Vaitheeswaran Dr GOD

Vaitheeswaran Temple

Vaitheeswaran

Vaithee means Doctor Eswaran means lord(GOD)

Vaitheeswaran means the Lord Doctor in the Tamil language. Prayers to Lord Vaitheeswaran will cure diseases and illness.

Nadi Astrology seen in this place.The people around the world any religion can known about their past,present and future using Thump Impression.That great part of this compilation predicting the future of all human beings born or yet to be born

. DO you know that your Past, Present and Future has been written 2000 year ago in palm leaf.

Vaitheeswaran temple is known in Hindu scriptures as Pullirukkuvelur, (Pul - Irukku - Vel - Ur, the words in Tamil meaning Bird (Jatayu), Rig Veda, Lord Murugan and Sun respectively) is one of the important Shiva temples in the South.

The Legend
There are many legends associated with this temple. It is said that Lord Murugan received his Vel in order to vanquish the demon King Soorapathman in this place. It is also believed that Lord Shiva himself appeared at this place with Goddess Thaiyalnayaki carrying the "Sanjeevi Thailam" (panacea for all ills) and the soil from the roots of the vilva tree in order to cure all illnesses of mankind.

A King by the name of Veerasena was a devotee of Lord Shiva and he found that his son Chithrasena was suffering from an incurable illness. So he took the advice of his Guru and arrived at this place, and after offering puja to the deity smeared his body and that of his son Chitrasena with the sacred ash viboodhi found in the Jatayu kundam where upon he found that his son was cured of his illness.

The tank in front of the temple of Goddess Thaiyalnayaki is a very holy Theertham (also spelt as Teertha). It is said that this water cured the white leprosy of a devotee called "Suntharan" and red leprosy of Ankaragan, and when this Theertham was sprinkled on the severed head and body of Thakkan, the two pieces miraculously joined together and he was brought back to life.

The Deity
In other temples only the main deity is considered to be potent, here three deities the Ishwara, The Devi and Muruga are very powerful in bestowing grace. Muruga here known as "Muthu Kumaraswami" is the most charming figure and innumerable legends have arisen to reveal his grace. It was this Kumara, who taught saint Kumaragurupara, the opening sentence for his devotional lyrics.

The spear is inseparable from Muruga and he is also called "Vel-Muruga". It was the spear that pierced the chest of Surapadma and put an end to all his evil deeds. And this spear was bestowed to Muruga here only by his mother Parvati.

The Temple
As we enter the town two tall Gopurams eastern and western Gopurams can be seen. The south entrance is not so magnificent, which leads to the temple tank Siddamrita Teertham, a very sacred pool. This picturesque pool is surrounded by a covered corridor with fine flight of steps to the water, which ripple around a water pavilion in its midst. Its waters are said to contain medicinal properties and peculiarity is that it harbours no fogs. People with various illnesses come here to get cured and hence this place is called "Vaitheeswaran" - the one who cures of illnesses.

Three important sanctums, one for Vaidyanada facing west and for Devi Thayalnayaki and selva Muthukumaraswami facing south adorns the interior. In the north corridor abutting the Shiva's sanctum is the shrine of Avudai Amman the Bhadrakali.

Another salient feature of the temple is the presence of Planet Angaraka (Tuesday) and Jvaraharesvara (Lord of fevers). Even for every fatal ill like Smallpox, application of neem leaves is considered to be effective and this temples holy tree (Thalamaram) is neem, seen near the eastern Gopuram, with a sturdy trunk and sprawling branches.

The sanctum of the Ishwara has a corridor around it, with the festival icons of Adikara Nandi and Jatayu. The Navagraha images stationed in the east corridor are devoid of Angaraka and Sun. The south corridor has the Jatayu Kunda, the place where Rama performed the last rites to Jatayu, with images of Rama, Lakshamana, Visvamithra, Vasista and Jatayu over that Kunda. Another unusual thing here is the presence of Sattanada above Dakshinamurti.

