eṉakkuc collak kūcāmal maṉamoṉṟā yirutti ṉēṉē. iruttiyē irutayattil maṉamoṉ ṟāka cukapara māmporuḷai yirutti yoṉṟāy niruttiyē vekukōṭi kāla maṭṭum niruvikaṟpac camātiyilē niṟainten nāḷum poruttiyē lalāṭakkaṇ tiṟantu pārkkap pūlōka meṅku moṉṟāy niṟainteṉ maintā! karuttoṉṟāy niṟuttiyaṭā kapāṭam nīkkik kāraṇattaik kaṇṭuviḷai yāṭuvāyē
Tamil Reference : சித்தர்பாடல்: காகபுஜண்டர் - ஞானம் 80 (siddarpāṭal: kākapujaṇṭar - jñāṉam 80) (17-20)

As we known, in occult terms of வாசி யோக சாதனம் (vāsiyōga sādhanam), the default breathing pattern in the alternates of पूरक (pūraka - inhalation) & रेचक (recaka - exhalation) through इडकला नाडी (iḍakalā nāḍī) & पिङ्गला नाडी (piṅgalā nāḍī) are sublimated by योग बन्धन (yoga bandhana – yogic lock) which arouses the कुण्डलिनी शक्ति (kuṇḍalinī śakti – coiled energy).This process of परिवर्तयते प्राणन मध्ये प्रश्वास च निःश्वसन (parivartayate prāṇana madhye praśvāsa ca niḥśvasana – alternate breathing between breathing-in and breathing out) is what is referred in the above verses by the noble சித்தர் (siddar) by using the expression “பார்க்கலாம் ஒருகாலை உயரத் தூக்கிப் பாடுவா னொருகாலைத் தாழ விட்டே (pārkkalām orukālai uyarat tūkkip pāṭuvā ṉorukālait tāḻa viṭṭē)”

Please be noted that in Tamil the term ‘கால் (kāl)’ is a highly polymorphic term and means both the exoteric sense of ‘கால் (kāl - leg)’ as well as the esoteric sense of ‘பிராணன் (pirāṇan - breath)’ and in the former sense it means the lifting each பாதம் / கால் (pādam/kāl – feet / leg) up and down alternatively in a rhythmic dance pattern. This again is is most artistically symbolized in the sacred प्रतिकाविद्या नटराजस्य (pratikāvidyā naṭarājasya – iconography of Nataraja) using the தூக்கிய திருவடி (thūkkiya thiruvaḍi – raised holyfoot) & ஊன்றிய திருவடி (ūnṛiya tiruvaḍi - fixed holy-foot)

Now, according to the legend that we just discussed, the soft breath of the snake, in occult terms corresponds to प्राणायाम (prāṇāyāma – breath control). Please be noted that the controlling of the default cycles of परिवर्तयते प्राणन मध्ये प्रश्वास च निःश्वसन (parivartayate prāṇana madhye praśvāsa ca niḥśvasana – alternate breathing between breathing-in and breathing out) is the main purpose behind प्राणयाम (prāṇayāma – breath control) resulting in योग बन्धन (yoga bandhana – yogic lock) in the form of कुंभक प्राणशक्तेः (kuṁbhaka prāṇaśakteḥ - retention of vital energy) finally leading to निर्बीज /निर्विकल्प समाधि (nirbīja/nirvikalpa samādhi – seedless /non-imaginative atonement)

Again, in terms of भक्ति /प्रपति मार्ग (bhakti prapati mārga – devotional path), the same is considered as the highest state of गुह्यसंनिपातनिद्रा (guhya saṃnipātanidrā – mystical trance) experienced by the ऋषि मुनि (ṛṣi muni – seer ascetic) who has been blessed with such a ज्ञानदृष्टि (jñānadṛṣṭi – gnostic revelation). For example, according स्थलपुराण चिदम्बरस्य (sthalapurāṇa cidambarasya – temple legend of Chidambaram) including चिदंबर महात्म्यं (cidaṃbara mahātmayaṃ - greatness of Chidambaram), கோயில்புராணம் (kōyilpurāṇam – temple legend) etc., as well as many other पुराणशास्त्र (purāṇaśāstra – legend literature), such an event occurred in the life of पतञ्जलि महऋषि (patañjali mahaṛṣi) himself. According to this legend, he along with व्याकरपाद महऋषि (vyākarapāda mahaṛṣi) were blessed with the दृष्टि आनन्द ताण्डव नटराजस्य (dṛṣṭi ānanda tāṇḍava naṭarājasya – vision of frantic bliss dance of dance-king).  

For example, ஸ்ரீ கக்சியப்பசிவாசாரியார் (srī kakciyappacivācāriyār) in the உற்பத்திகாண்டத்தில் வழிநடைப்படலம் (uṟpattikāṇṭattil vaḻinaṭaippaṭalam), as part of his magnum opus poetic masterpiece கந்தபுராணம் (kantapurāṇam) narrates thus:

Original	Transliteration	Translation
விரிகனல் வேள்விதன்னில் வியன்றலை அரிண்டு வீட்டிப் பொருவரை தவத்தை யாற்றும் படஞ்சலி புலிக்கால் அண்ணல் இருவரும் உணர்வால் காண எல்லையில் அருளாலீசன் திருநட மூட்டைக் காட்டும் தில்லை மூதூரைகண்டான்.	virikaṉal vēḷvitaṉṉil viyaṉṟalai ariṇṭu vīṭṭip poruvarai tavattai yāṟṟum paṭañcali pulikkāl aṇṇal iruvarum uṇarvāl kāṇa ellaiyil aruḷālīcaṉ tirunaṭa mūṭṭaik kāṭṭum tillai mūtūraikaṇṭāṉ
Tamil Reference : கந்தபுராணம் (kantapurāṇam) (1.23.14)

Similarly, the noble mystic saint poet ஸ்ரீ மாணிக்கவாசகர் (srī māṇikkavācakar) in his famous திருவண்டப் பகுதி (tiruvaṇḍappagudi – sacred cosmic section) as part of his magnum opus poetic masterpiece திருவாசகம் (tiruvācagam)

