Moreover, architectural components in a temple also symbolize various other esoteric truths. Take the case of the famous தில்லை நடராஜர் திருக்கோயில் (thillai nataraajar thirukkOyil) at சிதம்பரம் (chithambaram), it has many such esoteric secrets beautifully embedded within its exterior engineering and design as illustrated below:
There are பஞ்ச படிகள் (pañca paḍigaḻ– five steps) leading from the கனக சபை / பொன்னம்பலம் (kanaga sabai / ponnambalam - golden hall) to the sanctum sanctorum of the temple viz. சிற்சபை / சிற்றம்பல சபை (siṛsabai / siṛṛambala sabai – small hall / gnostic hall). These five steps together are called பஞ்சாக்ஷர படிகள் (pañcākṣara paḍigaḻ - five syllabled steps) correspond to the पञ्चाक्षर मन्त्र (pañcākṣara mantra – five syllabled mantra) viz. நம சிவாய / नमशिवाय (nama sivaaya / namaśivāya).
There are நவ வாயில்கள் (nava vāyilgaḻ - nine gateways) to the சிற்றம்பல சபை (siṛsabai / siṛṛambala sabai– small hall / gnostic hall) corresponding to the नव द्वाराः स्थूलशरीरेषु जीवात्मस्य (nava dvārāḥ sthūlaśarīreṣu jīvātmasya – nine openings in the gross body of corporeal soul).
The கற்கள் (kaṛkaḻ – stones / bricks) from the base to the top of the the சிற்றம்பல சபை (siṛsabai / siṛṛambala sabai– small hall / gnostic hall) corresponds to the माधुका शक्ति बीजाक्शर मन्त्र (mādhukā śakti bījākśara mantra).
The கனக சபை / பொன்னம்பலம் / பொர்சபை (kanaga sabai / ponnambalam / porsabai – golden hall) is supported by பதினெண் தூண்கள் / अष्टादश स्तंभाः (padineṇ tūngaḻ / aṣṭādaśa staṃbhāḥ - eighteen pillars) corresponding to the अष्टादश महापुराणशास्त्र (aṣṭādaśa mahāpurāṇaśāstra – eighteen major mythologies) compiled by वेद व्यास महऋषि (veda vyāsa mahaṛṣi)
The சிற்சபை / சிற்றம்பல சபை (siṛsabai / siṛṛambala sabai – small hall / gnostic hall) contains பஞ்சபீடங்கள் / पञ्चपीठाः (pañca pīḍaṅgaḻ / pañcapīṭhāḥ - five pedastals) located in front of the middle partition towards the south, corresponding to the पञ्चमहाकृतानि (pañcamahākṛtāni – five sacred acts). Thus, there is a பீடம் (pīḍam – platform) for the respective lord of each of these acts, which in terms of अस्तिकायविद्या शैवागमस्य (astikāyavidyā śaivāgamasya – ontological science of shiva agama) to the पञ्चशिव शुद्ध माया तत्त्वानि (pañcaśiva śuddha māyā tattvāni – five-auspiscius pure mystery evolutes), as indicated in the mapping below
The ब्रह्म पीठ (brahma pīṭha) is the layer immediately after the பஞ்சாக்ஷர படிகள் (pañcākṣara paḍigaḻ - five syllabled steps). This contains a panel with षण्णवति जालकानि (ṣaṇṇavati jālakāni – ninety-six windows) corresponding to the षण्णवति अस्तिकाय तत्त्वानि (ṣaṇṇavati astikāya tattvāni – ninety-six ontological eolutes) making up the manifested cosmos, according to शुद्धाद्वैत शैव सिद्धन्त दर्शन (śuddhādvaita śaiva siddhanta darśana – philosophy of pure nondualstic final auspicious accomplishment)
Immediately after which there is a देव पीठ (deva pīṭha – divine petastal) around one feet wide called the विष्णु पीठ (viṣṇu pīṭha) containing पञ्च सुवर्णस्थूनानि (pañca suvarṇasthūnāni - five golden pillars). The five main தளவரிசை கற்கள் (taḻavarisai kaṛkaḻ – linear stones) in the கனக சபை /
பொன்னம்பலம் / பொர்சபை (kanaga
sabai / ponnambalam / porsabai – golden hall) represents the पञ्च महा भूत तत्त्व (pañca mahā bhūta tattva – five core material
principles).
