Palani-: One medicine to cure all disease

Palani
The Lord murugan idol made with Nava Bashanam. One medicine to cure all disease








3102 B.C. Beginning of the Hindu calendar called Kali Yuga. Muruga is known as Kali Yuga Varadan, who lives in this yuga.
8th century: King Cheraman Perumal built or renovated the sanctum sanctorum at the hill and constructed the Chera Vinayakar Temple at the flight of steps leading to the hill.
The temple was constructed in the period of Chera Kings rule of South Kongu Nadu. In the epigraphs found in the Karpagraham dated 13th century it is known that Pandiyan Kings, Chola Kings also contributed much for the festivals of this temple and worshiped Lord Muruga.








There is a legend how Lord Murugan came to this sacred spot. Narada Muni, a sage, brought a golden mango to the divine court of Lord Siva when Lord Siva was seated with his consort Parvati and His children Lord Vinayakar and Lord Subrahmanya. Narada gave the fruit to Lord Siva and implored Him to eat since it was a rare, miraculous gnanapalam, the fruit of wisdom. As a loving husband, Lord Siva gave it to Parvati and requested her to eat. As a loving mother, she wanted to give the fruit to her children. As there was only one fruit and it should not be cut, they announced a contest and said that the winner would be given the fruit. Whoever completes one round of the globe first will be given the fruit.
Lord Subrahmanya mounted His peacock to go around the world. Lord Vinayakar circumambulated around His parents, symbolizing the world, and got the fruit. On return, Lord Subrahmanya found that He was cheated. In anger, He renounced His family and came to this spot to settle forever. Lord Siva and Parvati came to pacify Him. They said, "Pazham Nee" ('You are the Fruit'). Hence the name Palani is a popular syncopation of the two words mentioned.

BOGAR A SAGE : HE HAS MADE 108 STATUES OF THE PALANI NAVABASHNA IDOL AND HID IN SECRET CAVES AROUND PALANI EASTERN GHATS RAIN FOREST AND WHICH ONLY SIDDHARS KNOW AND INSTALL WHENEVER THE IDOLS IS AT THE POINT OF DEDUCTION
Panguniuttiram, Thai Pucam, Kanda Sasthi, Agni Nakshatram is the major festivals.

Palani Andavar













The lord murugan idol made with Nava Bashanam

Bogar is a Siddhar, he is considered as one of the 18 siddhars born in the world. According to epigraphical sources and his book Bogar Seven thousand his period is around 3000 B.C. Bogar born at India and visited China in search of truth of life, he gained knowledge in medicine, astrology, spirituality, yoga etc.
Bogar anticipating that in due course of period, human beings will suffer from large number of disease. As an expert in medicine he used 4448 rare herbs and made 9 poisonous medicine, mixing these 9 poisons into one needs great knowledge and skill, to make a Master Medicine ( One medicine to cure all disease ). With the consultation of Agasthiar ( Father of Ayurvedic Medicine) and other siddhars Bogar mixed the 9 poisons ( Nava Bashanam ) and made the Master Medicine in the form of Lord Murugan which is currently worshiped at Palani Murugan temple. There is a place near Palani Hill called Thanasiappan Temple which is the place were Bogar mixed the Nava Bashanam and made the Murugan idol.

Panchamirtham a sweet recipe made with fruits.

Bogar and others then decided that by using the milk and panchamirtham ( a sweet recipe ) poured on the idol, one can extract the medicine from the idol. The milk and panchamritham then becomes medicine to cure disease. After installing Lord Murugan Navabashana idol at the Palani Hill, Bogar used to worship it with milk abishegam ( pouring milk on the idol ) and panchamirtha abishegam ( pouring panchamirtham on the idol ). His disciple Pulipani siddhar then took over the job of Lord Murugan pooja after Bogar went into Nirvigalpa Samadhi - the highest samadhi stage; where the Mind dissolves with Matter and Energy. Bogar Samadhi is inside Palani Murugan temple at Palani Hill. Actually Bogar himself constructed his samadhi exactly under the Lord Murugan Navabasha idol and went into Nirvigalpa Samadhi there. The entrance to his samadhi is a cave like structure, now also worship for this great siddhar is conducted at this entrance where he is last seen by his disciples which is at the Palani temple.

Temple plan

Tanjore - Bragatheeswarar Temple

Tanjore - Bragatheeswarar Temple
Big Temple

Raja Raja Cholan, the Great Chola king built The Bragatheeswarar (Peruvudaiyar) Temple, also known as Big Temple. "In the twenty-fifth year of Raja raja Cholan (A.D 1009-10) on the 257th day of the year the king handed over the copper pot for the finial at the top of the Vimana". It weighed about 235 lbs., and was overlaid with gold plate of weight of 292.5 Kalanju or nearly 35 lbs.

Chola History: Raja Raja Chola I, the greatest of the Chola Monarchs. During his reign (985 - 1014 AD) he brought stability to the Chola Kingdom, and restored from obscurity the brilliant Tevaram hymns of the Saivite Nayanmars from obscurity. Raja Raja was a great builder, and the Peruvudaiyar Koyil or the Big Temple at Thanjavur was his creation. His son Rajendra Chola (1014 - 1044 AD) was a greater conqueror who marched all the way to the banks of the Ganges. This march was commemorated with a new capital Gangaikonda Cholapuram and another 'Periya Koyil'. Gangai Konda Cholapuram was the capital of the Cholas for about two centuries, although it is nothing more than a village now with this rather well maintained magnificent temple. 35 Kilometers from Thanjavur lies Darasuram, once known as Rajarajapuram - a part of the Chola's secondary capital of Pazhaiyarai. Here is the Airavateeswarar Temple built by Raja Raja II (1146 - 1173). It was during the reign of Kulottunga III (1178 - 1218) that the Kambahareswarar temple at Tribhuvanam was built.These four temples under discussion stand out from the others in Tamilnadu in that; it is only in these that the Vimanam towers over the entrance Gopurams. After these four temples, the Cholas went back to their traditional style of building temples with larger Gopurams and smaller central Vimanams. These temples are fitting memorials to the glory of the rulers that built them, as well as monuments of piety and a committment to art and architecture.

