In Chidambaram befindet sich der Ga.ne´sa-Schrein in der Nähe des westlichen Gopura.

Abb.: Lage des Ganapati-Schreins im Natarâja-Tempel in Chidambaram

[Bildquelle: Natarajan, B. <1921 - >:  The city of the cosmic dance : Chidambaram . -- New Delhi : Orient Longman, 1974. --  164 S.: Ill. -- S. XV]

Abb.: Nataraja-Tempel, Chidambaram mit Gopura [Bildquelle: http://www.indiaonlinetravel.com/tourprograms/tour10.asp. -- Zugriff am 2004-05-04]

Abb.: Westliches Gopura, Nataraja-Tempel, Chidambaram

Vers 0.2

"Ich verehre den obersten Herrn von Tillavana (Tillai-Wald), der im Innern der Goldenen Halle für Lalitâ, die Tochter des Berges, den ânanda-Tanz tanzt."

Tillai-Wald = Cidambaram.

Abb.: Lage von Chidambaram (©MS Encarta)

"Chidambaram Natarajar Temple at Chidambaram Deities: Natarajar, Akasha Lingam, Sivakami Amman (Shiva, Parvati) Significance: Chidambaram is one of the most ancient and most celebrated of shrines in India. It is of great religious as well as historic and cultural significance. Chidambaram is associated with Nataraja, or Shiva in his Ananda Tandava pose (the Cosmic Dance of bliss) in the cosmic golden hall and the hall of consciousness (Chit Sabha). Shiva is also worshipped in the "formless form" of the Chidambara Rahasyam, while the temple is known for its Akasa Lingam, an embodiment of Shiva as the formless Space. The word "Koyil" or temple in the Tamil Saivite tradition refers to none other than the Chidambaram Nataraja temple. Antiquity: The origins of this vast temple are buried in antiquity. Literature talks of a tradition of Shiva (Nataraja) worship in existence even as early as the Sangam period (very early on in the Christian era), and the Tamil Saints have sung its fame when an established worship tradition was in place. The later Chola Kings (Aditya I and Parantaka I) adorned the roof of the shrine with gold, and the other Chola Kings treated Nataraja as their guardian deity and made several endowments to the temple as temple inscriptions testify. The Pandya Kings who followed them, and the later Vijayanagar rulers made several endowments to the temple. There is a stone image of Krishnadevaraya in the North Gopura which he is said to have erected. In the wars of the 18th century, this temple was used as a fort, especially when the British General Sir Eyre Coote unsuccesfully tried to capture it from the Mysore Kings. During this period, the images of Nataraja and Sivakamasundari were housed in the Tiruvarur Tyagaraja temple for safety. Muthuswamy Deekshitar, one of the foremost composers in the Karnatic Music tradition sings the glory of this temple in his kriti 'Ananda Natana Prakasam'. The Alwar Poems of the Naalayira Divya Prabandam sing the glory of Vishnu, whose image is also housed in this temple, and his shrine is referred to as 'Tiruchitrakootam'. Adi Sankara is said to have presented a Spatika Lingam which is still under worship in this temple. Sekkizhaar's Periya Puranam, describing poetically the life of the Saivite Saints (63 in number) was composed in the 1000 pillared hall, and was expounded by the author himself in the presence of the Chola emperor Kulottunga II, who had comissioned the work, amidts great festivity and fanfare. Each of the four most revered Saivite Saints (Appar, Sundarar, Sambandar and Manikkavacakar) has worshipped at Chidambaram, and the bulk of Manikkavacakar's work is in praise of Shiva at Chidambaram. Accordingly, their images are placed in the temple entrances corresponding to their points of entry into the temple. (Sambandar - South, Appar - West, Sundarar - North and Manikkavacakar - East). Legends associated with this temple: Aadi Sesha, the serpent (couch) of Vishnu, heard from Vishnu the grandeur of Shiva's cosmic dance. Filled with irrepressable desire to witness this dance in person at Chidambaram, Seshan descended to the earth as Patanjali (the one who descended). Vyagrapaadar, another devotee of Shiva prayed to obtain the tiger's claws so that he could obtain with ease the sacred Vilva leaves meant for Shiva's worship at Chidambaram. At the appointed hour, Shiva (with Sivakami) granted to Patanjali and Vyagrapaadar, a visual treat in the form of his Cosmic Dance of Bliss, to the accompaniments of music played by several divine personalities in the Hindu pantheon. This Dance of Bliss is said to have been witnessed by Vishnu, and there is a Govindaraja shrine in the Natarajar temple commemorating this. The dance of bliss of Shiva, is also said to have been enacted upon Shiva's (Bhikshatana) victory over the married ascetics of Daruka Vanam. Yet another legend, commemorating the dance duel between the doyens of dance Shiva and Kali is associated with Chidambaram. Shiva is said to have lifted his left foot towards the sky in the Urdhuva Tandava posture, a definite male gesture, which out of adherence to protocol, Kaali could not reciprocate, thereby causing Shiva to emerge victorious, delegating Kaali to the status of a primary deity in another temple in the outskirts of Chidambaram. This legend is portrayed in the Nritta Sabha, one of the halls within the Chidambaram temple. There is another recent legend associated with this temple. The sacred Tamil works of the Nayanmaars had been missing for several years, and it was during the period of Raja Raja Chola (the builder of the Grand temple at Tanjavur) that formal research was initiated to trace these fine works of devotional literature. These works of the Saivite Saints - rich in musical content were recovered in a dilapidated state in one of the chambers in this vast temple, after the monarch brought images of the Saint trinity in procession to the temple. Nataraja: The dance of bliss, or the Ananda Tandavam of Shiva is said to symbolize the five divine acts (pancha krityas) of creation, sustenance, dissolution, concealment and bestowment of grace. The dance of Shiva has been frozen in metal and held in worships in Nataraja Sabhas, in virtually all of the Saivite temples in Tamilnadu. Five of the foremost Sabhas (Pancha Sabhai) are at Chidmbaram (Kanaka Sabhai the hall of gold), Madurai (Rajata Sabhai the hall of Silver), Tiruvalangadu near Chennai (Ratnasabhai the hall of rubies), Tirunelveli (Tamrasabhai the hall of copper) and Kutralam near Tirunelveli (Chitrasabhai the hall of pictures). Other dance halls of significance are Adri Sabhai (the Himalayas), Aadi Chitsabhai (Tiruvenkaadu near Chidambaram) and Perur Kanakasabhai (Patteeswarar temple at Perur near Coimbatore). Architecture: The Chidambaram Natarajar temple is a specimen of the assimilation of several architectural styles. The innermost sanctum of the temple, houses the grand images of Shiva (Nataraja) and Parvati (Sivakami) in the ChitSabha or the hall of consciousness, adjoining which is the KanakaSabha or the Golden Hall, both these structures resting on a raised platform. The innermost prakaram surrounds this holiest of shrines, and to the South West of Nataraja, is the shrine of Govindaraja Perumaal facing the East. The Chitsabha, the holiest shrine in the temple, is a wooden structure supported with wooden pillars, with a hut shaped roof. It is in this hall, that the images of Nataraja and Sivakami are housed, in front of a set of two curtains, the inner (invisible) one being red in color, the outer one being black in color. To the right of Shiva, is the revered Chidambara rahasyam - or a representation of emptiness garlanded with golden vilva leaves. The curtain in front of the Chidambara Rahasyam, representing Shiva (and Parvati) in the formless form (Aroopam) is lifted ceremoniously during worship services, with offerings of lamps. Also in the Chitsabha are images of Ratnasabhapati (Nataraja of Ruby), the Spatika Lingam of Chandramauleeswara, Swarnakarshana Bhairavar, Mukhalingam etc. The Golden Hall, or KanakaSabha is immediately in front of the ChitSabha, both being on an elevated platform as mentioned before, with silver panelled doors in front. The ChitSabha itself is a meter or so higher than the Kanakasabha and is reached by a flight of 5 silver plated steps, marking the five aksharas (or syllables) of the Panchakshara Mantram (the five syllabled Namasivaya). Across from the Nataraja shrine in he second prakaram is the Nritta Sabha or the hall of dance with some fine pillars, housing an image of Shiva in the Urdhva tandava posture, winning over Kaali in a dance duel, and an image of Sarabheswara, another form of Shiva. The Nritta Sabha with fine pillars is in the form of a chariot drawn by horses. The Deva Sabha or the house of Gods is also in the second prakaram, housing festival images of the Pancha Murtis (Somaskandar, Parvati, Vinayaka, Subramanya and Chandikeswara) and other deities. Mulanathar, or the representation of Shiva as a Lingam is housed in the second prakaram. The outermost prakaram is home to the grand Sivakami Amman temple, the Sivaganga tank and the 1000 pillared hall or the Raja Sabha, where Nataraja is brought during two annual festivals. The vast Sivakami Amman shrine is a temple in its own right. Ceilings on the mukhamandapam of this temple have paintings from the Nayaka period. There are friezes of dancers, drummers and musicians all along the enclosing walls of this temple. The thousand pillared hall has witnessed several grand events in history. This hall is also designed in the form of a chariot. Its entrance features two elephants, and on the basement there is a frieze of dancing figures. The 100 pillared hall, also in the outermost prakaram is also of artistic value, as is the shrine of Subramanya, which dates back to the Pandya period. The Subramanya shrine is also in the form of a chariot, and is referred to as the 'Pandya Nayakam'. Perhaps the most magnificient structures in the temple are the four lofty gopurams or towers in the four cardinal directions, piercing the walls of the outermost prakaram. Each is a gigantic masterpiece in itself - about 250 feet in height, with seven tiers. The Western tower is the oldest one. In the towers, on either side of the gateways there are representations of the 108 poses of the classical Bharata Natyam Tradition as enunciated in the Classic Natya Sastra. The towers are embellished with images from Hindu mythology. From the second tier onward, on each of the Gopuram, are seen images of various manifestations of Shiva such as Bhikshatana, Kankala (both being ascetic forms), Kalyanasundarar, Somaskandar etc. (bestowers of prosperity). There are no representations of Nataraja on the temple towers, as this image is reserved for the innermost shrine alone. Worship protocol: Six worship services are offered in this temple each day at the shrine of Nataraja - the last of which is the ArdhaJaama Puja (the most special one), where the padukas (footwear) of Nataraja are ceremoniously taken to the Palliarai (night chamber) of Shiva and Parvati after elaborate rituals. It is believed that the entire pantheon of divine figures in the Hindu system of beliefs is present during this occasion. The first puja in the morning involves the waking up of Shiva, and a transport of the padukas back to the main shrine, followed by fire rituals and ablutions to the crystal Shivalingam. The worship services that follow at about 9:30, and then at noon, and at 5 in the evening and at 7 pm involve a combination of rituals involving ablutions to the Crystal Lingam and the ceremonial show of lamps to Nataraja and Sivakami amidst the chanting of Vedic and Tamil hymns. The Shiva Agama system of temple rituals followed in almost all of the Saivite temples in Tamilnadu, is not followed at Chidambaram. It is a unique worship protocol said to have been prescribed by Patanjali that is followed at this temple. Festivals: Two annual Bhrammotsavams at Chidambaram are of great significance, as they involve colorful processions of festival deities in the car streets. The grandest of these occurs in the month of Margazhi (Dec 15 - Jan 15), concluding on the full moon day corresponding to the Arudra Darisanam festival (Arudra Darisanam is celebrated in Saivite temples all over Tamilnadu). This ten day festival at Chidambaram involves a grand scheme of traditional observances commencing with the hoisting of the temple flag on the first day, followed by colorful procesions of the five deities (Pancha Murthys) on the first eight days on various mounts. The fifth day features Mount Kailasam, while the sixth day features the elephant mount. It is only on the ninth day that Nataraja leaves his sanctum, and is taken in a procession through the car streets, in the grand temple car. This is a special occasion and crowds throng to see it. Local fishermen communities traditionally offer gifts to Nataraja during this procession. Nataraja then returns to the Raja Sabha of the temple, where in the pre-dawn hours of the next day, while the moon is full, special abhishekams are performed to Nataraja, in the presence of thousands of devotees, and this ritual is followed by the royal audience of Nataraja in the Raja Sabha. In the afternoon, Nataraja returns to the shrine ceremoniously from the Raja Sabha, amidst an enactment of the Ananda Tandavam or the Dance of Bliss. The second of the Bhrammotsavams happens in the month of Aani, and it concludes with Aani Tirumanjanam on the tenth day, in a manner similar to Arudra Darisanam in Margazhi. It is interesting that these annual Bhrammotsavams or festivals happen in the months immediately preceding the summer and winter solstices (ie. Gemini and Sagittarius). Live dance performances have been introduced to the temple recently, in the form of annual dance festivals. Access and Accomodation: The temple town of Chidambaram is home to the Annamalai University, and it has several modern lodging facilities. The Tamilnadu Tourist Development Corporation operates one of its hotels at Chidambaram. Chidambaram is on the Chennai Tiruchirappalli Main line, between Villuppuram and Thanjavur. It is well connected with Chennai by a host of train and bus services. By road it is only 235 kilometers South of Chennai. Thanjavur is only about 100 kilometers away from Chidambaram. Chidambaram is literally the Northern gateway to the temple trough of Tamilnadu - the Thanjavur - Tiruvarur - Nagapattinam districts featuring hundreds and hundreds of ancient temples, which can be easily accessed from the towns of Mayiladuturai, Kumbhakonam, Thanjavur, Tiruvarur and Nagapattinam." [Quelle: http://www.templenet.com/Tamilnadu/chidchid.html. -- Zugriff am 2004-05-04]