There is a பாவாடை / திரை (pāvāḍai / tirai - curtain / screen) running across these pillars and this
represents the अविद्या तत्त्व (avidyā tattva – nescience principle) hiding the अन्तर्यामि
ब्रह्मन (antaryāmi brahmana - inner divinity) within our heart. The opening of
the screen symbolizes the esoteric दहर विद्या (dahara vidyā - esoteric wisdom) or the revelation of
the indwelling divinity.
The रुद्र पीठ (rudra pīṭha) is the देव पीठ (deva pīṭha – divine petastal) within the சிற்சபை / சிற்றம்பல சபை (siṛsabai / siṛṛambala sabai – small hall / gnostic hall) on which the आलय अर्चकाः / दीक्षकाः (ālaya arcakāḥ / dīkṣakāḥ - temple priests) perform the अर्चन (arcana - worship) is designed in such a way that it is supported by अष्टाविंशतिः स्तंभाः (aṣṭāviṃśatiḥ staṃbhāḥ – twenty-eight pillars) symbolizing the अष्टाविंशतिः शैवागमानि (aṣṭāviṃśatiḥ śaivāgamāni – twenty-eight Shiva Agamas) belonging to the शुद्धाद्वैत शैव सिद्धन्त दर्शन (śuddhādvaita śaiva siddhanta darśana – philosophy of pure nondualstic final auspicious accomplishment).
सदाशिवपीठ (sadāśivapīṭha) is a platform on the north most side of the சிற்சபை / சிற்றம்பல சபை (siṛsabai / siṛṛambala sabai – small hall / gnostic hall) on which the sacred चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum) representing the அருவ தத்துவம் / निश्कल तत्त्व् (aruva tattuvam / niśkala tattva – noumenal principal) of Divinity is revealed. It represents the esoteric secret of the चिताकाश स्पन्दन (citākāśa spandana - quantum jitters in conscious field) also called as the சிதம்பர நடனம் (cidambara nadanam - vacuum consciousness dance). The चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum) is physically represented using தங்க மாலை (taṅga mālai - golden chain) containing (nine beads each of which is designed in the shape of the sacred) வில்வ இலை (vilva ilia - aegle marmelo leaf), embedded within the கலிமண் சுவர் (kaliman suvar - clay wall) on top of the सदाशिव पीठ (sadāśiva pīṭha). That is why, this platform is also called as சித்சபை chithsabai – gnostic hall).
Hidden behind the ஆனந்த திருகூத்தின் ஒளி நடனம் (ānandatirukūttin oḻi naṭanam – visual dance of sacred blissful dance) manifested as உருவ தத்துவம் / शकल तत्त्व (uruvattattuvam / śakala tattva – phenomenal principle) there underlies the subtler ´Ä¢ ¿¼Éõ (oli naṭanam – sonic dance) manifesting the அருவ தத்துவம் / निश्कल तत्त्व् (aruva tattuvam / niśkala tattva – noumenal principal) and this is referred as the sacred चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum). As one progresses spiritually, one can, not only see (experience) the ஒளி நடனம் (oḻi naṭanam – visual dance) but can eventually hear His மந்திர / ஒலி நடனம் (mantira / oli naṭanam – mantric / sonic dance), as well. The Holy saint திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (tiru aruṭpirakāca irāmaliṅga vaḻḻalār) has beautifully symbolized ஒளி நடனம் (oḻi naṭanam – visual dance) & ´Ä¢ ¿¼Éõ (oli naṭanam – sonic dance) as மயில் (mayil - peacock) & குயில் (kuyil - cuckoo) respectively, as testified in the following verses:
What the saint refers to here is his பிண்ட மெய்ஞான அனுபவம் (piṇḍa meijñāna anubavam – internalized spiritual experience). However, the same theme can also be extended to the அண்ட விஞ்ஞான நடனம் (aṇḍa vijñjñāna anubavam – externalized scientific experience). Please remember that the பிண்டம் (piṇḍam – micrcosm) is nothing but the fractal reflection of the அண்டம் (aṇḍam – macrocosm). We shall discuss more about this as we proceed further.