Brihadeeswarar Temple at Thanjavur: A 107 paragraph long inscription on the walls of the Vimanam records the contributions of Raja Raja Chola and his sister Kundavai to the Thanjavur temple. The temple stands within a fort, whose walls are later additions built in the 16th century. The towering vimanam is about 200 feet in height and is referred to as Dakshina Meru. The octagonal Shikharam rests on a single block of granite weighing 81 tons. It is believed that this block was carried up a specially built ramp built from a site 6 kilometers away from here. Huge Nandi’s dot the corners of the Shikharam, and the Kalasam on top by itself is about 3.8 meters in height. Hundreds of stucco figures bejewel the Vimanam, although it is possible that some of these may have been added on during the Maratha period. The Shivalingam - Peruvudaiyar, Rajarajeswaramudaiyar - is a huge one, set in a two storied sanctum, and the walls surrounding the sanctum delight visitors as a storehouse of murals and sculpture.The long prakaram surrounds the great temple (500 feet/250 feet), and the walls surrounding the prakaram again go back to Raja Raja Cholan's period. The walls house long pillared corridors, which abound in murals, Shiva Lingams and Nandi’s. The Periya Nayaki temple within the temple is a later addition from the Pandya period, and so is the Subramanyar Temple sung later by the Saint poet Arunagirinathar.Incidents from the lives of the Nayanmars, several of the 108 Bharata Natyam Dance postures, manifestations of Shiva (Aadalvallaan - Nataraja, Tripurantaka, Dakshinamurthi etc.) are depicted in sculptured panels or in exquisite Chola murals. Both the interior, and the exterior walls of the temple, are replete with images of the kind described above.The sanctum, the ardhamandapam, the mukhamandapam and the Mahamandapam, although distinct, form a composite unit with an imposing appearance that awes visitors, forcing one to wonder how such timeless architectural feat was executed about a 1000 years ago. Entrances to the Mandapams and the towered entrances to the Prakarams are majestic. The grandeur of the architecture and the sculptural finesse speaks volumes of the skills of the Imperial Cholas.Inscriptions refer to Shiva as Dakshina Meru Vitankar and Aadavallan. The Nandi, which dates back to the Nayak period, is housed in its own mandapam and it matches up to the grandeur and size of the temple. It is a monolithic Nandi weighing about 25 tones, and is about 12 feet high and 20 feet long.

Temple Layout :
Rajarajeswaram, as the temple was named by its founder, fills a large portion of the small fort (Sivaganga Fort), encircled by moat on the east and west, the Grand Anaicut Channel (Putharu) on the south and by the Sivaganga Garden on the north. The temple entrance has an imposing gateway on the east, on either sides of which stand two small shrines dedicated to Ganapathi and Murugan and further through there is another Gopuram 90 feet high. This way leads into an outer court. A second and magnificent Gopuram further leads into the main court in which the temple is built. The inner court is about 500 feet long and 250 feet broad, is well paved with brick and stone. The court is surrounded on all sides by a cloister. The western and northern wings have Sivalingams consecrated therein and there are paintings over these walls depicting sixty-four Nayanmars, sacred sport of Siva. The outer measurement of the temple is 793 feet by 397 feet.

Main Shrine :
The main shrine of Sri Brihadisvara, the Great God - a Sanskrit rendering of the original Tamil name Peruvudaiyar- stands at the western end of the main court. It comprises of five divisions - 1. Garbhagriha or the Sanctum Sactorum and the corridor around it 2. Ardhana-Mandapam 3. Maha-Mandapam with the open aisles 4. Stapana-Mandapam with the shrine of Sri Thyagarajar 5. Narthana-Mandapam for the temple paraphernalia and where the servant waits; and 6. Vadya-Mandapam and portico for the musicians.
Main shrine has three portals named Keralantakan, Rasarasan and Thiru-Anukkan. These portals are guarded by Dwarapalikas or the guardians of the gate. They are of huge proportions and of exquisite workmanship. There are several sets like these in the temple, of which seven of them are 18 feet by 8 feet. They are all monolith, and some are of very high artistic merit, especially at the entrance of Sri Subramanya temple.
The Sivalinga of Sri Brihadisvara is probably the grandest in existence. This image was originally called Adavallan (the one who is good in Dance). Another name was Dakshina-Meru Vitanken. Both the names occur in Thiruvisaipa as the names of the deity are as same as in Chidambaram Temple. This possibly indicates that the Saiva creed derived its support at the time mainly from Chidambaram. Rajaraja Cholan calls the image Rajarajeswaramudaiyar - The Lord of Rajarajeswaram. The tower over the shrine is named Dakshina-Meru after the abode of Lord Shiva at Kailasam, the Uttara-Meru.
Sri Thyagaraja, also called Vitankar, worshiped within a portion of Stapana-Manadapam, is the patron deity of Cholas. The legend goes that their mythical progenitor Chola Muchukuntan helped Indra against the asuras, for which help, he was presented with seven images of Thyagaraja, which he installed in the seven holy places of Thiruvarur, Thiru-nagai-karonam, Thiru-kkareyil, Thirukolili, Thirumaraikadu, Thirunallaru and Thiruvamur which are known as Sapta-Vitanka-Kshetras. Rajaraja Cholan was a devout worshiper of Sri Thyagaraja at Thiruvarur where he built this great temple; and, consecrated Sri Thyagaraja at Thanjavur also, as a mark of his own piety and in commemoration of the exploits of his celebrated ancestor.
The great Vimana is of the Dravidian style of architecture. It rises to a height of about 216 feet, a tower of fourteen storeys, finely decorated with pilasters, niches and images of gods of the Hindu pantheon. The basement of the structure which supports the tower is 96 feet square. The sikhara or cupolic dome is octagonal in shape and crowns the Vimana. The gilded Kalasa or finial, over dome is 12.5 feet high. It is believed that the sikhara and the stupi does not throw on the ground. The dome rests on a single block of granite, of 25.5 feet square. Two Nandis, each measuring 6.5 feet by 5.5 feet beautify each corner of the stone which is estimated to weigh about 80 tons, and is believed to have been conveyed to the top of the tower by means of a inclined plane commencing from Sarapallam (scaffold-hollow), four miles north-east of the city.

Sub Shrines:
Shrine of Sri Subramanya in the northwest corner, Shrine of Goddess Sri Brihannayagi, Sri Chandeeswara Shrine, Shrine of Ganapathy, Shrine of Nataraja in the north eastern corner, the colossal monolith figure on Nandhi, the sacred bull, in the central courtyard and the Shrine of Karuvurar.

The Great Nandhi

The Nandi within is elaborately worked and the Nayak Mandapam is massive and striking. The Nandhi is 12 feet high, 19.5 feet long and 18.25 feet wide. The Nandhi is a monolith weighing about 25 tons and the stone is said to have come from a bed of Gneiss at the foot of Pachaimalai near Perambalur. Another version is that the stone was brought over from the bed of the River Narmada in the north. There is a tradition that the Nandhi is growing in size with the progress of time. It was feared it might become too large for the Mandapam erected over it and a nail was driven into the back of it, and since, its size has remained stationery. Two portrait statuesques on the front pillars of the Nandhi Mandapam are pointed out as those of Sevappanayakan (the first Nayak ruler) and of his son Achyutappa Nayak.