Tillai (Tamil) = Excoecaria agallocha L. = Blinding tree, Milky mangrove, ein Mangrovenbaum

Abb.: Tillai = Excoecaria agallocha L. [Bildquelle: http://www.hktree.com/visit/mangrove_ea.htm. -- Zugriff am 2004-05-04]

"Excoecaria agallocha Family Euphorbiaceae South India to southern Japan, Southeast Asia, Pacific Islands. Locally in various northern sites. Small, evergreen or deciduous, unisexual tree, rarely up to 20 m tall, exuding poisonous white latex from all broken surfaces. Young leaves pink and old leaves withering scarlet, blades elliptic, with upcurled sides. Male inflorescences hanging, narrow, 5-1 0 cm long; female inflorescences shorter, 1-4-cm long. Grows on both muddy and stony soil, with its roots spreading. Timber used as firewood, for carpentry purpose and converted to charcoal. Latex in the eye can cause blinding and blisters on bare skin; exploited as a fish-poison. Rare." [Quelle: http://mangrove.nus.edu.sg/guidebooks/text/1060.htm. -- Zugriff am 2004-05-04]

 

Abb.: Excoecaria agallocha. -- Bestimmungsmerkmale

[Bildquelle: Indian medicinal plants : with illustrations / by K.R. Kirtikar, B.D. Basu. -- Reprint der 2nd ed., 1933. -- Dehra Dun, Uttranchal, India : Oriental Enterprises, 2003. -- 11 vol  (3846 S.) : Ill. -- S. 3155]

Abb.: Vorkommen von Excoecaria agallocha in Indien [Bildquelle: http://www.indian-ocean.org/bioinformatics/mangrove/MANGCD/geog/g22.htm. -- Zugriff am 2004-05-04]

Abb.: Lage der Goldenen Halle im Natarâja-Tempel in Chidambaram

[Bildquelle: Natarajan, B. <1921 - >:  The city of the cosmic dance : Chidambaram . -- New Delhi : Orient Longman, 1974. --  164 S.: Ill. -- S. XV]  

Abb.: Goldene Halle,  Natarâja-Tempel in Chidambaram

"Kanakasabhâ The most important of all these sabhâs, and the best known, is the golden hall at Chidambaram, famous for its temple in a forest of Tillai trees. Chidambaram is also called Vyâghrapura or Puliyûr, because of its association with Vyâghrapâda. Another name Pundarîkapura associates it with the lotus-heart of Virât-purusha, or the Universal Being. Siva here is. of the nature of the sky. He dances in the sky, - chidambaram, in the golden dance hall - kanakasabhâ. Natarâja, as the lord of this hall, is Kanakasabhâpati. His dance is the dance of bliss, ânandatândava. It is very interesting that there is a hall beyond, all empty, to suggest space, âkâ'sa. A screen here, when pulled aside, reveals just space, with no real image in it except what fancy may imagine as present in the sky. The removal of the veil is just the removal of ignorance, and behind the veil is the real truth—sat, chit and ânanda, representing the Natarâja form itself. This representation of ether, space or void, represents the rahasya of chidambara, or the mystery. The chitsabhâ here is where Natarâja danced and gave a glorious vision to Patanjali and Vyâghrapâda." [Quelle: Sivaramamurti, C.: Nataraja in art, thought, and literature.  -- New Delhi : National Museum, 1974. -- 417 S. : zahlr. Ill. -- S. 383f.]

"ânanda-Tanz"

Nach einer (evtl. neuereren) Klassifikation des Tanzens ´Sivas repräsentiert ânanda-tâ.n.dava die pañca-k.rtya, die fünf Tätigkeiten (s. ´SPM 5,162) ´Sivas:

1. Schöpfung - kâlikâ-tâ.n.dava - in: Tiruneveli
2. Erhaltung - gaurî-tâ.n.dava - in Tiruputtur
3. Zerstörung - sa.mhâra-tâ.n.dava - in: Kanchipuram
4. Sich-Verhüllen - tripura-tâ.n.dava in Tirukkurtalam
5. Gnadenerweis - ûrdhva-tâ.n.dava in Tirulangadu

Alle fünf Tätigkeiten - ânanda-tâ.n.dava in: Chidambaram

(Nach:  Natarajan, B. <1921 - >:  The city of the cosmic dance : Chidambaram . -- New Delhi : Orient Longman, 1974. --  164 S.: Ill. -- S. 1.; ikonographische Details bei: Sivaramamurti, C.: Nataraja in art, thought, and literature.  -- New Delhi : National Museum, 1974. -- 417 S. : zahlr. Ill. -- Passim)