Original	Transliteration	Translation
ஒருத்தரும் வழாமை யொடுக்கினன் தடக்கையின் நெல்லிக் கனியெனக் காயினன் சொல்லுவ தறியேன் வாழி முறையோ தரியேன் நாயேன் தான்எனைச் செய்தது தெரியேன் ஆவா செத்தேன் அடியேற்கு அருளிய தறியேன் பருகியும் ஆரேன் விழுங்கியும் ஒல்ல கில்லேன் செழுந்தண் பாற்கடல் திரைபுரைவித்து உவாக்கடல் நள்ளுநீர் உள்ளகந் ததும்ப வாக்கிறந் தமுதம் மயிர்க்கால் தோறும். தேக்கிடச் செய்தனன் கொடியேன் ஊன்தழை குரம்பை தோறும் நாயுட லகத்தே குரம்பைகொண் டின்தேன் பாய்த்தி நிரம்பிய அற்புத மான அமுத தாரைகள் எற்புத் துளைதொறும் ஏற்றினன் உருகுவ துள்ளங் கொண்டோர் உருச்செய் தாங்கெனக் கள்ளூ றாக்கை யமைத்தனன் ஒள்ளிய கன்னற் கனிதேர் களிறெனக் கடைமுறை என்னையும் இருப்ப தாக்கினன் என்னிற் கருணை வான்தேன் கலக்க அருளொடு பராவமு தாக்கினன் பிரமன்மா லறியாப் பெற்றி யோனே..	oruttarum vaḻāmai yoṭukkiṉaṉ taṭakkaiyiṉ nellik kaṉiyeṉak kāyiṉaṉ colluva taṟiyēṉ vāḻi muṟaiyō tariyēṉ nāyēṉ tāṉeṉaic ceytatu teriyēṉ āvā cettēṉ aṭiyēṟku aruḷiya taṟiyēṉ parukiyum ārēṉ viḻuṅkiyum olla killēṉ ceḻuntaṇ pāṟkaṭal tiraipuraivittu uvākkaṭal naḷḷunīr uḷḷakan tatumpa vākkiṟan tamutam mayirkkāl tōṟum. tēkkiṭac ceytaṉaṉ koṭiyēṉ ūṉtaḻai kurampai tōṟum nāyuṭa lakattē kurampaikoṇ ṭiṉtēṉ pāytti nirampiya aṟputa māṉa amuta tāraikaḷ eṟput tuḷaitoṟum ēṟṟiṉaṉ urukuva tuḷḷaṅ koṇṭōr uruccey tāṅkeṉak kaḷḷū ṟākkai yamaittaṉaṉ oḷḷiya kaṉṉaṟ kaṉitēr kaḷiṟeṉak kaṭaimuṟai eṉṉaiyum iruppa tākkiṉaṉ eṉṉiṟ karuṇai vāṉtēṉ kalakka aruḷoṭu parāvamu tākkiṉaṉ piramaṉmā laṟiyāp peṟṟi yōṉē.	Like the upsurging tides on the full moon day, He caused my bosom to swell and soar up in joy, Like the billows of the cool and lovely Sea of Milk. He soused each root of my body`s hair In nectar! Oh beatitude ineffable! In all my cruel, fleshly frame of a cur, He packed, to the brim, honey sweet; He filled with nectarean elixir each bone and marrow. He wrought for me a frame Endowed with a melting heart. Thus, even thus, He graced me With a grace-abounding body. He made me – the base one, to live and thrive, Like a tusker that feeds on bright and juicy sweetcanes. He, the One that is beyond the ken of Brahma and Vishnu`s comprehension, Caused the heavenly honey of mercy percolate in me And made me flourish in grace doubled with supernal nectar. -translation by T.N. Ramachander
Tamil Reference : திருவாசகம் (tiruvācagam) (3.60-82)

The next important point to understand is that सर्प / பாம்பு (sarpa / pāmbu - snake) is an integral esoteric symbol as part of अङ्गानि श्री नटराज मूर्तिनाम् (aṅgāni śrī naṭarāja mūrtinām – organs of Lord-of-dance iconography) and the mythological legends associated with it. In fact, according to नाट्य शास्त्र (nāṭya śāstra), the नाट्य शिवस्य (nāṭya śivasya – dance of shiva) is described in various ways of snake-association viz. भुजङ्गञ्चितकम् (bhujaṅgañcitakam), भुजङ्गत्रासितम् (bhujaṅgatrāsitam) & भुजङ्गललितम् (bhujaṅgalalitam).  For example, the आनन्दताण्दव श्री नटराजस्य (ānandatāṇdava śrī naṭarājasya – frantic bliss dance of dance-king) who is called the सभापति (sabhāpati – lord of the stage) is technically considered by some experts as belonging to the type भुजङ्गत्रासितम् (bhujaṅgatrāsitam). This fact is testified in the sacred शिवागमशास्त्र (śivāgamaśāstra) including the famous कारणागम (kāraṇāgama), कामिकागम (kāmikāgama) etc.

For example, one can see snakes hanging around different parts of the icon and as we know नाग उपासन (snake-worship) as an occult science has very ancient origins not only in India, but across the globe. Of course, श्री पतञ्जलि महऋषि (śrī patañjali mahaṛṣi) who plays a very pivotal role in the legends relating to श्री नटराज मूर्तिनाम् (śrī naṭarāja– Lord-of-dance) in this legend itself is considered to be the अवतार श्री आदिशेषस्य (avatāra śrī ādiśeṣasya – incarnation of the primordial residue) who is the legendary सर्प देवत (sarpa devata -snake-god) who serves as the शयनीयक (śayanīyaka - couch) on which श्री महाविष्णु (śrī mahāviṣṇu) takes rest. The incarnation happened as he desired to witness the sacred आनन्द ताण्डव नटराजस्य (ānanda tāṇḍava naṭarājasya – frantic bliss dance of dance-king).