Services And Festivities
There are six daily worships and the temple is closed in the afternoon between 12 noon and 5 pm. There are festivals throughout the year. A special puja is conducted every month during karthikai with the main festival falls in the month of Thai (Jan/Feb) to Sri Selvamuththukumarar. Puja for Ankaragan is conducted on Tuesdays and he is taken in procession. On these days large numbers of devotees bathe in the water of the Siththamirtha Theertham (also spelt as Teertha) and offer their prayers to the deities in order to receive divine blessing.

HOW TO GET THERE

Air: The nearest airport is at Trichy.
Rail: The nearest railway station is at Kumbakonam. There are frequent trains from Mayladuthurai,Kumbakonam and Ariyalur.
Road: There are regular buses from kumbakonam almost every hour and a few other buses to Trichy and Chidambaram. Tourists who wish to drive from Chennaican reach the temple via the Chennai-Kumbakonam-Thanjavur highway. It is 245 km from Chennai, 74 km from Thanjavur and 34 km from Kumbakonam.

NADI ASTROLOGY

History

In India someone having records of your past, present and future, hard to believe it. Yes, It is possible in Nadi Astrology. Nadi is an ancient astrology, which has been composed by great Maharishis (sages) of India in the past usingtheir spiritual powers. The sages recorded these predictions for everyindividuals for the betterment of humanity and to safeguard dharma (righteousness). These sages predicted the characteristics, family history, as well as the careers of innumerable individuals contain in several thousand volumes, each containing around a hundred predictions. These Nadi prediction recordings, being the repository of wisdom of the Great Saint was one of the well preserved books for thousands of years by the many generations of rulers, until an auction during the British rule, when it finally became the proud possession of an influential family of Valluvar community at Vaitheeswarankoil in the Tanjore district of Tamilnadu.

The Rishis (sages), who dictated those Nadis, were gifted with such a remarkable foresight that they accurately foretold the entire future of all mankind. Many scholars in different parts of India have in their safekeeping several granthas. Initially, Nadi Astrology predictions was thought to be just writing on Astrology, but soon it became evident that the scriptures contained some unique predictions of specific natives, who will come seeking them, at a particular stage of their lifetime, as foretold by the Great Saint in these predictions.

This great work makes us realize the limitations of human sciences., eclipses the achievements of all other sciences put together. These predictive texts also contain a chapter recommending certain Pilgrimages or prayers, worship and charities at specific shrines, to neutralize ones past sins

The source point of Nadi Astrology leaves can be traced back to approximately more then 2000 years. It is said that the Seven Maharishis (sages) Agasthya, Kausika, Vyasa, BoharBrigu, Vasishtha and Valmiki had predicted and then written life of each individual on leaves of a palm tree by their spiritual powers. These Nadi leaves were initially stored in the premises of Tanjore Saraswati Mahal of Tamilnadu State in India. The British rulers later showed interest in the Nadi leaves concerned with herbs and medicine, future prediction etc; but ironically left most of the Nadi prediction leaves to their loyal people. Some leaves get destroyed and some very auctioned during the British rule. Some Nadi leaves were anyhow possessed by the families of astrologers in Vaitheeswarankoil from Tanjore Saraswati Mahal Library. At about 13th century these leaves were rediscovered by the forefathers which were lying unclaimed in Vaitheeswarankoil and realized their tremendous value and created the copies of the predictions on the palm leafs and created them their exact duplicates. Then these Nadi leaves were passed down from generation to generation make predictions, astrologers earn their lively hood from them. It has become profession which was provided by their ancestors to them, the son got trained by his father and the father by his father to make Nadi predictions. The prediction written on the leaf is in ancient Tamil in form of poems, same as language used in ancient temple of Tamilnadu.

The texts are mainly written in Vatteluttu, which is an ancient Tamil script. The script largely resembles to that of Grantha Script in its developing form. There are different schools of thought as to the author of these leaves. They were written by a great Tamil sage called Agathiyar who had divine revelations. This doctrine of astrology was made famous by astrologers around the Vaitheeswaran Temple in the state of Tamil Nadu and is still practiced around the temple by their descendants.

