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Bhagavadgita Pages, Chapters 1 to 18

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V.Krishnaraj

The Lord of Dance

Credit: Exoticindia.com

Nataraja

Chidambaram

Chidambaram = Cit + Ambaram = Consciousness + Ether, sky, or atmosphere = Ether Consciousness: this is the Sanskrit version.

Chidambaram = Cit + Ambalam = Consciousness + Hall = Hall of Consciousness: this is the Tamil version.

Nataraja: Nata + Raja = Dance + King = King of Dance. Ambalavaanan: Ambala + Vaanan = Hall + Resident = Resident of the Hall = Siva as the presiding deity at the shrine in Chidambaram.

    I was blessed to have been a resident of Chidambaram in the 1950s for two years when I was a student in Annamalai University.  I visited the temple many times not really knowing the greatness of Lord Nataraja. But who does really know him?

This link takes you on a movie-tour of the Chidambaram temple with English titles

http://www.youtube.com/watch?v=uW-qrBQABD0    

Chidambaram is a temple town of great antiquity going back to early Christian era. Sankara visited the town and temple. Periyapuranam was composed in the thousand-pillared hall. Four Saiva Saints (Appar, Sundarar, Sambandar and Manikkavacakar)  worshipped at the temple. Today Sambandar stands (as a stucco statue) at the South Gate, Appar at the West Gate, Sundarar at the North Gate and Mannikkavacakar at the East Gate. The gates are the entry points in the towers or gopurams. Together with domed Chit Sabha, the five structures represent the five faces of Siva. Other names for Chidambaram and the Nataraja temple are as follows:

Prof. Ananadanataraja Deekshidar of Annamalai University (my almamater) mentions a few other names for Chidambaram: Booloka Kailas (Kailas on earth) Jnana-akasa (Akasa = space, spiritual ether jnana = wisdom). He further states, "Some temples are famous for Moorthi (Idol), some for Thirtham (water), and some for Sthalam (place). Chidambaram is famous in all three: the Nataraja as Moorthy, Sivaganga as Thirtham and Chidambaram as Sthalam."

akasa space, ether from a-kas to shine, be brilliant   

Nataraja with consort Sivakami to his left, Vishnu-Govindaraja on his snake bed to his right, Nandi, his bull mount in the bottom center, Vyaghrapada (Tigerfoot) to the immediate right of Nandi, Patanjali, the famous expounder of Kundalini Yoga to the Bull's immediate left, Apasmara Purusa-Muyalakan under the Lord's foot. (Tanjore painting)

Saint Manikavasakar entered the temple through the east gateway. Situated on the proper left side of the Nataraja this gopuram invoked the feeling of love, tenderness and softness to His beloved. This sentiment is mirrored in Manikavasakar’s compositions. 

    Through the south gateway the soul approaches the Lord directly, as only a child can do. It was the child-saint-poet Jnanasambandar who related himself to the Lord and goddess as a child and son and entered the temple through the south gateway.  Siva faces the South Gopuram with two flapping flags at the summit. South Gopura was completed before 1272 C.E.

    The western gateway symbolises the place of the friend, on the Lord’s right-hand side. Through this gateway entered saint Sundaramurti. 

    One who enters the temple through the north gateway follows the Lord from behind. This is the place of the slave. Saint Tiruvanukarasar entered through this gate, and we find this sentiment and attitude throughout his work. 

    The east gateway is Tat Purusha, or the Lord Himself. It is also called the Sthulalinga, or Totality of the Form of God, the images within the temple being the minor forms that take their powers from the greater source.  Sthulalinga = Sthula + Linga = Gross material + Linga or Linga in material form. Ethereal form is invisible, while material form pleases the eyes and makes an imprint on the mind.  When the gods go in procession, they are not carried through the main entrance itself, but use an alternate entrance at its side in deference to the greatness of Lingam.  Lingam is ontologically superior to Nataraja, who is only Isvara, or manifest Brahman. SIVA- HEIRARCHY. West and East Gopuras are believed to have been completed by 1250 C.E.

    It is said that the temple was built around 7th Century C.E. depicting Kundalini Chakras and Saiva Siddhanta philosophy (Kundalini Power Primer in Saiva Siddhanta)

    It must be emphasized that the temple Gopuras are on the side of a rectangular perimeter, asymmetrically placed except the South Gopura, which is in line with Chit Sabha.  Nandikesvara, the Chief Attendant of Siva with bull face, is responsible for the security of the temple and the premises. He is also the Gurunatha of all the Munis including Upamanyu. His guards (Paritam) are in charge of the Chit Sabha security, Bhutas in charge of the 2nd Prakaram or courtyard, Pisacas in charge of the 3rd Prakaram Kali, and stern and angry Kulis in charge of the next prakaram and Bhairavas in charge of what is beyond. Five layers of security were put in place for the temple and the city by Nandikesvara; the above entities are invisible and mythical.  If you do not believe in mythical beings, read Joseph Campbell making a perceptive remark on myths in his book Myths of Light on page 9.   

As soon as you start talking about mythology, you must not take the terms concretely that's the mistake of the whole Judeo­Christian tradition.12 Read myths as newspaper reports by reporters who were there and it doesn't work. Reread them as poems and they become luminous.  

    The temple town is known as Tillai after the forest shrub (excoecaria Agallocha). Vyagharapada, Son of ascetic Madhyandina Rishi of Ganga River-fame, worshipped two Svayambhuva Lingas, one under a Banyan tree and the second near a Lotus Tank in Tillai. (Svyambhuva Linga = natural outcropping of obelisk, having the shape of Lingam). It is also said that wherever Ganga water fell from the head of Siva, it became a Lingam and a Tirtham (place of pilgrimage). The gods including Brahma and Vishnu came to Chidambaram to witness the Ananda Tandavam and set up Lingas in their own names for worship by the Sivaganga tank.   The four Gopuras are four Vedas the house is effulgent with five walls and five Halls, which represent the kosas or sheaths. The Lord dances in Bliss Sheath. The Halls and Chakras correspond to the sheaths as depicted in the table.