In fact, the चिताकाश स्पन्दन (citākāśa spandana - quantum jitters in conscious field) corresponds to specific letters in the Tamil / Sanskrit alphabets viz. ‘ஆ/आ (ā)', ‘ஈ / ई (ī)’, ‘ஊ /ऊ (ū)’, ‘ஏ (E)’, ‘ௐ /ॐ (oṃ)’, ‘அம் /अं (aṁ)’, ‘ஹ்ரீம் / ह्रीं (hrīṁ)’, ‘ஹம் / हं (haṁ)’, ‘க்ஷம் /क्षं (kṣaṁ)’ & ‘ஆம் / आं (āṁ)’ respectively. The following verses from திருமந்திரம் (tirumantiram) very clearly highlights the same
Theologically speaking,
between the अष्टबीजाक्षराणि (aṣṭabījākṣarāṇi – eight
seed syllables), the first set of four correspond to the शैव (śaiva) while
the remaining to शाक्त (śākta) aspects respectively and their नाद संमेलन (nāda saṁmelana – sonic union) is
the ஆனந்த திருக்கூத்து (ānandatirukkūttu – dance of bliss). This is what is referred in the first verse
quoted above. The next verse highlights that the स्थूल (sthūla - gross) &
सूक्ष्म (sūkṣma - subtle) modes of the dance occurring in us
simultaneously at the जीवात्म (jīvātma – corporeal self) &
परमात्म (paramātma – supreme self) scales respectively.
The next important point to understand that these five syllables viz. ‘ஆ/आ (ā)',
‘ஈ / ई (ī)’,
‘ஊ /ऊ (ū)’,
‘ஏ (E)’
& ‘ௐ /ॐ (oṃ)’,
esoterically correspond to the sacred पञ्चाक्षरमन्त्र (pañcākṣaramantra) viz. नमशिवय (namaśivaya). It is this बीजाक्षर मन्त्र (bījākṣara mantra) that lies behind the सुवर्ण बिल्वपत्र माल (suvarṇa bilvapatra māla - golden chain of aegle marmelo leaves). These letters are
secretly embossed in a 5*5 मण्डल (maṇḍala – matrix/
circuit) embedded
on the கலிமண் சுவர் (kalimaṇ suvar - clay wall) where the sacred சிதம்பர இரகசியம் (cidambara iragasiyam) is revealed in the sanctum sanctorum of the
temple. The below quoted verses from திருமந்திரம் (tirumantiram) testifies on these points,
The 5*5 मण्डल (maṇḍala - circuit) referred above is technically called as the पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala – five syllabled sonic circuit) and more or less corresponds to the following matrix.The esoteric significance of this पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) is subtly referred in various occult தமிழ் சித்தர் இலக்கியங்கள் (tamizh siddar ilakkiyaṅgaḻ – Tamil Siddha literatures). The noble saint திருமூலர் (tirumūlar) in particular, deals at length with it in his magnum opus masterpiece திருமந்திரம் (tirumantiram), as testified in the below quoted verses
This पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) is called a चक्र (cakra - wheel) here because of its cyclic pattern in chanting. If you observe the above 5 * 5 matrix, it will be clear that the अक्षरम् (akṣaram– syllable) in the 5th column (c) of every row (r), corresponds to the 1st column of its immediately subsequent row. For example, म /ம (ma) in (r = 1, c =5) is the same as (r=2, c=1). Similarly, न /ந (na) in (r=2, c=5) is the same as (r=3,c=1) and so on; and finally in the last row शि /சி (śi / si) in (r=5, c=5) is the same as (r=1, c=1); thus, forming a closed loop चक्र (cakra - wheel).