The occult yogi-poet பாம்பாட்டிசித்தர் (pāmbāṭṭisiddar) who was awarded this name காரணப்பெயர் (kāraṇappeyar – causal name) since he had effectively mastered the art of waking the कुण्डलिनी शक्ति (kuṇḍalinī śakti – biomagnetic energy) symbolized as the otherwise dormant भुजङ्गि / பாம்பு (bhujaṅgi / pāmbu - snake) and make it dance (vibrate) to the his spiritual tunes, in the following verses of his famous song, for example, eulogizes the greatness of the भुजङ्गि / பாம்பு (bhujaṅgi / pāmbu - snake) symbology thus:

Original	Transliteration	Translation
நாதர்முடி மேலிருக்கும் நாகப் பாம்பே நச்சுப்பையை வைத்திருக்கும் நல்ல பாம்பே பாதலத்திற் குடிபுகும் பைகொள் பாம்பே பாடிப்பாடி நின்றுவிளை யாடு பாம்பே. வளைபுகும் போதேதலை வாங்கும் பாம்பே மண்டலமிட் டுடல்வளை வண்ணப் பாம்பே தளைக்கஞ்சி நின்றிடும் சத்தியப் பாம்பே தலையெடுத் தேவிளையாடு பாம்பே. குற்றமற்ற சிவனுக்குக் குண்டல மானாய் கூறுந்திரு மாலினுக்குக் குடையு யானாய் கற்றைக்குழல் பார்வதிக்குங் கங்கண மானாய் கரவாமல் உளங்களித் தாடு பாம்பே. மண்டலத்தைத் தாங்குமிக வல்லமை கொண்டாய் மாயனுக்குப் படுக்கைக்கு வண்ணப் பாயானாய் கண்டபடை நடுங்கிடக் காட்சியும் பெற்றாய் கண்ணேசெவி யாகக்கொண்டாய் ஆடு பாம்பே. சந்திரனைச் சூரியனைத் தாவித் தீண்டினாய் சங்கரனுக் காபரணந் தானுமாகினாய் மந்திரத்திற் கடங்கினாய் மண்டல மிட்டாய் வளைந்து வளைந்துநின் றாடு பாம்பே.	nādarmuḍi mēlirukkum nākap pāmbē naccuppaiyai vaittirukkum nalla pāmbē pātalattiṟ kuḍipukum paikoḷ pāmbē pāḍippāḍi niṉṟuviḷai yāḍu pāmbē. vaḷaipukum pōtētalai vāṅkum pāmbē maṇḍalamiḍ ḍuḍalvaḷai vaṇṇap pāmbē taḷaikkañci niṉṟiḍum cattiyap pāmbē talaiyeḍut tēviḷaiyāḍu pāmbē. kuṟṟamaṟṟa civaṉukkuk kuṇḍala māṉāy kūṟuntiru māliṉukkuk kuḍaiyu yāṉāy kaṟṟaikkuḻal pārvatikkuṅ kaṅkaṇa māṉāy karavāmal uḷaṅkaḷit tāḍu pāmbē. maṇḍalattait tāṅkumika vallamai koṇḍāy māyaṉukkup paḍukkaikku vaṇṇap pāyāṉāy kaṇḍapaḍai naḍuṅkiḍak kāḍciyum peṟṟāy kaṇṇēcevi yākakkoṇḍāy āḍu pāmbē. cantiraṉaic cūriyaṉait tāvit tīṇḍiṉāy caṅkaraṉuk kāparaṇan tāṉumākiṉāy mantirattiṟ kaḍaṅkiṉāy maṇḍala miḍḍāy vaḷaintu vaḷaintuniṉ ṟāḍu pāmbē.
Tamil Reference : சித்தர் பாடல் : பாம்பாட்டிச்சித்தர் (siddar pāṭal : pāmbāṭṭicciddar) (20-24)

According to the legend very beautifully summarized by श्री उमापतिशिवाचार्य (śrī umāpatiśivācārya) in his excellent eulogical treatise by name “श्री कुञ्चिताङ्घ्रिस्तव (śrī kuñcitāṅghristava)”, wherein the आचार्य कवि (ācārya kavi – preceptor poet) narrates the incident thus: 

Original	Transliteration	Translation
यन्नृत्तध्यानयोगद्विगुणिततनुभृच्च्रीशसंवाहभुग्नस्वाङ्गः शेषः कदाचिद् धरीमुखम्लोत्पन्नयद्वृत्तमाध्वीम्। पीत्व तप्त्वातिघोरं रजतिगिर्बिलद्वारमार्गेण यस्य क्षेत्रं प्रप्यान्वपश्यन् नटनं अधिसभं कुन्ऽचिताङ्घ्रिम् भजेहं॥	yannṛttadhyānayogadviguṇitatanubhṛccrīśasaṃvāhabhugnasvāṅgaḥ śeṣaḥ kadācid dharīmukhamlotpannayadvṛttamādhvīm। pītva taptvātighoraṃ rajatigirbiladvāramārgeṇa yasya kṣetraṃ prapyānvapaśyan naṭanaṃ adhisabhaṃ kun'citāṅghrim bhajehaṃ॥	Once, meditating on His dance Viṣṇu’s body doubled in weight And śeṣa, His support had his body squeezed. śeṣa drank the wine of what had happened from the lotus of Viṣṇu’s mouth, and practicing very severe penance reached His Holy Place via the tunnel mouth of the Silver mountain and witnessed the dance of the Sabha. -translation by David Smith
Sanskrit Reference : श्री कुञ्चिताङ्घ्रिस्तव (śrī kuñcitāṅghristava) (11)