"THE DANCE OF SHIVA. " The Lord of Tillai'a Court a mystic dance performs : what's that, my dear ?"— Tiruvâchagam, XII, 14. A great master-of-dancing (Natarâja) is Shiva! The cosmos is His theatre, there are many different steps in His repertory, He himself is actor and audience— When the Actor beateth the drum, Everybody cometh to see the show : When the Actor collecteth the stage properties, He abideth alone in His happiness. How many various dances of Shiva are known to His worshippers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy: Shiva is the Eros Protogonos of Lucian, when he wrote: It would seem that dancing came into being at the beginning of all things, and was brought to light together with Eros, that ancient one, for we see this primeval dancing clearly set forth in the choral dance of the constellations, and in the planets and fixed stars, their interweaving and interchange and orderly harmony. I do not mean to say that the most profound interpretation of Shiva's dance was present in the minds of those who first danced in frantic, and perhaps intoxicated energy, in honour of the pre-Aryan hill-god, afterwards merged in Shiva. A great motif in religion or art, any great symbol, becomes all things to all men; age after age it yields to men such treasure as they find in their own hearts. Whatever the origins of Shiva's dance, it became in time the noblest image of activity of God which any art or religion can boast of. Of the various dances of Shiva I shall only speak of three, one of them alone forming the main subject of interpretation. One is an evening dance in the Himalayas, with a divine chorus, described as follows in the Shiva Pradosha Stotra— "Placing the Mother of the Three Worlds upon a golden throne, studded with precious gems, Shûlapâni dances on the heights of Kailâs, and all the gods gather round Him :" " Sarasvatî plays on the vînâ, Indra on the flute, Brahmâ holds the time-marking cymbals, Lakshmî begins a song, Vishnu plays on a drum, and all the gods stand round about:" " Gandharvas, Yakshas, Patagas, Uragas, Siddhas, Sâdhyas, Vidhyâdharas, Amaras, Apsaras and all the beings dwelling in the three worlds assemble there to witness the celestial dance and hear the music of the divine choir at the hour of twilight." This evening dance is also referred to in the invocation preceding the Kathâ Sarit Sâgara. In the pictures of this dance, Shiva is two-handed, and the co-operation of the gods is clearly indicated in their position of chorus. There is no prostrate Asura trampled under Shiva's feet. So far as I know, no special interpretations of this dance occur in Shaiva literature. The second well-known dance of Shiva is called the Tândava, and belongs to His tamasic aspect as Bhairava or Vîrabhadra. It is performed in cemeteries and burning grounds, where Shiva, usually in ten-armed form, dances wildly with Devî, aocompanied by troops of capering imps. Representations of this dance are common amongst ancient sculptures, as at Ellora, Elephanta, and also at Bhuvaneshvara. This tândava dance is in origin that of a pre-aryan divinity, half-god, half-demon, who holds his midnight revels in the burning ground. In later times, this dance in the cremation ground, sometimes of Shiva, sometimes of Devî, is interpreted in Shaiva and Shâkta literature in a most touching and profound sense. Thirdly, we have the Nâdânta dance of Nata-râja before the assembly (sabhâ) in the golden hall of Chidambaram or Tillai, the centre of the Universe, first revealed to gods and rishis after the submission of the latter in the forest of Târaka, as related in the Koyil-Purânam. The legend, which has after all, no very direct connection with the meaning of the dance, may be summarised as follows : In the forest of Târaka dwelt multitudes of heretical rishis, followers of the Mimâmsa. Thither proceeded Shiva to confute them, accompanied by Vishnu disguised as a beautiful woman, and Âdi-Shesha. The rishis were at first led to violent dispute amongst themselves, but their anger was soon directed against Shiva, and they endeavoured to destroy Him by means of incantations. A fierce tiger was created in sacrificial fires, and rushed upon Him; but smiling gently, He seized it and, with the nail of His little finger stripped off its skin, and wrapped it about Himself like a silken cloth. Undiscouraged by failure, the sages renewed their offerings, and produced a monstrous serpent, which, however, Shiva seized and wreathed about His neck like a garland. Then He began to dance; but there rushed upon Him at last a monster in the shape of a malignant dwarf, Muyalaka (the Apasmârapurusha). Upon him the God pressed the tip of His foot, and broke the creature's back, so that it writhed upon the ground; and so, His last foe prostrate, Shiva resumed the dance, witnessed by gods and rishis. Then Âdi Shesha worshipped Shiva, and prayed above all things for the boon, once more to behold this mystic dance; Shiva promised that he should behold the dance again in sacred Tillai, the centre of the Universe. The dance of Shiva in Chidambaram or Tillai forms the motif of the South Indian copper images of Sri Natarâja, the Lord of the Dance. These images vary amongst themselves in minor details, but all express one fundamental conception. Abb.: Tanzender Shiva (Natarâja) [Bildquelle: http://www.fas.nus.edu.sg/journal/kolam/vols/kolam8/3_HistoryEtc/Figure13.htm. -- Zugriff am 2004-05-04] Before proceeding to enquire what these may be, it will be necessary to describe the image of Shri Natarâja as typically represented. The images then, represent Shiva dancing, having four hands, with braided and jewelled hair of which the lower looks are whirling in the dance. In his hair may be seen a wreathing cobra, a skull, and the mermaid figure of Gangâ; upon it rests the crescent moon, and it is crowned with a wreath of cassia leaves. In His right ear He wears a man's ear-ring, a woman's in the left; He is adorned with necklaces and armlets, a jewelled belt, anklets, bracelets, finger and toe-rings. The chief part of His dress consists of tightly fitting breeches, and He wears also a fluttering scarf (angavastram) and a sacred thread. One right hand holds a drum (damâru, udukkai), the other is uplifted in abhaya mudrâ (do not fear): one left hand holds fire, the other points downward to the lifted foot. The right foot is pressed down upon the asura Muyalaka, a dwarf holding a cobra; the left foot is raised. There is a lotus pedestal, from which springs an encircling arch of glory, (tiruvâshi), fringed with flame, and touched within by the hands holding drum and fire. The images are of all sizes, rarely if ever exceeding four feet in total height. Even without reliance upon literary references, the interpretation of this dance would not be difficult. Fortunately, however, we have the assistance of a copious contemporary literature, which enables us to fully explain not only the general significance of the dance, but equally, the details of its concrete symbolism. Some of the peculiarities of the Natarâja images, of course, belong to the conception of Shiva generally, and not to the dance in particular. Such are the braided locks, as of a yogi: the cassia garland: the skull of Brahmâ: the figure of Ganga, the Ganges fallen from heaven and lost in Shiva's hair: the cobras : the different ear-rings, betokening the dual nature of Mahâdeva,' whose half is Umâ ': the four arms. The drum also, is a general attribute of Shiva, belonging to his character of yogi, though in the dance, it has further a special significance. What then is the meaning of Shiva's dance, as understood by Shaivas ? The dance is called Nâdânta. Its essential significance is given in texts such as the following : " Our Lord is the Dancer, who, like the heat latent in firewood, diffuses His power in mind and matter, and makes them dance in their turn." The dance, in fact, represents His five activities (Panchahritya), viz., Srishti (overlooking, creation, evolution), Sthiti (preservation, support), Samhâra (destruction, evolution), Tirobhava (veiling, embodiment, illusion, and also, giving rest,) Anugraha (release, salvation, grace). These, separately considered, are the activities of the deities Brahmâ, Vishnu, Rudra, Maheshvara and Sadâshiva. This cosmic activity is the central motif of the dance. Further quotations will illustrate and explain the more detailed symbolisms. Unmâi Vilakkam, verse 36, tells us: "Creation arises from the drum: protection proceeds from the hand of hope: from fire proceeds destruction : the foot held aloft gives mukti" Here