The Frescos :
The Chola frescos painting discovered in 1931 by Mr.S.K.Govindasamy of Annamalai University within the circumambulatory corridor Aradhana Mandapam are of great interest. These are the first Chola specimen's discovered. The passage of the corridor is dark and the enthusiast finds the walls on either side covered with two layers of paintings from floor to ceiling. Those of the upper layer are of the Nayak period, as certain labels in Telugu characters mentioned the names of Sevappa, Achyutappa and others. The Chola frescos lie underneath. An ardent spirit of saivism is expressed in the Chola frescos. They probably synchronised with the completion of the temple by Rajaraja Cholan. Saivism was at its height at that time and the Cholas were predominently of that faith.

Sculpture's

The sculptural representations of the Bharata Natya karanas are found in the temple.

Carved meticulously following the order in the Natya Sastra

Dwaraka

Dwaraka

The name Dwaraka, in Sanskrit means a gate or a gateway.

Lord Krishna

Dwaraka has a special importance as one of the major Hindu pilgrim place, known as the capital of Lord Krishna's Kingdom. It is also an important historical monument. The region of the west coast, where Krishna was to settle the Yadavas was full of flowering and fruit-bearing trees. Here grew the nagacampas, grapes, coconut trees and many others. It was the land of the hunter Ekalavya. Dronacarya had also lived here. Krishna decided to built a new city here and laid the foundation at an auspicious moment. He named the new city Dvaravati.

Lord Krishna was born at midnight on Friday July 27, 3112 BCE. This date and time has been calculated by astronomers on the basis of the planetary positions on that day recorded by Sage Vyasa. Mahabharata War took place on November 22, 3067 BCE. The Bhagavad Gita was compiled around 500 BCE.

Krishna is so fundamentally the God, who is human in everything, who bends in human sympathy over the cradle of the babe, who sympathizes with the play of the youth, who is the friend of the lover, the blesser of the bridegroom and the bride, who smiles on the young mother when her first born lies in her arms, everywhere the God of love and human happiness; what wonder that his winsome grace has fascinated the hearts of men."
After the Mahabharata War Krishna lived for 36 years at Dwaraka. At the end, the Vrshnis, Bhojas and Satvatas destroyed themselves in a fratricidal feud at Prabhasa but Krishna did not interfere to save them. The portends of destruction seen by Sri Krishna who advised immediate evacuation of Dwarakaare stated in Bhagavata Purana. Dwaraka abandoned by Hari (Krishna) was swallowed by the sea. The submergence took place immediately after Sri Krishna departed from the world.
Lord Krishna is better known in India's cultural and religious history as the King and Emperor of Dwaraka. According to ancient Hindu mythology, Dwaraka was a new country founded by the Yadava clan of chiefs who fled from the Surasena Kingdom due to fear from the king Jarasandha of Magadha. It was the brainchild of Vasudeva Krishna, the great personality of the Dwapara Yuga. The territory of Dwaraka includes the Dwaraka Island, many neighbouring islands like the Antar Dwipa and the mainland area neighbouring the Anarta Kingdom, making it similar to Greece having many islands and a mainland forming its territory. The kingdom was situated roughly in the north-western region of Gujrat state. Its capital was Dwaravati (near Dwarka, Gujarat). The Mahabharata does not mention Dwaraka as a kingdom but rather as the capital city of Yadavas who ruled the Anarta Kingdom. It was also known as Dwaravati. It was also a port-city, having trade relations with many sea-faring nations. The name Dwaraka, in Sanskrit means a gate or a gateway. It could be that this ancient port-city was a gateway for foreign sea-faring kingdoms into the Indian mainland and vice versa.
Dwaraka is one of the seven Holy Cities?Ayodhya, Mathura, Haridwar, Benares, Kanchi, Ujjain and Dwaraka. Dwaraka's majesty and beauty have been described by many poets and writers, saints and sages of ancient India. It is referred to as Golden City in Srimad Bhagavad Gita, Skanda Purana, Vishnu Purana, Harivansha and Mahabharata. It was the capital of Lord Krishna's Kingdom. All the Islam-embracing, Christianity-coveting and Hindu-hating perverted pseudo secularists in the Government of India and all the political parties would be shocked to know that Dwaraka is not just a legend or the product of a figment of imagination but a real, concrete and terrestrial truth. Dwaraka was a well-planned city with a modern and technologically advanced harbour suitably designed to deal with the marine traffic of large ships entering the port.

One of the verses in the Bhagavada says: 'The yellow glitter of the golden fort of the Dwaraka City in the sea throwing yellow light all round looked as if the flames of Vadavagni came out tearing asunder the sea'. Then came the deluge and Dwaraka 'A City of Gold' vanished under water. Around 1500 BC, the whole Western course of India disappeared along with Lord Krishna's Capital City of Dwaraka. This is how it was described by Vedavyasa in the Mahabharata: 'The sea, which had been beating against the shore, suddenly broke the boundary that was imposed on it by nature. The sea rushed into the City of Dwaraka. It coursed through the streets of the beautiful city. The sea covered up everything in the city. I saw the beautiful buildings becoming submerged one by one. In a matter of a few moments it was all over. The sea had now become as placid as a lake. There was no trace of the city. Dwaraka became just a name; just a memory'

Dwarakadish temple on the river Gomati, Dwaraka

The most influenced on Indian religion, philosophy, art and literature as Lord Krishna.
The Bhagavad Gita, a world beloved, timeless classic treasure.

The first clear historical record is dated 574 A.D. and occurs in the Palitana Plates of Samanta Simhaditya. This inscription refers to Dwaraka as the capital of the western coast of Saurashtra and still more important, states that Sri Krishna lived here. The establishment of one of the four of his pithas at Dwaraka by Sankaracharya attests to the great religious sanctity the place must have attained by the eighth century A.D

Sri Meenakshi Sundareswara temple Madurai

Sri Meenakshi Sundareswara temple Madurai

According to legend, the sacred Suyambulingam discovered by the king of Gods `Indiran' at Kadambavanam, was later enshrined by him in Madurai. The fact that the Lord is seen on the vehicle of `Indira' in this temple is said to be proof for this.Many historical evidences of the temple have been found dating back from early A.DThirugnanasambandar the Hindu Saint has mentioned the temple in his songs which go back to early 7th century. The lord has been described as `Aalavai Iraivan' in his songs.The temple was almost completely destroyed in the year 1310 following the invasion of the Islamic coqueror Malikkapur. As kings who were followers of Islam were noted for their intolerance towards other religions, the invaders destroyed most of the ancient sculputures of the temple.
The temple was restored to its pristine glory in the late 14th century when the Hindu Kings came back to power in Madurai. This can also be termed as a new beginning of a new era in the history of the temple, when it was almost rebuilt.The King Thirumalai Naicker played an important role in the construction of the new form of the temple.
The gigantic temple complex, the statues exploring the entire range of human emotions, everything here is larger than life. The Meenakshi temple complex is a city temple - one of the largest and certainly one of the most ancient. According to legend Madurai is the actual site where the wedding between Shiva and Meenakshi took place. The soaring and exquisitely carved towers enclose the temple dedicated to Meenakashi. The south gateway contains the twin temples of Shiva and Meenakshi and is about nine storeys high .