These Nadi leaves were initially stored in the premises of Tanjore Saraswati Mahal Library of Tamil Nadu.. These Nadi leaves were obtained and possessed by the families of astrologers in Vaitheeswaran Temple. This is an art passed down the years from one generation to the other. A carbon dating was performed in 1995 and yielded an age of some 350 years, placing the manuscript in the 17th century.

Procedure

Usually, the Nadi Reader asks for the thumb impression (right hand thumb impression for males and left hand thumb impression for females). The Nadi Reader then searches his repository of leaves for the seeker's classification of thumb print. Finally, the minimum possible set of matching leaves is brought. Every leaf corresponds to some individual and hence will bear the birth and kinship details of its seeker. Then the Nadi Reader goes on asking about the details mentioned on the palm leaf one by one, for sake of finding the exact leaf out of the set of the leaves. For example, he will ask you if your (i.e. the seeker's) name is XYZ. If it is correct or incorrect, the seeker would require to say yes or no. If the answer to the first question was in the affirmative, the reader then reads the next detail written on the same leaf, e.g. "Your mother's name is ABC." Again the seeker has to confirm the same or otherwise. If the seeker's mother's name was incorrect, the seeker would only have to say "no". That would mean the specific leaf did not belong to the seeker. Hence the reader starts reading another palm leaf. And so the procedure continues. The seeker is asked a series of questions, based on the verses, so as to find the exact match. These questions are to be answered yes or no. The exact leaf of the seeker is said to get only "yes" responses from the seeker. If all the details on the one and the same leaf are 100% correct, then that leaf belongs to the seeker. It is said that the details such as father/mother's name, seeker's name, name of the wife( if married), details of children, profession, present age of the seeker, date of birth of seeker etc, are found mentioned on the palm leaf. Also, to confirm the same, the seeker is provided with the astrological chart which is present in the leaves in poetic format. Once the exact leaf is found, by confirming the seeker's name, parents' name, spouse's name and many other details about his past, the future which is further mentioned in the leaf, is read out for the seeker. The future is generally written in such a way that a folder within a folder, e.g. If the seeker is not married at the time of reading, in the general chapter, it might have been written that his marriage will take place at e.g. 27 years of age. If the seeker desires more details regarding his married life then he has to refer to the seventh chapter which deals with only married life and may contain name of wife, her background etc etc. The first chapter (kandam) in the leaf has the general overview of its seeker's life. The kandams that follow this are specific ones like Marriage, Profession, etc. The list of chapters and details are as follows:

1. General Kandam: Contains general summary of the future predictions for the seeker. It is gist of all the 12 houses of the horoscope.

2. Regarding family, Education, Speech, Eyes, Money and Intuition etc.

3. Regarding brothers & Sisters, affection, help or ill feelings between self and them.

4. Regarding mother, House, Land, Properties, Vehicles and the pleasures of life.

5. Regarding children, their births, reason for not having children, adoption, remedial measures for getting children, their future.

6. Regarding diseases, debts, enemies, litigation & court cases, and remedial measures for the above.

7. Regarding marriage, marital life, detailed information of future spouse, and planetary position of the spouse etc.

8. Regarding longevity, accidents and danger to life, planetary position of the day of death and the place of death.

9. Regarding father, wealth, visits to holy places, fortune; Benefit from the preachings of Guru, charitable deeds and social life.

10. Regarding career, job, profession, change of place, good-bad times in career, growth, prosperity and losses in one's profession.

11. Regarding second or further marriages, profits in business, profits from side businesses etc.

12. Regarding expenditures, foreign visits, next birth and attainment of salvation.

Separate Kandams:

13. Shanti Pariharam: This Kandam is regarding the past birth details, sins committed in past birth, remedial measures that can dilute the effect of it.

14. Deeksha Kandam: Regarding the methods of preparing the Mantra Raksha, that has the power to shield the self from evil forces of jealous and envy.

15. Aushadha Kandam: Regarding medicines for chronic diseases, method of preparing them and taking them.

Initially, only the first chapter is read to the seeker. If the seeker needs further details on some particular chapter (like Business, Health, Marriage etc), then the corresponding chapter's verses are read to him/her. The seeker is also advised rituals which can correct the future mishappenings, there by leading to a choice.