Interestingly, திருமூலர் (tirumūlar) himself also refers to an alternate version of this चक्र (cakra - wheel). The following matrix demonstrates the same here.
Here, the अक्षरम् (akṣaram– syllable) in the 3rd column (c) of every row (r), corresponds to the 1st column of its immediately subsequent row. The following verse from திருமந்திரம் (tirumantiram) testifies this.
Of course, the above two styles are not the only ways of contemplating on the sacred पञ्चाक्षर मण्डलचक्र चिदंबरस्य (pañcākṣara maṇḍalacakra cidaṃbarasya – five-syllabled circuit center of gnostic-vacuum). From योग साधन (yoga sādhana – yogic practice) perspective, saints like மகா சித்தர் அகத்தியர் (magā ciddar agattiyar), for example, refer to variations in these यन्त्र मण्डल (yantra maṇḍala) that would help conquer or overcome the following अष्टविध तर्जनानि (aṣṭavidha tarjanāni – eightfold acts)
Please remember that
this पञ्चाक्षर मन्त्र (pañcākṣara mantra – five syllabled
mantra) also corresponds to the पञ्चमहाभूततत्त्वानि (pañcamahābhūtatattvāni
five core physical elements) which in turn esoterically maps to specific क्षेत्रगतरुपणि यज्ञीय वह्निस्थानवेदिनाम् (kṣetragatarupaṇi yajñīya vahnisthānavedinām – geometrical
shapes of sacrificial hearth-altars) that are needed for पञ्चाग्नि होम
(pañcāgni
homa – fivefire sacrifice). The same in terms of पञ्चाग्नि अन्तर्योग
गुप्तविद्या (pañcāgni
antaryoga guptavidyā – five-fire inner yogic esoteric science), correspond to the पञ्चभूत सूक्षमदेहचक्राणि
/ பஞ்சபூத சூக்ஷம உடற்சக்கரங்கள் (pañcabhūta sūkṣamadehacakrāṇi / pañcabhūta sūkṣama udaṛcakkaraṅgaḻ– five material
subtle-body centers) in this context, மகா சித்தர் அகத்தியர் (magā ciddar
agattiyar) also refers to them. Moreover, he also
refers to other occult tantric concepts like पञ्चाक्षर लक्षण / பஞ்சாக்ஷர லக்கனம் (pañcākṣara lakṣaṇa), पञ्चभूत बीजाक्षराणि / பஞ்சபூத பீஜாக்ஷரங்கள் (pañcabhūta bījākṣarāṇi
/ pañcabūda bījākṣaraṅgaḻ - five-material seed syllables), etc. I shall not get
into these details here, but would like to share here a more comprehensive
version of the चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra
– fivesyllabled vacuum gnostic circuit center) highlighting some of
these mappings
The following table gives a mapping of these attributes in terms of the चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra - fivesyllabled vacuum gnostic circuit center)
The next important concept to remember before proceeding further is that there is a close correspondence between the बहिरङ्ग आनन्द ताण्डव चिदम्बरनटराजस्य / பகிரங்க சிதம்பர நடராஜரின் ஆனந்த தாண்டவம் (bahiraṅga ānanda tāṇḍava cidambaranaṭarājasya / bagiraṅga cidambara naṭarājarin ānanda tāṇḍavam- external Bliss Dance of Lord Chidambara Nataraja) and the अन्तरङ्ग नादप्रकाश स्पन्दन चिदाकाशस्य / அந்தரங்க சித்தாகாசத்தின்(ஞானவெளியின்) ஒலியொளி அசைவு (antaraṅga nādaprakāśa spandana cidākāśasya / antaraṅga cittāgāsattin (jñānaveḻiyin) oliyoḻi asaivu – internal gnostic audio-visual jitters of gnostic vacuum). In fact, the पञ्चाक्षर बीजमन्त्र (pañcākṣara bījamantra fivefold seedsylable mantra) corresponds to different अङ्गानि दिवदेहे श्री नटराजस्य (aṅgāni divadehe śrī naṭarājasya –organs in the divine body of Lord Nataraja), as testified in the following verses
The first verse refers to the सूक्षम मन्त्ररूप ईश्वरस्य (sūkṣama mantrarūpa īśvarasya – subtle sonic body of Lord), while the latter refers to His स्थूल रूप (sthūla rūpa – gross form). The following images depicts both these forms.