Kosas, their origin, and their connections

 Svayambhuva Lingam is the Form-Formless (Rupa-Arupa) representation of Siva. For details and explanation of Alinga, Linga, and Lingalinga, go to The Red Mountain.  A devotee wanted to offer to Siva-Lingam Vilva leaves and flowers which bees did not visit, trample and defile, whose nectar they did not imbibe, in whose nectar they did not drown; he prayed for and obtained from Siva, feet, claws, and eyes of a tiger so that he could climb the trees like a tiger very early in the morning before swarm of bees came to the flowers, and gather flowers untouched by bees. The devotee was called Tigerfoot (Vyaghra-pada). Tigerfoot also had eyes on the paw so not to miss any pluck-worthy flowers. Chidambaram also goes by the name of Puliyur (Tiger Town) to honor Vyaghra-Pada (Tiger Foot).  Puli (Tamil) = Vyaghra (Sanskrit) = Tiger. Tigerfoot married the daughter of Rishi Vasistha who gave him a son, Upamanyu, expounder of Saivism.

    The nature-born svayambhuva Lingam along with Uma-Parvati is housed in Mulasthana (Root Place) within the temple complex with Ardha Mandapam in front of Mulasthana. Ardha Mandapam for good reason also houses Vyaghra-Pada (Tiger Foot) and Patanjali. Ardha + Mandapam = Half + Hall attached to Gargbhagraham (inner Sanctum).  Gargbhagraham  = Garbham + Graham = Womb + House or habitat = Inner Sanctuary or Sanctum. Students of Hinduism regard the Sanctum Sanctorum as the Womb of the universe and the passage that exits from the Sanctum is analogous to birth passage. The whole universe proceeds from the Womb and passage. This is especially true in the portrayal of mother Goddess by Saktas.

Chidambaram is the heart of the Virat Purusa, anthropomorphic form of Siva. The temple is a breathing and living representation of Purusa with a heart and circulation and nine gates (nine apertures of the body). Nine stupas represent nine apertures: two nostrils, two eyes, two ears, one mouth, one anus and one genital aperture. The 21,600 gold tiles represent 21600 respirations in a 24-hour period.

    The temple has five prakaras (walkways cum courtyards) concentric in its configuration representing five Mahabhutas (Great elements-- Water, Fire, Air, Earth and Ether. The innermost prakaram is under the Golden Roof accessible only to the priests.

    The Rishis of Tillai were an arrogant bunch, intoxicated with self-importance because of facade of scholastic erudition and distinction, which gave them a lapse in memory of their origin from Isvara. Siva and Vishnu, the Gods of the universe hatched a plan to teach them a lesson. The story goes like this: Siva fell back to his old usual (cunning, clever, cupidinous and transcendent)  physical and mental pose of a mendicant-beggar. Vishnu, as usual, assumed the physical and mental attributes of Mohini of incomparable divine beauty, which he had done previously to fool the dasypygal Daityas and deprive them of Ambrosia. Siva was of a handsome physique he was like a centripetal magnet for women. His eyes were radiant like the rising moon. He was decked out in the best of jewels of Suras and Asuras (gods and demons). Jeweled sandals graced his feet; a white dhoti (a wrap around the waist) shone as the sun dazzled on it. Holy fragrant ash and sacred thread adorned his body. A bhuta (attendant) was by his side with a pot of ash for the Lord's use on demand. He brandished a white skull-bowl on his left hand and a drum on his right. His head was like a bud on vine of his neck; his petal lips parted with a blossom of a smile; dalliance of his brilliant eyes cast a spell and delusion on the world of beings. The drops of hot sweat on his cosmic forehead reflected the moon on his crest. The bees graced his wavy locks in serpentine rows. He was of coral color and moved like a coral mountain. Vishnu, as Mohini, was as much radiant as Siva.

Both of them headed for Daruka forest, the place of blissfully married Rishis. The consorts of Rishis (Rishipatnis) fell head over heels in love with the couple. Beat of the drum, jingle of the anklets, joyous face and petal-soft smile of Siva drew the women out of their hermitages; the women were receiving a million suggestive glances, as they gave alms to mendicant Siva.  Passion sprang, welled up and brimmed over from the heart, mind and soul of the Rishipatnis. They were without self-awareness arranging their tresses, and fussing with flowers; the girdles, guard, and shawls dropped from their perches. The radiance of his smile invited sweet words from the Rishipatnis who openly asked for divine pleasure of embracing him.  Some were out of cooked rice and brought grains of rice in their lotus-like palms where the fire of love and passion cooked the rice.  They in utter confusion put their alms on the ground thinking it was the bowl, sprinkled the ground with petals and flowers, as they were looking at his lotus face. Some women were cocksure that he was a lover from their past. Some thought that Kama, God of love, made his appearance without his consort Rati.  A few had the courage to ask Siva, "Why are you in a hurry? You just came for alms. Your departure is like a setting sun leaving us in darkness. I drink the nectar of your beauty and grace; it kindles fire in my forlorn heart. Make my heart's wish come true. I see you, I pine, I wither, I waste;  look at my bangles, they drop off on their own. What have you done to me?" One woman held Siva back from going on his way.  As Siva held his begging bowl, they held their firm breasts to lead him to their hermitage. Some poured forth their heart, "Do what you want, where you want, when you want, here on the ground, anywhere is home with you around. We will go with you where you take us. Take us to another forest, if you please. One Rishipatni said, "Please don't go anywhere. Come to my house, I have plenty of alms." Some danced, some sang and danced for joy. They walked beside him; some were hugging close to him some pressed their tresses, their garlands, and their jewels against him. The Rishipatnis, having thus been deluded and deceived by the Maya of Siva, made a spectacle of their womanly wiles in front of the trident-bearing Siva who laughed long and hard.

Vishnu stood there by Siva's side like an unchaste woman in the eyes of Rishis who were intently looking at Mohini.