The palm leaf inscription of an individual is spotted out on the basis of that individual's thumb impression. Modes found in the thumbs of the people on the earth are classified into more than 100 categories. The Nadi, palm leaf inscriptions are arranged according to these categories. The Nadi readers identify the particular category of the mode on the thumb and the corresponding set of palm leaves are taken out. The time duration to pick up one's leaf depends upon the identification of the thumb impression. Some impressions are identified easily and the corresponding leaves are found soon.

Leaves are there not only for Indian nationals but also for foreigners and other nationals belonging to other religions and creeds. Its all one's destiny to get the leaf identified and the predictions known to the person concerned.

Nadi Astrology is an ancient Indian method of Astrology to learn about one's past, present and the future. It is said that thousands of years ago, the great sages of Indian had the power to look into the past and future of the entire universe and recorded the life of each human being who either lived, were living or were to live. At some point of time , those findings were documented on palm leaves in an ancient Tamil script, which can now only be deciphered by expert Nadi astrologers.

NADI in Tamil means “ in search of“. Because an individual goes in search of his predictions to this system, it came to be called by this name, Nadi Astrology. The palm leaf inscriptions, otherwise known as Nadies, are scattered throughout India. Some of these palm leaf inscriptions, Nadies available in Tamilnadu were standardized, ordered and classified in Tamil Nadu nearly 2000 years ago during the reign of the Cholas in South India. There are Number of Nadies, palm leaf inscriptions available named after the Rishis who composed the same. There are only a few Nadi readers available who could interpret the inscriptions which are written in the poetic language. There are various Nadies, palm leaf insciptions available like Agathiya Naadi, Shukha Nadi, Brahma Nadi, Kaushika Nadi etc.

Each Nadi is a collection of the inscriptions of a particular Rishi concerned , written in Vatta Ezhuthu , a Tamil script, with a sharp, nail-like instrument called Ezhuthani. The palm leaves are preserved by the application of peacock oil on auspicious occasions. These palm leaves are still preserved in the Saraswathi Mahal library of Tanjore(Thanjavur), in the South Indian state of Tamil Nadu. The primary centre for Nadi Shastra/Nadi Astrology is in Vaitheeswarankoil, near Chidambaram in Tamil Nadu.

Pillaiyarpatti 1600 years old temple

Pillaiyarpatti Lord Ganesh Temple

God of Victory











Karpaga Vinayagar

Pillaiyarpatti temple is a rock - cut temple located about 12 km's from Karaikudi on the Karaikudi Madurai road. It was built after viewing a hillock by the early Pandiya kings and the image of Karpaga Vinayaka and that of a Siva Linga were carved out of a stone by a sculptor called Ekkattur Koon Peruparanan who put his signature on a stone inscription found even today in the sanctum. He put his signature in Tamil Language which was in use between 2nd and 5th century AD. It can be concluded that the icon of Karpaga Vinayaka must have been carved around 4th century AD.

This temple is 1,600 years old. The 15 stone inscriptions found in this temple, dated between 400 AD and 1238 AD reveal that the place was known as Ekkattur Thiruveengaikudi Maruthankudi Raja Narayanapuram before it came to be called Pillaiyarpatti. Vinayak, the God of Victory is the main deity here in the name Karpaga Vinayakar. This temple is the only one in TamilNadu which deserves pride for having a 6 feet rock-cut Vinayak idol. The Thumbikai of Lord Ganesh is curled towards his right side and so the God is also known as Valampuri Vinayakar. The larger inner shrine with its splendid sculptures make the people wonder on the first sight.