Interestingly, the मण्डल (maṇḍala - matrix) also corresponds to subtle quantum vibrations codified as the एकपञ्चाशत् बीजाक्षराणि देवनागर्याः (ekapañcāśat bījākṣarāṇi devanāgaryāḥ - fifty-one seed syllables of divine script) – in other words the संस्कृत वर्णपाट (saṃskṛta varṇapāṭa - Sanskrit alphabet). Once again, I quote the verses of the noble saint திருமூலர் (tirumūlar) in this regard
The following table illustrates a specific pattern (discussed above) of the चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra – five-syllabled vacuum gnostic circuit centre) along with the corresponding Sanskrit letters associated with the specific cell.
श्री उपमन्यु महऋषि (śrī upamanyu mahaṛṣi) in his famous विमर्शिन (vimarśina - examination) on the above verse, further explains thus:
This text is considered to be a विवृति
(vivṛti - gloss) on the महेश्वरसूत्रानी / शिवसूत्रानि (maheśvarasūtrānī
/ śivasūtrāni) which was originally
revealed to श्री पाणिनि महऋषि (śrī pāṇini mahaṛṣi), who
is widely adored as the father of classical संस्कृत व्याकरण (saṃskṛta vyākaraṇa - Sanskrit Grammar), for his first treatise on the same called अष्टाद्यायी (aṣṭādyāyī). According to this legend the
entire sequence of Sanskrit alphabet was originally revealed by lord महेश्वर (maheśvara) in a specific sequence containing चतुर्दश जालम् (caturdaśa
jālam – fourteen groups), technically called as the अक्षर समानय (akṣara samānaya –
recitation of phonemes). As it was originally revealed
by महेश्वर
(maheśvara), it is also called as महेश्वरसूत्रानी
/ शिवसूत्रानि
(maheśvarasūtrānī / śivasūtrāni).
These 14 aphorisms are listed here
Similarly, according to கூத்தநூல் (kūththanūl), an ancient treatise on Indian classical dances by சாத்தநார் (sāttanār) - the eminent poet from சஙத் தமிழ் காலம் (sangath thamizh kaalam - classical Tamil era), the entire sequence of the ancient தமிழ் எழுத்து (tamizh ezhuttu - Tamil alphabet), had emerged from the ब्रह्मनाद स्पन्दन (brahmanāda spandana - theosonic vibration) emanating from the துடி /உடுக்கை / डमरु (thudi / udukkai/ ḍamaru – drum) during the आनन्दताण्डव नटराजस्य (ānandatāṇḍava naṭarājasya - blissful dance by the king of dances).
Moreover, along with the चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra – fivesyllabled vacuum gnostic circuit centre), the temple is associated with the यन्त्र (yantra - symbol) of श्री चक्र (śrī cakra), संमेलन चक्र (saṁmelana cakra - – conjunction centre) etc. As the name indicates the संमेलन चक्र (saṁmelana cakra – conjunction centre) is basically a यन्त्र (yantra - symbol) depicting the शिव शक्ति सम्मेलन (śiva śakti sammelana – shiva shakti union). In fact, this is the महा रहस्य (mahā rahasya - supreme secret) revealed here. According to subject matter experts, there is a close correspondence between the संमेलन चक्र (saṁmelana cakra – conjunction centre) & षट्कोण चक्र (ṣaṭkoṇa cakra – hexognal circuit)
One of the earliest testimonies on the संमेलन चक्र (saṁmelana cakra – conjunction centre) can be found in the sacred திருமந்திரம் (thirumandhiram), wherein the revered saint திருமூலர் (thirumūlar) cryptically hints about it.