The Origin Of The Meenakshi TempleThe Sri Meenakshi Sundareswara temple and Madurai city originated together. According to tradition, Indra once committed sin when he killed a demon, who was then performing penance. He could find no relief from remorse in his own kingdom. He came down to earth. While passing through a forest of Kadamba trees in Pandya land, he felt relieved of his burden. His servitors told him that there was a Shivalinga under a Kadamba tree and beside a lake. Certain that it was the Linga that had helped him; he worshipped it and built a small temple around it. It is believed that it is this Linga, which is till under worship in the Madurai temple. The shrine is called the "Indra Vimana". Once Dhananjaya, a merchant of Manavur, where the Pandyas had arrived after the second deluge in Kumari Kandam, having been overtaken by nightfall in Kadamba forest, spent the night in the Indra Vimana. When next morning he woke up, he was surprised to see signs of worship. Thinking that it must be the work of the Devas, he told the Pandya, Kulasekhara, in Manavur, of this. Meanwhile Lord Shiva had instructed Pandya in a dream to build a temple and a city at the spot Dhananjaya would indicate. Kulasekhara did so. Thus originated the temple and city. Earliest References Of The TempleParanjothi Munivar wrote the Tiruviayadal Puranam in the sixteenth century. It is regarded as the temple's Sthalapurana. An earlier work adds a few celestial sports not included in the latter. These are, or rather were painted on the walls around the Golden Lily Tank. Some of the painted wooden panels are in the Temple Museum. The earliest references available to any structure in this temple is a hymn of Sambhandar's, in the seventh century, which refers to the "Kapali Madil". The present inner walls of the Lords shrine bear this name today. In the early times the entire temple must have been confined to the area between these walls, and the structures must have been of brick and mortar. In the 14th century an invasion by Malik Kafur damaged the temple. In the same century Madurai was under Muslim rule for nearly fifty years. The temple authorities closed the sanctum, covered up the Linga, and set up another in the Ardhamandapa. When the city was liberated, the sanctum was opened, and, tradition says the flower garlands and the sandalwood paste placed on the Linga were as fresh as on the first day, and two oil lamps were still burning.

The enormous temple complex is dedicated to Shiva, known here as Sundareshvara and his consort Parvati or Meenakshi. The original temple was built by Kulasekara Pandya, but the entire credit for making the temple as splendid as it is today goes to the Nayaks. The Nayaks ruled Madurai from the 16th to the 18th century and left a majestic imprint of their rule in the Meenakshi - Sundareswarar Temple. The temple complex is within a high-walled enclosure, at the core of which are the two sanctums for meenakshi and Sundareshwara, surrounded by a number of smaller shrines and grand pillared halls. Especially impressive are the 12 gopuras. Their soaring towers rise from solid granite bases, and are covered with stucco figures of dieties, mythical animals and monsters painted in vivid colours.

Below: Plan of Sri Meenakshi temple

Temple Towers

There are 12 temple towers(Gopurams). The outer towers are the landmarks of Madurai. They are:
East Tower (Nine Storeys). Height 161'3". This Gopura has 1011 sudhai figures.
South Tower (Nine Storeys). Height 170'6". This Tower has 1511 sudhai figures.
West Tower (Nine Storeys). Height 163'3". This Tower has 1124 sudhai figures.

North Tower (Nine Storeys). Height 160'6". This Tower has lesser figures of sudhai than other outer towers.
GopuraPyramidal gates(gopuras) rise to a height of more than 50m. These towering gateways indicate the entrance to the temple complex at the four cardinal points, while lesser gopuras lead to the sanctums of the main dieties

Ashta Shakthi Mandapam A visitor who enters the temple through the eastern gateway, first enters this Mandapam(Hall). It was built by Thirumalai Nayakar's wives Rudrapathi Ammal and Tholimamai. In this hall food was once distributed to the devotees who came from far off places. Next to this hall is the Meenakshi Nayaka Mandapa, a spacious columned hall used for shops and stores. This hall has a votive lamp-holder with 1,008 lamps, which are lit on festive occasions and present a spectacular sight. The sculptures on the pillars here relate some of Lord Shiva's Thiruvilayadals (miracles) and also the story of Meenakshi's birth and her life as the princess of Madurai.
The story descripted on the stones is as follows:
Malayadwaja Pandya, a king of Madurai , was childless for a long time. He performed a number of yagnas (sacrifices made before a sacred fire) because he wanted an heir to his throne. On one occasion, a three-year-old girl came out of the fire and Malayadwaja adopted her. But the girl had three breasts and this worried Malayadwaja. However, a divine voice assured him that the third breast would disappear as soon as she met her consort. The girl grew into a brave and beautiful princess. she won many battles, but eventually lost her heart to Lord Shiva, when she met him on the battle-field in Kailas. As soon as she saw him, her third breast disappeared and she recognized her divine consort, for the princess was none other than Shiva's wife, Parvathi. After ruling over the Pandya kingdom for a while, they settled in the Madurai temple as Meenakshi and Sundareswarar.
It is a convention in this temple, different from that followed in others, that the devotee offers worship first to Goddess Meenakshi. Therefore, while there are four other entrances into the temple, under huge Gopuras in the four cardinal directions, it is customary to enter not through any of them but through a Mandapa, with no tower above it. This entrance leads directly to the shrine of the Goddess. This Mandapa is an impressive structure, with a hemispherical ceiling. It is 14m long and 5.5m wide. There are bas-reliefs all over the place. Over the entrance one of them depicts the marriage of Goddess Meenakshi with Lord Somasundara. The Mandapa derives its name, the "Ashta Sakthi", from the fact it contains sculptures of the eight Sakthis (also spelt as Shakti). Those of the four principal Nyanmars were added during renovation of the temple in 1960-63.