This verse is again, has a deeper occult significance. Here, as the sacred name indicates, महाविष्णु (mahāviṣṇu – vast expanse) corresponds to the ब्रह्माण्ड चिताकाश (brahmāṇḍa citākāśa – macro-cosmic vacuum-consciousness) while His उपासन (upāsana - meditation / contemplation) on the शिवताण्डव (śivatāṇḍava – auspicious dance), corresponds to the process of आत्म संकल्प / मनोवृत्ति (ātma saṃkalpa / manovṛtti - self-volition) by which there is collapse of the spiritual wave-function such that it gets denser and concretized as मन्त्रशक्ति (theosonic energy) which gets consumed by आदिशेष (ādiśeṣa – primordial residue) who then transmigrates through the ब्रह्मरन्ध्र (brahmarandhra) which is a kind of spiritual worm-hole on top of the सुमेरु (sumeru - axismundi) and the मूलाधार चक्र (mūlādhāra cakra – root base centre) its bottom. So, in other words, it is the same spiritual energy that is पातप्रावह अमृतस्य सह्स्रार पद्मम् (pātaprāvaha amṛtasya sahasrārapadmam – downward-streaming of nector from thousand-petalled lotus), through the process technically known as the சத்தினிபாதம் / शक्तिपात (sattinipādam / śaktipāta – energy stream) which is then is preserved in its potential (latent) state as the कुण्डलिनी शक्ति (kuṇḍalinī śakti – coiled energy) or in according to those legend as the अवतार महऋषि पतञ्जलेः (avatāra mahaṛṣi patañjaleḥ - incarnation of Supreme-Seer Patanjali), which is the प्रवृत्तिमार्ग केन्द्रपागशक्तेः (pravṛttimārga kendrapāgaśakteḥ - evolutionary path of centrifugal force) of the ying-yang cycle. This is one part of the story. Then there is the remaining part of निवृत्तिमार्ग केन्द्राभिगशक्तेः (nivṛttimārga kendrābhigaśakteḥ - involutionary path of centripetal force) to complete the circuit of energy flow. This involves the awakening of the शाय भुजङ्गि (śāya bhujaṅgi – sleeping snake) which symbolizes arousing of the dormant कुण्डलिनी शक्ति (kuṇḍalinī śakti – coiled energy) by reversing to an upstream flow along the षटाधार चक्राणि (ṣaṭādhāra cakrāṇi – sixfold bace centres) through one or more of the four fold paths viz. कर्मयोग मार्ग (karmayoga mārga – service-union path), भक्तियोग मार्ग (bhaktiyoga mārga – devotion-union path), ध्यानयोग मार्ग (dhyānayoga mārga – meditation-union path) & ज्ञानयोग  मार्ग (jñānayoga mārga – wisdom-union path). This in terms of the legend related to महऋषि पतञ्जलि (mahaṛṣi patañjali) corresponds to his दिव्य दर्शन आनन्दताण्ड चिदंबर नटराजस्य (divya darśana ānandatāṇḍa cidaṃbara naṭarājasya – sacred vision of the frantic bliss dance of gnostic space dancer-king).  In fact, from an anthropicentric perspective, it would not be an exaggeration to infer that the very dance was enacted for the sake of महऋषि पतञ्जलि (mahaṛṣi patañjali). In other words, He was the instrumental cause for the same. ஸ்ரீ குமரகுருபரர்  (srī kumaraguruparar) very clearly explains this in the following verses:

Original	Transliteration	Translation
சென்றவரைத் தாம் ஆக்கும் தில்ல்லைச்சிற் றம்ம்பலத்து மன்ரவரைத் தாமாக்க வல்லவர்யார் - என்றுமிலர் ஆட பதஞ்சலியார் ஆக்கினார் என்பிறவி சாடப் பதஞ்சலியார் தாம்.	ceṉṟavarait tām ākkum tilllaicciṟ ṟam'mpalattu maṉravarait tāmākka vallavaryār - eṉṟumilar āṭa patañcaliyār ākkiṉār eṉpiṟavi cāṭap patañcaliyār tām
Tamil Reference : சிதம்பர மும்மணிக்கோவை (cidambara mummaṇikkōvai) (21)

Again, the poet-saint in another popular treatise called மதுரைக் கலம்பகம் (maduraik kalampagam) which is a eulogical outpour on the ஆடவல்லானின் வெள்ளியம்பலத்துதிருகூத்து (āṭavallāṉiṉ veḷḷiyampalattutirukūttu – dance expert’s sacred dance at the silver stage) recollects this incident thus: 

Original	Transliteration	Translation
அடுத்த பதஞ்சலியார் அஞ்சலியா நிற்ப எடுத்த பதஞ்சலியாரேனும் தடுத்தவற்கா மாறிக் குனித்தார் மலைகுனித்டென் மாமதனார் சீறிக் குனித்தார் சிலை	aṭutta patañcaliyār añcaliyā niṟpa eṭutta patañcaliyārēṉum taṭuttavaṟkā māṟik kuṉittār malaikuṉit'ṭeṉ māmataṉār cīṟik kuṉittār cilai
Tamil Reference : மதுரைக் கலம்பகம் (maduraik kalampagam) (83)

The पातप्रावह अमृतस्य सह्स्रार पद्मम् (pātaprāvaha amṛtasya sahasrārapadmam – downward-streaming of nector from thousand-petalled lotus) was demonstrated in the life of the श्री व्याकरपाद महऋषि / ஸ்ரீ புலிக்கால்முனிவர் (śrī vyākarapāda mahaṛṣi / srī pulikkālmuṉivar) as well, who had திருக்கூத்து தரிசனம் (tirukkūttu taricaṉam – vision of holy dance) along with श्री पतञ्जलि महऋषि (śrī patañjali mahaṛṣi). The eminent scholar Dr. B. Natarajan in his famous work “Tillai and Nataraja” summarizes this event thus:

 “He was the son of Madhyandina Munivar. The father taught the son all the Vedas and Sastras and the Pancakshara mantra according to the Saiva Agamas and then Inquired of him what else he wanted to leam. The son asked his father to instrud him in the best mode of penance. Taking the father's instructions, the son selected the sacred spot of Tlllai for his penance. On reaching the place, he saw a Siva linga under a banyan tree near a sacred tank. He built for himself a hermitage on the west side of Tillal near another tank and consecrated another linga there and worshipped both the lingas. The sage found that the flowers were spoiled by honey bees when gathered after dawn and so prayed to the Lord that he might be provided with the eyes, claws and feet of a tiger to fulfil his desire of collecting flawless flowers for worship. His request was granted. Hence his name Vyaghrapada. After he had spent some time In such acts of devotion, his father got him married and, in due course, a son was bom to him, Upamanyu name. The child was fed by Arundhati on the milk of the divine cow, Karnadhenu. Even the child reached Vyaghrapada's home, he wanted the divine milk. The Lord wrought a mlrade and the ocean of milk of heaven was brought to earth to feed the child of the sage. One day the sage, in a moment of yogic trance, had a vision of the Lord's Dance before the forty-eight thousand sages In the Daruka forest and longed to see it himself; and so awaited the great day when the Lord would exhibit His Divine Dance to him and other devotees at Tillal”