Besides this Ganesh image, there are many other images of deities carved out of rocks. One of them is Thiruveesar, a Siva Lingam. Other gods presiding in this temple are Marudankudi Eesar and Vaadaamalar Mangai. Every day five poojas are offered to the God.
In front of the temple is a large beautiful teppakulam(tank) and it serves the water needs of the temple devasthanam. The temple has two splendid Rajagopurams. There are many inscriptions found in this temple which tell us the history of this ancient architecture.
The festivals Ganesh Chathurthi & Karthigai are celebrated here in a grand manner. Ganesh Chathurthi is celebrated as ten days festival with flag hoisting. During this festive season, Lord Ganesh is taken on a procession in his Mooshika Vahana. The Car festival on the 9th day and Theerthavari on the 10th day draws millions of people from all over the nation and the State Government arranges for special buses every year. 'Thiruvaathirai' is also celebrated here in the Tamil month of Margazhi.

Antiquity: Over 15 inscriptions are found within the temple, that helps establish the age of the temple. The Stalapuranam published by the temple classifies the growth of this temple into three distinct stages.
The first stage goes back in time by about 1600 years. During this period, the innermost rock cut shrines housing Karpaka Vinayakar and Tiruveesar came into being. The uniqueness of the image of Ganesha is one factor testifying this date; the characters used in the temple inscriptions also help establish this date. The pillars within the shrine are of pre-Pallava origin.
he Pallavas were prolific builders of rock cut temples (Mahabalipuram, Mahendravadi, Mamandur, Mandakapattu, Seeyamangalam, Namakkal, Tiruchi, Nartamalai, Kudumiyanmalai, Tirukkokarnam, Tirumeyyam, Peraiyur, Malayadipatti, Tirukolakkudi, Kunrakkudi etc.). A number of these can be traced to Mahendravarman I (615 - 630 AD) and Narasimhavarman I (630 - 668 AD). However, the inscriptions at Pillayarpatti date further back to the 4th century AD. Also, given the location of the temple in the Pandya kingdom it would only be logical to associate Pandya patronage to this temple, especially in the light of Pandya patronage at the Kazhugumalai temple not too far from here.
There are several inscriptions within this temple that date back to the period between 1091 AD and 1238 AD, making it apparent that the Pillayarpatti Nagarattar became the custodians of the temple during the 13th century AD during the second growth phase of this temple, when Vimanams and Rajagopurams were built.The third phase of growth is much more recent and it involved the repair, rebuilding and refurbishment of the entire temple complex, including the renovation of the temple tank. The tank and the two Raja Gopurams provide an attractive approach to the temple, in this rather remote town of Pillayarpatti.

Deities:
Karpaka Vinayakar or Desi Vinayaka Pillaiyar is the presiding deity here, and he is portrayed with two arms and a trunk curled towards his right in the valampuri mode. This 6 feet tall mammoth image of Ganesha is a bas relief in an excavated cave, off of a hill in the precincts of the temple. A scholar says that Lord Vinayaga is the Lord of wisdom, which is confirmed by the head of elephant in the shape of sacred mantram "OM". When we draw a line from the broken left tusk, starting upward, then turning left towards right ear and after passing through the bended left tusk up to the tip of trunk, Tamil alphabet "O" appears. The Lingam in the hand indicates the alphabet "M". Together they form "OM". This is confirmed by the lord here "Valamburi Pillayar". As Vinayagar satisfies the wishes of his devotees like Karpagam tree, he is also known "Karpaga Vinayagar".
Here Lord Vinayaga appears with 2 hands unlike in other places where he is seen with 4 hands. Also he is seen seated without Angusapasam, with his legs folded and stomach not touching the Asanam in the form of "Artha Padma" Asanam.
The word Vinayaga means "Incomparable Leader" Devotees worshipping Valamburi Vinayagar seated facing towards north, will be blessed with all wealth. Chanting of sacred mantrams by the student learning Vedas and agamas in the Vedaagama School create a divine atmosphere.

The deity of this temple is known as "Marudeeswarar" as Marudha tree (In Sanskrit Arjuna Virutcha,The Botanical name is Termanalia Arjuna) worship is followed in this temple which indicates that this temple in an ancient temple. The sculpture of pasupatheeswarar, "A cow worshipping Lord Siva by offering his milk" is the special feature of this temple. Also kubheran the Lord of wealth had worshipped at this temple.