Meenakshi Nayakkar Mandapam
This big hall is adjacent to Ashta Shakthi Mandapam, consisting of 110 pillars carrying the figures of a peculiar animal with a lion's body , and an elephant's head called Yalli.
A smaller Mandapa connects the large one with another large one with another large hall, called the "Samagam Meenakshi Naicker Mandapa", after its builder, a minister of Vijayaranga Chokkanatha (1706-32), who erected in 1707. In former times the temple's elephants camels and bulls used to be stabled here. A brass "Tiruvatchi" holding a thousand and eight lamps stands here, 7.6m high. Marudu Pandya, one of the early opponents of the growing British power, installed it. The Meenakshi Naicker Mandapa is a huge hall, 42.9m long and 33.5m wide. It contains 110 stone columns, each 6.7m high. There are yalis in the capital and delicate reliefs below. Some of the carvings are unfinished.
Mudali Pillai MandapaThe Mudali Pillai Mandapa follows the Chitra Gopura. Added in 1613, it is 183m long and 7.6m wide. On its wall are many puranic scenes. It used to be without any natural light, but windows were added in the last renovation.

Potramaraikulam (golden lotus tank)
The lovely and historic Golden Lily tank then comes into view. It is from its banks that most popular photographic views of the temple are taken, showing the gigantic south outer Gopura. The northern corridor leads directly to the shrine of the Goddess. On its pillars are the images of some of the Sangam poets, of Kulasekhara Pandya, the first builder of the temple, and of Dhananjaya, who figures in the traditional story of its origin. There is no fish in the tank. The corridors around the tank are rightly called the "Chitra Mandapa", for the walls carry paintings of the divine sports of the Lord, as narrated in the "Tiruvilayadal Puranam". They have been renewed from time to time. A short while ago there were paintings on wooden panels affixed over an older series. They have since been removed to the Temple Museum in the thousand-pillared Mandapa, leaving some dilapidated murals to view. It is impossible to ascertain the date of these. It was in the sixteenth century that the corridors and the steps leading down to the tank were constructed; the northern corridor and steps in 1562, those on the east in 1573, and those on the south five years later.
This temple tank is an ancient tank where devotees take bath in the holy water. The area around this tank was the meeting place of the TamilSangam - the ancient academy of poets. The history of the sangam goes back to the days when gods dallied with men. This academy judged the worth of any work of literature presented before it by throwing it into the tank. Only those that did not sink were considered worthy of attention. The tank is surrounded by a pillared corridor. Steps lead down to the tank, enabling worshippers to take bathe in it.
The Unjal And Kilikatti MandapasTwo Mandapas, the Unjal and the Kilikatti, stand on the farther way to the shrine of the Goddess. On their ceilings are more paintings. A celebrated mural, opposite to the entrance of the shrine, depicts the marriage of Goddess Meenakshi. The Kilikatti Mandapa derives its name from the fact that there are parrots in a cage here. On its walls are carvings of the divine sports. The most ornamental of the temple's Mandapas, it was built in 1623. A Gopura of three tiers stands over the entrance from this Mandapa into the shrine of the Goddess. Built in 1227 by Vambathura Ananda Tandava Nambi, it is named the Vambuthurar Gopura after him. The shrine consists of a square sanctum, an Ardhamandapa and a Mukhamandapa. In the niches on the walls of the shrine are images of Iccasakthi in the south, Kriyasakthi in the west, and Jnanasakthi in the north. There are shrines of Vinayaka and Subramanya in the outer Prakara. They probably belong to the fifteenth century.

The Oonjal (swing) Mandapam and Killikoontu (parrot cage) Mandapam are on the western side of the tank. Every Friday, the golden idols of Meenakshi and Sundareswarar are seated on the swing in the Oonjal Mandapam and hymns are sung as the deities gaily swing to and fro. The parrots in the Kilikoontu Mandapam have been trained to repeat Meenakshi's name. But more interesting are the 28 pillars of the mandapam which exhibit some excellent Sculptures of figures from Hindu mythology.
Swami Sundareswarar Shrine
Lord Sundareswarar (Shiva) the consort of Goddess Meenakshi is to the north of Kilikoontu Mandapam . On your way you can worship a gigantic idol of Sri Ganesh called Mukkurini Pillaiyar. When the king Thirumalai Nayakar excavated a temple tank 3 km from Meenakshi temple he unearthed this idol of Vinayaka and erected the same here.
In the outer pragaram (corridor outside the main shrine) there is stump of the kadamba tree, which is said to be a part of the same tree under which Indra worshipped Shiva linga. Also in the outer corridor there are the Kadambathadi Mandapam and big hall called 'Velli Ambalam'. Here, an idol of Nataraja (Shiva as the Lord of Dance) is seen. This idol of Nataraja is covered with silver leaves. Hence this hall is named as Velli Ambalam (Silver Hall)..

The Thousand Pillar Mandapam
It is the 'wonder of the palace'. Actually the number of pillars count to 985 beautifully decorated columns. Each pillar is sculptured and is a monument of the Dravidan sculpture. There is a Temple Art Museum in this 1000 pillars hall where you can see icons, photographs, drawings, etc., exhibiting the 1200 years old history. There are so many other smaller and bigger mandapams in the temple. Just outside this mandapam ,towards the west, are the Musical Pillars. Each pillar when stuck, produces a different musical note. The kalyana mandapa, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chitirai Festival in mid- April.

Vasantha Mandapam
This mandapam was built by Thirumalai Nayakkar. Vasanthosavam - the Spring festival-is celebrated in this mandapam in Vaikasi (April/May). Its pillars contain elaborate sculptures of Shiva, Meenakshi, scenes from their wedding as well as the figures of ten of the Nayak Kings and their consorts. This is also called Pudhu Mandapam.

The Historic Shrines In The PrakarasThere are a number of historic shrines in the Prakaras. Opposite to an entrance into the first from the Mahamandapa there is one of Lord Sabhapathi. This is the famous Velliambalam where one of the Lord's divine sports took place when, at the request of the sages, Patanjali and Vyagrapadha, He danced as Lord Nataraja. In the second Prakara a shrine, now called that of the Sangam poets, contains images of many of them. In the same Prakara there is a shrine apparently dedicated to Kariyamanikka Perumal, but now empty. Also in the same Prakara there is a row of fourteen small shrines, called the "isvarams". Many of them contain Lingas.

Major Festivels Celebrated at Madurai
Teppam Festival At Madurai The famous festivals held at Madurai, include Teppam festival, the annual Float Festival, wherein the images of Sri Meenakshi and Lord Sundareswara (also spelt as Sundreshwara) are mounted on floats, and taken to Mariamman Teppakkulam Tank, where for several days they are pulled back and forth across the water in the middle of the tank, on an illuminated raft embellished with flowers, before being taken back to the main temple.