Now, let us quickly analyze an excellent philosophical titbit in the very etymology associated with the name “महऋषि पतञ्जलि (mahaṛṣi patañjali)”. The term पतञ्जलि /பதஞ்சலி (patañjali / patañjali – fall salutation) can be etymologically split as पत /பத (pata / pata - fall) & अञ्जलि /அஞ்சலி (añjali / añjali – salutation / honour). In this sense it is a अञ्जलि शक्तिपातं /சத்தினிபாதத்திற்க்கு அஞ்சலி (añjali śakti pātaṃ / cattiṉipātattiṟkku añjali – salutation to energy stream).

While the above etymological derivation is common to both Tamil and Sanskrit, there is a unique alternate one additionally available in Tamil. As we know, Tamil alphabet is relatively more polymorphic as for example, in this case the letter ‘த (ta)’ which is the common ஒளி வடிவம் (oḷi vaḍivam – visual form) to the following ஒலி வடிவங்கள் (oli vaḍivaṅkaḷ - sound forms) mapping the Sanskrit phonemes viz. ‘त (ta)’ ‘थ (tha)’, ‘द (da)’ & ‘ध (dha)’ respectively. Now, if we leverage this polymorphic flexibility the term पतञ्जलि / பதஞ்சலி (patañjali / patañjali – fall salutation) can also me pronounced as पदञ्जलि / பதஞ்சலி (padañjali / padañjali – foot salutation). In other words, the latter term can be etymologically split as पद /பத (pada / pada - foot) & अञ्जलि /அஞ்சலி (añjali / añjali – salutation / honour). This derivation is particularly applicable in the present context of the legend relating to “महऋषि पतञ्जलि (mahaṛṣi patañjali)” and his vision of the आनन्द ताण्डव नटराजस्य (ānanda tāṇḍava naṭarājasya – frantic bliss dance of dance-king) because here the पदञ्जलि / பதஞ்சலி (padañjali / padañjali – foot salutation) is also appropriate as an eulogical salutation to the ஆடிய பாதம் (āḍiyapādam – dancing foot) which included both the தூக்கிய திருவடி / कुञ्चितश्रीपद (tūkkiya tiruvaḍi / kuñcitaśrīpada – lifted sacred foot) as well as the ஊன்றிய திருவடி/स्थिरश्रीपद (ūṉṟiya tiruvaḍi / sthiraśrīpada – supporting sacred foot). In fact, திருவடிப்போற்றி (tiruvaḍippōṟṟi – sacred foot eulogy) has been an integral part of the இந்திய பக்தி இலக்கியம் (indiya bakti ilakkiyam – Indian devotional literature) right from the most ancient times, and continues even till date and will continue be so for ever. So, in this background interpreting as पदञ्जलि / பதஞ்சலி (padañjali / padañjali – foot salutation) is also very apt in my opinion.

Elsewhere, பாம்பாட்டிசித்தர் (pāmbāṭṭisiddar) in the following verses of his famous song, for example, eulogizes the sacred event of witnessing the ஆடிய பாதம் (āḍiyapādam – dancing foot) thus: 

Original	Transliteration	Translation
ஆடுபாம்பே தெளிந்தாடு பாம்பே - சிவன் அடியினைக் கண்டோமென்று ஆடுப்பாம்பே! தெளிந்து தெளிந்துதெளிந் தாடுபாம்பே - சிவன் சீர்பாதங் கண்டுதெளிந் தாடு பாம்பே ஆடும்பாம்பே தெளிந்தாடு பாம்பே - சிவன் அடியினைக் கண்டோமென் றாடு பாம்பே. நீடுபதம் நமக்கென்றுஞ் சொந்த மென்றே நித்திய மென்றே பெரிய முத்தி யென்றே பாடுபடும் போதுமாதி பாத நினைந்தே பன்னிப் பன்னிப் பரவிநின் றாடுபாம்பே. பொன்னிலொளி போலவெங்கும் பூரணமதாய்ப் பூவின் மணம் போலத்தங்கும் பொற்புடையதாய் மன்னும் பல உயிர்களில் மன்னிப் பொருந்தும் வள்ளலடி வணங்கி நின் றாடுபாம்பே. எள்ளிலெண்ணெய் போலவுயி ரெங்கு நிறைந்த ஈசன் பதவாசமலர் எண்ணி யெண்ணியே உள்ளபடி அன்புபத்தி ஓங்கி நிற்கவே ஒடுங்கிய டங்கித்தெளிந் தாடு பாம்பே. அண்டபிண்டந் தந்த வெங்கள் ஆதிதேவனை அகலாம மேலநினைந் தன்புடன் பணிந்து எண்திசையும் புகழ்ந்திட ஏத்தி யேத்தியே ஏகமன மாகநாடி யாடு பாம்பே. சோதிமய மானபரி சுத்த வஸ்துவைத் தொழுதழு தலற்றிற் தொந்தோந்தோ மெனவே நீதிதவ றாவழியில் நின்று நிலையாய் நினைந்து நினைந்துருகி யாடு பாம்பே. அருவாயும் உருவாயும் அந்தியாயும் அந்தமாயும் ஒளியாயும் ஆகமமாயும் திருவாயுங் குருவாயும் சீவனாயும் செறிந்தவஸ் துவைப்போற்றி யாடு பாம்பே. சுட்டிக்காட்டி ஒண்ணாதபாழ் சூனி யந்தன்னைச் சூட்சமதி யாலறிந்து தோஷ மறவே எட்டிபிடித் தோமென் றானந்த மாகப்பை எடுத்து விரித்துநின் றாடு பாம்பே	āḍupāmbē teḷintāṭu pāmbē - civaṉ aṭiyiṉaik kaṇṭōmeṉṟu āṭuppāmbē! teḷintu teḷintuteḷin tāḍupāmbē - civaṉ cīrpāḍaṅ kaṇṭuteḷin tāṭu pāmbē āṭumpāmbē teḷintāṭu pāmbē - civaṉ aṭiyiṉaik kaṇṭōmeṉ ṟāṭu pāmbē. nīṭupatam namakkeṉṟuñ conta meṉṟē nittiya meṉṟē periya mutti yeṉṟē pāṭupaṭum pōtumāti pāta niṉaintē paṉṉip paṉṉip paraviniṉ ṟāḍupāmbē. poṉṉiloḷi pōlaveṅkum pūraṇamatāyp pūviṉ maṇam pōlattaṅkum poṟpuṭaiyatāy maṉṉum pala uyirkaḷil maṉṉip poruntum vaḷḷalaṭi vaṇaṅki niṉ ṟāḍupāmbē. eḷḷileṇṇey pōlavuyi reṅku niṟainta īcaṉ patavācamalar eṇṇi yeṇṇiyē uḷḷapaṭi aṉpupatti ōṅki niṟkavē oṭuṅkiya ṭaṅkitteḷin tāṭu pāmbē. aṇṭapiṇṭan tanta veṅkaḷ ātitēvaṉai akalāma mēlaniṉain taṉpuṭaṉ paṇintu eṇticaiyum pukaḻntiṭa ētti yēttiyē ēkamaṉa mākanāṭi yāṭu pāmbē. cōtimaya māṉapari cutta vastuvait toḻutaḻu talaṟṟiṟ tontōntō meṉavē nītitava ṟāvaḻiyil niṉṟu nilaiyāy niṉaintu niṉainturuki yāṭu pāmbē. aruvāyum uruvāyum antiyāyum antamāyum oḷiyāyum ākamamāyum tiruvāyuṅ kuruvāyum cīvaṉāyum ceṟintavas tuvaippōṟṟi yāṭu pāmbē. cuṭṭikkāṭṭi oṇṇātapāḻ cūṉi yantaṉṉaic cūṭcamati yālaṟintu tōṣa maṟavē eṭṭipiṭit tōmeṉ ṟāṉanta mākappai eṭuttu virittuniṉ ṟāṭu pāmbē.
Tamil Reference : சித்தர் பாடல் : பாம்பாட்டிச்சித்தர் (siddar pāṭal : pāmbāṭṭicciddar) (1-9)