The Rishis did not like it one bit and grew angry with the mendicant and Mohini for upsetting the status quo and becoming the cynosure of Rishipatnis. Immediately they put their heads together and decided to raise a sacrificial fire from which they produced tiger, deer, axe, Mantras, globe of fire, serpent and dwarf Asura one after another and dispatched them one at a time to attack mendicant Siva. Siva, the Lord of the Universe, the Supreme Ruler, the Yogin of Yogis, the Supreme Master of Yogic feats, was amused with the puerile antics and every trick, gag and feint of reckless Rishis. The ferocious tiger jumped out of the sacrificial fire and pounced on Siva on all its paws and claws with intent to sink its teeth into the jugulars of Siva in a wink and trice, he caught the tiger by its belly and peeled the skin of living tiger with nail of little finger with surgical precision and wore it on his waist. He cast the carcass at the feet of the Rishis. That should have taught a lesson to the vain Rishis who gained supermundane yogic feats and powers through Tapas. With the skinned dead tiger at their feet, they became angrier, adamant, and foolish and sent a ball of fire to Siva in their vain attempt to incinerate him. Siva caught the ball of fire with his left hand and held it aloft for all of them to see. Still the Rishis were clueless as to the identity of the handsome visitors. The Rishis failed to notice the blue throat of Siva because he disguised himself as a mendicant. If they only noticed it, they would not have flaunted their yogic powers wantonly and vainly on mendicant Siva. The Rishis would not give up; their fiery anger and pride were burning inside. They raised a serpent and sent it hissing to Siva. Siva just caught hold of the snake and wore it like a Mala (garland) around his neck. They did not yet run out of their futile tricks; they raised an Asura-Titan (Apasmara Muyalakan), short on memory and long on brawn, and sent him to Siva. Siva dwarfed the Titan by his yogic power, bounced him like a ball with his foot and pressed him down under his right foot.  Short on memory = forgetfulness of soul of its origin from Isvara (Siva). Another version of the episode tells that the hispid Rishis (with angry erectile hairs) were fuming and frothing in their mouths and sent tiger, deer, axe, Mantras, globe of fire, serpent and dwarf Asura all at once to attack Siva. You know now what happened to them. The Rishis came to realization that they were witnessing Siva and Vishnu and immediately begged for forgiveness. Siva performed Ananda Tandava (Dance of Divine Bliss) for them. Siva and Vishnu, having taught a lesson to the Rishis, left the Daruka forest.

    The above piece is an extract from Chidambara Mahatmya, as told to Sesa by Lord Vishnu.

    Siva sits on the tiger skin and meditates. There are several reasons for this. The tiger head attached to the skin with staring eyes represents an alive ego, hatred, greed and hunger, which should be overcome and sublimated before one can approach Siva.

There is another version in Skanda Purana as to how the Lingam came to be worshipped by gods and men. Sati, Siva's consort died of internal combustion from excessive heat generated by Tapas because Daksha in his ignorance did not invite Siva and Sati for the celebrated Yagna. once Sati died, Siva lost all interest and wandered into the forest naked in the land of Anarta (present Northern Gujarat) with a skull as the begging bowl. That forest was chockfull of Sages and their wives, who saw the wandering naked Siva and wondered aloud among themselves with comments like: "Only that lady is blessed who can freely and confidently embrace all the organs of the noble-souled sage."  Their eyes blossomed out wide following every movement of the new sage. Some were running here and there aimlessly in utter preoccupation of their minds. To attract His attention, they employed all feminine ingenious ways to catch His attention: Some wore collyrium only on one eye. Some knotted only one side of their tresses. They ignored their children. With all these mental tumult of the Rishipatnis, Siva was walking up and down the walkways seeking alms. The Sages seeing their wives ogling Siva were raging with anger. They cursed Siva so that his penis will fall on the ground, which happened immediately. Siva ran to the nearest cave and hid himself in a fetal position. The fall of the penis had dire consequences. The mountain tops came tumbling down, the oceans rose, and meteors came shooting down. The gods were struck with fear. Vishnu and the gods came running to four-faced Brahma of Great Erudition and Mantras and eulogized and gave Him an earful of complaints. He looked at the trembling gods and human beings and by divine vision he saw the cause of this misfortune.

    (In the temple Gopuras, Siva is carved in stone as a beggar. The Yogin of yogins loves to beg for food with a saunter, and a trudge as day goes by, carrying his skull-bowl which reeks of rotting food inviting the hawks to take a swoop for a plunder. He wears barks for clothes and begs the snake to shed its skin for his use. Between beggings, interludes are spent in dancing with fire. Having jackals as his audience, he stages his dance in the burning ground. The ash smeared on his body and the russet matted locks fly all around him as he spins. The moon that he wears on his crest shines his handsome face and the ground. His music and songs are enchanting and the women are beside themselves as they witness his dance, his smile, and his handsome frame and listen to the music. The earth shakes and the palmyra fruits fall to the ground. Sometimes he is accompanied by Munis and his Spouse. He loves playing Vina.  Sometimes he wears elephant skin, sometimes silk on his waist. when he discards his reeking bowl, the smell of sandal paste on his body is telling. This universe is his; his swagger and jaunt are telling and unmistakable. Why does he beg? He owns this cosmos, why beg?  Begging is atonement for cutting one of the five heads of Brahma who told a blatant lie that he found the upper end of Fiery Lingam. He begs from the wives of Rishis as he makes his way from Daruka forest to Varnasi [Benares] to obtain absolution. )    

    Adisesha, the serpent (bed of Vishnu), heard about the Ananda Tandavam from Vishnu, and by celestial grapevine and very much wished to see the Dance. With Vishnu's permission and offering prayers to Siva, Adisesha descended to earth as Patanjali, the son of Anasuya and Atri, and the expounder of Kundalini Yoga. Another story goes like this: Sesa left his son in charge of his portfolio, takes a composite chimeric form (Patanjali, see below the half serpent and half man image), burrows into the subterranean region of Nagas (snakes), and climbs up a conduit leading to Chidambaram, which was said to sit on the top of a mythological mountain. Patanjali is depicted in East gopuram as having a head, upper torso, and hands of a human, from the navel down a body of snake with tail hanging in front, and from the shoulder up, a protective hood with five snake heads. It appears that  Adisesha (Patanjali) did not really give up his serpentine body but assumed a form of upper half man and lower half snake (Composite Chimera:  part man, part snake in this instance). Patanjali is famous as the author of his namesake Sastra, Patanjali Sastra, which deals with Kundalini Yoga.