Meenakshi Kalyanam At MaduraiThe annual solemnization of the marriage of Meenakshi with Lord Sundareshwar (Shiva) is one of the most spectacular temple festivals at Madurai's famous Meenakshi temple in Tamil Nadu. Car processions of the goddess and the god are some of the colourful features of this festival. Meenaskhi Kalyanam, the wedding festival of Goddess Meenakshi and Lord Sundareshwar is celebrated for twelve days from the second day of the lunar month (i.e. two days after the new moon). This is a spectacular festival celebrated in the month of Chaitra (April-May). The festival is characterized with royal decorated umbrellas, fans and traditional instrumental music. Scenes from mythology are enacted and the deities of Lord Shiva, Goddess Shakti and Goddess Meenakshi are taken out in a colourful procession. Thousands of devotees from all over the country gather in the city of Madurai on this occasion.

Amarnath Cave

One of the holy trinity, Shiva is a living god. The most sacred and most ancient book of India, the Rig Veda evokes his presence in its hymns. Vedic myths, ritual and even astronomy testify to his existence from the dawn of time. But Shiva, the destroyer, the mendicant, is undefinable: he is the great yogi, the guardian of the absolute. His actions are the themes of the myths in which his nature unfolds.

Yet another legend has it that when Kashyap Reshi drained the Kashmir valley of water (it was believed to have been a vast lake), the cave and the lingam were discovered by Bregish Reshi who was travelling to Himalayas. When people heard of the lingam, Amarnath from then became Shiva's abode and a center of pilgrimage.
Whatever the legends and the history of Amarnath's discovery, it is today an extremely crucial centre of pilgrimage, and though the route is as difficult to trespass as it is exciting, every annum, millions of devotees from the subcontinent come to pay homage before Shiva in one of his Himalayan abodes.
Situated in a narrow gorge at the farther end of Lidder valley, Amarnath stands at 3,888 m and is 44.8 km from Pahalgam and 141 km from Srinagar. Though the original pilgrimage subscribes that the yatra be undertaken from Srinagar, the more common practice is to begin journey at Pahalgam, and cover the distance to Amarnath and back in five days. Pahalgam is 96 km from Srinagar.
The trek from Pahalgam to Amarnath cave is on an ancient peregrine route. The 45-km distance is covered in four days, with night halts at Chandanwari, Sheshnag (Wawjan) and Panchtarni. The distance from Pahalgam to Chandanwari (12.8 km) is covered in about five to six hours, and the trail runs along the Lidder River. Pilgrims camp here on the first night out. A major attraction here is a bridge covered with ice all year round, even though the surroundings are free from it.
The next day's trek, of 13 km, is through spectacular, primeval countryside, and the main centre of attraction is Sheshnag, a mountain which derives its name from its seven peaks, resembling the heads of a mythical snake. The journey to Sheshnag follows steep inclines up the right bank of a cascading stream and wild scenery untouched by civilization. The second night's camp at Wawjan overlooks the deep blue waters of Sheshnag Lake, and glaciers beyond it.
There are legends of love and revenge too associated with Sheshnag, and at the camp these are recounted by campfires, to the stillness of a pine-scented, Himalayan night.
The third day's 13 km trek steadily gains height, winding up across Mahagunas Pass at 4,600 m and then descending to the meadow-lands of Panchtarni, the last camp enroute to the holy cave.
From Panchtarni to Amarnath is only 6 km, but an early morning's start is recommended for there is a long queue awaiting entrance to the cave. The same day, following darshan, devotees can return to Panchtarni in time for lunch, and continue to Wawjan to spend the fourth night out; or continue further to Zojibal, returning to Pahalgam on the fifth day.
Entrance to the cave is regulated, and darshan a hasty affair for there are many others waiting outside to pay homage before the awesome Shivalinga. The devotees sing bhajans, chant incantations, and priests perform aarti and puja, invoking the blessings of Shiva, the divine, the pure, the absolute. For those who journey with faith, it is a rewarding experience, this simple visitation to a cave-shrine, the home of the Himalayan mendicant who is both destroyer and healer, the greatest of the Hindu deities.

OM NAMO NARAYANAAYA Tirumala-Tirupati AP

OM NAMO NARAYANAAYA

Tirumala-Tirupati AP

The venkatam hill is believed to be a part of the celestial mount meru brought to the earth from vaikuntam by garuda (Lord's vehicle),say the puranas.The Hills are said to be a manifestation of Adi Sesha (the cosmic serpent).The Seven hills of the Tirumala are the said to represent the Seven hoods of Adi Sesha.
Many Alvars , Vaishnavacharyas and Saints have praised the Tirumala Hill with great devotion. Tirumala Mambi, a descendent of the great ascetic Narada, spent his whole life in serving the Lord.
References to the tirumala also found in several of Puranas. Tirumala is one of the 108 sacred shrines of the Sri Vaishanava tradition.According to the Puranas, Lord Vishnu stayed on the earth for some time in the Avatar of Swetha Varaham and rose out of pushkarini as Swayambhuva. His spouse Lakshmi Devi appeared in Thirucharnur. This Swwtha Varaha Avatharam was installed in the temple situated to the west of Swamy Pushkarni. The great religious leader Ramanujacharya visited this shrine on a pilgrimage and systematised the process of worship in accordance with the SriVaishnava that continues to date.

TIRUMALA – Lord Venkateswara
Tirupati Tirumala Devasthanam, is one of the most popular Hindu shrine in the country. The temple dedicated to Lord Venkateshwara at Tirumala is perched at height of 874 metres above mean sea level and 15 km. North-west of Tirupati, the temple town is located at the foot of the seven hills of the Eastern Ghats in Chittoor district of Andhra Pradesh.
The 12th century Vaishnavite shrine is one of the richest shrine of the world, with annual income of the temple being more than two billion rupees. Often referred as the ‘Vatican of the East’, the size of the visiting pilgrims and the wealth the temple town offers in terms of religious, cultural and natural splendour, make it an unsurpassed pilgrimage site.
HISTORY: The exact period in which the temple was founded is not known, and tradition has it that the temple is Swayambhustala, meaning, it came into existence on its own without anyone making it. As per folk legends there was a huge ant hill at Tirupati. A farmer heard a voice from the heavens asking him to feed the ants. By chance the local king heard the voice and began supplying milk for the ants, himself. His compassion resulted in the liquid uncovering a magnificent idol of Lord Venkateshwara hidden beneath the ant hill.
According to some evidences the history of the temple dates back to almost 2,000 years. In the ancient times a queen called Samavai belonging to Pallava dynasty (614 AD.) is said to have consecrated the first silver image here. The temple is also mentioned in the Sangam poetry (500 BC. – 2000 AD.). Numerous temple inscriptions from the 9th century record details of the temple and contributions made by both Pallavas and Chola Kings. It is believed that originally there was only one shrine at Tirumalai. When the Vaishnavite saint, Ramanuja, visited Andhra in the 12th century, the temple at Tirupathi was built. The Chola period saw the temple complex prospered and expanded. In 1517, Krishnadevaraya, on one of his many visits to the temple, donated gold and jewels enabling the Vimana (inner shrine) roofing to be gilded. The Maratha general Raghoji Bhonsle visited the temple and set up a permanent administration for the conduct of worship in the temple. Among the later rulers who endowed large benefaction were the rulers who endowed large benefaction were the rulers of Mysore and Gadwal. In 1843 with the coming of the East India Company, the administration of the Shri Venkateshwara temple and a number of shrines was entrusted to Seva Dossji of the Hathiramji Mutt at Tirumala as Vicaranakarta for nearly a century, till 1933 when the temple was under the administrative charge of the mahants. The Madras legislature passed a special act in 1933 whereby the Tirumala Tirupati Devasthanam (TTD) committee was invested with powers of administration and control through a commissioner appointed by Govt. of Madras. A Ryot Advisory Council was formulated for the management of the estates of the TTD, this was assisted by Religious Advisory Council with regard to religious matters.