To illustrate the information that one where controls his five senses will be able to understand God, a sculpture of five headed snake wearing a Lingam on its neck is found here. The five head of the snake indicate the five senses while the Lingam indicates God. Also adding to the spirituality Goddess Laxmi, Saraswathi and Durgai are found together at the same place.

Unlike other places the three Lingams Thiruveesar, Marudheesar and Senchadeswarar and the three Goddess Sivagami amman, Vadamalar Mangaiamman and Soundara Nayaga amman all appear together at the same place and bless the devotees.

It is believed that by worshipping Kathyayini amman at this temple women get relived from sevvai dosham which prevent them from getting married. "Sabda Madhar" whom importance due to changing time are provided with a separate sannidhi known as Sakthi sannidhi at this temple.

Pooja Timing 1. Thiruvanandal - 06.00 A.M - 06.30 A.M 2. Kaalasanthi - 08.30 A.M - 09.30 A.M 3. Uchikalam - 11.30 A.M - 12.00 P.M 4. Maalaisanthi or Sayaratsai - 05.00 P.M - 06.30 P.M 5. Iravusanthi or Arthajaman - 07-45 P.M - 08-30 P.M
Worship Time
From 06.00 A.M - 1.00 P.M
From 04.00 P.M - 8.30 P.M

TIRUVANNAMALAI capital of Saivism.

Tiruvannamalai capital of Saivism.

Tiruvannamalai is an ancient city named after the holy mountain "Tiruvannan Malai".
Geologist consider this mountain is older than The Himalayas. The history of Tiruvannamalai Can be tracked from B.C 100 Tamil Sangam age. The foundation of Arunachala temple has been laid by Chola king Vijalaya Chozan And the contributions have been extended by continuous kingdom and people.
Under the Hoysala King Vallalan this town flourished among the spiritual seekers and become famous south Indian spiritual pilgrimage site. Local Deepam festival is world famous, this festival take place every year of Tamil month Karthigai and celebrated for the period of 13 days.

.This city is full of spiritual ashram built by many holy men and enlightenment gurus. Seshadri Swamigal, Ramana Maharishi and Yogi Ramsuratkumar are some of them who lived attained eternity from Tiruvannamalai.
Visitors all around the world travel to this city during the month of November and December.

Thiruvannamalai - Annamalaiannal

The Saiva cult is a world phenomenon. Thiruvannamalai is the capital of Saivism. The South Indian eity Siva is the God of all countries. Annamalaiannal is the most sacred of the names of the manifestation of Lord Siva.

Lord Arunachaleswarar at this place gives salvation to all souls .

The Creator Lord Bramha and Protector Lord Thirumal entered into a controversy Among themselves so as to ascertain who was the greatest.
Lord Siva was asked to be the judge. Lord Siva told them that Whoever was able to see his crown as well as his feet would be termed as the greatest.
Then Lord Siva transformed himself into a Jothi (a column of fire) touching the heaven and earth. Thirumal took the avatar of varaha (wild boar) and dug deep into the earthto find Siva's feet but at last accepted defeat. Bramha took the form of a swan and flew to see the crown of Siva. Unable to see the crown, Bramha saw a thazhambu flower which had decked Siva's crown falling down. He asked the flower as to the distance of Siva's crown whereby the flower replied that he had been falling for forty thousand years. Bramha, realizing that he would not be able to reach the crown asked the flower to act as a false witness.

The thazhambu flower acting as a false witness declared that Brahma had seen the crown. Siva became angry at the deception and cursed that Bramha should have no temple on earth and that the thazhambu flower should not be used while praying to Lord Siva. The place where Lord Siva stood as a column of fire to eliminate the ego is Thiruvannamalai. The Annamalai Hill was Agni (fire) during Krithayugam, was Manikkam (Emerald) during Threthayugam, and was pon (Gold) during Dwaprayugam and rock during Kaliyugam as per the ancient legends. On the request of Thirumal and Bramha by their devout prayer, Siva who was in the form of a fire column took the form of a Sivalingam at the foot of the hill where the Arulmigu Annamalaiyar Temple is located

Thiruvannamalai has the honor of providing an abode for saints such as Arunagirinathar, Vitpatchathevar, Gugai Namachivayar, Guru Namachivayar, Deivasigamani, Arunachala Desikar, Mahan Seshadri Swamigal, Bagawan Ramana Maharishi, Sri Yogi Ram Surathkumar and the like.