In addition to these two alternate derivations, according to some subject matter experts, the Tamil etymology offers a third alternative by using an extended version of the Tamil name viz. பதஞ்சலியார் (padañcaliyār – unwearied foot) based on the epistemological splitting into பதம் (padam - foot) & சலியார் (caliyār – unwearied / untierd). And this name is associated to the eternal dancer. For example, காஞ்சி சீலத்திரு ஞானப்பிரகாச தேசிய பராமாசாரிய சுவாமிகள் (kāñci cīlattiru ñāṉappirakāca tēciya parāmācāriya cuvāmikaḷ) in his famous உரைவிளக்கம் (uraiviḷakkam – commentorial explanation) on the above quoted verse from the சிதம்பர மும்மணிக்கோவை (cidambara mummaṇikkōvai)

Original	Transliteration	Translation
"என்றும் இவர் ஆடப் பதஞ்சலியார் ஆக்கினார்". என்று தாமே விடையும் இறூத்து தில்லைச் சிற்றம்பலதத்து மன்னராகிய தவரைப் படஞ்சலியார் என்றும் ஆடும்படி ஆக்கிய உணர்த்தினார், உணர்த்தினாலும் பதஞ்சலியார் நடராசரைத் தாம்மாக்கியது எப்படி? எப்படி ஒரு கேள்வி எழும் அன்றோ? படஞ்சலியார் நடராஜரைச் செய்தது யாது? ஆடச் செய்ததே ஒருநாளா? பலநாளா? எப்பொழுதுமா? என்றும் ஆட ஆக்கினார். என்றும் ஆடினால் பதம் சலிக்காமல் இருக்குமா? ஆடச் செய்தவர் பதஞ்சலியார் (முனிவர்). ஆடியவர் நடராசர். அவர் என்றும் ஆடிக்கொண்டிருக்கின்றார். ஒரு வினாடிக்கூட ஆட்டத்தில் சலிப்பு ஏற்படவில்லை. சலிப்பில்லாத பாதத்தவர்க்குப் 'பதஞ்சலியார்' என்ற பெயர் நன்கு பொருந்தும். (பதஞ்சலியார் - பதம் சலியார்) 'தாம் பதம் சலியார்' தாம் என்பது தில்லை சிற்றம்பலத்து மந்தவரிக் குறிப்பது. பதம் - பாதம், திருவடி சலியார் (சலிப்பு அடையார்). சகித்தலைச் செய்யார். என்பிறவிச்சாட சலியாரென்று இயக்க. தாம் எழுவாய் சலியார் பயனிலை - சலியாது ஆடுவதன் பயன் பிறவியை சாடுதல் ஆட ஆக்கினார் பதஞ்சலியார் பிறவிசாடப் பதஞ்சலியா(தா)ர் சிவனார் (தாம்). தாமாக்கும் தவரையும் தாமாக்க வல்லதவர் பதஞ்சலி முனிவர். சிவபிரானார் தாமாக்குவது சிவமாக்குவதாகும். பதஞ்சலியார் நடராசரைத் தாமாக்குவது பதஞ்சலியாராகச் செய்வது. 'பதஞ்சலியார்' என்பதற்கு இருபொருள் கொண்டு உரைத்தை திறத்தை அறிவார்க்கே இங்குத் தாமாக்கும் முறைமை ஈது என்று விளங்கும். சிவனார் தம்பால் சென்றவரைச் சிவமாக்குவார். பதஞ்சலியார் அச் சிவனாரை என்றும் ஆட ஆக்கியதால் அச் சிவனார் தாமும் பதஞ்சலியார் ஆனார்	"eṉṟum ivar āṭap patañcaliyār ākkiṉār". eṉṟu tāmē viṭaiyum iṟūttu tillaic ciṟṟampalatattu maṉṉarākiya tavaraip paṭañcaliyār eṉṟum āṭumpaṭi ākkiya uṇarttiṉār, uṇarttiṉālum patañcaliyār naṭarācarait tām'mākkiyatu eppaṭi? eppaṭi oru kēḷvi eḻum aṉṟō? paṭañcaliyār naṭarājaraic ceytatu yātu? āṭac ceytatē orunāḷā? palanāḷā? eppoḻutumā? eṉṟum āṭa ākkiṉār. eṉṟum āṭiṉāl patam calikkāmal irukkumā? āṭac ceytavar patañcaliyār (muṉivar). āṭiyavar naṭarācar. avar eṉṟum āṭikkoṇṭirukkiṉṟār. oru viṉāṭikkūṭa āṭṭattil calippu ēṟpaṭavillai. calippillāta pātattavarkkup 'patañcaliyār' eṉṟa peyar naṉku poruntum. (patañcaliyār - patam caliyār) 'tām patam caliyār' tām eṉpatu tillai ciṟṟampalattu mantavarik kuṟippatu. patam - pātam, tiruvaṭi caliyār (calippu aṭaiyār). cakittalaic ceyyār. eṉpiṟaviccāṭa caliyāreṉṟu iyakka. tām eḻuvāy caliyār payaṉilai - caliyātu āṭuvataṉ payaṉ piṟaviyai cāṭutal āṭa ākkiṉār patañcaliyār piṟavicāṭap patañcaliyā(tā)r civaṉār (tām). tāmākkum tavaraiyum tāmākka vallatavar patañcali muṉivar. civapirāṉār tāmākkuvatu civamākkuvatākum. patañcaliyār naṭarācarait tāmākkuvatu patañcaliyārākac ceyvatu. 'patañcaliyār' eṉpataṟku iruporuḷ koṇṭu uraittai tiṟattai aṟivārkkē iṅkut tāmākkum muṟaimai ītu eṉṟu viḷaṅkum. civaṉār tampāl ceṉṟavaraic civamākkuvār. patañcaliyār ac civaṉārai eṉṟum āṭa ākkiyatāl ac civaṉār tāmum patañcaliyār āṉār.
Tamil Reference : சிதம்பரமும்மணிக்கோவை உரைவிளக்கம் (cidambaramummaṇikkōvai uraiviḷakkam) (21)