Patanjali: credit: exoticindia.com

    Skanda Purana I.ii.33.21-22 identifies Lord Siva-Nataraja as Srikantha who swallowed and retained the Halahala poison which was destructive to the Cosmic Egg. Siva-Nataraja, having become concerned and distressed by the impending danger to the Cosmic Egg performed the Tandava Dance of misery.

    In Greek mythology, you heard about Centaurs, part horse and part man living in the mountains of Thessaly and Arcadia. The Centaurs were driven by animal passion. They were the draft animals for the chariot of wine god Dionysus driven by Eros, the god of love, which spoke of their proneness to inebriation and debauchery. Some Greek mythologists are of the opinion that the centaurs were the creation of imagination, living in the mountains and forests. Centaur is a composite of a human being in the front and of a body and legs of a horse. Centaur was man from waist up, and horse (animal) from waist down and backwards. They used tree limbs as weapons. One of the Centaurs, Chiron, broke the mold of his race, and became a wise physician. Chiron taught medicine to Asclepius, son of Apollo (god of prophesy, truth and healing) and nymph Coronis.  Zeus, the king of gods, equal to Indra, the chief of gods, wielder of thunderbolt, afraid that Asclepius  (Danvantri of Hindu mythology) would confer immortality to all men (Ambrosia-Amrta of Hindu mythology) sent a

thunderbolt to Asclepius and killed him.  Note some commonality between Zeus and Indra, and Asclepius and Danvantri. Danvantri took charge of Ambrosia, nectar of immortality, obtained from Milk Ocean. Temples were built for Asclepius and people slept in the temple premises in the hope that Asclepius would heal them in their dreams. Asclepius is portrayed as a bare- and broad-chested muscular physician, sporting a long cloak, and a staff with a serpent coiled around it. Caduceus, a superficial variation of the authentic icon of medicine, consists of a winged staff with intertwined serpents, and is the magical wand of Hermes or Mercury, "the god of roads, commerce, invention, cunning, and theft." It is hoped that the physicians are aware of what their symbol stands for, which does not speak well of them.

Patanjali = Pata + Anjali = fall + apposed palms in salutation. He and Vyaghra-pada set up their hermitages at Tillai in Chidambaram. Siva decided to give them Darsan (live appearance), but Kalika Devi, the resident goddess would not permit that to happen. Kali just moved into the forest of Tillai after defeating and killing Sumbha and Nisumbha. Some sources say that she and her minions terrorized the neighboring villages and towns. Another version of this depicts Kali and her companions were disrupting worship of Siva in the pine forest of Tillai. The devotees submit a complaint to Siva against Kali. Siva and Parvati decided that Kalika  (Kali) Devi had no right to inflict her unfair will on others. They invited Kalika Devi for pas de deux (actually it was a Dance contest) in the presence of devotees and it was decided that the winner would be the ruler of Tillai. In his famous dance at Nritta Sabha (Dance Hall), Siva's left ear ring fell on the dance floor and in a fluid movement of Dance, he picked it up with his left foot and appended it on his left ear by carrying the left foot to the earlobe in balletic feat and grace and no one noticed it at all. You can see the earring hanging from the big toe of the right foot. It is suspected that this balletic move exposed his genitalia for public view. That dance was Urdhva Tandavam (High Dance) (inset: credit exoticindia.com), which involves the- straight-line raising of the foot above the head in balletic grace. (West and East Gopura depict Urdhtandavamurti raising his right foot well above his crown.) Kali (Bhadrakali) being a goddess would not perform such balletic move of raising the foot to the earlobe because it would mean an immodest move by a woman in the dance . Thus, Siva became the god of Tillai. This dance took place in Nrtta Sabha (built by Kulottunga III [1178-1216]) of Chidambaram and Ruby hall (Rathna Sabha) in Tiruvalangadu; there is a bronze of Kali  and Siva doing the dance of Urdhatandava.  Urdh-tandava-murti sculptures are seen in south, west and east gopura in Chidambaram. In Nrtta Sabha, an image of Kali keeps company with Urdha-tandava Siva.  There is a Kali temple about a mile north east of Nataraja Temple, where Kali sports four heads, representing four Vedas. There is also a Sarabha shrine in Nrtta Sabha; this is the king of birds (Sarabha-Siva) that killed Man-lion Narasimha close to Urdhatandava and Kali. There had been amity between Siva and Vishnu all along Siva declared many times that He and Vishnu are one and the same. But there have been a few fatal encounters with Siva, when Vishnu was in the form and incarnation of Turtle, and Narasimha. Vishnu had been defeated by Siva a few times: Boar and Vamana.

Tandavam: Leaping, jumping. Tāndu: leap or jump. Anandatandavam (Leaping for Joy Dance): Ecstatic dance of Siva, as exhibited in the shrine at Chidambaram. This dance of Lord Nataraja is the dance of creation, maintenance, sublation, obscuration and grace. The drum stands for creation, abhaya stance for maintenance, the fire for destruction, the right foot standing on Pasmarapurusa for obscuration and the raised left foot for Anugraha or revealing Grace.

    (You heard about and might have seen Radio City Music Hall Rockettes perform eye-high kick which is anatomically a straight-leg movement forwards and upwards without dislocating the head of the femur from the socket; what you see when the leg is up, is the high heel with the sole and the back of the knee. Lord Nataraja's sky-high forward and later sideways movement involves medio-lateral rotation of the head of the femur to a complete range of 180° in its socket and later a medial and inferior dislocation of the femoral head out of the socket when the right leg is held up, the patella (knee cap) and the dorsum of the foot (instead of the sole) are facing the spectator; it is quite a feat. When he brings the leg down there is a spontaneous reduction of dislocation in a fluid movement.)

    Lord Nataraja performed Ananda Tandavam in a Sabha (Hall) for Tiger Foot (Vyaghra-pada), Patanjali, Rishis, devotees and Sivakamasundari. The assembled devotees begged Siva to stay in Tillai and continue performing his Dance. His dance was captured in a bronze idol of Nataraja in Chidambaram. Nataraja = King of Dance, Lord of Dance.  He is the Lord of Tandava and not Tarantism, a maniacal uncontrollable desire to dance precipitated allegedly by the bite of Tarantula.