mukti is the same as anugraha, release. It will be observed that the fourth hand points to this lifted foot, the refuge of the soul. We have also the following from Chidambara Mummani Kovai. "O my Lord, Thy hand holding the sacred drum has made and ordered the heavens and earth and other worlds and innumerable souls. Thy lifted hand protects the Chetana and Achetana Prapancha which Thou hast created. All these worlds are changed by Thy hand bearing fire. Thy sacred foot, planted on the ground, gives an abode to the tired soul, struggling in the toils of karma. It is Thy lifted foot that grants eternal bliss to those that approach Thee. These Five-Actions are indeed Thy handiwork." The following verses from the Tirukûttu Darshana (Vision of the Sacred Dance), forming the ninth tantra of Tirumûlar's Tirumantram, expand the central motif further : " His form is everywhere : all-pervading is His Shiva-Shakti: Chidambaram is everywhere, everywhere His dance: As Shiva is all and omnipresent, Everywhere is Shiva's gracious dance made manifest. His five-fold dances are in sakala and nishkala form, His five-fold dances are His Panchakritya : With His grace He performs the five acts, This is the sacred dance of U´mâ-Sahâya. He dances with Water, Fire, Wind and Ether,  Thus our Lord dances ever in the court Visible to those who pass over Mâyâ and Mahâmâyâ, Our Lord dances His eternal dance. The form of the Shakti is all bliss (ânanda)— This united bliss is Umâ's body: This form of Shakti arising in sakala And uniting the twain is the dance " "His body is Âkâsha, the dark cloud therein is Muyalaka, The eight quarters are His eight arms,  The three lights are His three eyes, Thus becoming, He dances in our body as the assembly (sabhâ)". This is His dance. Its deepest significance is felt when it is realised that it takes place within the heart and the self: the kingdom of God is within. Everywhere is God: that Everywhere is the heart. Thus also we find another verse: "The dancing foot, the sound of the tinkling bells, The songs that are sung and the varying steps, The forms assumed by our Dancing Guru-para— Find out these within yourself, then shall your fetters fall away." To this end, all else but the thought of God must be cast out of the heart, that He alone may abide and dance therein. In Unmai Vilakkam, we find: "The silent jnânis destroying the threefold bond are established where their selves are destroyed. There they behold the sacred and are filled with bliss. This is the dance of the Lord of the assembly, "whose very form is Grace.' With this reference to the 'silent jnânis' compare the beautiful words of Tirumûlar: " When resting there they (the yogis who attain the highest place of peace) lose themselves and become idle .... Where the idlers dwell is the pure Space. Where the idlers sport is the Light. What the idlers know is the Vedânta. What the idlers find is the deep sleep therein". Shiva is a destroyer and loves the burning ground. But what does He destroy ? Not merely the heavens and earth at the end of a kalpa, but the fetters that bind each separate soul. Where and what is the burning ground ? It is not the place where our earthly bodies are cremated, but the heart of the bhakta, the devotee, laid waste and desolate. He brings not peace but a sword. The place where their selves are destroyed signifies the place or state where their egoity or illusion and deeds are burnt away: that is the crematorium, the burning-ground where Shri Natarâja dances, and whence He is named Sudalaiyâdi, Dancer of  the burning-ground. In this simile, we recognize the historical connection between Shiva's gracious dance as Natarâja, and His wild dance as the demon of the cemetery. This conception of the dance is current also amongst Shâktas especially in Bengal, where the Mother rather than the Father-aspect of Shiva is adored. Kâlî is here the dancer, for whose entrance the heart must be purified by fire, made empty by renunciation. A Bengali Hymn to Kâlî voices this prayer: " Because Thou lovest the Burning-ground, I have made a Burning-ground of my heart— That Thou, Dark One, haunter of the Burning-ground, Mayest dance Thy eternal dance, " " Nought else is within my heart, O Mother: Day and night blazes the funeral pyre : The ashes of the dead, strewn all about, I have preserved against Thy coming, With death conquering Mahâkâla neath Thy feet Do Thou enter in, dancing Thy dance, That I may behold Thee with closed eyes". Returning to the South, we find that in other Tamil texts the purpose of Shiva's dance is explained. In Shivajnâna Siddhiyâr, Supaksha, Sûtra v. 5, we find, " For the purpose of securing both kinds of fruit to the countless souls, our Lord, with actions five, dances His dance". Both kinds of fruit, that is Iham, reward in this world, and Param, bliss in Mukti. Again, Unmai Vilakham, vv. 32, 37, 39 inform us " The Supreme Intelligence dances in the soul ........for the purpose of removing our sins. By these means, our Father scatters the darkness of Mâyâ, burns the thread of Karma, stamps down Mala (ânava, avidyâ), showers Grace, and lovingly plunges the soul in the ocean of bliss (Ânanda). They never see rebirths, who behold this mystic dance". The conception of Lîlâ, the world-process as the Lord's sport or amusement, is also prominent in the Shaiva scriptures; thus, Tirumûlar writes:  " The Perpetual Dance becomes His Play". This aspect of His activity appears to have given rise to the objection that He dances as do those who seek to please the eyes of mortals; to which the answer is given that He dances to maintain the life of the cosmos and to give release to those who seek Him. In another way, more arbitrary, the Dance of Shiva is identified with the Panchâkshara, the five syllables Shi-vâ-ya-na-ma, which have a peculiar and special significance in in Shaiva symbolism. In Unmai Vilakkam, vv. 33-35 they are identified in the dance as follows: " In His feet is na; in His naval is ma; in His shoulders is Shi; in His face is vâ,; in His head is ya". A second way of contemplating the Panchâkshara is also given, as follows: " The hand holding the Drum is shi; the hand held out is vâ,; the hand holding out protection (abhaya) is yâ; the hand holding fire is na; the foot holding down Muyalaka is ma". The text continues: "The meanings of the five letters respectively are God, Shakti, Soul, Tirobhava and Mala... If this beautiful Five-Letters be meditated upon, the soul will reach the land where there is neither light nor darkness, and there Shakti will make it One with Shivam": Another verse of Unmai Vilakkam explains the fiery arch {tiruvâsi): The Panchâkshara and the Dance are identified with the mystic syllable Om, the arch being the kombu or hook of the ideograph of the written symbol : " The arch over Sri Natarâja is Omkâra; and the akshara which is never separate from the Omkâra is the contained splendour. This is the Dance of the Lord of Chidambaram". The Tiru-Arul-Payan, however, (Ch. ix. 3) explains the tiruvâshi more naturally as representing the dance of Nature, contrasted with Shiva's dance of wisdom. " The dance of matter (Prakriti) proceeds on one side : the jnâna dance on the other. Fix your mind in the centre of the latter". I am indebted to Mr. Nallasvâmi Pillai for a commentary on this: The first dance is the action of matter— material and individual energy. This is the arch, tiruvâsi, Omkâra, the dance of Kâlî. The other is the Dance of Shiva—the akshara inseparable from the Omkâra—called ardhamâtra or the fourth letter of the Pranava, Chaturtam and Turîyam. The first dance is not possible unless Shiva wills it and dances Himself. The general result of this interpretation of the arch is, then, that it represents matter, nature, prakriti; the contained splendour, Shiva dancing within and touching the arch with head, hands and feet, is the universal omnipresent Purusha. Between these stands the soul, as ya is between Shi-vâ and na-ma. Now to summarise the whole interpretation, we find that The Essential Significance of Shiva's Dance is threefold: First, it is the image of his Rhythmic Activity as the Source of all Movement within the Cosmos, which is represented by the Arch: Secondly, the Purpose of his Dance is to Release the Countless souls of men from the Snare of Illusion :  Thirdly the Place of the Dance, Chidambaram, the Centre of the Universe, is within the Heart." [Quelle: Gopinatha Rao, T. A. <1872-1919>: Main Title: Elements of Hindu iconography. -- Madras :  Law Printing House, 1914 - 1916. -- 2 Bde in 4 : Ill. -- Bd. II, 1. -- S. 231-249]