Here, the பொருளறிவார்களே (poruḻaṛivārgaḻE - comprehend the meanings inner) refers to the दहर विद्या (dahara vidyā – quantum/subtle science) or what ஸ்ரீ பாம்பன் சுவாமிகள் (sri pāmban suvāmigaḻ) refers as the "दहरालय रहस्य / தகராலய ரகசியம் (daharālaya rahasya / dagarālaya ragasiyam – secret of the subtle temple/field)" and more popularly known as the चिदंबर रहस्य /சிதம்பர இரகசியம் (cidaṃbara rahasya / cidambara iragasiyam – secret of gnostic vacuum). Moreover, the expression "பெண்ணினால் லாலும் பிராணக் கரத்துலே (peṇṇinal lāḻum pirānak karaththuḻE - mother is seated in Her Lord’s Letter)" refers to श्री शिवाकमसुन्दरी (śrī śivākamasundarī), who is so called because She is the कामिन् शिवस्य (kāmin śivasya – lover of Shiva). Moreover, She, as the देवपतिनी श्री नटराजस्य (devapatinī śrī naṭarājasya – divine consort of Lord Nataraja), is dwelling in His இதயம் (idayam - heart). Again, the expression 'அண்ணல் இருப்பது அவளாக கரத்துலே (aṇṇal irupadu avaḻag karattuḻE)' also eulogizes சிவகாமி (sivagāmi) as 'சிவனை அகமாய் கொண்ட சிவகாமி (sivanai agamāi koNda sivagāmi).'
Besides, the combination of these two expressions describe the ying-yang synergies of शिव शक्ति सम्मेलन (śiva śakti sammelana – shiva shakti union). Please remember that the esoteric symbology of नटराज मूर्ति (naṭarāja mūrti – dance king icon), by default, is a dynamic representation of the अर्ध्नारीश्वर तत्त्व (ardhnārīśvara tattva – bipolar principle) wherein नट (naṭa - dancer) is शिव (śiva) while His नृत / नाट्य (nṛta / nāṭya - dance) is the शक्ति (śakti). Of course, the same theme of अर्ध्नारीश्वर तत्त्व (ardhnārīśvara tattva – bipolar principle) is also reiterated in the श्री वैष्णव संप्रदाय (śrī vaiṣṇava saṁpradāya) wherein नारायणी (nārāyaṇī) & नारायण (nārāyaṇa) correspond to शक्ति (śakti) & शिव (śiva) respectively, as testified in the following verses from the लक्ष्मी तन्त्र (lakṣmī tantra) belonging to the sacred पञ्चरात्रागम (pañcarātrāgama)
Interestingly, श्री ललिता त्रिपुर सुन्दरी (śrī lalitā tripura sundarī) the goddess & theo-personification of श्री चक्र यन्त्र (śrī cakra yantra) is called as नाटेश्वरी (nāṭeśvarī – goddess of dance) ( 734th name) by lord हयग्रीव (hayagrīva) in the श्री ललिता सहरनाम (śrī lalitā saharanāma) and श्री भास्करराय (śrī bhāskararāya) in his famous भाष्य (bhāṣya - commentary) very clearly testifies that this term refers to சிவகாமி (sivakāmi). According to him, “She is the wife of the Dancer, the Nataraja of Chidambaram”
Moreover, according to esoteric श्री विद्या संप्रदाय (śrī vidyā saṁpradāya), Goddess त्रिपुर सुन्धरी (tripura sundharī) is also closely associated with the हृदय स्थान (hṛdaya sthāna – heart centre), similar to the दहर विद्या (dahara vidyā – quantum wisdom) concept in चितंबर / चिताकाश तत्त्व (citaṁbara / citākāśa tattva – gnostic vacuum principle). This fact, is very categorically acknowledged in the following verses of त्रिपुरारहस्य (tripurārahasya)
Thus, there is lot of correspondence between the iconography of नटराज (naṭarāja) and the श्री चक्र (śrī cakra). For example, such correspondence is also testified in the following स्तोत्र (stotra – hymn of praise) composed by sage अगस्त्य महऋषि (agastya mahaṛṣi)