He performed his Cosmic Dance in the hall of Consciousness (Chit Sabha, the main shrine or Chitrambalam) with his left foot raised. It is the Dance of creation, maintenance, destruction, veiling and grace (Pancha Krityas, five acts of Siva). Three Saktis (Iccha Sakti, Jnana Sakti and Kriya Sakti) worship at the feet of the Lord of Dance in Chit Sabha. He willed (Iccha Sakti) to alleviate the suffering of Jivas, the individual life-souls, save, bring them back and offer refuge at his feet; he creates this world with that purpose in mind. Jnana Sakti is the knowledge that reposes in him and creates this world because Iccha Sakti by itself is not executory. Kriya Sakti is creation itself. Sivakamasundari standing beside him is Iccha Sakti. Sivakamasundari in a separate temple is Jnana Saksti  Durga in a separate temple serves as Kriya Sakti. As it is obvious, the Saktis are his consorts; he has one consort with different names, manifestations, functions, and divine duties. Three consorts of Siva representing three Saktis create problems for Siva in the mind of the poet. Sivakamasundari in Chit Sabha standing beside him expresses jealousy and rancor because Siva dared to come to her in the morning to Chit Sabha, after spending the night with Jnana and Kriya Saktis. The daughter of Mountain expresses her vexation, saying "You  don't need me, no one wants me. Go back to the riverside to cohabit with my companions, Jnana and Kriya Saktis. You sport with them all night long and have the audacity to show up here in the morning." The Lord of Dance appeased her. Para Sakti is in charge of all five functions of the Lord: creation, maintenance, dissolution, veiling and grace She creates out of Maya, the Tattvas: Pure, Pure/Impure, and Impure Tattvas. The Lord performed Anandatandava for the first time in Daruka forest after Amsa (part manifestation) of Parvati killed a demon in the forest.

    Siva Nataraja performs a wide repertoire of dances of which seven are the most important: Ananda Tandavam1, Sandhya Tandavam2, Gauri Tandavam3, Tripura Tandavam4, Kali Tandavam5 (Urdhva Tandavam), Muni Tandavam6, and Samhara Tandavam7. All dances are performed by the Lord to please Uma-Parvati, consort of Siva Nataraja. Every now and then, Siva takes Parvati on an aerial ride on his mount Nandi through length and breadth of India, shows her the golden peak of Kedara, Kasi (Benares or Varnasi), Kanchipuram, Arunagiri, Svetaranya, Vedaranya and comes back to Chidambaram, his home base.

Tripuram: The aerial cities of gold, silver, and iron burnt by Siva.

    Sandhya Tandavam: The main guest for this dance performed at Kailash is Gauri, the consort of Siva. Other invited participants are Veena-playing Sarasvati, flute-playing Indra, singer Lakshmi, Mridangam-playing Vishnu, and Cymbal-playing Brahma. The invited guests are the Gandharvas, Yakshas, Patagas, Uragas, Siddhas, Vidyadharas, Amaras, and Apsaras. Sages, Rishis, Holy Men and devotees have not seen this dance.

Tirumular mentions the five dances of Siva in verse 2723: Sivananda Dance, Sundara Dance, Golden Dance, Golden Tillai Dance, and Wondrous Dance. Verses 2724 to 2803 describe these dances in detail.

    Sivananda Dance: The Lord performs this dance with Sakti in the vast endless space beyond the Sun Mandala,  the sphere of the sun which stands for one of his Saktis, Jnana. Vedas and Agamas, Gita (melody), seven universes, five gross elements, all the worlds, and Nada Sakti are the fellow participants in this Dance of knowledge and Bliss. Panchakrityam (five functions, Creation, Sustenance, Destruction, Veiling and Grace) unfolds as he dances. He created during this dance five elements, and worlds of Bhoga (enjoyment), Yoga, Time, Mukti (liberation), passions and thirsts. The Supreme Siddha, Lord Siva, danced in five Suddha Tattvas. See TATTVAS-36 for details. Mular says that Devas, Asuras, Humans, Siddhas, Vidyadharas, the Trinity, 33 gods, seven Rishis, and all creation, both mobile and immobile, danced along with Nataraja.

    Sundara Dance (Beauty Dance): The dark-blue-throated Lord performed this dance for his consort Uma in the arena beyond the seven universes. At the beginning of the dance, the worlds come into existence and at the end of the dance, they come to an end. In the forest of Devadaru,  the Lord of Dance destroyed the challenging Rishis. Tillai (Chidambaram) and Alavanam are the other places he performed this dance. He dances all through the cosmos. He also dances in Susumna Nadi; once he enters this Nadi, he never leaves. Go to Kundalini Power for more details. He dances in Jnana and Yoga. He dances nine dances for nine Saktis; he dances in the thoughts of his devotees; by his dance, he delights the Jivas and Saktis; he dances in the forests. He dances in five Saktis, five forms of Siva, eight muktis, eight siddhis, eight Siva states, and eight suddhies. He dances in Chit Sabha that is the heart of the temple-town, nation, world and universe. At the feet of dancing Siva lie seven clouds, seven oceans, seven bodies, seven Siva-suns, seven appetites, seven Santis (appeasement).

    Golden Hall Dance: Five faces adorn Siva facing south, east, north, west, and skyward.

Siva also has a hidden sixth face (Tamasa face) which has the color of  Nilakanta (blue throat) caused by poison Kalakuta from the Ocean of Milk. Kaalakuuta / kalakuta = Ambassador or emissary of Death.  He is also known as Shitikantha (peacock-throated). The Lord with five faces dances in five elements under three conditions: Formless (Arupa), Form/formless (Rupa-Arupa), and Form (Rupa). His original and intrinsic state is one of formlessness (Arupa) which is called Sivam. His act of love for the souls manifests in a form, Mahesvara; the intermediate state between form and formlessness is Sadasiva.  When you consider Suddha Tattvas (Siva, Sakti, Sadasiva, Mahesvara and Suddha Vidya Tattvas), Mahesvara is engaged in obscuration and Sadasiva confers Grace. What Mahesvara conceals, Sadasiva reveals.   