Hermann Kulke´s (geb. 1938) Sicht der Geschichte Chidambaram´s:

Abb.: Hermann Kulke [Bildquelle: http://www.histosem.uni-kiel.de/personen/kulke.html. -- Zugriff am 2004-05-04] 

"Als Zentrum des Natarâja-Kultes, in dem Shiva als "Herr der Tänzer" verehrt wird, machte Chidambaram unter dem Einfluss religionsgeschichtlicher und politischer Kräfte mehrere aufschlussreiche Entwicklungsphasen durch. Das ursprüngliche Heiligtum Chidambarams scheint mit einem Steinkult an einem Teich, dem späteren Tempelsee verbunden gewesen zu sein. Später wurde der Stein als Shivalingam unter dem Namen Mûlasthâna ("Ursprungsort") verehrt. Große Bedeutung hatte in dieser frühen Phase Chidambarams auch die Kultstätte einer Göttin, deren Schrein den Namen Per-ampalam oder "Große Halle" trug. Die nahegelegene Stätte eines Kultes, der mit Besessenheitstänzen der Priester eines Gottes, wie wir sie aus dem Muruga-Kult kennen, verbunden war, war dagegen unter dem Namen "Kleine Halle" bekannt. Der heilige Bezirk all dieser Stätten trug den Tamilnamen Puliyur ("Tigerstadt") oder Tillai--Wald . In der Sangam-Literatur des 1. bis 5. Jahrhunderts und den frühen epischen Sanskritwerken wird Chidambaram noch nicht genannt. Die Identifizierung der autochthonen tanzenden Gottheit Chidambarams mit dem Großgott Shiva scheint spätestens im 6. Jahrhundert vollzogen worden zu sein, denn die shivaitischen Heiligen Appar und Sambandar priesen bereits im frühen 7. Jahrhundert den Tanz Shivas in der Kleinen Halle von Chidambaram. Der weitere Aufstieg und die damit verbundene Sanskritisierung des Kultes ist aus dem Cidambara-mâhâtmya, der im frühen 12. Jahrhundert verfassten Legendensammlung Chidambarams, noch gut zu rekonstruieren. Zunächst ging es um eine Aufwertung des bis dahin noch recht unbedeutenden Lingam-Kultes und die Sanskritisierung des Ortsnamens. Dies wurde durch die Erschaffung einer Legende erzielt, die von einem nordindischen Brahmanen Vyâghrapâda berichtet, der auf der Suche nach Shiva nach Chidambaram gelangte und dort in tiefer Bhakti-Glückseligkeit das Mûlasthâna-Lingam verehrte. Brahmanen mit dem Namen Vyâghrapâda, dem "Tigerfüßigen", sind seit der spätvedischen Zeit in mehreren Sanskritwerken Nordindiens bekannt. Durch "Erschaffung" eines Ortsheiligen von Chidambaram mit dem Namen Vyâghrapâda konnte nachträglich der ursprüngliche Tamilname Puliyur von dem gleichbedeutenden Sanskritnamen Vyâghrapura abgeleitet werden. Die "Tigerstadt" hatte damit durch ihren neuen "tigerfüßigen" Ortsheiligen Anschluss an die große Welt der Sanskritepen gefunden. Als im 10. Jahrhundert dann Shiva als "Herr der Tänzer" von den mächtigen Cola-Königen zur Familien- und Schutzgottheit auserkoren wurde und Chidambaram eine bedeutende Rolle im Reichskult der Colas zu spielen begann, musste der Tanzkult Shivas in Chidambaram gegenüber den anderen örtlichen Kulten aufgewertet werden. Dies geschah abermals durch die Einführung einer neuen Legende und eine weitere Sanskritisierung der Kultstätten Chidambarams und ihrer Namen. Vyâghrapâdas Verehrung des Mûlasthâna-Lingam wurde nun umgedeutet zu einer bloßen Vorstufe der Verehrung des tanzenden Shivas in Chidambaram, der sich dort in seinem kosmischen ânanda tâ.n.dava ("Wonnetanz") manifestiert. So entstand eine neue, lange Legende über Shivas Tanz in Chidambaram und die Erhöhung dieses Ortes zum Zentrum seines kosmischen Schöpfungstanzes. Hierzu bedurfte es aber einer weiteren Namenskorrektur der Kultstätten in Chidambaram. Der gegenüber der "Großen Halle" der Göttin abwertende Name "Kleine Halle" des tanzenden Shiva wurde in einer großartigen Weise umgedeutet und gleichzeitig als Grundlage weitergehender philosophischer Spekulationen über die Heiligkeit Chidambarams benutzt. Der Tamilname Cid-ampalam ("kleine Halle") wurde durch das nahezu homophone Sanskritkompositum Cid-ambaram ersetzt, das soviel bedeutet wie "Himmelsraum des Geistes". Aufgrund dieser neuen Namensgebung vollführte Shiva nun seinen kosmischen Tanz für Bhakta-Gläubige und Cola-Könige nicht mehr in einer "Kleinen Halle", sondern in der "Geisthalle" in Chidambaram. Auf der Grundlage dieses für den Hinduismus typischen Etymologie entstand in der Folgezeit eine Reihe philosophischer Spekulationen. Wichtig