The Tirumala Temple: The Tirumala temples nestles amidst the peaks of the seven hills of Tirumala. The temple can be approached from Tirupati by a 15 km. Road, it is a pleasant drive many pilgrims even today take this path by foot making a 11 km. trek to the temple. For the devotees, the deity Venkateshwara symbolizes goodness, with his conch he creates the cosmic sound that destroys ignorance. Venkateshwara is considered to be the most powerful Hindu deity, he is believed to be the fulfiller of every wish made to him by the devotees.
There are never less than 5,000 pilgrims here at any time in a single day. The total number of pilgrims even goes up to 10,000 in a day. The temple staff alone accounts to a number of 18,000. The popularity of the temple can be judged by the annual income which is around two billion rupees per annum. The devotees offer money, precious articles etc. in the hundi or collection box placed at various sites in the temple. Silver model of the feet or a silver heat are also put in the hundi, these models are available outside the temple. This entire sum is administered by temple trusts, who plough this bulk of money back into hundreds of choultries and charities such as schools, colleges, art academies, craft training centers and in the homes of the poor and orphans.
It is considered to be very auspicious to have your head shaven when visiting the temple. People donate their hair to the deity, as an act symbolic of renouncing the ego, this applies to men, women and children alike.
The temple is very large and has a huge courtyard. Te main shrine which contains the image of Sri Venkateswara is a complex of structure. It begins with the sanctum at the western end and ends with the Tirumamanimandapam at the eastern end. The main temple is a masterpiece of the Dravidian architecture. Its glittering gold Vimanam, rising protectively over the sanctorum seems to be lit with some inner fire touched glow. It is called as Ananda Vimanam. The innermost enclosure ‘Vaikunda Pradakshinam’ is opened only once a year. Splendid gold covered gates guard the entrance of the main sanctum sanctorum.
The ‘Swayambhu’ or naturally formed two meters high idol of Sri Venkateswara depicts the Lord’s standing image on a lotus. In his forearms and on the chest are the images of Goddesses Lakshmi and Padmavati. The majestic jet black idol is adorned by a mass of gold and precious stones. Most striking is the fabulous crown which is said to be the costliest single ornament ever made in the world. The darshan of the deity is a heavenly experience. The aura created by the magnificent jewellery adorning the deity, the powerful vibrations of the prayers offered day in and day out is overwhelming, every devotee coming out of the sanctum sanctorum has the feeling of being special.
The prasad cooked in the temple kitchens is also of great value among the devotees. The prasad is first offered to the deity before distribution, it is not only of special significance to the pilgrims but also a great delicacy. The pilgrims enjoy the bracing climate on the hill. Comfortable and reasonably priced accommodations are available, along with delicious South Indian food and coffee.
The Festivals: The Brahmaotsavam festival is celebrated here in Sept./Oct. Sacred texts are recited each day. Every morning and evening images of the deities are taken in a colorful procession around the temple. The chariot of Lord Brahma believed to be the instigator of the festival, leas the procession. On account of Adika-masam which comes in every third year.
A second Brahmaotsava is held which is known as Navratri Brahmaotsavam. These festivals attract thousands of pilgrims from various parts of the country.

The temple town of Tirupathi is located to the extreme south of Andhra Pradesh in Chittoor district, 740 kms away from Hyderabad. It is renowned for one of the most venerated shrines in India that of the ancient temple of Lord Venkateswara on the Tirumala Hills.
Tirumala has seven hills, representing the seven heads of a huge serpent called Sesha Saye on which Lord Vishnu rests resides. The black idol of Balaji is covered in gold, jewellery and previous ornaments and is 2 metres high.

Tirupathi is believed to be the richest temple in the country with picturesque surroundings. The temple is also a fine example of Dravidian Art & Style. It is also a famous center for wood carving.

Sai Baba origins

SAI RAM

Saints are rarely born; they are gifted to mankind, for a larger, deeper purpose

Sai Baba origins

Sai Baba was first seen as a youth of sixteen sitting under a neem tree in Shirdi. None knew his origin or past. Even then he seemed to be full of the knowledge of Brahman. He had no desire for worldly objects, even in dream. He kicked out Maya (illusion) and Mukti (illumination) was serving at his feet. This young lad, fair, smart, and very handsome, was first seen under a Neem tree seated in an Asan (meditative posture). The people of the village were wonderstruck to see such a young lad practicing hard penance, not minding heat and cold. By day he associated with none. by night he was afraid of nobody. People were wondering whence that young chap turned up. His form and features were so handsome that a mere look endeared him to all. He went to nobody's door, always sat near the Neem tree. Outwardly he looked very young; but by his action He was really a great soul. He was the embodiment of dispassion and an enigma to all.

A saint name Gangagir who frequented Shirdi said of him on first setting eyes on him "Blessed is Shirdi, that it got this precious jewel". Another saint by name Anandanath said "This is a precious diamond in reality, though he looks like an ordinary man. You will realize this in the near future."

Peace or calm was his ornament and he was the repository of wisdom. He had no love for perishable things and was always engrossed in self-realization. He did not know or care for honor or dishonor. The name of Allah was always on his lips. His inside was as calm as the deep sea. Though he sat in one place, he knew all the transactions of the world. Though a Siddha (realized being), he acted like a sadhaka (disciple on the spiritual path). He was meek, humble, and pleased all

Sai Baba of Shirdi was a crown jewel among Saints. He lived his entire life out in a small and obscure village in India. The villagers of Shirdi each claimed him as a member of their own religion, Muslim or Hindu, but really he came to make peace between them and he always encouraged each to stick to his own religious path. He drew devotees from all over the country though he never traveled and never cared for fame. Over and over his devotees found he knew their innermost thoughts and details of their lives. He effected cures, conferred health, happiness, and prosperity, and made childless couples conceive. His real purpose though was to awaken in them a longing for the spiritual life. Thousands thought of him as a wonderful saint with miraculous powers but his innermost circle knew him to be in incarnation of God himself. Some said of Datta, others of Shiva, still others saw ecstatic visions of their own beloved Guru or chosen Ishta (personalized icon of God) while gazing at Him. He himself said only that he was the humble servant of God and pleased and furthered all who came in contact with him. Many books have been written about Shirdi Sai Baba but the Shri Sai Satcharita, the story of Sai Baba's life and actions (quoted from below) was written in his own lifetime and is best known among Sai devotees. Just before leaving his body he told a disciple he would be reborn in a certain village 8 years hence and so it came to pass.