 Those who witnessed the Golden hall Dance attain the feet of the Lord. Mular says that he sat still like a picture under the influence of Siva as he danced the Dance of Jnana. Tarparan ( That Supreme; Tatpara / Supreme Being) dances in the hearts of the Jivas--individual souls. The devotees lose control over their emotions, dance, sob, feel fear, lose consciousness and fall in a faint, upon witnessing the dance. Desire and sorrow leave them; thoughts become pure and steady; Prana (breath) finds its way up the Nadi in yoga; senses gain reins on them; heart seeks and finds bliss. Such is the power of witnessing the Dance. The Lord dances with Kali, demons, world, water, fire, wind, and sky; he dances day in and day out in the temple. He dances in the spinal column (Axis Mundi or Stambha), and the Nadis, Ida, Pingala, and Susumna.

    Golden Tillai Dance: He dances on a stage made of five elements; seven worlds are his abode; Kundalini Sakti is the sacred dancing hall. He is the Supreme Light that danced in ecstasy. He dances with Sakti. The primal Supreme Lord danced Fire in his hand, danced his sacred matted locks, danced in exhilaration and joy, he danced the moon on his crest, he danced the dance of Nadanta in union with Nada. There are seven universes, 21 worlds, 108 religions to show the path to God. His supreme sacred feet danced with his other half, the Sakti. He dances in four states of Bliss: Nada, Nadanta, Natana and Natananta (Sound, edge of Sound (be-all and end-all of Sound, Beyond Sound), or silence dance and edge of Dance, be-all and end-all of Dance, Beyond Dance, Sacred Dance). Nadanta exists in Svadhisthana, Manipura, and Visuddha Chakras at the level of pubis, navel, and throat. Nada exists in Anahata or heart plane. He dances in all the Chakras, Mandalas and beyond: Muladhara, Svadhistahana, Manipura, Anahata, Ajna, and Sahasrara, Fire, Sun and Moon Mandalas or spheres. He dances in Veda, on the top of the Fire of Kundalini, in Bodha (Pure Consciousness), with celestials, in sacred temples, and with the three Gods and Minis.

     Nadanta Dance is a Dance in the void, beyond the limits or edges of sound (be-all and end-all of sound), where there is deafening silence, where the air, the fire and the world are dead, and where the beginnings of movement (Nada = Sound) and Light (Bindu) take place, where Siva and Sakti transform from pure Consciousness and Supreme Power and tone down to Suddha Tattvas, Suddha-Asuddha Tattvas, and Asuddha Tattvas of the material world. Nadanta Dance forms the basis for Saiva Siddhanta philosophy where tetralogy consisting of Siva, Sakti, Nada, and Bindu play exclusive roll in the unfolding of the universe; this is evolution. Involution is the inverse order where the Tattvas (building blocks) involute backwards into Nada and Nadanta, the latter being the Void, Sunya or black hole, where only Siva and Sakti exist, having become the repository of all Tattvas in their subtle state.

    (Para Sound or transcendental Sound (Nada Tattva) originates from Siva Tattva, the First of the Suddha Tattvas and remains there in its most subtle state.  (See file, Tattvas-36, for details on Tattvas.) Para Sound (Para Sabda) stays unmanifested in Kundali Sakti according to Tantras. Pasyanti or visual sound originates from Sakti Tattva (Kundali Sakti), the 2nd of the Suddha Tattvas. Since Pasyanti sound is visual, Sakti Tattva is also known as Bindu Tattva, Bindu for Light. Creation is Sound and Light Show and therefore, Nada and Bindu are two sides of the same coin. But Nada is recognized as the origin of Bindu. While the coin is minted, Nada is the first stamp on the coin and Bindu is the 2nd stamp.)

He declared, "I am the religion, I am the Guru, I am the six ways to liberation. I chose Chidambaram temple in South to do the Dance Inimitable." He dances in limitless vast spaces; his effulgent dancing feet rise to heavens and reaches five-lettered Nada's point, though they descend to bless his devotees. The dances are very many; the foot movements are many; the songs are many; the sounds of jingling anklets are many; seek them all in your heart; you are freed from rebirth for ever. As Prana radiates from your heart to your limbs and sense organs, he dances on the stage of nine gems; he is the sacred Guru; he is the Red Ruby dancer; he danced in ecstasy on all stages.

    Wonder Dance (Arbuda Dance): He dances in the form of Guru as he dances in formless form as Tiripurai. She is Uma dancing in form-formless state. It is said that Siva merges with Uma and performs Wonder Dance. Uma comes out of the body of Siva-Uma composite entity and later goes back to merge with him. Siva dances before Uma holding beads, drum, fire, goad, rope, spear, skull, and wearing moon and Ganga. He is Sadasiva, when he dances in his form/formless entity. He is also Gurupara (Supreme Guru). Mular says that Prana rises from inside the head 12 inches above the head to reach Dvâtasântam (Dvatasantam / dvadasanta), which is the mystic center and where the Lord of Nadanta dances.

Dvadasanta.  There are Âdhāra centers in the body and NirÂdhāra centers are Sahasrara Chakra and above. Adhara = support. Niradhara = without support centers above the sixth Chakra.  There are six Adhara Centers in the body: Muladhara, Svadisthana, Manipura, Anahata, Visuddhi, and Ajna  each one presided by a deity, Brahma, Vishnu, Rudra, Mahesvara, Sadasiva, and Apara Bindu. Adhara yogam is accomplished by Kundalini yogi who ascends all the six centers to reach the seventh Sahasrara center in the crown presided by Paranada where he unites with Siva. Kundlini yoga is Adhara yogam. Beyond Ajna center, Sahasrara Chakra and other centers are the Niradhara centers without any apparent support reaching it as a group is Niradhara yogam. Jnana and Prana ascend beyond the seven centers and course through eighth, ninth, tenth, eleventh sthanas (posts), presided respectively by Parabindu, Paranada, Parasakti and Parasiva. Beyond these eleven centers is the 12th and furthest ultimate point of yogic journey (the Ultima Thule), Dvadasanta. This journey from Sahasrara chakra to the 12th point in space is Niradhara Yogam which is the state of the soul, when it loses its self-consciousness, attains Sivahood and remains without any attachment. Reaching Dvadasanta Siva (Paraipara) in Jnana form is Bliss. (Please note that there are several variants of the theme in different texts.) Many other texts say that this center is 12 inches above the crown as opposed to the above description. Realization from the 8th to 12th is progressively deeper and the 12th is ultimate experience (ultima Thule).