ist in diesem Zusammenhang die Identifizierung Chidambarams und seiner Geisthalle mit dem Herzen des kosmischen Urwesens und dem geistigen Brahman in dessen Innerstem (anta.h-pura). Durch die seit vedischer Zeit vertraute kosmomagische Identifizierung des Weltallls, das aus einer Opferung des Urwesens Purusha hervorging, mit dem menschlichen Körper konnte Chidambaram für sich nun in Anspruch nehmen und den Gläubigen verkündigen, dass Shiva seinen Tanz sowohl in Chidambaram als dem Zentrum des Kosmos wie auch im Herzen der gläubigen Bhaktas vollführt. Durch diese Sanskritisierung der Namen und des Kultes Chidambarams wurde nicht nur der ursprünglich autochthone Tanzkult eines lokalen Gottes schrittweise in die gesamtindische Sanskrit-Gelehrsamkeit und Götterwelt des Hinduismus integriert. Durch die philosophische Deutung des Namens wurde auch die in ihren Anfängen heterodoxe Bhakti in den nun vollständig "brahmanisierten" Kult Chidambarams integriert." [Quelle: Kulke, Hermann <1938 - > ; Rothermund, Dietmar: Geschichte Indien. -- Stuttgart : Kohlhammer, 1982. -- 416 S. -- ISBN 3-17-007097-5. -- S. 159 - 161. -- Hervorhebungen von mir]

Vers 0.3

Ich verehre folgende Verehrer des Herren von Vyâghrapura (Tigerstadt = Chidambaram):

• Vyâghrapâda
• ´Se.sa = Patañjali
• Svar.navarman = Hira.nyavarman

Tigerstadt = Chidambaram. S. Zitat aus Kulke zu Vers 0.2

Abb.: Vishnu auf der Schlange Shesha [Bildquelle: http://vahini.org/gallery/hall4/gods1.html. -- Zugriff am 2004-05-04] "´Sesha, the serpent couch of Vishnu, having heard of the wonderful dance movements of ´Shiva from Vishnu himself, desired to be born to witness the glorious vision. He descended from heaven with his hands clasped in adoration and became the offspring of sage Atri and Anasûyâ. Abb.: Patajali [Bildquelle: http://iyengaryogacanada.ca/code.html. -- Zugriff am 2004-05-04] He was significantly called Patañjali - pat, descend, añjali, hands in adoration. He awaited the arrival of Vyâghrapâda, another great sage who was equally desirous of having a gaza at ´Siva´s dance movements. By the grace of ´Siva, his legs were transformed into those of a tiger, to enable him more easily to gather bilva leaves and flowers from briars and bushes in order to worship the Lord. On the appointed day, when 'Siva gave them the vision of his dance, all the celestials, including the Pramathaga.nas, were around him. The musical instruments were played by Vishnu, Brahmâ, Nandike´svara and others, as in all the other cases of ´Siva´s dance elsewhere." [Quelle: Sivaramamurti, C.: Nataraja in art, thought, and literature.  -- New Delhi : National Museum, 1974. -- 417 S. : zahlr. Ill. -- S. 383]

s. auch Zitat aus Kulke zu Vers 0.2

"Vyâghrapâda: He was the son of Madhyandina Munivar. The father taught the son all the Vedas and ´Sastras and the Panchakshara mantra according to the ´Saiva Agama and then inquired of him waht else he wanted to learn. The son asked his father to instruct him in the best mode of penance. Taking the father´s instructions, Vyâghrapâda selected the sacred spot of Tillai for his penance. On reaching the place, he saw a ´Siva linga under a banyan tree near the sacred tank. Here he spent many days in the worship of the Lord. He built for himself a hermitage on the west side of Tillai near another tank and consecrated another linga there and worshiped both lingas. The sage found that the flowers were spoiled by honeybees when gathered after dawn and so prayed to the Lord that he might be provided with the eyes, claws and feet of a tiger to fulfil his desire of collecting flawless flowers of worship. His request was granted. ... One day the sage, in a moment of yogic trance, had a vision of the Lord´s dance before the forty-eight thousand sages in the Dharuka forest and longed to see it himself; and so awaited the great day when the Lord would exhibit His divine dance to him and other devotees at Tillai." Natarajan, B. <1921 - >:  The city of the cosmic dance : Chidambaram . -- New Delhi : Orient Longman, 1974. --  164 S.: Ill. -- S. 5]

´Se.sa = Patañjali

Patañjali = der (angebliche) Verfasser des Yogasûtra und des Mahâbhâ.sya.
Legende s. Natarajan, B.: The city of the cosmic dance. - 1974. - S. 5f.