Thiruvannamalai has been the abode of Siddhars. Idaikkattu Siddhar, one of the eighteen Siddhars, belongs to this sacred soil.

The Significance of Girivalam (Circumambulation)

In most of the holy places the Deity is found atop the hill. But here the Holy hill itself is the Deity (Lord Annamalaiyar) and is worshipped. "Arunam" means sun and denotes the red colour of fire. "Asalam" means "Giri" or "malai" (mountain). Thus "Arunachalam" means the Holy hill which is red in colour. The Holy hill is 2668 fi. high. he Annamalai Hill was Agni (fire) during Kirthayugam, was Manikkam (Emerald) during Threthayugam, and was Pon (Gold) during Dwaparayugam and rock during Kaliyugam. There are eight lingams located at the eight directions and provides an octagonal structure to Thiruvannamalai Town. The eight lingams are: Indra Lingam, Agni Lingam, Yama Lingam, Niruthi Lingam, Varuna Lingam, Vayu Lingam, Kubera Lingam and Esanya Lingam. The Adi Annamalai Temple glorified in
Dhevaram is located on this path. The circumambulation path is 14 kilometers. History has it that even today a number of siddhars are living on the hill. It is auspicious to perform "Girilvalam" during every Full moon day which would do immense good. It is because during Full Moon Day siddhars movement would be there and the whole atmosphere would be filled with perfumes of herbal plants. This will provide peace of mind and good health to body. It is a proven fact that on every Full moon day lakhs of devotees circumambulate the Hill and get all benefits by praying to Lord Annamalaiyar .

Significance of Worshipping Asta Lingams in Girivalam

1. Indra Lingam
   East
   Lord Indiran, the king of Celestials
   Sun and Sukiran
   Long life and fame
2. Agni Lingam
   South East
   Lord Agni (God of Fire)
   Chandran (Moon)
   Relief from diseases and fear
   
3. Yama Lingam
   South
   Yama, God of Death
   Sevvai
   Longevity of life span
   
4. Niruthilingam
   South West
   Niruthi, the king of giants
   Raghu
   Health, Wealth and Fame. Issueless can get children.
   
5. Varunalingam
   West
   Varuna, the God of Rain
   Sani (Saturn)
   Relief from illnessEspecially water related diseases
   
6. Vayulingam
   North West
   Vayu the God of air
   Kedhu
   Relief from illness especially the heart diseases, breathing and stomach problems
   
7. Kupera Lingam
   North
   Kuperan, the God of Wealth
   Guru
   Wealth and improvement in life status
   
8. Easanya Lingam
   North East
   Easanyan
   Budhan
   Peace of mind
   

Arthanareeswarar

Lord Siva's wife Goddess Umadevi once playfully closed His eyes which plunged the world into darkness. All living beings suffered in the dark. To absolve herse of this sin Mother Umadevi created a Sivalingam out of sand and worshipped at Kancheepuram. At that instance, Lord Siva ordered her to proceed to Thiruvannamalai and do penance so that she could get half of His body. Likewise Mother Parvathi did penance at Pavalakundru with the help of Saint Gowthama. A demon called Makidasuran disturbed the penance of Mother Parvathi. The Mother took the form of goddess Durga Devi and destroyed him on the full moon day of the Tamil Month of Karthigai during the auspicious period of pradosham. Lord Siva presented himself in the form of Fire atop the hill and merged Goddess Parvathi on the left half of his body.
To commemorate this event, every year during the Tamil month of Karthigai in Kiruthigai Star, exactly at 6.00 p.m. Arthanareeswaramurthi presents himself as Jyothi Swaroopa to his devotees at the time of Karthigai Festival 10th day.













Deepam

Temple plan

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.