Dvādasāntham / Tvādasāntham (Tamil)

1. (Yoga.) A mystic centre which is believed to be 12 inches above crown
 

2. (Yoga.) The 12th and last stage of experience of the soul in yoga practice

    Lightning, wind, nimbus clouds, rainbow, sky and thunder arise in the external space; in the internal space, he is Light itself; he is of the form of Light and stays hidden in the body; he is also the effulgent radiant rays of the six Chakras. The Lord dances for those devoid of delusion and envy (mamaya). The Lord stands in five elements, spreads in eight directions, rises up and down, transcends human intelligence and is divine Bliss. The dancer merges with Sakti, stainless Bliss, and pure Jnana the dancer merges with his consort in dance.

    The Lord and Sakti, which took half of his body, danced, which I (Mular) witnessed; he danced for the Jivas shrouded in Maya; he stands as redemption, while he dances his eternal dance. The astral space between the eyebrows within the forehead is Chidambaram where he dances; there you will find mantra OM, if you focus your eyes; you will find Dancing Siva there, if in earnest you look for him. He dances on the seven stages of the vast universe, many Tattvas, Sadasiva, Susumna Nadi, Sâthavi (absolute goodness as sakti), Sambavi (Parvati, as the Sakti of Sambhu, Siva), and Kundalini. The astral flower and its four petals in Muladhara Chakra lights up the entire dance stage and blossoms into 100 petals and many universes in the vast space. There are seven crores (1 crore = 10 million) each of universes, various life forms, ocean-hugging continents, and Lingas these are the temples, where the Lord performs his cosmic Dance. The vastness of space is his body; demon Muyalakan is the darkness in the space; the eight directions are his flailing arms; his three eyes are Sun, Moon and Fire; he dances in the space stage, which is his Cosmic Body. The dance stage is his creation, his holy feet, Water and Fire Mandalas (spheres), and five letters (Na-Ma-Si-Va-Ya). He performs the Pândaranga dance at the end of dissolution of the universe. Pândaranga  = Pânda + Ranga = Whiteness + dance Stage = Dance of Siva when he destroyed Tripura --in one of his eleven dances. The pipes are playing; the drums are reverberating with beats; humming of Aum hymns pervades the air; the feet are dancing. "That is the Lord, dancing," so say the Ganas and Bhutas (attendants of Siva). Tripurai is in flames; Lord Siva performs his Pandaranga dance - the Dance of dissolution. The devas (celestials) near and far,  the holy devotees of ocean-hugging world continents drank the dance of the sacred lotus feet of Siva with their eyes thus soaking in bliss; they attained final beatitude (Gathi). As tamarind elicits salivation, the dance elicits tears of joy in the spectators; they melt in love of Lord of Dance; Light of Bliss rises in the hearts. The nine (six chakras, the sun, the moon and the fire) danced the sixteen (the sixteen petals of Visuddha Chakra lotus) danced six loving faiths (Vaishnavas, Saivas, Saktas, Sauras, Ganapatyas and Kaumaras; the worshippers of Vishnu, Siva, Devi, Sun, Ganapathy and Kaumara (Skanda, Kumaran, Murugan (Shanmuga -six faces, or Kartikeyan) danced Seven melodies (Sa, Ri, Ga, Ma, Pa, Da, and Ni)  28 rhythmic beats and the Love dance. He danced the Ananda Dance (Dance of Bliss).  Ananda = Ân + anta = No + limit = Bliss. The Lord descended as the Supreme Light. A, U, and M, and Na, Ma, Si, Va, and Ya became 360 rays (360 days). He danced in the three pasas (bondages), the dance of Mohanta (elimination of confusion of mind, mental darkness). When the creator dances, the created worlds dance with him; he dances in our thought and heart. The tattvas danced; Sadasiva danced; thoughts danced; Siva-Sakti danced; the Vedas danced; the Lord danced the Dance of Ananda. He danced in Chidambaram in his form, formless, and cosmic form for Tiger foot and Patanjali Rishis. Vyaghrapada = Tiger foot. Siva danced ;Sakti Danced; Tattvas danced; he danced inside the Truth, Vedanta-Siddhanta. Nadanta is the end of Nada (Sound); Bodhanta is the end of Bodha (knowledge, be-all and end-all of knowledge) Vedanta is the end of Vedas. Vedangas are the limbs, extensions or auxiliary to the Vedas. Vedanga consists of six parts: 1. Siksa (knowledge, art, skill correct pronunciation and articulation, 2. Chandas (prosody), 3. Vyakarana (Grammar), 4. Nirukta (etymological interpretation), 5. Jyothisa (astronomy), 6. Kalpa (rituals and rules for ceremonial sacrifices).

Here is a list of apparently contradictory qualities of Siva which the devotees in love and devotion praise. Many of them reveal the multi-faceted sides of Siva.

Siva, the Supreme God of contrasts and confluence.

Siva is all sweetness in his form with innumerable gunas and yet He is the Immutable above Gunas (Niskalatattva = Tattva without parts or prakrti). His substance and seat are Tamasa Guna and thus he is Tamogunamaya (replete with Tamoguna). Though seated on the throne of  Tamasaguna, he is effulgent like a silver mountain. He is the Supreme Guru, the Guru of all Gurus endowed with spiritual knowledge (Brahma Vidya). His habitat is cremation grounds, though He owns the whole universe. He is Maharudra of destruction and ocean of peace in one Being. He is the Sadhaka of all Sadhakas, austere and yet he is all Joy, Mercy and Love. He is Virūpāksa, having eyes not conforming to usual appearance and form. His eyes are dreamy-looking, ptotic*, and slanting from inside outwards, giving the appearance of having been stoned with bhang**. ptotic* = half-closed or droopy eye lids. 