This is a very beautiful explanation providing deepest insight into परमद्वैत दर्शन (paramadvaita darśana – supreme nondualistic philosophy) reflecting upon the शिवोहंभाव (śivohaṃbhāva – I am Shiva attitude) such that the श्री नटराज (śrī naṭarāja – divine dance king) who is the नर्तक /கூத்தன் (nartaka / kūttaṉ - dancer) is also its निचेतृ / காண்பன் (nicetṛ/ kāṇpaṉ - observer / spectator) and both are here referred by the common name ‘பதஞ்சலியார் (padañjaliyār)’. Not only that, the नर्तक /கூத்தன் (nartaka / kūttaṉ - dancer), His eternal नृत्य /கூத்து (nṛtya / kūttu - dance), the सभा /சபை (sabhā / sabai - stage) on which it is performed as well as the निचेतृ / காண்பன் (nicetṛ / kāṇpaṉ - observer / spectator) are all part and parcel of the same nondual continuum. And just as every organ of a dancer participates in the dance, so does each of these parts of the omnipresent self-dance to the tunes of its self-will and witnesses the same. That is why it is referred as the सर्वव्यापक ब्रह्माण्ड ताण्डव नटराजस्य (sarvavyāpaka brahmāṇḍa tāṇḍava naṭarājasya – all-pervasive macrocosmic dance of dance-king) and this is why the noble poet-saint திருமூலர்  (tirumūlar) while eulogizing திருக்கூத்து தரிசனம் (tirukkūttu taricaṉam – vision of holy dance) sings thus in his magnum-opus masterpiece திருமந்திரம் (tirumandiram)

Original	Transliteration	Translation
எங்கும் திருமேனி; எங்கும் சிவசத்தி; எங்கும் சிதம்பரம்; எங்கும் திரு நடனம் எங்கும் சிவமாய் இருத்தலால், எங்கும் தங்கும் சிவனுருள் தன்விளையாட்டதே	eṅgum tirumēṉi; eṅkum civacatti; eṅgum citamparam; eṅkum tiru naṭaṉam eṅgum civamāy iruttalāl, eṅkum taṅgum civaṉuruḷ taṉviḷaiyāṭṭatē	Everywhere is the Holy Form; Everywhere is Siva-Sakti; Everywhere is Chidambaram; Everywhere is Divine Dance; As everywhere Siva is, Everywhere Siva's Grace is All, all, His Sport Divine -translation by Dr. B. Natarajan
Tamil Reference : திருமந்திரம் (tirumandiram) (2722)

Of course, when such Omnipresent, Omniscient and Omnipotent Self-Will decides to dance, who can stop it! The noble saint-poet திருநாவுக்கரசர் (tirunāvukkarasar) more lovingly called as அப்பர் (appar) in one of his தேவாரப் பதிகங்கள் (tēvārap patikaṅgaḷ) rendered at the sacred சிதம்பரம் (cidambaram) sings thus:  

Original	Transliteration	Translation
ஆட்டுவித்தால் ஆரொருவர் ஆடா தாரே அடக்குவித்தால் ஆரொருவர் அடங்கா தாரே ஓட்டுவித்தால் ஆரொருவர் ஓடா தாரே உருகு வித்தால் ஆரொருவர் உருகா தாரே பாட்டுவித்தால் ஆரொருவர் பாடா தாரே பணிவித்தால் ஆரொருவர் பணியா தாரே காட்டுவித்தால் ஆரொருவர் காணா தாரே காண்பாரார் கண்ணுதலாய் காட்டாக் காலே.	āṭṭuvittāl āroruvar āṭā tārē aṭakkuvittāl āroruvar aṭaṅkā tārē ōṭṭuvittāl āroruvar ōṭā tārē uruku vittāl āroruvar urukā tārē pāṭṭuvittāl āroruvar pāṭā tārē paṇivittāl āroruvar paṇiyā tārē kāṭṭuvittāl āroruvar kāṇā tārē kāṇpārār kaṇṇutalāy kāṭṭāk kālē.	Who will not paly (his role) if You cause him paly it? Who will not remain still if You cause his stillness? Who will not be driven if You cause the driving? Who will not melt if You cause him melt? Who will not Sing if You cause him sing? Who will not bow If You cause him? Who will not behold If You cause him behold? (Yet) who can ever witness, If You, O the forehead-eyed, do not reveal? -translation by T.N, Ramachandran
Tamil Reference : அப்பர் தேவாரம் (appar dēvāram) (6.95.3)