Sai Baba had no formal name, no family to which his origins could be traced and no lineage to which he can be ascribed. He left no Order, no direct disciples or dogma and has no incarnation. Most importantly, he also did not limit himself to either of the two predominant religions of the times, Hinduism and Islam. His life is thus unique.

It is said that Sri Sai Baba left Shirdi after a period of three years and came back when He was twenty years old, accompanying a marriage party. In Shirdi, He mostly stayed in an abandoned mosque, situated in the outskirts of the village. Later, the mosque came to be known as 'Dwarikamai'. With time, Sai Baba came to be known in places far away from Shirdi. This time, Baba remained in Shirdi for a period of sixty years. It was in Shirdi only that He attained Maha Samadhi (salvation) in 1918.

The spiritual force that put Shirdi on the international map is fondly called Sai Baba. He first came to Shirdi as part of a wedding party. Upon seeing this young, muscularly built, radiant person, Mhalsapati, the village goldsmith who was in-charge of the local Khandoba temple, saluted him and welcomed him with the following words: Aao Sai (Come Sai). The name stuck..With the Ahmednagar region being part of the larger Muslim-ruled area, owing allegiance to the Nizams, and with the Godavari riverbelt as the cradle of many Hindu traditions and tenets, what Sai Baba attempted and achieved was the bringing together of two communities increasingly at cross-purposes. He helped assimilate the best of both the cultures and religious practices. He lived in a dilapidated mosquewhich he christened Dwarkamai after the Hindu god Krishna's kingdom "Dwarka", and fondly added mai or mother to it. He went door-to-door for food and he gifted what he did not require, including monies given to him as alms. He dressed as a fakeer (mendicant of the Muslim order), recited shlokas (holy hymns) in Sanskrit, prescribed Hindu thought but cried out Allah Malik (God is Lord) when giving a blessing. Initially, this did confuse the innocent locals, but seeing his miracles and benefiting by his medicines, slowly they realized they had among them, a living god.

Sai Baba of Shirdi is one such saint, whose presence has helped many. And continues to help and guide, even after he left his human form. Although his birth and origins are shrouded in mystery and myth, his actions and examples have led many to a path of salvation and succour.
India is blessed by many rivers, and through this riverine culture, the spirit and soul of the people and their religious practices and beliefs, manifest. One such river is the Godavari, which cuts across the state of Maharashtra, of which Mumbai is the capital. Shirdi nestles close to this river.

Shirdi lies at a distance of 265 km from Mumbai; 210 km from Pune; 120 km from Nasik; 600 km from Hyderabad; 1166 km from Delhi; 310 km from Sholapur; 80 km from Ahmednagar, its district headquarters, and 19 km from the nearest railhead, Kopergaon.

Buses, planes and trains from any major city of India connect to one of the above points. Shirdi, a nondescript hamlet just a hundred years ago, is today the most-visited pilgrim destination for many, after Tirumala-Tirupati.

OM the mother of all Mantras

spiritual origins

GOD: - Unique super power not visible to human life.

God made different avatars in different places on different periods to lead human life to spiritual and good path.
The places he took avatar are now worship places. People go to the worship places to see their loving god. Each worship places have history.

OM the mother of all Mantras

OM: Sanskrit letters or symbol for the "sacred" Hindu sound OM (ohm or AUM) called "The Mother Of All Mantras. Apparently, the four parts symbolize four stages of consciousness: Awake, sleeping, dreaming, and a trance or transcendental state.

The Meaning of Om
Before the beginning, the Brahman (absolute reality) was one and non-dual. He thought, "I am only one -- may I become many." This caused a vibration which eventually became sound, and this sound was Om. Creation itself was set in motion by the vibration of Om. The closest approach to Brahman is that first sound, Om. Thus, this sacred symbol has become emblematic of Brahman just as images are emblematic of material objects.
The vibration produced by chanting Om in the physical universe corresponds to the original vibration that first arose at the time of creation. The sound of Om is also called Pranava, meaning that it sustains life and runs through Prana or breath. Om also represents the four states of the Supreme Being. The three sounds in Om (AUM) represent the waking, dream and deep sleep states and the silence which surrounds Om represents the "Turiya" state.
Because the first of the three states of consciousness is the waking state, it is represented by the sound "A" pronounced like "A" in accounting. Because the dream state of consciousness lies between the waking and the deep sleep states, it is represented by the letter "U" which lies between the "A" and "M". This "U" is pronounced like the "U" in would. The last state of consciousness is the deep sleep state and is represented by "M" pronounced as in "sum." This closes the pronunciation of Om just as deep sleep is the final stage of the mind at rest. Whenever Om is recited in succession there is an inevitable period of silence between two successive Oms. This silence represents the "fourth state" known as "Turiya" which is the state of perfect bliss when the individual self recognizes his identity with the supreme.

The Symbol Om

Just as the sound of Om represents the four states of Brahman, the symbol Om written in Sanskrit also represents everything. The material world of the waking state is symbolized by the large lower curve. The deep sleep state is represented by the upper left curve. The dream state, lying between the waking state below and the deep sleep state above, emanates from the confluence of the two. The point and semicircle are separate from the rest and rule the whole. The point represents the turiya state of absolute consciousness. The open semicircle is symbolic of the infinite and the fact that the meaning of the point can not be grasped if one limits oneself to finite thinking.

The Power of Chanting Om

The chanting of Om drives away all worldly thoughts and removes distraction and infuses new vigour in the body.

When you feel depressed, chant Om fifty times and you will be filled with new vigour and strength. The chanting of Om is a powerful tonic. When you chant Om, you feel you are the pure, all pervading light and consciousness

Those who chant Om will have a powerful, sweet voice. Whenever you take a stroll, you can chant Om. You can also sing Om in a beautiful way. The rythmic pronunciation of Om makes the mind serene and pointed, and infuses the spiritual qualifications which ensure self-realization.
Those who do meditation of Om daily will get tremendous power. They will have lustre in their eyes and faces.