As you notice here, in day to day language, it is insulting to say that a person appears stoned with Bhang. In this instance, Siva is characterized as queer-eyed and dopey-looking. It is not an insult but a portrayal of his appearance. He is the owner of the half of the body of the daughter of the mountain (Parvati; AdrijA = mountain-born), though He is One Unity.  That is the portrayal of Ardhanarisvara. He is companionless though he seeks companionship with Parvati. He is the Supreme Exponent of Vairagya and A-Kāma, though he appears always coupled with his consort (Yugala form = coupled form). He confers Kaivalya unasked to all souls in Benares. He is the Grantor of the fruits of action (Karmaphala) to the whole Universe. Though he is the most wrathful, He is easily appeased. He is white in complexion with blue throat.

                                                                                      White Siva (Exoticindia.com) click to enlarge  zp10_small.jpg       

He is the savior of the three worlds, though he swallowed the deathly Halahala poison coming out of the milk ocean. And yet he is the destroyer of the Universe. Though he indulges in adorning himself with serpents, he is the Lord of dispassion. He sports the moon on his head, though it is covered by matted hair. Though He carries the axe and trident and appears to project fear and dismay, He dispels fear and confers Bliss. Though He is stepped on and trampled under the feet of Devi and He is prostrate at Her feet, He is the Grantor of Moksa or liberation. Siva is Sava (dead) without Sakti; Sakti without Siva has no consciousness. Mahabhairava is Joy incarnate, though he drinks wine of joy. He broadcasts Abhaya Mudra (fear-not pose of hands), though He is Bharaiva (frightful Being) Himself. He shows five faces, though he is thousand-headed. He shows three eyes, though they see in all directions. He is Digambara (naked) robed in space, though he is Space Himself. He shows eight forms (Ashtamurti--the five elements plus the sun, the moon and the ascrificing priest), though he is of infinite forms. Go to Siva's eight forms.  He is knowledge and its preceptor.  He is the liberator and the Liberation. He is the Lord of Kailas and Kasi, though He is the Lord of the Universe. He is the Lord of the Spirit world and Bhutapati (the Lord of beings). He is Pasupati, though he destroys the Pāsas of Pasus. Pasas (Pāsas) are the bonds which keep the ignorant man bound to Samsara. The bonds are pity, ignorance, shame, family, custom and caste. (page 303--Principles of Tantra Part II by Sir John Woodroffe.) He has fire in his forehead third eye and holds Ganga in his matted locks. He is the destroyer of Daksa's Yajna, though He is the Yajnesvara (Lord of Yajna). Go to SIVA'S FURY - DAKSA.  Devi's death at Daksa's Yajna caused grief in Siva, though He is above Moha and MAyA (infatuation and delusion). He is the son-in-law of the King of mountains, though he is the Lord of the Mountains and is beyond any relationships (Akula). He is self-born. He fathers Heramba (Ganesa), though He is attributeless Parabrahman beyond all causes. He is the Linga, the source of the origin of the universe. He is YogaNidra though he is attainable by Karma, Jnana and Yoga. He is the cause of Yoganidra (Yoga sleep), the Sakti that brings about involution and unity with Siva. Yoganidra is meditation sleep, which facilitates a full deployment of mental powers in a Yogi. He is the refuge of all his devotees, though he is the destroyer of the three worlds. He is the companion of the Bhaktas (devotees), though he is attainable by Jnana Yogis well versed in the spiritual knowledge. He holds the hands of the poor and the helpless, though he is the Lord of the Universe. He is the revealer of Mantras, though he is the object of worship by Mantras and Yantras.  He is Rajarajesvara (King of kings) in the devotee's heart, though he is the Isvara (the Supreme Ruler or Controller) of the universe.

    Here is the story of how Lord Siva came to wear a sliver of the moon on his hair.   

    Soma (Moon) married 27 daughters of Daksa, the twenty-seven lunar asterisms. He was so much in deep love and devotion to his fourth wife Rohini that others complained to their father Daksa who cursed him to be childless and suffer from consumption (Tuberculosis). His health and body waned, which made the wives pity him and asked their father to repeal his curse. Daksa refused and modified the curse so that there would be gradual waning alternating with waxing but no disappearance.

    Here is another version.

Vishnu in the form of Mohini separated the gods from the demons. The purpose was to let the gods imbibe the nectar of Immortality and con the demons out of their share because they did not deserve the nectar. One of the Daityas (Rahu) got wise, disguised himself as an Aditya (god), sat between the sun god and moon god, and drank the nectar. The Sun and the moon gods knew a Daitya if they saw one even in the dark and immediately reported him to the Lord, who sent his spinning discus to slice his head off his neck, as he was drinking the nectar.                                                                                         

Since Rahu tasted the nectar but before he had a chance to gulp it down, the discus cut off his head with the result that the head survived and the body died! (Now you know where the expression 'Talking heads' came from!) Lord Brahma accepted the Daitya Rahu’s head as a planet. This painting shows the head of Rahu without his body. He was naturally angry with the sun and moon and therefore he tried to swallow the sun and the moon which explains the solar and lunar eclipses.  The Adityas (the gods) were always serving at the feet of the Lord and therefore the Lord gave them the nectar of immortality. The Daityas were not the devotees of the Lord and never sought him and therefore they never had the chance to imbibe the nectar.

Yet another version of why the moon waxes and wanes.

          Soma (Moon) performed a sacrifice and became powerful, so much so the he took away Tara, the wife of Brihaspati, the preceptor of gods. Brahma’s entreaties did not persuade Soma to part with Tara. Soma impregnated Tara according to later admission by Tara. Indra and gods sided with Brihaspati, while the Danavas and Daityas joined the Soma camp. A war broke out between gods and demons. Siva sliced Soma into pieces and wore a sliver of him on his hair acquiring the name Chandrasekhara (the moon-crested one). Siva devoured Sukracharya (grandson of Bhrgu), the high priest of the demons and released him through his urinary passage. Tara gave birth to Budha (the planet Mercury).

Sivananda is the Bliss of Siva; Sadasivananda is without end in all; he dances Siva Natana; he is the Nada Brahman (Brahman of Sound). He, by his hand gesture, signals "Si" inviting his devotees to come and merge with him. "Va" signal removes fear in Tapasvins. "Ya" signal invites the celestials. Na signal comes from fire-holding hand. Ma signal emanates from his planted right foot thus. Hhe dances his entire five-letter mantra: Na, Ma, Si, Va, Ya.