Thus, one can also hear a subtle form of கேலா மந்திரஒலி /अजपामन्त्रशब्द (kēlā mantira'oli ajapāmantraśabda – unheard mantric sound) which is received as the ब्रह्म आज्ञा (brahma ājñā – divine command) in terms of the चतुर्विध तलानि वाकस्य (caturvidha talāni vākasya – fourfold levels of sound), corresponds to the पश्यन्तिवाक् (paśyantivāk – visible sound). The पातप्रावह पश्यन्ति वाकस्य (pātaprāvaha paśyanti vākasya – downward-streaming visible logos) is received in the form of ब्रम्ह आज्ञा (brahma ājñā - divine command) at the आज्ञा चक्र​ (ājñā chakra - command center) by the ऋषिमुनि (ṝṣimuni - seer Sage) which is subsequently pronounced out as वैखरिक शब्द​ (vaikhārika vāk - articulated speech) called as श्रुति शास्त्र् (śruti śāstra - heard scriptures) from the विशुद्धि चक्र (viśuddhi cakra - cleansed / throat center). This is the evolutionary journey. Perhaps only to convey this message the noble saint திரு அருட்பிரகாச இராமலிங்க வள்ளலார்  (tiru aruṭpirakāsa irāmaliṅga vaḻḻalār) sings thus in spiritual ecstasy.

Original	Transliteration	Translation
வானத்தின் மீது மயிலாடக் கண்டேன் மயில்குயில் ஆச்சுதடி - அக்கச்சி மயில்குயில் ஆச்சுதடி.	vāṉattiṉ mītu mayilāṭak kaṇṭēṉ mayilkuyil āccutaṭi - akkacci mayilkuyil āccutaṭi.	I witnessed peacock dancing in the sky sister peacock became koyal sister peacock became kayal
Tamil Reference : திரு அருட்பா (tiru aruṭpā) (6.129.1)

Interestingly, almost the same point is also reiterated in ஐந்திறம் (aintiṟam) – a famous treatise on Tamil grammar believed to be originally revealed to the legiendary மாயன் (māyan)

Original	Transliteration	Translation
ஒளிமுதர் கண்ட விண்ணொலி ஓசை வெளிமொழி ௐ என விளம்பற பாற்றே. நிறையொலி நேரொலி வெளியொலி விண்மொழி மறையொலி ௐ என வழுத்தற் பாற்றே	oḷimutar kaṇṭa viṇṇoli ōcai veḷimoḻi oṃ eṉa viḷampaṟa pāṟṟē. niṟaiyoli nēroli veḷiyoli viṇmoḻi maṟaiyoli oṃ eṉa vaḻuttaṟ pāṟṟē	The subtle sound created from the transcendental pure space by the primal source of cosmic effulgence. The pranava ‘OM’ is in such celebrated state as to be specifically described as all-prevasive sound. -translation by DR. S.P. Sabharatnam
Tamil Reference : : ஐந்திறம் (aintiṟam) (1)

In வாசி யோகம் (vāsi yōgam), the स्वाहा (svāhā) corresponds to the specific बीजाक्षर मन्त्र (bījākṣara mantra – seed-syllable mantra) that gets activated in the respective आधार चक्र (ādhāra cakra – support centers) and eventually alights / rises up from the मूलाधार चक्र (mūlādhāra cakra - main-support center). This is one more reason why மயில் (mayil - peacock) is represented as the வாகனம் (vāganam - vehicle) for ascending the षट् आधार चक्र (ṣaṭ ādhāra cakra – six support centers). மயில் (mayil - peacock) is known for visual beauty - மயில் தோகை விரித்தாடும் அழகு (mayil tōgai virittāḍum azhagu – beauty of peacock plumage). Such is the esoteric spiritual significance of மயில் (mayil - peacock) and that is why the saint glorifies the same using the mystic expression ஒளிஓங்கி ஓங்கும்மயில் (oḷi'ōṅki ōṅkum'mayil):

Original	Transliteration	Translation
திருஓங்கு புண்ணியச் செயல்ஓங்கி அன்பருள் திறலோங்கு செல்வம்ஓங்கச் செறிவோங்க அறிவோங்கி நிறைவான இன்பம் திகழ்ந்தோங்க அருள்கொடுத்து மருஓங்கு செங்கமல மலர்ஓங்கு வணம்ஓங்க வளர்கருணை மயம்ஓங்கிஓர் வரம்ஓங்கு தெள்அமுத வயம்ஓங்கி ஆனந்த வடிவாகி ஓங்கிஞான உருஓங்கும் உணர்வின்நிறை ஒளிஓங்கி ஓங்கும்மயில்.	tiru'ōṅku puṇṇiyac ceyalōṅki aṉparuḷ tiṟalōṅku celvamōṅkac ceṟivōṅka aṟivōṅki niṟaivāṉa iṉpam tikaḻntōṅka aruḷkoṭuttu maru'ōṅku ceṅkamala malar'ōṅku vaṇamōṅka vaḷarkaruṇai mayamōṅki'ōr varamōṅku teḷamuta vayamōṅki āṉanta vaṭivāki ōṅkiñāṉa uru'ōṅkum uṇarviṉniṟai oḷi'ōṅki ōṅkum'mayil.
Tamil Reference : திரு அருட்பா (tiru aruṭpā) (5.52.1)

Continued: 

Note:  Please click the appropriate tab-menu link on top of this page for the respective parts viz part-1 etc., to continue reading