"According to another legend, shortly before Patañjali was born the Lord Vishnu was seated on his serpent, Adisesa. (Adisesa is in fact one of the many incarnations of Vishnu). While seated on his serpent carriage Vishnu was enraptured by the dancing of Lord Siva. Vishnu was so affected that his body began to vibrate causing him to pound down heavily on Adisesa -- who consequently suffered great discomfort. When the dance ended the weight was instantaneously lifted. Adisesa asked Vishnu what had happened. On hearing about the dance Adisesa wanted to learn it so he could personally dance it for the pleasure of Vishnu, his lord. Vishnu was impressed and predicted to Adisesa that one day Lord Siva would bless him for his understanding and devotion and that he would be incarnated so that he could both shower humanity with blessings and fulfill his own desire to master dance. Adisesa immediately began to ponder on the question of who his mother would be. At the same time a virtuous woman named Gonika, who was totally devoted to yoga, was praying and seeking for someone to be a worthy son to her. She wanted to pass on the knowledge and understanding she had gained through yoga. Concerned that, with her days on earth now severely numbered, she had not yet found a candidate, she prostrated herself before the Sun, the earthly manifestation of the light and presence of God. She scooped up the only gift she could find -- a handful of water -- and beseeched him to bestow her with a son. She then meditated upon the Sun and prepared herself to present her simple but sincere offering. On seeing all this Adisesa -- the bearer of Vishnu -- knew that he had found the mother he was looking for. Just as Gonika was about to offer her handful of water to the Sun, she glanced down at her hands and was astonished to see a tiny serpent moving in her hands. She was even more astonished when, within a few moments, that serpent had assumed a human form. Adisesa, who it was, in his turn prostrated before Gonika and pleaded with her to accept him as her son. " [Quelle. http://www.kofibusia.com/Yoga/Pages/PatanjaliBiography.htm. -- Zugriff am 2004-05-04]

"Tradition has it that king Si.mhavarman, who was on a visit here at Tillaivana, bathed in the tank in the vicinity of the temple, and became golden-hued, which gave him the name of Hira.nyavarman." [Quelle: Sivaramamurti, C.: Nataraja in art, thought, and literature.  -- New Delhi : National Museum, 1974. -- 417 S. : zahlr. Ill. -- S. 383]

Zu Hira.nyavarman siehe

Kulke, Hermann <1938 - >: Cidambaramahatmya : eine Untersuchung der religionsgeschichtlichen und historischen Hintergründe für die Entstehung der Tradition einer südindischen Tempelstadt. -- Wiesbaden : Harrassowitz, 1970. -- XVI, 241 S., Ill. -- (Freiburger Beiträge zur Indologie ; 3). -- Zugl.: Freiburg i. Br., Univ., Diss., 1967. -- S. 18 ff., 92: Kulke identifiziert Hira.nyavarman mit einem Cola-König aus dem 11. Jahrhundert.

Vers 0.4 - 0.5

"Ich verehre in Chidambaram die Wohnstätte, verehrt von den ´sivaitischen Yogins, den Klostertempel der voll ist von Haufen von Juwelen agamischer Werke.

Ich vergegenwärtige mir meditativ den ´sivaitischen Yogin, der die Geheimnisse aller Agamas kennt, der in der Welt berühmt ist unter dem Namen Vedajñâna-guru."

Vers 0.6 - 0.7

"Im Jahr der ´Sakakönige, das bezeichnet wird durch die Ziffer ta-dâ-bhâ-gya ( = 1486), im 61. Lebensjahr, in der dritten Jahreszeit (d.h. der Regenzeit) hat jener Weise, Vedajñâna, der den Ozean der ´sivaitischen Lehrwerke überquert hat, HIER durch den Herrn von Kâlahasti die letzte Wohnstatt erhalten."

Zeitrechnungssysteme in Indien (Auswahl):

• Kaliyuga (kalisa.mvat): Beginn 18. Februar 3102 v. Chr.
• Vikramakâla (vikramasa.mvat): Beginn 58 v. Chr. Genannt nach Vikramâditya
• ´Sakakâla (´sakâbda): Beginn 78 n. Chr.
• Guptakâla: Beginn 329 n. Chr.
• Har.sakâla: Beginn 606 n. Chr.

Weiteres zur indischen Zeitrechnung:

L' Inde classique : manuel des études indiennes / par Louis Renou et Jean Filliozat. -- Paris : Payot. -- Tom. 2. -- 1953. --  S. 736-738 (klar und präzise).

Das Wichtigste auch in:

Basham, A. L. (Arthur Llewellyn): The wonder that was India: a survey of the history and culture of the Indian sub-continent before the coming of the Muslims. -- 3rd revised ed. -- London, Sidgwick & Jackson, 1967. -- S. 495-497.

Ziffernangabe nach dem Ka.tapayâdi-System.

Systeme der Bezeichnung von Ziffern durch Nicht-Ziffern:

• bhûta-sa.mkhyâ - Bezeichnung von Ziffern durch "Gegenstände", die in der der Ziffer entsprechenden Anzahl vorkommen: z.B. "Hände" für "2"; "Sinnesorgane" für "5" usw.
• ka.tapayâdi-System: heißt so, weil die Laute k, .t, p, y jeweils die Ziffer "1" bezeichnen, die jeweils nächsten Laute bezeichnen "2" usw.

ka.tapayâdi:Definition nach der Sadratnamâlâ (Zitat bei K. Kunjunni Raja: Astronomy and mathematics in Kerala. - In: The Adyar Libraray bulletin. - vol XXVII (1963). - S. 123):

na-ñâv aca´s ca ´sûnyâni
sa.mkhyâ.h ka.tapayâdaya.h
mi´sre tûpânta-hal sa.mkhyâ
na ca cintyo hala.h svara.h

"n, ñ, sowie [Anfangs-]Vokale (ac) bedeuten "Null",
Zahlen sind k, .t, p, y und die jeweils darauffolgenden Laute,
bei Doppelkonsonanten bedeutet der zweite Konsonant (hal) eine Zahl,
Vokale nach einem Konsonanten zählen nicht."