In fact, one can see the श्री चक्र यन्त्र (śrī cakra yantra) consecrated on the சிவகாமசுந்தரி கோயில் சன்னதியின் வலது பிரகாரம் (sivakāma sundari sannadiyin valadu pirakaara – left compound wall of Sivagama Sundari shrine). According to local legend, it was here जगत्गुरु स्री आदि शंकराचार्य भगवत्पाद (jagatguru srī ādi śaṁkarācārya bhagavatpāda) received his formal दीक्ष (dīkṣa - initiation) on the occult science of श्री चक्र विद्या (śrī cakra vidyā) from महऋषि शुकर् (mahaṛṣi śukar). While one can see the physical version of the श्री चक्र यन्त्र (śrī cakra yantra) embedded on the compound wall, its original सूक्षम रूप (sūkṣama rūpa – subte form) is actually hidden behind the கலிமண் சுவர் (kalimaṇ suvar - clay wall) within the sanctum sanctorum wherein the ritual related to displaying the चिदम्बर रहस्य (citambara rahasya) is performed. This fact is indirectly testified by the revered saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)
And there is a even more explicit reference to the शिवचक्र (śivacakra), as well as, the श्री चक्र यन्त्र (śrī cakra yantra) in the following verses
In the very next verse, there is a more detailed description of the त्रिचत्वारिंशत् त्रिकोणाः (tricatvāriṃśat trikoṇāḥ - forty-three triangles), अष्ट च षोडश दलानि (aṣṭa ca ṣoḍaśa dalāni – eight and sixteen petals) etc. making up the शिवचक्र यन्त्र (śivacakra yantra) installed there
The roof has been laid by 21,600 தங்க ஓடுகள் (thanga OdugaL - golden tiles) each of which has the sacred पञ्चाक्षर मन्त्र (pañcākṣara mantra) viz. சிவாய நம (sivaaya nama) inscribed on them. Esoterically, these 21,600 ஓடுகள் (OdugaL - tiles) correspond to the 21,600 inhalations of an average human being in a day. These ஓடுகள் (OdugaL - tiles) are fixed using 72,000 தங்க ஆணிகள் (thanga aanigaL – golden nails) which in turn correspond to the 72,000 சூக்ஷம நாடிகள் (sUkshama naadigaL – subtle nerve channles) making up the सूक्षम देह (sūkṣama deha – subtle body) viz. the प्राणमय कोश (prāṇamaya kośa – vital sheath).
The roof is held by a set of 64 கை மரங்கள் (kai marangaL - wooden beams) representing the 64 forms of ஆய கலைகள் (aaya kalaigaL – fine arts) and is held by several cross-beams representing the innumerable blood vessels. The roof is topped by a set of நவ கலசங்கள் (nava kalasangaL – nine sacred pots) representing the नवावर्ण शक्ति (navāvarṇa śakti - nine forms of energy).
The roof is topped by a set of நவ கலசங்கள் (nava kalasangaL – nine sacred pots) representing the नवावर्ण शक्ति (navāvarṇa śakti - nine forms of energy) viz. वाम (vāma), जैष्ट (jaiṣṭa), रौद्र(raudra), काली(kālī), कल्विकर्नि (raudra),बालविकर्नी(bālavikarnī),बाल प्रमार्धनी (bāla pramārdhanī), सर्व भूताद्मनि (sarva bhūtādmani) & मनोन्मनि (manonmani). The अर्ध मण्डप (ardha maṇḍapa) has ஆறு தூண்கள் (aaRu thUNgal – six pillars) supporting it and these symbolize the षट् वेदाङ्ग शास्त्र (ṣaṭ vedāṅga śāstra).
Continued:
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